1. Welcome to Marwen (2:00)
2. You Are Saved (3:40)
3. Finally Got It Right (2:47)
4. New Girl In Town (1:34)
5. Deja Spills Some Milk (2:28)
6. Magic (2:30)
7. You Got This (1:15)
8. Rise and Shine (1:58)
9. Saved (2:20)
10. Never Love You the Way I Do (1:29)
11. One Big Misunderstanding (1:42)
12. Goodnight Girls (2:13)
13. Hate Crime (2:03)
14. Beautiful Moon (3:18)
15. Crippled By Fear (4:20)
16. Hogie vs Meyer Part 1 (4:12)
17. Hogie vs Meyer Part 2 (3:53)
18. Wake Up Sweetheart (1:17)
19. They Can’t Hurt Me (1:05)
20. Marwencol (3:59)
21. Welcome to Marwen End Credits (7:19)
klipy - http://store.intrada.com/s.nl?it=A&id=11758
Dynamic, riveting Alan Silvestri score for new Robert Zemeckis film! Universal Pictures presents, Steve Carell stars, Diane Kruger, Leslie Mann co-star, Alan Silvestri scores, Robert Zemeckis directs and scripts with Caroline Thompson. Zemeckis is acclaimed director of smash hits Back To The Future, Who Framed Roger Rabbit and Forrest Gump, all featuring music by Silvestri. Here Zemeckis offers compelling tale of Mark Hogancamp attempting to regain memories after devastating attack shatters his life. Marwen is meticulous town he creates in his fantasy world in an attempt to rebuild what he has lost in the real world. Alan Silvestri melds two distinct styles of music, both richly symphonic: One is a gentle, quasi-modal theme initially scored in transparent manner for harp, woodwinds and strings with subtle assist from French horn. Thereafter it gets attention from solo clarinet, solo flute, solo oboe. Piano and harp bring additional color. Find in it one of the composer’s most haunting and memorable themes with particularly moving harmonic vocabulary. In fact, tender theme is itself in two contrasting parts. The other style Silvestri gives prominence to: a military action vernacular replete with powerhouse, chopping brass and percussion emphasizing multiple snare drums, tympani, crash cymbals. Ideas here are imposing, exciting. One striking feature in this portion is reliance on major key harmonies, allowing action material a thrilling yet highly accessible feel even as the orchestra hurls forward with considerable rhythmic strength. Minor harmonies have their say but it’s the crisp, punchy major chords in brass that stand out. As gentle theme plays in minor, then major, action material plays in major with touches of minor. Cool idea! Difficult to pinpoint just one highlight as score is virtually wall-to-wall highlights. Like themes? Here you go. Like bold action? Here you go. That said, worthy of spotlighting is back-to-back 8-minute pair of action sequences, “Hogie vs Meyer”. Ditto opening “Welcome To Marwen” that presents first the minor key melody then lurches forward with powerful fortissimo action material. Still another big asset: Closing “End Credits” is masterful meld of primary thematic material fashioned into terrific 7-minute suite. Perhaps worthy of a special spotlight: “Hate Crime”. Here, Silvestri utilizes haunting material then cadences on two solitary chords, suggested throughout but now fully revealed. Yep, one is minor, one is major. Stroke of harmonic genius! CD produced by composer with long-time associate David Bifano, presented by Intrada and Universal’s Back Lot Music, mixed by Dennis Sands, mastered by Patricia Sullivan, booklet layout and design by Kay Marshall. Belinda Broughton appears as concertmaster, orchestrations by Mark Graham. Alan Silvestri composes, conducts. Sizzling score from a master composer!
Nie zmienia to faktu że i tak Alan ma najlepszy rok od wielu wielu lat, w co już i tak nikt nie wierzył. Więc to sukces.
