As a composer, performer and teacher, it's amazingly imagined that I've detected utmost kinds of auditory communication ended the geezerhood. However, I still esteem the music of the cinema and, in particular, old fear pictures soundtracks (think Hammer Films, etc). Dracula music is a resolute favourite!
Let's beginning next to music by Philip Glass, level-headed for the 1931 Bela Lugosi classic pic Dracula and performed by the extraordinary Kronos String Quartet.
Glass's minimalist chic lends itself very well to this subject-matter. The album is modern sounding but beside a merciful of timeless chamber-music quality, and is a terrible accompaniment to a dialogue-only film.
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The conventional Glass fingerprints are here: insistent ostinati, arpeggios, motifs and rocking two-note bass lines, but colorful near tender, elegiac moments. To me (being a melody-man at heart!), it was these musical moments which prevented this album from comme il faut too uninteresting. Don't get me wrong; I savour modern, inharmonious music, but in the end I durable for a damn-good air and this album gave me thing do up to that.
Most of the 26 tracks are rather short-term (1-4 records) and, though eerie, are surprisingly melodious. The cord musical performance is excellent, as you'd wait for from the Kronos association.
Here are a few of my popular highlights:
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"Excellent, Mr. Renfield": an creepy hunk beside the anticipated constant ostinato/riff but near clarion terrifying moments when the iv suddenly busted in. The tick low chain keeps belongings writhing and a very good twisty harmony finished the top completes the symbol of the fly-eating insane who lives in the asylum!
"The Storm": a hot start on to the track, stuffed of disruptive triad and terribly remindful of a tempest. Pizzicato section nurture the rainfall and accelerated runs instigate an mark of swiftness.
"Horrible Tragedy": not secure if this is bi- or tri-tonal! Sounds like-minded all associate of the little joe is musical performance in a variant key. I similar to its attractive intrinsic worth and easy short riffs.
"In the Theatre": a extreme persistent melody and unproblematic chord progressions - reminds me of Phantom of the Opera for some reason!
"Renfield": a amazingly elegant and sympathetic rumble for our resident madman! Very classical superficial with quite a lot of sure chord changes and two-note deep accompaniment, then affecting into triplets. Very nice.
This is not the regular blood-spattered Dracula music, brimfull of impaired chords and squealing string section. Yes, it can be repetitive, but Glass seems to be victimization a greater continuum of delivery insignia than standard and, for this elegance of music, I found it fairly tuneful (although you'd be hard put to whistle on with the CD!).
Perhaps the audio recording gets rather hard half-way through: 26 tracks is a lot of minimalist music! I have to accept that I've not seen the picture show with this soundtrack, but I've detected that it complements the metaphors perfectly, very in 'Carriage Without a Driver', wherever the moving wheels are blatantly delineated and the auditory communication invokes a gift of threat.
On the complete... I approaching it!
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