Dario Marianelli's new score for his frequent collaborator, Mr.Wright, or to put it simply: one of the most beautiful romantic scores you'll hear this year. Do not miss out!
Product Details
Audio CD (November 13, 2012)
Number of Discs: 1
Format: Soundtrack
Label: Decca
Audio CD (November 13, 2012)
Number of Discs: 1
Format: Soundtrack
Label: Decca
Track Listings
1. Overture
2. Clerks
3. She is of the Heavens
4. Anna Marches Into a Waltz
5. Beyond the Stage
6. Kitts Debut
7. Dance With Me
8. The Girl and the Birch
9. Unavoidable
10. Can-Can
11. I Dont Want You to Go
12. Time for Bed
13. Too Late
14. Someone is Watching
15. Lost in a Maze
16. Leaving Home, Coming Home
17. Mashas Song
18. A Birthday Present
19. At the Opera
20. I Know How to Make You Sleep
21. Annas last train
22. I Understood Something
23. Curtain
24. Seriously
1. Overture
2. Clerks
3. She is of the Heavens
4. Anna Marches Into a Waltz
5. Beyond the Stage
6. Kitts Debut
7. Dance With Me
8. The Girl and the Birch
9. Unavoidable
10. Can-Can
11. I Dont Want You to Go
12. Time for Bed
13. Too Late
14. Someone is Watching
15. Lost in a Maze
16. Leaving Home, Coming Home
17. Mashas Song
18. A Birthday Present
19. At the Opera
20. I Know How to Make You Sleep
21. Annas last train
22. I Understood Something
23. Curtain
24. Seriously
What amazon.com has to say about this:
Review
There are several themes in the score of Anna Karenina:sometimes appearing alone, often intersecting, their paths running alongside for a while. Those paths are shared by the
characters in the story as they walk towards or away from convention, pretence, happiness, guilt, love, fun, and even truth.
In a very important sense, the musical motifs do not represent the characters themselves I prefer to think of them as spirits, perhaps demons, unseen, signposting the way, or simply bearing witness to the events.
Most of the action, in our version of Tolstoys novel, takes place in an abandoned theatre, upon or around a stage a symbol of the make-believe life of the Russian aristocracy at the end of the 19th century. Having convention and pretence confined within the boundaries of an old theatre, hints of course to another life,
There are several themes in the score of Anna Karenina:sometimes appearing alone, often intersecting, their paths running alongside for a while. Those paths are shared by the
characters in the story as they walk towards or away from convention, pretence, happiness, guilt, love, fun, and even truth.
In a very important sense, the musical motifs do not represent the characters themselves I prefer to think of them as spirits, perhaps demons, unseen, signposting the way, or simply bearing witness to the events.
Most of the action, in our version of Tolstoys novel, takes place in an abandoned theatre, upon or around a stage a symbol of the make-believe life of the Russian aristocracy at the end of the 19th century. Having convention and pretence confined within the boundaries of an old theatre, hints of course to another life,
one that must exist somewhere outside the confines of that stage. The music of Anna Karenina is perched between those two worlds.
For the curious: track 8: Beroza (Birch) is a very old Russian folk song: of its many versions, the one I used talks of a young woman deceiving an older husband. for track 19 At the Opera I used Tolstoy s own words from Anna Karenina, Part II, Chapter XI --DARIO MARIANELLI 13th August 2012
Product Description
There are several themes in the score of Anna Karenina:sometimes appearing alone, often intersecting, their paths running alongside for a while. Those paths are shared by the
characters in the story as they walk towards or away from convention, pretence, happiness, guilt, love, fun, and even truth.
In a very important sense, the musical motifs do not represent the characters themselves I prefer to think of them as spirits, perhaps demons, unseen, signposting the way, or simply bearing witness to the events.
Most of the action, in our version of Tolstoys novel, takes place in an abandoned theatre, upon or around a stage a symbol of the make-believe life of the Russian aristocracy at the end of the 19th century. Having convention and pretence confined within the boundaries of an old theatre, hints of course to another life,
one that must exist somewhere outside the confines of that stage. The music of Anna Karenina is perched between those two worlds.
For the curious: track 8: Beroza (Birch) is a very old Russian folk song: of its many versions, the one I used talks of a young woman deceiving an older husband. for track 19 At the Opera I used Tolstoy s own words from Anna Karenina, Part II, Chapter XI
Dario Marianelli - 13th August 2012
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