Beginning today, I’ll post a “Saturday Soundtrack” (SSt) each week. I’m NOT going to be including sound bytes. I’ll assume you know how to find those if you want them.
I’ve long held the opinion that soundtrack music is much akin to classical music for our times. I believe a film score should stand alone, not depend on the visuals for coherence. Though music and picture enhance each other – and the film might well be diminished without the music – the music should be a whole, and the listener should be able to enjoy it without having seen the film.
By “soundtrack”, I mean original music composed for film, television or other media. I won’t be featuring CDs comprised of separate songs or tunes written and performed by various people, such as music from a motion picture that’s a collection of a dozen rock songs.
music by Javier Navarrette. performed by the City of Prague Philharmonic, Klemens conducting. Milan CD M2-36190
As you would expect if you happened to see this film by Guillermo Del Toro, the music is moody, thoughtful, emotional. The album begins with the lullaby, which was the starting place for the filmmaker and composer when creating their collaboration. In the liner notes, Navarrete says “Del Toro’s visual and spiritual world demands innocence, drama and compassion, and that’s what I tried to give, in musical terms, to this film.”
Guillermo del Toro says “Contained within this CD are all the recorded score pieces, including those that were discarded. The aural landscape of this film, the voice Javier [Navarrete] gave this movie, is so enthralling that I urge you to listen to it in a darkened room and deam of a fairy tale of your own. After all, in the dark you may feel like a child again.”
This is a CD that rewards repeated – and careful – listening, not something that can be said of all soundtracks. The music is beautiful and evocative, though evocative of what will be up to your imagination.