SOUNDTRACKS
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Soundtracks are a lot more than movie music...
...or so I'm ready to argue as a 30 year devotee of this sorely under appreciated genre. So, in an effort to do my part, each week
I'll be making recommendations of soundtracks current and vintage, make a fuss over long awaited soundtrack scores finally getting
a well deserved release, and in general, make some noise about this often overlooked category. Beyond my long experience as a
listener and as a pianist and songwriter, both of which I've put to use in writing a quarterly soundtrack column for the Chicago
Tribune, I can only offer my recommendations. You'll discern my taste soon enough and upfront I'd like to make it clear that I'll
focus most heavily on SCORE soundtracks. In the end, all criticism is subjective but if I can point a listener toward a little heard
soundtrack or strongly advise you to either ORDER IMMEDIATELY or SKIP ALTOGETHER, all the better.
...or so I'm ready to argue as a 30 year devotee of this sorely under appreciated genre. So, in an effort to do my part, each week
I'll be making recommendations of soundtracks current and vintage, make a fuss over long awaited soundtrack scores finally getting
a well deserved release, and in general, make some noise about this often overlooked category. Beyond my long experience as a
listener and as a pianist and songwriter, both of which I've put to use in writing a quarterly soundtrack column for the Chicago
Tribune, I can only offer my recommendations. You'll discern my taste soon enough and upfront I'd like to make it clear that I'll
focus most heavily on SCORE soundtracks. In the end, all criticism is subjective but if I can point a listener toward a little heard
soundtrack or strongly advise you to either ORDER IMMEDIATELY or SKIP ALTOGETHER, all the better.
The 2006 Oscar nominated scores contain the expected nods (John Williams), the
surprising (Alberto Iglesias, Dario Marianelli), and the well deserved (Gustavo
Santaolalla). It's the latter, I think, who will take home the Oscar for his spare,
evocative score for Brokeback Mountain. Santaolalla's music, stripped down to the
twang of a 12-string guitar in most places, resonates like nothing else did this year.
But I've been known to be wrong (MANY TIMES!) when it comes to Oscar predictions.
The other nominated composers -- especially the esteemed Mr. Williams -- certainly
have a shot at trotting up to the podium.
Here's what I wrote about the scores (for Memoirs of a Geisha and Munich) in my
recent Chicago Tribune soundtrack roundup that have gotten Williams two
nominations:
John Williams, the acknowledged dean of film composers finished 2005 with ethnic flavored
scores for both “Memoirs of a Geisha” and “Munich.” Though Japanese born Ryuichi
Sakamoto (an Oscar winner for “The Last Emperor”) might have been a more obvious choice
for the former, Williams delivers a subdued and authentic sounding score helped by the
superb playing of violinist Itzhak Perlman and cellist Yo-Yo Ma. Williams reverts to form
and delivers an intense, emotion packed score for director Steven Spielberg’s “Munich,”
which, not surprisingly, pairs beautifully when paired with his “Schindler’s List."
I continue to respond (as is my wont) to the deeply emotional Munich score while the
Geisha soundtrack recedes. I won't be sad to see Williams take home yet another
Oscar for the former but I'm still scratching my head over his being overlooked last
year for the jazz flavored The Terminal and the much better double whammy he
delivered in 2001 with A.I. and the first Harry Potter -- an achievement that I thought
would be rewarded but wasn't.
Both Iglesias (getting the nod for his richly ethnic Constant Gardener music) and
Marianelli (who wrote fabulous faux classic pastiche's for Pride & Prejudice) have
produced more interesting scores elsewhere (everything Iglesias has done for
frequent collaborator Pedro Almodovar surpases his work here and I preferred
Marianelli's lush orchestral flights of fantasy for The Brothers Grimm). That doesn't
mean they won't find themselves in the winner's circle.
Scores that merited a nomination? Thomas Newman's Cinderella Man, Harold Budd
and Robin Guthrie's ambient guitar based Mysterious Skin. The trance-like Mark
Isham electronic score for Crash perhaps and certainly Danny Elfman for Charlie & the
Chocolate Factory (and why didn't "Veruca Salt" at least get an original song nod)?
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Next Week: Little known but achingly beautiful soundtracks that you HAVE to have
surprising (Alberto Iglesias, Dario Marianelli), and the well deserved (Gustavo
Santaolalla). It's the latter, I think, who will take home the Oscar for his spare,
evocative score for Brokeback Mountain. Santaolalla's music, stripped down to the
twang of a 12-string guitar in most places, resonates like nothing else did this year.
But I've been known to be wrong (MANY TIMES!) when it comes to Oscar predictions.
The other nominated composers -- especially the esteemed Mr. Williams -- certainly
have a shot at trotting up to the podium.
Here's what I wrote about the scores (for Memoirs of a Geisha and Munich) in my
recent Chicago Tribune soundtrack roundup that have gotten Williams two
nominations:
John Williams, the acknowledged dean of film composers finished 2005 with ethnic flavored
scores for both “Memoirs of a Geisha” and “Munich.” Though Japanese born Ryuichi
Sakamoto (an Oscar winner for “The Last Emperor”) might have been a more obvious choice
for the former, Williams delivers a subdued and authentic sounding score helped by the
superb playing of violinist Itzhak Perlman and cellist Yo-Yo Ma. Williams reverts to form
and delivers an intense, emotion packed score for director Steven Spielberg’s “Munich,”
which, not surprisingly, pairs beautifully when paired with his “Schindler’s List."
I continue to respond (as is my wont) to the deeply emotional Munich score while the
Geisha soundtrack recedes. I won't be sad to see Williams take home yet another
Oscar for the former but I'm still scratching my head over his being overlooked last
year for the jazz flavored The Terminal and the much better double whammy he
delivered in 2001 with A.I. and the first Harry Potter -- an achievement that I thought
would be rewarded but wasn't.
Both Iglesias (getting the nod for his richly ethnic Constant Gardener music) and
Marianelli (who wrote fabulous faux classic pastiche's for Pride & Prejudice) have
produced more interesting scores elsewhere (everything Iglesias has done for
frequent collaborator Pedro Almodovar surpases his work here and I preferred
Marianelli's lush orchestral flights of fantasy for The Brothers Grimm). That doesn't
mean they won't find themselves in the winner's circle.
Scores that merited a nomination? Thomas Newman's Cinderella Man, Harold Budd
and Robin Guthrie's ambient guitar based Mysterious Skin. The trance-like Mark
Isham electronic score for Crash perhaps and certainly Danny Elfman for Charlie & the
Chocolate Factory (and why didn't "Veruca Salt" at least get an original song nod)?
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Next Week: Little known but achingly beautiful soundtracks that you HAVE to have
Soundtrack CD covers for the 2006
Oscar nominated scores:
Top -- John Williams for Memoirs of a
Geisha and Munich
Albert Iglesias for The Constant
Gardener and Gustavo Santaolalla for
Brokeback Mountain and Dario
Marianelli for Pride & Prejudice --
good choices but not great ones
Oscar nominated scores:
Top -- John Williams for Memoirs of a
Geisha and Munich
Albert Iglesias for The Constant
Gardener and Gustavo Santaolalla for
Brokeback Mountain and Dario
Marianelli for Pride & Prejudice --
good choices but not great ones