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Filmtracks Recommends:
Buy it... if you relax to atmospheric classical music led by piano and strings, harmonious by nature, but without clearly defined themes. Avoid it... if you prefer scores with more sharply defined cue changes and thematic swells, or if you never plan on sampling any of Glass' work. Filmtracks Editorial Review:
The style of Glass' music fit the description of The Hours quite well. Glass is a well-known crossover between the classical and film music genres, evolving into a sort of new-age classical composer with minimalist tendencies. His film scores are known for their solid, though unassuming classical consistency. Not the sort for big themes or experimentation in the realm of modern instrumentation, Glass' work has resulted in one previous Academy award nomination (Kundun) and a significant following on album. For The Hours, Glass assembles an orchestra with an emphasis on five central performers: a pianist and string quartet. Perhaps the most interesting aspect of Glass' approach to the timelessness of the story is his choice not use the musical styles of any of the three time periods actually depicted in the film for his score. One could very easily have expected a score in tune with Elmer Bernstein's Far From Heaven (another contender for music awards in 2002) for The Hours, and that kind of more melodic, but equally simple score might have served well. Glass, however, reaches even further back to his classical roots for the score, and it succeeds more because of its consistency in motifs and quality rather than style. The piano and quartet are very well performed, and Glass accomplishes a score of quiet and melancholy simplicity while never allowing the straight level of volume to become a detractor. Even critics of Glass, who state that his music is most often boring and underachieving, should take note of the remarkably maintained depth from the beginning to the end of this work. It may not be the most deserving score in the 2002 awards scene, but its contention cannot be questioned. Take note, though, about a handful of sidebars: Some of the best cues on the album are inspired by other works (by Glass or otherwise), including the powerful low-octave piano performance on track 6, and these borrowings are noted on the album packaging. Be aware that the piano performances in the film are different than those on the album; in the film, David Arch performs, and on album, Michael Riesman performs and produces. In sum, Glass's music may only develop simplistic motifs as themes, but the constant movement of those motifs succeeds in the place of a theme. No better an example of the high quality of this score can be heard than in track 2, which is so surprisingly complex in its subdued performances that it requires repeat listens to fully appreciate. On album, The Hours provides a solid and relaxing hour of harmonious and crisp classical performances without even so much as a single note that could wake up a person sleeping in the next room. ****
The insert includes an interesting note from author Michael Cunningham and several excerpts from the book itself. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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