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Filmtracks Recommends:
Buy it... if you seek the beauty of an Irish-flavored orchestral score outside of the stereotypical norms you hear in mainstream feature films. Avoid it... if uilleann pipes, pan pipes, and penny whistles, no matter the allure of their thematic environment, make your skin crawl even worse than accordions do. Filmtracks Editorial Review:
McKenzie employs a satisfying 70 members of The City of Prague Philharmonic, a group that was becoming quite accomplished in its film music recordings at the time. Unlike most scores that rely on the specialty instrument performers to carry the rest of the ensemble, the strength of Durango exists in its balance between those solo elements, the ensemble's tasteful and well mixed performance, and the beauty of McKenzie's several themes. While the score deceives you into thinking that it is parochial and simplistic upon first listen, the suite at the very start demonstrates that the score consists of great thematic wealth and complexity. No less than five themes grace Durango, each with significant performances by both the full ensemble and by the soloists. These themes are provided in snapshot succession in the score's two best cues, "Durango Suite" and "The Journey Begins." Each maintains the same elegant spirit, with McKenzie's usual lush and soft touch gracing their performances in the opening suite. The latter cue adds rhythmically satisfying drums to the equation. One of the more remarkable aspects of these suites, and the other thematic performances that almost always are in play, is McKenzie's ability to switch off between themes so seamlessly that it becomes difficult to distinguish them at times. When you apply this technique to the rare action material in Durango, you get a restrained but effective elevation in bombast without the need for simple loudness. Two solos by trumpet and several simply gorgeous solos by the recorder are the ultimate selling point of the score, raising memories of some of the most enchanting moments of John Williams' Far and Away. On album, dissonance is almost completely absent, allowing for 45 minutes of the most relaxing Irish-flavored underscore available today, though with a release by Intrada (McKenzie's most active supporter through the years), don't expect wide availability of the product. ****
The insert includes the following note from McKenzie:
Musically my efforts were to support and where possible enhance the drama and emotions that director/producer Brent Shields so eloquently brought to life. I set out to compose a melodic score filled with tenderness, humor, passion and drama. The combined 70 piece orchestra was a joy to work with, for there is nothing quite like the beauty and power of talented live musicians. At times I enjoyed making use of the traditional Irish instruments such as bodhran drums, uilleann pipes, penny whistle, recorders, and pan pipes. Every movie is a wonderful collaboration with a new family. It was rewarding to have composed music for such a beautiful Hallmark Hall of Fame movie, and to have worked closely with the many gifted and generous people listed here." | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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