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Filmtracks Editorial Review:
McKenzie received much praise for his last Hallmark film score to be released on album, Durango. Unlike that previous release, however, The Lost Child does not contain much of any ethnic influence, even given its subject matter. This was surprising to me, because it was the ethnic instrumentation in Durango that made it such a dramatic and enjoyable score. For a journey of a main character to discover such an ethnicity, the lack of much, if any, identifiable ethnic influence causes The Lost Child score to become a more generic endeavor. This doesn't go to say that McKenzie's music isn't of superior quality. As always, he begins with a lovely theme and interpolates it throughout the rest of the score. The string section is dominant, performing the majority of large thematic statements and existing as a constant underlying presence. Also along the typical McKenzie approach is the use of woodwinds, guitar, and the piano to elaborate on the theme during conversational and reflective moments in the film. As these solo performances weave into and out of each other, the score maintains a consistent amicable and pleasant tone from beginning to end. The album is almost the same length as that of Durango, though without as many strong pronouncements of theme. The Northwest Sinfonia performs here, and the group seems less vibrant than the City of Prague Philharmonic, with whom McKenzie recorded previously. Part of that difference might be due to the more relaxed and introverted nature of The Lost Child. My favorite McKenzie scores are those in which his allows the mixes of his strings to mingle with an active brass section, and The Lost Child has no significant brass performances whatsoever outside of "The Horse" track. The consequent, primary use of strings, while certainly a gorgeous accompaniment to the film, leaves this score a few steps behind his others. Had the piano, guitar, and harp played more outstanding roles in the score, perhaps the album would be a better listen. As it stands, it is a restrained version of the McKenzie style that we have enjoyed so much on his previous albums. This particular release by Intrada has seemingly not been distributed to online stores, so you're best bet of obtaining it would be through the label's own website.
Score as heard on album: *** Overall: ***
"The Lost Child is a true story of a Native American woman who discovers unconditional love, a nurturing spiritual heritage, and a father's affirmation. The story powerfully conveys the strength that comes from a loving, emotionally and spiritually connected family. My goal was to compose melodic, pastoral, emotional and beautiful music to support the drama of The Lost Child. There are numerous solos with harp, cello, piano, classical guitar, flute, oboe, and clarinet; often with underlying muted strings. The Indian ethnic music is subtle, yet present in the wood flute playing the mother's weaving theme (track #7). If you would like more information about my music, let me invite you to check out my web page at: http://markmckenzie.cjb.net."
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