Something Wild


Colosseum (4005939646929)
Varčse Sarabande (0030206646924)
Film | Rok: 2003 | Uwolnienie filmu: 1961 | Format: CD
 

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# Tor   Czas
1.New York Profile2:45
2.Park at Night1:25
3.Subway Jam2:12
4.Mary Ann Resigned1:57
5.Incarceration and Nightmares7:03
6.Escape Through the City7:21
7.Love Music1:53
8.Walk Downtown3:06
9.Episode on the Bridge4:49
10.Mother Alone0:56
11.Reunion1:05
 34:31
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Something Wild - 10/10 - Przegląd wersji Tom Daish, zgłoszone w (Język angielski)
Browsing through the Copland section in any CD shop would likely lead the uninitiated listener to conclude that he only wrote a handful of great American ballets - Appalachian Spring, Billy and Kid, Rodeo - and Fanfare for the Common Man. Important and vital though those are to the development of American music, Copland wrote a lot more than just for wide open plains, all based on spacious fourths and fifths. Despite the impact of these works (Appalachian Spring in particular), that style of writing forms only a small part of Copland's output, certainly anyone expecting that of Something Wild is liable to be a touch disappointed. Copland wrote several film scores in his long and illustrious career at the forefront of American music, most notably his Oscar winning The Heiress, but also The Red Pony and other Hollywood features, together with a few documentaries. Here he plows a darker vein than those earlier efforts with a seedier, more disturbed musical canvas that conveys an urban rawness that is more Alex North than the 'traditional' Copland sound.
The composer lays his cards on the table from the opening track, New York Profile, which is ostensibly the opening titles music; the angry, dissonant brass chords and wild percussion have a high impact, indicating that Copland could convey the chaos of American city life equally as well as he could musically mirror the splendour of its landscapes. The comparisons with Alex North are strongest in the brass and percussion writing, particularly the batterings of percussion that Copland employs throughout. Subway Jam is a case in point, where instead of competing with the sound effects, the composer joins the natural sounds with a variety of drums, winding up the tension unbearably. The centrepiece cues are the two lengthy central tracks; Incarceration and Nightmares opens quietly, if moodily, but the music increases in pace, volume and tension, concluding with a scream of brass. This easily leads into the whirling opening of Escape Through the City, but the second half of the cue turns somewhat lighter and hints at Copland's more lyrical side, offset by the occasional offbeat rhythm. The final few cues are less abrasive, concluding in the almost standard Reunion, but the release of tension is palpable and richly deserved after the draining experience of the score's darkest passages.

Something Wild didn't do well at the box office and so a planned LP release fell through (despite Copland arguing to some dopey studio executive that his records always did well and there was no reason to suspect this would be an exception), but fortunately a mint copy of the promotional LP was found and this album prepared from it. While there are a few minor glitches, for a CD pressed from a forty year old LP, the quality is remarkably good. The clarity is fine, even if the brass are a little harsh on occasion, but the level of hiss is fairly negligible and the results are as fine as other film scores of the same vintage and better than many. The notes from Copland himself and the director - prepared for the unreleased LP - are insightful. Copland clearly relished the prospect of a film with scope for vibrant and insightful music, but one that relied on fairly minimal dialogue. There is also a track by track analysis, but the music speaks for itself. Anyone with a love of Copland or the grittier end of 20th Century American music will relish every minute of this bracing and moody score.


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