Pops' "Superheroes" a Winner
Meet Conduktor, a superhero fighting for “humanity, harmony and the music that binds us all together.”
Brainchild of Cincinnati Pops conductor John Morris
Russell, Conduktor gets an even more colorful introduction (see below) in the liner notes
for the Pops’ latest CD on the Fanfare Cincinnati label, in stores September 24.
Presented in larger-than-life musical colors are excerpts from superhero films and TV shows, including everything from John Williams’ March from “Superman" (grandaddy of them all, from 1978), to John Debney’s “I Am Iron Man” from “Iron Man 2” (2010 ) and Alan Silvestri’s “The Avengers” (2012).
First cut on this generous CD is the main theme from “Spiderman” (2002) by Danny Elfman, which provides a pulse-quickening opener.
A variety of styles are represented on its 15 tracks. Harking back to Captain America, a World War II comic book hero still fighting injustice today, there’s Alan Menken’s “Star Spangled Man” from "Captain America: The First Avenger" (2011), with vintage lyrics sung by members of the musical theater department of the University of Cincinnati College-Conservatory of Music.
Richard Sherman's “Make Way for Tomorrow Today," originally composed for Walt Disney theme park attractions and used on the soundtrack for “Iron Man 2,” has a Broadway sound, also featuring the CCM singers. Coming into today’s more complex superhero world, there’s a suite from “Dark Knight” (2008) by James Newton Howard (beautifully arranged by Pete Anthony) that moves into the shadows and back.
For equal opportunity, there is an excerpt from “Supergirl” (1984), and Wonder Woman gets a nod in “To the Rescue!” a rock-laced TV superhero theme medley with narration by Batman himself, i.e. Adam West. By contrast, Patrick Doyle’s “Thor Suite” (2011) offers quiet inward reflection leading to a spine-tingling conclusion.
Conduktor get his own theme, “The Launch” by Anthony, a Cincinnati Pops commission. Opening with a fanfare, it vaults to a starry climax, followed by a softer portion which builds to a “big theme” (compare John Williams) enhanced by the May Festival Youth Chorus.
Other highlights include “The Lonely Man Theme” from “The Incredible Hulk” by Joe Harnell. Pops pianist Julie Spangler conveys the depth of the hero's isolation in her own lovely arrangement.
The arrangements, including those by Rebecca Pellett, Timothy Berens and Joseph Price, are first rate. Listeners will get a bang out of Berens' colorful setting of the 1970 Black Sabbath hit, “Iron Man,” which concludes -- with a growl -- this genuinely heroic album.
The Story of Conduktor: A Musical Superhero
While rehearsing for his debut CD, mild-mannered maestro John Morris Russell was bitten by a radioactive violist, and was transformed into the musical superhero Conduktor. Bestowed with extraordinary new powers, Conductor is able to harness electrical energy with his atomic baton, and manipulate time to bring harmony and steady rhythm to humankind.
Conduktor’s nemesis is Purrfect Pitch. Blinded by her obsession with 440 Hz to create the “pure A,” Purrfect Pitch uses a molecularly modified tuning fork to reduce offending musical instruments (especially bagpipes) to dust. If confronted with 441 Hz, her harmonic powers become amplified and can decompose an entire Baroque ensemble. Upon hearing 444 Hz, she can destroy every guitar studio on the planet.
“You may have rhythm, Conductor, but if you are even slightly out of tune, I will be your PURRFECT PITCH!”
Her partner in musical mayhem is computer scientist Otto Tüün. After losing his larynx in a karaoke sing-off, he vowed to use technology to overcome all human failings. His ultimate goal is to rule the entire musical world. This insidious genius now controls a legion of teenage pop singers with dance beats and an iron fist.
"Join me, Conductor, and together we will create a world of electronic perfection!”Conduktor’s sidekick is Rubato; together they form the Duo of Dynamics. Rubato, an operatic tenor, who though lacking a cerebral cortex, uses his charm, good looks and vibrato arms to wiggle out of the stickiest situations. He can also sing a high “C.”
Conduktor and Rubato first met in the Great Hall of Musical Justice. While performing a particularly ticklish passage, Conduktor was forced to defend the orchestra’s heckelphone player from Purrfect Pitch’s deadly fork. Simultaneously drawn into a Dubstep ballet with Otto Tüün, our hero was immobilized by Otto’s’ teen-aged, bubble-gum chewing minions. Rubato’s timely placement of a voice synthesizer within Otto’s reach, while distracting Purrfect Pitch by nailing the last note of Nessun Dorma, rendered the villains powerless, allowing Conductor to encase then all in a cosmic fermata,
“We’ve unplugged them for now … domo arigato, Mr. Rubato!”
Their friendship was sealed, and together, Conductor and Rubato fight for humanity, harmony and the music that binds us all together.
by John Morris Russell