I was on my first listen guessing that these two scores must be from the 1970’s or there abouts at least, because of the sound and also the style that they contain. However I was wrong, and way out. The composer Ib Glindermann is a little obscure as in the writing of film scores at least. His many other recordings are basically jazz, big band and a scattering of what I suppose we refer to as easy listening material. But these two soundtracks are in a word excellent, and both being quite different stylistically. I remember hearing STILETTO for the first time and not really knowing who Sid Ramin was, then finding out just how much he had done, but not solely in film music, and I guess this is what I am thinking with these two vibrant scores as well. The first soundtrack on the recording is from a movie entitled THE MAN WHO WANTED TO BE GUILTY (1990) which to be honest is a delight, the composer fashioning some superbly subdued and apprehensive pieces which although are in no way grandiose or symphonic are still thematic and well developed. This is an interesting soundtrack, with the composer utilising a fusion of conventional instrumentation alongside synthetics or electronic vibes. Many say that the use of electronics within a film score can at times result in a rather lifeless and uninspiring product, but Glindermann, manages to crate an edgy atmosphere whilst remaining shall we say to a degree melodic. There is a nice piano solo within the score that for me evokes memories of the music of Stelvio Cipriani, especially his haunting and lilting theme for THE ANONYMOUS VENITIAN, it has to it a subtle but emotive sound, which is simple but superbly affecting. The composer also puts to effective use woodwinds that are enhanced by a small string section, giving them support and embellishing their sound making it even more poignant. There is also to the score a more epic feel in the latter cues such as the ENDING which builds to a full orchestral working of the scores central theme. This was recommended to me by a good friend, and I can certainly understand why, the second score THE TRAITORS is as good if not superior in certain areas, maybe because it is a little more of a complex or developed score in places a sound that we associate with the likes of Jerry Goldsmith seeps through as in the dark and ominous sounding piano, jagged brass stabs and deep brass flourishes that act as musical punctuation throughout. The mood of the score is dark and at times threatening, the composer combining the brass with low strings and a scattering of percussion.
It also contains a rather melodic LOVE THEME which is purveyed by woods, strings and a heartfelt solo violin performance, I have to admit to be somewhat confused, because on researching the film I could find no info on it, the only thing I did find was THE TRAITORS from 1962 which had a score by Johnny Douglas. No sign of anything that is credited to Glindemann. Which is rather strange, but as for the score it is certainly well written and a full-on dramatic work, that does at times resemble CHINATOWN or in fleeting moments THE MEPHISTO WALTZ by Goldsmith, with a scratchy sounding violin at times being utilised. It has that steamy and sultry musical persona that oozes class and sophistication which Goldsmith employed on CHINATOWN, that not only served the film but was an entertaining musical entity away from the images. Available on Spotify. These are quality scores, Recommended.
MOVIE MUSIC INTERNATIONAL. (MMI) . 