My Architect


Commotion Records (0014431605529)
Koch Records (0099923575627)
映画 | 年: 2005 | フォーマット: CD, ダウンロード
 

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# トラック   期間
1.Adagio (Opening Titles)1:43
2.Penn Station1:25
3.Beginnings...0:33
4.The Mystery of Louis Kahn3:46
5.Arty Stride2:25
6.Happy Returns3:01
7.Burns1:21
8.Flying to Salk2:00
9.The Brick1:27
10.Fanfare for the Common Man2:52
11.American Hymn I1:50
12.Travel Waltz0:45
13.Letter to Harriet1:14
14.Chez Louis2:24
15.Hayom T'Amtzeinu1:45
16.The Nomad1:37
17.American Hymn II1:55
18.Dhaka2:05
19.Call to Prayer2:01
20.Suite for Louis Kahn (End Credits)4:40
 40:49
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My Architect - 06/10 - その改訂 Tom Daish, 提出された (英語)
My Architect is a documentary by Nathaniel Kahn, son of architect Louis Kahn and seems to have attracted very good to rave reviews. Needless to say, it hasn't passed my way but I suspect students of architecture, and of personal documentary film making, would find much to relish in this poignant film. I must admit that I rather imagined the score to be of the ambient and uninteresting sort, largely because documentary budgets rarely allow for lavish scoring. However, Joseph Vitarelli's sensitive music is scored for strings, piano and the kind of assorted instruments favoured by Thomas Newman; Penn Station for example, which features what sounds like bowed glass.

The opening Adagio is an impressive and sobering way to start and, although brief, makes a fine impression. This kind of material is reprised a number of times, alternating with the darker, piano led passages, with the aforementioned bowed glass and other unusual sounds. Vitarelli doesn't quite achieve the kind of crystalline textures that Newman manages, but the chamber sized orchestra plays delicately and the material melodically engaging. There is a some tendency to flit from one style to another, in between the sombre Penn Station and The Mystery of Louis Kahn, Beginnings is a brief, but lively fiddle tune. However, it is the orchestral passages that stick in the memory longest, especially the two American Hymns which are terrific, if disappointingly short. The closing Suite for Louis Kahn is a perfect encapsulation of the entire score.

The album contains a fair few pieces of source music from Copland's magnificent Fanfare for the Common Man to Call to Prayer with vocals by Mohammad Abu Rayhan to the ragtime of Arty Stride. The eclecticism of these pieces makes the listening a bit uneven, but serve to break up the slightly downbeat tone of Vitarelli's score. Given that it's a talky documentary, the music is certainly more dynamic and engaging than might be expected, it a little easy to damn with faint praise. There is much to recommend, but given its overall brevity and that of most of the tracks, there isn't perhaps quite enough time for Vitarelli to make his mark as strongly as he might. Still, a finely crafted score and worth a listen.


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