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Pista
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Duración
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1. | La olla adivina | | 1:51 |
2. | Las brujas de Zugarramurdi Títulos | | 2:21 |
3. | En la plaza | | 1:26 |
4. | Atraco y fuga | | 6:57 |
5. | A Francia – Interrogatorio | | 1:40 |
6. | La mochila olvidada | | 1:20 |
7. | Con mi hijo | | 1:42 |
8. | En la carretera – Persecución en el bosque | | 1:48 |
9. | La taberna de Zugarramurdi | | 5:57 |
10. | Te los arrancan de cuajo – Miles de promesas rotas | | 3:59 |
11. | Esto es Zugarramurdi – Me llevan a casa | | 1:10 |
12. | El palacio de las brujas | | 3:59 |
13. | Casi lo aso | | 1:28 |
14. | Que hace con la escoba | | 2:33 |
15. | Atrás criatura de Lucifer | | 6:20 |
16. | El niño no está | | 1:57 |
17. | Lágrimas de inocente – Hay que escapar | | 3:35 |
18. | La gran cena | | 2:45 |
19. | La huida | | 2:39 |
20. | Prefieres estar con tus amigos | | 3:48 |
21. | Las catacumbas – Me he enamorado | | 3:22 |
22. | Está enamorada de ti | | 2:22 |
23. | El rito | | 10:08 |
24. | Las brujas de Zugarramurdi | | 1:42 |
25. | Títulos de crédito: Las brujas de Zugarramurdi | | 2:40 |
| | | 79:28 |
The inventiveness of Álex de la Iglesia shows that in the fantasy genre can still bring original approaches that achieve surprise the viewer. The music soundtrack has been composed by Joan Valent , composer of interesting works as “Dictado” (“Childish Games”), “¿Cuánto pesa su edificio, señor Foster?” (“How Much Does Your Building Weigh, Mr Foster?”), “El cónsul de Sodoma” (“The Consul of Sodom”), “El cosmonauta” (“The Cosmonaut”), miniseries television “Carta a Eva”, or the previous Álex de la Iglesia film, “La chispa de la vida” (“The Spark of Life”).
The Majorcan musician has created an appealing and varied score, following director instructions: “overdo the intention and the intensity, and not fall short with music”. The visual impact of the images has its counterpoint in a score that is at the same level. Percussion combined with metal, which are extremely suggestive, the wise use of stereo sound, allows to create different climax sound or a powerful musical ending, in which the main theme is exposed, giving play to all sections of the orchestra and particularly metals, are examples of the multiple resources used. We are facing a soundtrack that maintains an admirable thematic unity, still having to travel very different musical ways.