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Read More The key to appreciating the music for The Curious Case of Benjamin Button is to pay attention to the details of the deliberate rhythms, the instrumental colors, and, most importantly, their mix. This is a score that requires a quiet environment and correlation between the instrumentation, their constructs, and their corresponding meanings in the film. Everything about Desplat's work here is subtle, starting with the very slowly shifting series of instrumental solos to address the different periods and locations in the film and finishing with the agonizingly deliberate unfolding of themes in the final cues.
An extreme amount of patience is required when listening to this score, and even then, some deconstruction of the main theme to explore its forward and backwards incarnations will occupy the brain for a while.
From a technical standpoint, both in writing and especially in the precision of the performances and recording, The Curious Case of Benjamin Button is a very strong musical conceptualization of the story. As a listening companion, however, the score is surprisingly cold and detached.
The very slow tempos and deliberate statements of theme, especially in the latter half of the score, cause the music to stand at a distance. The love theme for Benjamin and Daisy lacks any warmth in its sparse presentations on strings and woodwinds. The sense of innocence that runs through the score never allows for a lush, romantic element to fully address that love, alienating the listener in the process. The piano solo to close out the score is devoid of passion, a description that could very well apply to much of the remainder of the score.
Thus, you hear a technically intellectual score that serves its purpose, but outside of the slightly deeper layers of "Postcards," there is little in Desplat's work for The Curious Case of Benjamin Button that will actively engage you even if you choose to fully envelope yourself in the listening experience.
The inevitability of the plodding rhythm for the concept of time is, therefore, the most dominant factor in restraining the score's heart. On album, Concord Records included a compilation of songs and dialogue from the film on a second CD separate from the 60 minutes of score on the product, a welcome move.
While Desplat may receive considerable awards recognition for this score due to the film's hype, don't expect to be overwhelmed by any part of it. The maximum rating is 5 stars. Daisy's Ballet Career!! Adam Lewis - February 7, , at a.
Corey - January 19, , at a. The digipak packaging includes an extensive pictorial from the film, a list of performers, and a note about the production from Desplat. All rights reserved. The reviews and other textual content contained on the filmtracks. Red Notice 2. Nothing Lasts Some Things You Never Forget Growing Younger Dying Away Love Returns Benjamin and Daisy Arabeske for Piano in C Major Op.
Out Of Nowhere Sidney Bechet Dear Old Southland Louis Armstrong My Prayer The Platters Of course, the main element in this film is the awkward reversal of time experienced by Benjamin Button, something extraordinary to say the least, but at the same time, extremely intriguing for a movie plot.
More importantly, the historical sub stories that develop throughout the movie, particularly in relation to the New Orleans area, play a large role in how Benjamin and Daisy conform and develop their relationship. Hence, Alexander Desplat had a plethora of themes to work into his compositions.
Not surprisingly, his main focus was to carefully sketch the time transformation experienced by Benjamin while cautiously incorporating a picturesque and amorous ambience.
The result is a very delicate score filled with marvelous orchestrations, themes and harmonies. Ultimately, there are no exaggerated romantic or dramatic elements present in the music, allowing the score to gracefully drift through the aged and youthful characters. Postcards, a very delicate piece with poignant strings doubled by flutes, incorporates the ethereal and dreamy quality that accompanies the entire album.
Transitions between sentiments of innocence, discovery and distress make themselves present across the instruments, leaving the listener captivated by the beautiful harmonies. There is a definite similarity between the piano sequence heard here and the one Alexander Desplat composed for Mr. However, this appears to be handled incredibly well by Desplat. In this track, Desplat integrates a beautiful violin solo, a piano, and woodwinds that help maintain a rhythmic base for the rest of the instruments.
Mysteriousness dominates the harmonic elements at times, but the music never stops telling the story of Benjamin. Towards the end, the main theme appears to adopt its own time-modifying capability and shifts in duration with an apparent delay achieved by the holding orchestrations. Although still not a love theme, the notes appear to indicate a more mature persona for Benjamin and his love of Daisy. Rather than being an over emotional piece, the soothing musical performance does nothing more than hypnotize the listener.
Flute runs add an exceptional sentiment to the entire rhythm of the piece propelled by the beautiful string passages. The final tracks of the score begin to display a slower tempo with softer, almost fading lines that suitably attach to Benjamin as he ages into infancy. The theme appears to be slowing down while adopting a child-like quality that achieves some sense of illustrating the aging and near death of Benjamin.
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