Divided into four big sections (Salem, 1692 - The Witch Hunt Begins - Accusation - Resolution), the seventeen cues which compose George Fenton's music for the new version of Arthur Miller's classic play The Crucible, try to create a proper atmosphere for this untemporary story about calumnies and the collective conscience mind. Using, as properly pointed by the composer himself, some instruments of that time as part of his orchestra (viols and sackbuts) and certain tonal empathy with the music which can be heared then, Fenton obtains the desire final objective, if also he couldn't avoid a determinate tired and monochrome tone along the score, as it happens to him previously on Mary Reilly (1996), which don't make easy the proper integration with the music audition. A.L.

/ BMG CLASSICS 09026-68666-2 / 57'