Oscar and Lucinda


Sony Classical (0074646008829)
Sony Classical (5099706008828)
Movie | Released: 1997 | Film release: 1997 | Format: CD
 

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# Track Artist/Composer Duration
1.Prince Rupert's Drop (Main Title)2:37
2.Throwing Lots0:48
3.Dutch Hazards0:50
4.Sydney Harbour1:57
5.Rumours1:26
6.The High Downs and the Sea1:52
7.Forgive Me1:02
8.Os JustiAnton Bruckner4:39
9.Six Rivers to Cross1:14
10.Two Gamblers2:22
11.The Murder of the Blacks1:42
12.Never Never1:16
13.Floorwashing0:40
14.Cards and Dogs1:02
15.One Obsessive1:09
16.The Church of Glass3:50
17.Letters on the Mantel1:25
18.Odd Bod1:05
19.Prayer Wounds2:11
20.Leviathan1:08
21.Magic Boxes (White Man's Dreaming)1:49
22.The Other Compulsive1:02
23.A Broken Thing0:59
24.The Seduction of Mrs. Chadwick2:31
25.Blessed Be Thy God and FatherSamuel Wesley1:19
26.Aqua4:10
27.The Caul1:22
28.Oscar and Lucinda (End Title)2:49
29.Excerpt from the Random House Audio BookRalph Fiennes5:10
 55:25
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Oscar and Lucinda - 08/10 - Review of Tom Daish, submitted at
For this tale of two oddballs played by Ralph Fiennes and Cate Blanchett, Thomas Newman wrote an incredibly atmospheric score. I find it annoying how little atmosphere many modern composers bring to their music, or at least how indistinct the atmosphere often is that could be interchanged with any other score by that particular composer. It is therefore refreshing to hear how different Thomas Newman's score sounds and what an interesting sound world he has created. This is not to say that Oscar and Lucinda is tuneless, but rather that recurring themes hold the score together, that coupled with many short set pieces that are interesting enough on their own.

Prince Rupert's Drop introduces some absolutely incredibly choral work. Newman uses harmony for all its worth to produce some of the most interesting chord progressions and choral arrangements I've heard in a long while. These thematic and harmonic ideas are only reprised in Church of Glass and the End Title. The former of these two tracks is the lengthiest arrangement and would make a wonderful concert piece. Starting from twinkling percussion, then building with the choir as well as some piano and then orchestral accompaniment, the effect is quite spine tingling.

Other highlights include the series of short scherzos that appear now and then. My favourite of these is Floorwashing which is just perfect, it's just a shame it's so short since I'd be happy for it to carry on for much longer! Six Rivers to Cross introduces crystal clear brass fanfares over the running string figure, as does Leviathan. Much of the rest of the music is perhaps less interesting and the main reason that the score isn't perhaps as popular as it could be. There are moments when the twinkling percussion and piano along with the occasional didgeredoo become perhaps a fraction wearing. Due to Newman's meticulous programming of the music in his score albums, there is almost always something interesting just around the corner and thus it never really gets too boring. Perhaps only at the end when all the sprightly scherzos have been played through does it begin to drag badly. However, the appearance of the marvellous choral music brings the entire thing to a smashing close.

The two choral pieces by Bruckner and Wesley fit in reasonably well with the rest of the score and the Bruckner in particular is a beautiful piece of music even if it does have a more traditionally classical sound to it than Newman's. The except from the Audio Book is probably more of a marketing ploy than anything else, but being at the end can be easily skipped. An album that is sure to appeal to Thomas Newman fans, but is well worth picking up generally and persevering with if at first it all seems a bit of a drag. The standout tracks really are some of the most creative film music writing in ages, even if the less interesting tracks just prevent this from becoming a classic score.
The music of this soundtrack was used in:

WALL·E (Trailer)



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