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Filmtracks Editorial Review:
As much as the score is described by others as exclusively Slavic in sound, East-West also features a heavier classical touch that reaches back to Doyle's earlier compositions. The score required, obviously, that he abandon the more modern styles of Great Expectations and even Quest for Camelot. For the challenge of the assignment, Doyle traveled to both Kiev and Sofia to investigate the ambience of the film's locations. To drive the heart of the film, Doyle chose to use a frenetic piano performed by Emanuel Ax, whose contribution to the score is a definite highlight. His performances in tracks twelve and thirteen specifically are rapturous and, when combined with a snare drum and Doyle's typical string-heavy orchestra, are both engaging and enjoyable. Ax's piano wizardry is notable in four tracks, though he is sprinkled through the rest of the score as well. The choral aspects of the score stand apart from the rest of the music on the album. Doyle's theatre talents offered him the chance to not only compose the songs, but also write the lyrics. Fans of his music will immediately recall "Non nobis Domine" from Henry V, although the tone of these songs differ, of course from the Shakespearean variety. These choral sequences provide the most poignant and, perhaps, pivotal examples of ethnic influence on the score. Performed along with the orchestra as well, these choral songs build to the track entitled "The Land," which is a grand operatic finale featuring Anatoly Fokonov and the Bulgarian Mixed Choir. With the sound quality consistent to that of a cathedral recording, this last track is a magnificent classical piece. Even with much of the fan-based and critical attention focused on "The Land" and the other choral moments of the East-West score, the piano solos are still those that remain at the forefront of my memory. The grand piano is mixed very well with the resounding orchestra, and the pace of these cues and the swimming scenes they accompany also offer a wonderful glimpse into Russian classical styles. The score, when experienced in one lengthy listen, flows more smoothly than Great Expectations, with a consistency that provides constant elegance. With East-West, Doyle further proves his versatility switching back and forth from his separate electronically modern and classically trained abilities. And as much as I enjoyed the modern vocals and electronics of Great Expectations, Doyle's return for East-West no less attracts due attention. ****
(Track times not listed on the packaging)
"I've always had a great love and fascination for Slavic music, and the prospect of working in this genre again with Regis on such a particularly fine script was irresistible. From the outset I was determined to try and do justice to this great musical heritage in endeavouring to tap into its soul and spirit. The struggle of cultures and peoples is inevitably reflected in their music and never more so than in Slavic music. I had the privilege of being able to visit both Kiev and Sofia in order to visit the film locations and absorb the uniquely disparate ways of life in both countries. This seems a natural, essential and invaluable process in creating a score. After seeing the first rough assembly of the film in Paris I heard immediately the combination of piano and orchestra in the Russian style to try and capture Sacha's energy and determination. This was inspired and eventually employed as the piano motor theme, which drives the swimming sequences. During one of the principal scenes where Alexei cries and is comforted by Marie, in order to reflect Alexei's gentle and deeply thoughtful nature I used a combination of divided celli and violi to introduce his theme. The main theme of the film is Marie's which had to be one of struggle but not without hope, this having its final statement as the border gate rises. The end title song was a golden opportunity to try and create my own tribute to the great Russian sacred choral music tradition. I was privileged to have the voice of Anatoly Fokonov and the Bulgarian Mixed Choir. Regis has shot a beautiful picture which was a constant source of musical inspiration. His work with the actors is brilliant, and the performances are a joy to behold -- for all of this I thank him. Special thanks to Regis Wargnier, Yves Marmion, Lawrence Ashmore, James Shearman, Emanuel Ax, Roy Prendergast, Maggie Rodford, Nick Wollage, Borislav & Elena Chouchkov, Donka Mangatcheva, all the crew at Bulgarian National Radio, Gérard Crosnier and Pierre Nicolas, Peter Gelb, Paul Cremo, Peter Cho, Scott Edel, and Vicki Quinn. This album is dedicated to the memory of Paul Hulme."
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