In the last decade the film music has lived a period of undeniable formal and structural mutation. The fact that pro-symphonic composers and truly committed with the Williams tradition like Robert Folk, Lee Holdridge, John Scott or Bruce Broughton himself has been forgotten or displaced by the film industry, it has partly propitiated the fact that the foundations on where the American film music was summoned are being altered in a considerable way. It is very possible that this is an unavoidable result of the relentless evolution of the own music, and of the logical transgression of the rules settled down in a beginning; and although musicians like John Debney, Joel McNeely, Michael Kamen or Alan Silvestri (to mention a few ones) continue in a serious manner with the composition of symphonic music, it is certain that the new external musical currents are affecting in a more evident way the film music. Unaware to this unstoppable process, Broughton solves the score of Lost in Space (1998) -twentynine of whose minutes were previously published by Epic- with the same elegance and refinement of the times of Silverado (1985), conceiving a broadly symphonic score and of undeniable inspiration that confirms him as a true symphonic artisan, master of the variations and of the changes of tempi and rhythm. This way, the dark musical description of the first look of the "Proteus" (the first section of Spiders), a piece of exquisite shades, with those majestic metals that sing a dark variation of the main theme -in clear allusion to the future of the Robinsons- combines with other luminous and heroic fragments, as Through The Planet or Guiding Stars, where we find the simple and beautiful theme of love interpolated in a sublime way with the leitmotiv of the score. Although it sounds heterodox, we are without a doubt before one of the best scores of last year that Intrada has recovered -although not in a complete way- in an excellent edition at full color, including vital cues as Into The Sun or the enlarged and magnificent version of the final credits (Lost In Space), of almost Bernstein touch. An exceptional Broughton and the orchestra Sinfonia Of London, accessible to any taste, especially to those that still enjoy the good symphonic music and that know how to appreciate masterful lessons as this one that his author imparts. D.R.C.

/ INTRADA MAF7086 / 67'

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