It appears that the world of classical music and modern film scores are converging more and more these days. With Eshkeri's, Young Victoria, this blend is brought further to life with this intelligent and enjoyable effort. Unlike a film like, The Soloist, Eshkeri's interpretation and use of classical music here is accessible and entertaining, and it should appeal to most audiences. While the influences of the great composers that inspired Eshkeri are noticeable throughout, so are the composer's talent of delivering modern film music suitable for a film of today. When scores featuring the works of the classical masters are typically used in films, I am usually left unimpressed. I find that a modern touch is an essential component to make such scores successful. To my delight, this balance between the two worlds are brought together in seamless harmony. Again, I cite accessibility as a need for a score such as this and it's there; harmonious, dramatic and light all in one.

Eshkeri's thematic touch makes a nice compliment to the period style music that makes up the film's score. For instance, a track like Victoria and Albert has a sweeping and melodic feel to it (definitely cinematic) while a cue like Riot brings forth a bit of perilous urgency to the proceedings. When cues such as these compliment the works of Strauss or Dvorak, for example, then you have quite a pleasant listening experience ahead of you. In fact, the classical arrangements are so smooth and elegant that I think some listeners will opt to seek out the original works by the original composers.

Young Victoria leaves you with a warm feeling after listening to it. The journey is mild and delicate in parts and emotional in others. The writing and arrangements featured here are the work of an accomplished composer who has an insight for both the traditional compositions of the past and the needs of the modern day film.