Worth listening section with good arrangements

The couplings on which can be found excerpts from symphonic soundtrack more or less known films, are as numerous as reasonable arrangements are rare: in the majority of Sampler is conglomerations of topics, audible arranged loveless and often the orchestras dubious provenance have been recorded (a name such as 'Bruno Bertone Orchestra' is likely to be a concept at best those collectors and fans of symphonic film music in their collections here and there sometimes strays a bad buy has). The majority of such haste, produced publications that swim often in the wake of Oscar-winning publications such as 'Star Wars', 'Braveheart', 'Titanic' and are often provided with misleading sub-lines like 'themes from the original films' is good, because even at best, to the chewing sounds of guests in the province Pizzeria 'da Luigi' to accompany.
The publications of the Cincinatti Symphony Orchestra, which will operate in his excursions into popular music under the name 'Cincinatti Pops', of course, do not count - and his well-rehearsed under the direction of Erich Kunzel film music sampler for years, of the best of what it certainly not are poor area of ​​film music in admissions to publications. This begins with the selection, which always also takes into account issues that one seeks in vain in most samplers: on 'Fantastic Journey' These are for example the 'End Title' from John Barry's long been out of print soundtrack to 'The Black Hole' and the main theme of 'The Last Starfighter' (the computer animations, which could be seen in the film, may have been considered in the 80's as a pioneer, but rather touching act today - the triumphal main theme, however, is still terrific).
Secondly, the arrangements Kunzel'schen always bear witness to high respect that he brings to the originals: rarely sounds one of his edits weaker than the original - but it can then sometimes happen that the original compared to the 'remake' somewhat feeble sounds what also it is of course that the Telarc label, also under the 'Fantastic Journey' has appeared, always boasts of his 'State of the Art' recording technique in the traditional readable booklets. Whether sound effects like 'Into the Black Hole' really belong on a sound carrier, the one buys for other reasons than the one to check the home stereo system through its paces, is another question - is undisputed that pomp and circumstance, the sound technical polish à la Telarc and arrangement à la Kunzel lend the themes on 'Fantastic Journey', pending the selected pieces well: Much acts as, if possible, even more powerful, massive and 'snappy' than many original.
Conclusion: Like most published by Telarc Erich Kunzel and compilations of the Symphony Orchestra of Cincinnati, is also 'Fantastic Journey' a successful cross-section, which impresses with expert selection of tracks, recording impressive clear and bombastic arrangements. Here is not spilled, but padded - which should inspire Soundtrack enthusiasts as interested as to symphonic film music newcomers who acquire 'Fantastic Journey' also a quasi a musical 'Who's Who' of the soundtrack, on which, for example, with John Barry give a rendezvous Jerry Goldsmith, John Williams and Danny Elfman some of the most prominent exponents of their craft.