Great Expectations for Doyle
by Filmbuff32
Note from LK: We proudly announce that nothing in today's FSD will
have anything to do with Titanic and James Horner. Here's a review of Patrick
Doyle's latest, and then afterwards see a call for input from a prominent
U.K. soundtrack guide:
***
Out of the wealth of film composers around today, few stand out as distinctly
as Patrick Doyle. Although battling his illness (he was recently diagnosed
with a form of adult leukemia) it seems that he has not let that deter
him from the creation of unique and beautiful film music. His new score
to Great Expectations is another quality addition to the film score
genre. And he certainly met my great expectations for an artistic statement.
In this score, Doyle breaks new ground (for him), while incorporating his
usual themes of high quality.
Some notable things about this score are as follows: The first track
on the CD utilizes some creative orchestration including whistling and
a not-quite normal vocal performance by Tori Amos. Some people, including
myself, may have expected more of a song format here, but Amos' vocal realization
of this little cue accentuates the feeling of introduction quite well.
Her vocal technique, which is spotty and often dissonant, could be likened
to musical pointilism. Another vocalist is used in a couple other tracks,
and her performance is similar to the humming in Titanic but I think Doyle
used the voice more carefully in his score.
Later, the listener is given some wonderful guitar playing by John Williams
(NOT the composer John Williams). Doyle's collaboration with other artists
on this soundtrack, I think is quite effective. The main theme is introduced
by Williams in track #4, and it is a theme similar, in some ways, to Doyle's
other work, but it is still unique and quite aesthetically pleasing.
On the whole, this score is orchestrated fairly lightly. In a couple
of tracks the full orchestral version of the theme comes in with an elegant
flair, but for the most part, Doyle keeps things light.
One of the best parts of the disc is the aria sung by "Kiri Te
Kanawa" (track #7). Doyle is a genius when it comes to vocal writing.
Some of his recent past scores have utilized arias or vocal performances
as well, such as Sense and Sensibility (with Jane Eaglen), and Hamlet
(with Placido Domingo). This is certainly an area where the line between
absolute and film music is crossed. There are few composers who can do
this well, but Doyle is certainly there. This is the kind of artistic integrity
listeners should expect from film composers. One cannot argue that these
pieces are out of place at all; they fit with the films perfectly. This
aria, in particular, is quite reminiscent of arias by Mozart (Requiem)
and Purcell (Dido and Aeneas). It definitely ranks up there with those
as well. It is absolutely wonderful. The text is adapted from Dickens,
and the words, although few, are great for musical setting.
Another new element for Doyle is the inclusion of sythesized sounds,
namely harpsichord and drums. On track #8, the main theme is supported
rhythmically by a popular beat. At first this really turned me off because
I am not a fan of "techno" scores or the like, but after several
more listens, I think it is fun, and it certainly fits in well. The harpsichord
writing kind of gives the score and older, almost Baroque, feel at times.
I haven't seen the film yet, so I cannot say whether or not this is appropriate,
but as far as listening goes, it is very tasteful.
Toward the end of the soundtrack are a few "pop-type" tracks,
including one sung in Spanish, and one that swings pretty hard. So, on
the whole this is quite an ecclectic soundtrack. But, Doyle does not seem
to do bad work ever.
Less specifically, Doyle's themes are written with impeccible skill
and taste. One of the greatest things about Doyle's writing is his use
of secondary melodies (or contrapuntal if you will). In almost all of his
scores, these melodies are just as beautiful as the main themes. Although,
many people probably do not listen for such things, it is worth the extra
effort. And in Great Expectations Doyle does it again. The themes,
both primary and secondary, are absolutely gorgeous. And not only does
he write good themes, but he uses thematic unity throughout the score very
well. The theme goes through the orchestration very well, from piano to
guitar to oboe to full orchestra. Many composers can write good themes,
but there is something about the themes that Doyle writes that is totally
unique and worthy of mention.
So, although the themes are nice, and it is a creative score, it is
not quite deserving of a 'masterpiece' title, but it is highly recommended.
For anyone who would like to hear more Doyle that is particularily representative
of his style I would recommend Mary Shelley's Frankenstein, Sense and
Sensibility, Henry V, or Donnie Brasco. A rating of four stars
would be appropriate for Great Expectations, and I think it is fair to
say that the great expectations I had for Doyle were fulfilled, as usual.
Send reactions: MailBag@filmscoremonthly.com
***
Now, the solicitation. Got the following from Mark Walker, editor of
the Gramophone Good CD Guides, the new edition of which is being
prepared now:
With new editions of our Film Music and Musicals Good CD Guides
in preparation, I would like to invite FSM readers to send their comments,
criticisms or questions to me regarding the content of either of these
Guides. As you know, feedback from readers is essential for any ongoing
publication, and although I get a lot of constructive comment from UK readers,
I'd really appreciate hearing more from the US.
I look forward to hearing from any of your readers. Please contact
me at m.walker@gramophone.co.uk
Best wishes,
Mark Walker,
Editor of Gramophone Film Music & Musicals Good CD Guides
So, thought I'd pass that on to all of you. Go to it! Back tomorrow
with another column! -LK
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