Carter Burwell's darkly mysterious orchestrations play a significant stylistic role in both Barton Fink and Fargo, two of the best films from acclaimed independent filmmakers Joel and Ethan Coen, particularly in light of the oft-violent content of the Coens' stories: violence can of course be laughable when the characters are too goofy to be believed, and tragic when the characters are too believable to be goofy, but the Coen brothers' creations are somewhere in between. They strike a precarious balance between a broadly comic Beckett-esque absurdism and a more straightforward, three-dimensional naturalism. Consequently, Burwell's grave, sweeping scores are a crucial reassurance that the Coens are not taking their characters' personal tragedies less seriously than are their audiences. Most of the tracks on this CD are from Fargo, reprising the heartbreakingly elegiac theme several times over (in orchestral versions and in sparse violin arrangements that echo the folk music indigenous to the snow-swept northern territories of the film).
In 1941, New York intellectual playwright Barton Fink comes to Hollywood to write a Wallace Beery wrestling picture. Staying in the eerie Hotel Earle, Barton develops severe writer's block. His neighbor, jovial insurance salesman Charlie Meadows, tries to help, but Barton continues to struggle as a bizarre sequence of events distracts him even further from his task.
~ Scott Renshaw
A ubiquitous Viennese figure in the early 1700s, Francesco Conti was one of several gifted Italian Baroque composers who settled in foreign lands. If Caldara remains the most durable Italian figure in Vienna, Conti's star — on this evidence — deserves to be dusted down and given a second chance. These four cantatas from eight Cantate am istromenti probably date from the first decade of the century and feature the most delectable plethora of obbligato instruments imaginable.