Memoirs of a Geisha [Original Motion Picture Soundtrack]
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Free Music Notes for Memoirs of a Geisha [Original Motion Picture Soundtrack]
Free Music Review: A wonderfully restrained, exquisite score
Hit: 5 Stars
Review: Memoirs of a Geisha
I don't know why John Williams has taken so much flack this year. His "War of the Worlds" was a dark, brutal, brilliant sci-fi action score that took us into the darkest, most primal realm of orchestral music. Frightening stuff, excellent writing. "Star Wars: Revenge of the Sith", again, was, in my opinion, one of the best scores of the series... epic, dark, beautiful, sad... but because it didn't have many truimphant fanfares or passages of sweeping romance, people complained it wasn't as exciting, thus they considered it to be the least of the series. Now, here's "Memoirs of a Geisha", which is one of the sublest, most intricate, beautiful scores I've heard this year. I can hear the complaints about this one all ready. But enough criticism of Williams critics, let's get on to the score, shall we?
The notable element of the score is the pairing of cellist Yo-Yo Ma and violinist Ithzak Perlman, performing together for the first time. There are no musicians better at these particular instruments then Ma and Perlman. With William's excellent material to work with, they are even better. Originally, I suspected that the only reason Williams got them for this score was to get Oscar attention, and that may be true, but they have a genuinely good reason for being here, as well. They represent two of the film's characters in the film. The first, and primary theme, is performed often by Ma, for Sayuri, the film's main character. The theme is slightly darker than one might expect, but nonetheless tender and exquisite. It appears quite frequently throughout the score, with Ma giving subtle variations on each performance, sometimes accompanied by strings or various ethnic instruments, and sometimes on his own. The other, less prominent theme is "The Chairman's Waltz", performed by Perlman on the violin. While Sayuri's theme is indeed wonderful, "The Chairman's Waltz" is downright stunning. The way Williams works with it is fascinating. It's a waltz that seems poised to build, ready to explode into a sweeping statement by one hundred strings at any moment... but it doesn't. It builds, and strains, but the only emotional release is granted to Perlman alone, who performs with so much passion and heart that the listener is swept away on a sea of gentle sound.
There is another, much more playful theme that appears in "Going to School" near the beginning, and indeed, the score feels a tad lighter in it's opening passages, though not comic in any way. As it progresses through the mid-section performances of "The Chairman's Waltz" and head towards the final portion, it grows darker in tone. Rather than taking things to level of being more intense and brutal musically, ala "War of the Worlds", Williams makes things even more spare, making the music feel desolate and cold. "The Fire Scene" features some a very odd-sounding wailing woman who works quite effectively in context, namely because Williams only utilizes her the one time, rather than over-using her every time something sad happens. "A Dream Discarded", performed almost solely by Ma on cello, is a perfect example of musical loneliness, it makes one think of a dead leaf fluttering about in the wind over a barren landscape. In fact, the instrumentation on most of the score is much sparer than most of Williams work, making it one of his quietest scores. Williams has a full orchestra at his disposal, but he doesn't use it too often, and he doesn't really use it fully until the end credits, when he presents a variety of fascinating variations on Sayuri's theme. Most of the time, Williams presents Ma and Perlman with only a little bit of percussion, or chimes, or a few strings. Also contributing the score on a regular basis are the koto and shakuhachi, giving the score an added feel of authenticism. Not that Williams needs it, his work his sounds as authentic as anything Tan Dun has written, this isn't oriental music filtered through "E.T."
Overall, again, the score is very restrained, and very quiet, one has to listen closely to the score to hear the gentle tapping and plucking going on in the background, and a few sections are barely audible. The restrained emotions, I suspect, suggest that the film is powerful enough to suggest any emotions that the score refrains from trying to make obvious. Often a composer will be asked to "fill in the gaps", providing sweeping, grand emotions to give the movie something it otherwise wouldn't have. Williams has enough confidence in this film to accentuate the characters, and the subtleties, rather than the scope or the broader ideas of the film. Obviously, this will make the score a slightly more challenging (though constantly lovely) listen on album. In terms of actual musical enjoyment, "Geisha" may rank lower than something like "E.T.", "A.I.", or even "Seven Years in Tibet". But in terms of writing skill, and of achieving what he attempted, Williams has aced it. Highly Recommended.
Rating as Written for Film: *****
Rating as Heard on Album: ****
Overall Rating: ****1/2
Free Music Review: I just saw Memoirs of a Geisha at a sneak preview in Vienna . . .
Hit: 5 Stars
. . . and I think one word sums it up pretty well: WOW. This movie is awesome, and that is, in my humble opinion, largely owing to the hauntingly beautiful and elegant score by master composer John Williams (just imagine the movie stripped of its music and all you have left is pretty pictures . . . and yeah, the lead actress Ziyi Zhang IS pretty darn gorgeous). The score TELLS the story, in a way -- and this one really SHINES. I've heard excerpts of it before on the official soundtrack website (I'm ashamed to say I still don't own the album since it hasn't been released in Austria yet, but I've ordered it now) and didn't quite know what to make of it then, but after enjoying the music along with the visuals, I have to say John Williams really outdid himself. I can now understand the enthusiasm he had for the project. I'll even go so far as to say that, in its own way, it rivals Angela's Ashes and Prizoner of Azkaban in its emotional intensity, not to mention Schindler's List.
I won't repeat the story here, since, I think, it is fairly well-known (and if you don't know it, read the Arthur Golden novel or go see the movie), but I WILL say that this is a love story of sorts between Sayuri and the Chairman . . . and consequently the score is built around two leitmotifs, the suites of which are entitled "Sayuri's Theme" and "The Chairman's Waltz." They are heard plenty of times in appropriate moments, but they never become tedious or too much because they evolve throughout the picture in such a graceful fashion (I'm thinking here especially of "Confluence," which includes a final emotional statement of Sayuri's theme as played by the whole ensemble). John Williams gives his melodies his usual tweaks and orchestral variations to fit a scene perfectly and I literally got goosebumps every time they started playing. Also, the ethnic instruments that surround these themes and the more playful atmospheric cues ("Going to School") are well-incorporated to capture the mysteriously exotic ambience of pre-war Japan -- the Shakuhachi and the koto, how does one write for such difficult instruments, anyway? You have to experience it for yourself to fully appreciate it, believe me.
Perhaps my passionate enthusiasm can be explained by the fact that I am in part Japanese myself and have an added emotional attachment to the subject matter (and if I sound too gushing, I make no excuses), but I don't think that's all of it . . . and the well-earned Golden Globe proves it. Once I have the album, I know this is music I will treasure for the rest of my life; and for a lifelong John Williams-fan like myself, it's just one more in a huge canon of legendary und unforgettable movie scores.
Free Music Review: Subdued. Elegant. Majestic.
Hit: 5 Stars
Bow deeply to this score - John Williams has written another masterpiece; an heir to the magnificent music of Schindler's List.
The landscape for Memoirs of a Geisha is the perfect vehicle for John Williams to express his melancholy side. After having scored, in 2005, War Of The Worlds, Star Wars Episode III and Munich, this composition rests as the best piece of work.
Memoirs of a Geisha is beautiful, beautiful music. Expect masterful AND tasteful use of Japanese instrumentation. John Williams truly did study the Japanese music and culture well in order to produce such an authentic score. Needless to say, it accentuates the movie and amplifies the emotional impact of sight and sound.
You will be pleased with Itzhak Perlman's violin - the same person on Schindler's List. For the fans of the score to Crouching Tiger, Hidden Dragon, Yo-Yo Ma plays cello here. Come to think of it, this is the "best of THREE worlds" and the teaming up of Williams, Perlman and Ma deal a knock-out blow. There are layers of music on each track. On some occasions the music is subdued, understated but haunting. On other occasions, John Williams gets to infuse the music with his trademark "booms", but never overdoes it - this is especially a treat because Williams crafts his music so that there is only a little extravagance with the brass and drums - but when Williams does present you with that, it is sheer marvel and awe. You will be astounded, dumbfounded and simply washed over by the grandeur of it all. Not to be ignored is also the fascinating and flawless execution of traditional Japanese instruments - the Koto and Shakuhachi, which somehow exude a zen-like tranquility.
"Going To School" is reminscent of the Main Theme to "THE LAST EMPEROR". It's no rip-off, but surely sounds similar. It's good to see Williams finding inspiration from one of the greatest scores ever written, and not being afraid to use it. "Brush On Silk" is brilliant Japanese music (I don't know what the instrument is, but it sure is good). My favourite track, "Becoming A Geisha" is dramatic, hypnotic and an instant classic. "Sayuri's Theme" is not immediately memorable, but when you listen to the whole score, it sticks in your head.
Expect nominations for Best Original Score during the Academy Awards. Should even be front-runner to win.
If you only buy one soundtrack this year, you have to get the score to Memoirs Of A Geisha. You will not regret it.
Liam Foo.
15 December 2005
Free Music Review: Beautiful and Mysterious
Hit: 5 Stars
Perhaps the most telling thing that could be said about John Williams' score for "Memoirs of a Geisha" is that it doesn't really sound like a John Williams score. For the most part, with a few notable exceptions, I have generally found John Williams' over-reliance on catchy themes and trite progressions to be very rarely to my personal taste. Fortunately (both for the film and for those of us listening to the score), the music for "Memoirs of a Geisha" has none of those usual markers. In fact, this may well be Williams' best work in a long time.
The music for "Memoirs of a Geisha" captures the spirit of the film well -- memorable yet subtle, beautiful yet haunting, intimate yet mysterious. Like the geisha tradition itself, the music is a study in contradiction and cool sensuality. There is a theme that runs as an undercurrent through most of the score, an understated and quiet refrain against which each individual piece is set. Overall, taken from beginning to end, the story of the film is encapsulated in its music -- not so much the details of plot, but the emotional elements that are key to conveying the feeling of the story.
It would be remiss to talk about the composer of the music without pointing out the performances that bring the compostion to life. Yo-Yo Ma playing cello and virtuoso Ithzak Perlman playing violin both have some remarkable solos throughout the score, and it through their flawless performances that the music is realized. Each player puts a piece of themselves into the music, elevating it to something more.
Good film music acts in an intimate relationship with the film it accompanies. It makes its presence known without being showy or overly demonstrative. It accompanies in such a way that you might not notice it immediately, but later you realize that the experience would be greatly lacking if it was not there. It feeds emotion with subtle movement and careful craft. Like the geisha, the music for "Memoirs of a Geisha" casts a haunting spell that will not soon be forgotten, and cannot be ignored.
Free Music Review: John Williams delivers by failing to deliver
Hit: 5 Stars
Composer John Williams, known for his monster scores for Jaws, Star Wars, and the Indiana Jones series completely fails to deliver on his usually bombastic style and thus this most recent effort establishes itself as his best score yet.
For the first time in years, Williams shows a certain restraint and an ability to pull in the reigns on his characteristic orchestral flourishes. The score is also anything but boring or dull, Williams just seems to have learned when the moments of bombast are appropriate and when they are not. Some of the high lights include the fragile and lilting theme ('Sayuri's Theme'), The stark and foreboding 'Fire Scene/Coming of War' and the appropriately child like 'Going to School'. The three best tracks are 'Becoming a Geisha' and 'End Credits' where the theme really comes into it's own as Williams allows it to wash with such intensity over the listener and 'Confluence' where Williams makes a surprisingly welcome return to his characteristic 'big' moment (this is probably because we've spent 15 track without it). Special mention should also be made to the utilisation of Yo-Yo Ma and Itzhak Perlman who provide us with some of their best work.
It was disappointing to see Williams lose the Oscar this year to Gustavo Santaolalla (whose score to the otherwise brilliant Brokeback Mountain was boring and repetitive at best) because this was the award he richly deserved over all his other work. If only it wasn't for the vote split between this and Williams other nominated score for Speilberg's 'Munich'.