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Meet Joe Black: Original Motion Picture Soundtrack
from: Umvd Labels
: :Meet Joe Black, director Martin Brest's remake of the '30s semiclassic Death Takes a Holiday, took widespread critical potshots for its three-hour length and laconic pace. Ironically, composer Thomas Newman's score is a compelling exercise in musical economy--spare, emotionally longing arrangements where the spaces resonate almost as much as the notes. The composer (youngest son of the great film scorer Alfred Newman and cousin to Randy Newman) shows the same deft handling of emotional nuance he displayed on The Shawshank Resemption, The Horse Whisperer, and Oscar and Lucinda (winner of Best ...
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The Shawshank Redemption: Original Motion Picture Soundtrack
from: Sony
: :Meet Joe Black, director Martin Brest's remake of the '30s semiclassic Death Takes a Holiday, took widespread critical potshots for its three-hour length and laconic pace. Ironically, composer Thomas Newman's score is a compelling exercise in musical economy--spare, emotionally longing arrangements where the spaces resonate almost as much as the notes. The composer (youngest son of the great film scorer Alfred Newman and cousin to Randy Newman) shows the same deft handling of emotional nuance he displayed on The Shawshank Resemption, The Horse Whisperer, and Oscar and Lucinda (winner of Best ...
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Little Women: Original Motion Picture Soundtrack
from: Sony
: :Meet Joe Black, director Martin Brest's remake of the '30s semiclassic Death Takes a Holiday, took widespread critical potshots for its three-hour length and laconic pace. Ironically, composer Thomas Newman's score is a compelling exercise in musical economy--spare, emotionally longing arrangements where the spaces resonate almost as much as the notes. The composer (youngest son of the great film scorer Alfred Newman and cousin to Randy Newman) shows the same deft handling of emotional nuance he displayed on The Shawshank Resemption, The Horse Whisperer, and Oscar and Lucinda (winner of Best ...
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American Beauty: Original Motion Picture Score
from: Dreamworks
: :We knew Thomas Newman was versatile (he's created gripping soundtracks for everything from The Shawshank Redemption to Desperately Seeking Susan), but his score for American Beauty is simply gorgeous and one of his best. Filled with inventive instrumentation--tablas, bird calls, dulcimer, banjo, ukulele, detuned mandolin, and more--the score varies between highly rhythmic, world-music influenced passages ('Dead Already,' 'Lunch with the King') and the more subdued ('Mr. Smarty-Man,' 'American Beauty'). Throughout, Newman's score is inventive and a great complement to the dark comedy's numerous mood swings. The movie's other soundtrack--a collection of ...
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Road to Perdition (Score)
from: Decca U.S.
: :Director Sam Mendes's much-anticipated follow-up to his Academy Award®-winning American Beauty found him exploring the period gangster film--but with a moral fiber and undercurrent of family tragedy familiar from his Oscar® triumph. As he did with Beauty, Mendes again wisely entrusts the film's music to Tom Newman, a composer with an instinctive knack for getting inside a film's characters via innovative and often orthodox methods. As many of Newman's preceding scores have been rhythmically driven and rife with improvisation-driven experimentalism, its good to hear his equally distinctive writing for orchestra largely ...
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Vaughan Williams: The Collector's Edition
from: EMI Classics
: :Director Sam Mendes's much-anticipated follow-up to his Academy Award®-winning American Beauty found him exploring the period gangster film--but with a moral fiber and undercurrent of family tragedy familiar from his Oscar® triumph. As he did with Beauty, Mendes again wisely entrusts the film's music to Tom Newman, a composer with an instinctive knack for getting inside a film's characters via innovative and often orthodox methods. As many of Newman's preceding scores have been rhythmically driven and rife with improvisation-driven experimentalism, its good to hear his equally distinctive writing for orchestra largely ...
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25 Handel Favorites
from: Vox (Classical)
: :Director Sam Mendes's much-anticipated follow-up to his Academy Award®-winning American Beauty found him exploring the period gangster film--but with a moral fiber and undercurrent of family tragedy familiar from his Oscar® triumph. As he did with Beauty, Mendes again wisely entrusts the film's music to Tom Newman, a composer with an instinctive knack for getting inside a film's characters via innovative and often orthodox methods. As many of Newman's preceding scores have been rhythmically driven and rife with improvisation-driven experimentalism, its good to hear his equally distinctive writing for orchestra largely ...
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The Horse Whisperer: Original Score
from: Hollywood Records
: :Composing music for a Robert Redford movie is a good thing. Ordinary People made Pachelbel's Canon in D a mainstream hit. The Milagro Beanfield War won Dave Grusin an Oscar for his charming score, and A River Runs Through It nabbed a nomination for Mark Isham's popular themes. Thomas Newman's score for Redford's adaptation of Nicholas Evans's bestseller relates well to the leisurely paced, nearly three-hour horse drama: it's never complicated. The rhythms of Big Sky country are introduced in a warble of strings in Newman's score and never overstay their ...
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Finding Nemo
: :Will it become another rich Newman family tradition? Picking up the baton his cousin Randy carried so skillfully on Disney/Pixar's four previous pioneering computer animation features, composer Thomas Newman was undaunted, bringing his own highly original scoring sensibility to the studio's latest digital daydream--an effort that's also the younger Newman's own debut score for an animated feature. Tom's consistently unique approach to matters of rhythm and percussion are as forceful and inventive as ever in this undersea adventure, while his passages for orchestra resonate with the same quintessentially American pastoral melancholy ...
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Classic Wynton
from: Sony
: :Wynton Marsalis may not have an easily recognizable or even particularly handsome tone, but this erstwhile jazz trumpeter is an amazing virtuoso with a fine sense of classical style. If you've never owned/heard any of his classical CDs, and you love (mostly baroque) trumpet music, this compilation--a sort of 'greatest hits'--is for you. From such cruddy, sensationalistic works as Carnival of Venice to the glories of Haydn's E-Flat Concerto, this is grand entertainment. Marsalis is joined by Kathleen Battle in an exciting version of Handel's 'Let the bright seraphim,' and the ...
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