 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
HAREM - Philippe Sarde
On my second listen. I expected something good, but I am surprised at how great this is. Sarde, who more or less led the way in French film scoring in the seventies an eighties, takes a back seat to no one among the more contemporary French film composers. Melodic, lyrical and at times haunting.
I'm presently listening to this wonderful score for the third time this week.
Very much in the Sarde mold with the type of delicate, sometimes almost gossamer-like writing he does so well, but also with those wonderful orchestral flourishes he has such a knack for, rivalling at times of some of the best moments of Coup de Torchon, Le Choix des Armes and Tess.
Even the opening song 'Hey Stranger', sung by Jimmy Sommerville, is excellent and really sets the tone. My only qualms about it are the last few bars where 'Jimmy' overdoes it a tad, almost diva-like, but he still doesn't manage to completely ruin Sarde's carefully built up atmosphere.
I'm always surprised at how under-utilized Sarde is in today's cinema. He could and can give some contemporary guys a lesson or ten in melody, counterpoint, orchestration, dramatic instinct... and sheer boldness.
Highly Recommended.
Samples: http://www.quartetrecords.com/harem.html
|
|
|
|
|
|
|
Sorry. Double post.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
.jpg)
