Post by roger on Feb 27, 2006 8:26:46 GMT
Hi,
From MusicFromTheMovies.com comes this:
Reviewed by: Kevin McGann
The New World, the latest film from Terence Malick, director of Badlands' and Days Of Heaven, will be considered by many viewers to be either a thing of beauty or a major snooze-fest. Likewise, the music score by the revered/reviled (delete as applicable) James Horner will have listeners floating on clouds in heaven, or passing out with boredom.
This is one of Horner's dreamiest scores since Dad, with huge sections of the disc consisting of rising/falling strings against tinkling piano (and occasionally bird sounds), inducing an almost therapeutic sensation in the listener.
The opening title track sets the tone, introducing a typical Horner soundscape, with accompaniment from score vocalist Hayley Westenra. The CD features a seven-note theme performed by French horn, followed by Horner's customary piano thrum, as well as a repeated three-note refrain that serves as the film's love theme. Pipes are also featured in many cues, recalling the spirit of Braveheart and Titanic. Indeed, on a few occasions, Horner sails pretty close to the main themes from those aforementioned movies. There is an inherent beauty to the music that is almost indescribable; one has to hear the music to feel the moods and emotions that wash over (and through) the listener.
‘An Apparition In The Fields’, ‘Of The Forest’ and ‘Forbidden Corn’ is truly music to relax or recuperate to. Only once does the calming mood break, in the track ‘Winter – Battle’, wherein Horner utilises a Philip Glass-style melody, before pounding the listener with drums, percussion and pipes. The disc ends with a vocal version of the love theme, with lyrics by Glen Ballard and sung by Hayley Westenra.
Much has been made of the use (or lack off) of the music in the film. Malick replaced a lot of Horner's score with existing classical pieces by Wagner and Mozart. A large portion of this CD is unused in the film and can be heard here for the first time (the classical compositions are not included on the CD). Also, a piano theme developed in the latter half of the film is barely quoted on the disc, obviously a result of eleventh hour changes which Horner alludes to in the liner notes.
Whilst it would appear that Malick and Horner are hardly a match made in heaven after their first working experience together, it cannot be denied that for all the movie's faults (and there are many), the resulting CD is one of the most relaxing and meditative listening experiences heard in years.
From MusicFromTheMovies.com comes this:
Reviewed by: Kevin McGann
The New World, the latest film from Terence Malick, director of Badlands' and Days Of Heaven, will be considered by many viewers to be either a thing of beauty or a major snooze-fest. Likewise, the music score by the revered/reviled (delete as applicable) James Horner will have listeners floating on clouds in heaven, or passing out with boredom.
This is one of Horner's dreamiest scores since Dad, with huge sections of the disc consisting of rising/falling strings against tinkling piano (and occasionally bird sounds), inducing an almost therapeutic sensation in the listener.
The opening title track sets the tone, introducing a typical Horner soundscape, with accompaniment from score vocalist Hayley Westenra. The CD features a seven-note theme performed by French horn, followed by Horner's customary piano thrum, as well as a repeated three-note refrain that serves as the film's love theme. Pipes are also featured in many cues, recalling the spirit of Braveheart and Titanic. Indeed, on a few occasions, Horner sails pretty close to the main themes from those aforementioned movies. There is an inherent beauty to the music that is almost indescribable; one has to hear the music to feel the moods and emotions that wash over (and through) the listener.
‘An Apparition In The Fields’, ‘Of The Forest’ and ‘Forbidden Corn’ is truly music to relax or recuperate to. Only once does the calming mood break, in the track ‘Winter – Battle’, wherein Horner utilises a Philip Glass-style melody, before pounding the listener with drums, percussion and pipes. The disc ends with a vocal version of the love theme, with lyrics by Glen Ballard and sung by Hayley Westenra.
Much has been made of the use (or lack off) of the music in the film. Malick replaced a lot of Horner's score with existing classical pieces by Wagner and Mozart. A large portion of this CD is unused in the film and can be heard here for the first time (the classical compositions are not included on the CD). Also, a piano theme developed in the latter half of the film is barely quoted on the disc, obviously a result of eleventh hour changes which Horner alludes to in the liner notes.
Whilst it would appear that Malick and Horner are hardly a match made in heaven after their first working experience together, it cannot be denied that for all the movie's faults (and there are many), the resulting CD is one of the most relaxing and meditative listening experiences heard in years.
I also wonder what Hayley thinks of this...