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| • | Newest Major Reviews: | . | • | This Week's Most Popular Reviews: | • | Best-Selling Albums: | ||
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1. Nim's Island 2. The Life Before Her Eyes 3. Horton Hears a Who! 4. Leatherheads 5. The Spiderwick Chronicles | . | . |
1. Moulin Rouge 2. Gladiator 3. POTC: Curse of the Black Pearl 4. Star Wars: A New Hope 5. Edward Scissorhands |
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1. Varèse Sarabande 25th 2. The Last of the Mohicans 3. Legends of the Fall 4. Schindler's List 5. LOTR: Return of the King (Set) |
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Filmtracks Editorial Review:
Because of the music's role in the production, it is no surprise that the album is being pushed as one of the biggest releases of the late summer season. Surely, Decca/Universal hope to duplicate the success that The Red Violin proved to be for Sony, and it is no coincidence that the main instrument of the score is also in the title of the film. On album, it is not readily apparent that the score was written first. Technically, only the themes and overall tone of the score were recorded first. The majority of the score was recorded after principle filming, but before editing, which allowed the length of cues to determine the length of scenes in the finished product. Therefore, the biggest difference you hear on album is the lack of any kind of abrupt cue to cue action. Each extended track is composed like a movement in a symphony, with a distinct flow of evolution from beginning to end. There are no orchestral hits from the large performing group, nor are there any unexpected turns. This kind of concert/symphonic construction causes Stephen Warbeck's album to be extremely smooth to the ear, and yet, without any of the trademark aspects of a traditional film score, it lacks the usual stimuli that keep film score fans interested in the music. It is because of this fact that the album will likely sell better to collectors of classical or opera music. Whether or not you, as a film score fan, enjoy Warbeck's extended piece depends on how vital you like your scores to be. As for myself, the score lost me immediately because I don't care for mandolins in the first place (note the reviewer's audible groan when he unwraps the package and reads the film's title). Mandolins as a supplemental tool of ethnicity for a large orchestra are fine, but on their own for entire cues is too much to handle. Otherwise, the score is a very subtle and subdued work. Its themes will not reach out and grab you. Instead, they rely on the delicate emotions of their mandolin, guitar, and woodwind solos to convey the love story trying to assert itself against the backdrop of world war. The scenes of army activities are scored well enough, though even they never achieve a status of fright that interrupts the continuous musical statement of scenery and character. On the other hand, the moments of romance don't pick up steam until the reunion track at the very end. Otherwise, the score is, frankly, uninteresting on its own. Enthusiasts of underscore listening will find Captain Corelli's Mandolin to be a delightful and refreshing flow of constantly pleasant harmonies performed with restraint and tact. On a scale of vivaciousness, Warbeck's music lacks behind the giddy happiness and fantasy of Shakespeare in Love, with a considerably slower pace. Not the entire album contains straight Warbeck score. Several tracks of traditional interprative cues add the needed flavor to the Greek/Italian source music heard during party and dance scenes in the film. The "La Scala Songs" are necessary inclusions, but not particularly pleasant to hear in conjunction with Warbeck's score as a whole. One of the main attractions of the album are the two short, but poignant vocal performances by rising British tenor Russell Watson, and it is no coincidence that the Decca label takes the opportunity here to promote his debut album, which is currently performing very well on numerous charts. Unfortunately, his spectacular voice is only heard on a few minutes of this album. The twenty-second track is a highlight, during which Watson performs the "Pelagia's Song" which Warbeck wrote near the very beginning of the project. Overall, this album will be a treat to those classical and opera listeners who want to supplement the vocal performances with a mellow Warbeck underscore. If you are not in tune with mandolins, guitars, and other instruments of Mediterranean flavor, especially without dynamic accompaniment by the full orchestra, then the score for Captain Corelli's Mandolin could very easily bore you. If you want to test the waters with your first Warbeck score, Shakespeare in Love remains a better choice. *** NOTE: Be aware! This is another auto-launching "Enhanced CD." If you put this album into your computer to listen to it, as I always do, the CD will automatically load the music video for "Pelagia's Song," and in some cases, this could crash your computer (depending on its activity level when you insert the CD). Once again, auto-launching audio CDs are simply unacceptable, and the record label takes no responsibility for any damage or data lost on your computer.
Insert includes extensive credits and artwork, as well as notes from director John Madden and the composer.
We recorded some of the orchestral pieces shortly after filming was completed, which meant we were able to use thematic material during the editing process, thus enriching the final blend of music and image. The orchestra we used had at its core a group of players who were involved with the film throughout: Giovanni Parricelli, Dario Rosetti-Bonell, Eddie Hession and Alison Stevens, all provided us with wonderful continuity. Thanks must go to Paul Englishby for training La Scala and, along with Giovanni, for helping to coach Nicolas Cage, who learnt to play the mandolin especially for this film. I would also like to thank Nick Ingman and all the musicians involved for their invaluable contribution to this project and to add that collaborating once again with John Madden made this score a pleasure to compose."
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