The Red Violin: Original Motion Picture Soundtrack
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Free Music Notes for The Red Violin: Original Motion Picture Soundtrack
Free Music Review: The voice and face of an enigma
Hit: 5 Stars
True, Girard's ghastly fantastical film is indeed an enigma unmatched--tracing the spiritual journey of a Nicolo Bussotti violin through time (five centuries) and space (three continents). But it is the music that gave this enigma a voice, a face to dazzle the audience. After all, this is the story of a violin--cursed/blessed at birth, carrying with it the soul of a young wife, whose blood dictates the violin's destiny. It may appear daunting at first to follow the soundtrack without having glided through the physical journey on the big screen; yet, it matters little for ears that listen for truely great music. One gets to taste so many different flavors in this soundtrack, the logical plot is not extremely important. Plus, the combination of Corigliano and Bell is just astounding; their ability to create music and breathe life into lifeless things truly set them apart. (I)Cremona sets the scene and molds the character of the violin; Bell's playing, often interwining with the human voice, is so powerful that even non-classic lovers cannot help but to be moved by the underlying passions. (II)Vienna is accompanied by Corigliano's classical genius, Mozart anyone? (III)Oxford is where the red violin's individuality blossoms--virtuosic undertake of the Gypsy cadenza and Pope's madly "creative" employment of the instrument itself come pounding with Bell's breataking techniques. (IV)Shanghai is a humorous combination of a communist regime's rigidity and the violin's ability to transcends repression; rising slowly out of the red guards' singing, Bell's solo takes us to the violin's final destiny. (V)Montreal is equally impressive, but the finale definitely blows everything away. A genuine concert piece, the final title weaves the five chapters together and rolls the ends and odds into one blob of bitter sweet emotions.
So for those who have yet to see the lavish movie, this is the perfect prelude because the ears often "see" more than the eyes. And for those who have seen the film, are befuddled by its streaming continutiy whose velocity seems to carry too far, this is a great finale to sort out the mysteries and riddles.
Free Music Review: Are there enough stars in the night sky?
Hit: 5 Stars
Indeed, are there enough stars in the night sky with which to rate this soundtrack? Are there, in Oxford's authoritative lexicon, enough superlatives? In an era when soundtracks and musical scores morph together from film to film into a mind numbing amalgam of cookie cutter irrelevance, this soundtrack (how I HATE having to use that label), this composition, stands head and shoulders above the rest, literally crackling with passionate originality. It is thematically consistent while retaining distinct individuality from track to track. Like the movie, this score delves into the cultural psyche of each era and region it portrays. Particularly stunning, to me, are the Shanghai tracks which seem to embrace the Asian aesthetic in a classical construct so completely that when I listen to them with my eyes closed I feel as if the music, imbued with the pathos of a declining lotus, is dropping one by one withered petals slowly to the ground all around me. Two track, however, are so powerfully written and rendered that I will never tire of them. Tracks 11 and 12 (of the Oxford sequence) rank amongst the most stunningly erotic pieces of music I have ever experienced. This is timeless, powerful music ... a soundtrack which defies formula and soars on the combined strengths of tradition and fierce independence. As a music lover who would never claim to be an expert in classical music, this is a triumphant expression of the human spirit and how intertwined with music that spirit is.Free Music Review: Now this is a soundtrack
Hit: 5 Stars
Though I wasn't thrilled by the film itself, the score to "The Red Violin" is truly impressive and most worthy of the concert hall. I'm a Corigliano fan and have followed his development for quite some time now and I believe that this score should serve as a perfect example of what film music should be. Granted, the subject matter affords the artist more of an opportunity to display his talent than the average film; nevertheless, lesser composers would have rendered this film unbearable considering what an integral part the music plays in the context of the film. Mr. Corigliano has produced music ranging from the Baroque to the romantic and the results are as convincing as they come, without ever once giving the impression that he's merely copied another composer's technique or sound. Joshua Bell plays the pants off this music; he is, obviously, very fond of this score and rightfully he should be as "The Red Violin Chaconne" will, no doubt, prove to be a very popular program piece in years to come. At last, a contemporary work for violin and orchestra that has it all: passion, validity, beauty and vitality. May this only be a sign of things to come for both composer and soloist. Let me not forget Esa-Pekka Salonen's and the Philharmonia Orchestra's excellent contribution.Free Music Review: If only they hadn't included the Chaconne on this disc...
Hit: 5 Stars
...then I might actually listen to the soundtrack. As it is, the Chaconne is now right up there at the top of my personal list of modern compositions and I don't even play the rest of the disc (wonderful and Oscar-deserving that it is). A pity so few "real" composers are involved in film, especially anything in wide release. Gone are the days of notables like Vaughan Williams, Walton, Prokofiev, and Shostakovich writing significant scores. Significant in that some of them still make appearances in concert halls, and not as Pops hit tunes, either. The Chaconne on this disc is equally deserving as a stand-alone piece, and hopefully will enter the modern repertoire. I enjoy it as a composition, but it's also a first-rate demonstration piece for one's sound system. The final climax in particular could tear almost anything apart if turned up a bit too loud. Some of the widest dynamic ranges I've come across. Corigliano, whether you like the music or not, knows how to work with an orchestra to create incredible sounds. Try the disc "Creations" by Werthen and I Fiamminghi on Telarc for some of his other work. Beautiful stuff.Free Music Review: Best Score of 1999
Hit: 5 Stars
As soon as I left the theater after seeing "The Red Violin," I immediately bought the magnificent score. I have found that the most amazing thing about this score, aside from the fact that it is truly and simply amazing, is that one does not have to see the film nor know what the plot is about in order to enjoy Corigliano's moving composition; however, I am glad I did see the film first. He poetically captures the mood of The Red Violin's travels across five time-periods and regions, and it is a wonderous trip that I enjoy more and more every time I listen to the soundtrack. It is absolutely the PERFECT studying/reading/relaxing/resting music that I own or have ever heard. Hopefully, if the Academy is reasonably competent, Corigliano will walk away the winner of the Academy Award for Best Original Score--I don't know of a more appropriate award that could be bestowed upon this exquisite work. But even if he leaves the Oscars as merely a nomminee, treat yourself to "The Red Violin." Trust me, it is the one piece of music that you will keep forever. Five stars and more!