Angels in America [Soundtrack] [Import] [PR]

Melissa Wilder、Fatima Da Silva、Florence Kastriner、Howard Pinhasik、David Zayas
レーベル： Nonesuch
CD
発売日： 2003年12月1日(月)
画像： 大 中
◎関連『映画・ドラマ』タイトル
◎曲目リスト
  1. Threshold of Revelation - Thomas Newman
  2. Angels in America (Main Title) - Thomas Newman
  3. Lesionnaire - Thomas Newman
  4. Ellis Island - Thomas Newman
  5. Acolyte of the Flux - Thomas Newman
  6. Umdankbar Kind - Thomas Newman
  7. The Ramble - Thomas Newman
  8. Ozone - Thomas Newman
  9. Pill Poppers - Thomas Newman
  10. Quartet - Thomas Newman
  11. Solitude - Duke Ellington
  12. Bayeux Tapestry - Thomas Newman
  13. Spotty Monster - Thomas Newman
  14. Mauve Antarctica - Thomas Newman
  15. Her Fabulous Incipience - Thomas Newman
  16. The Infinite Descent - Thomas Newman
  17. A Closer Walk With Thee - Lewis, George & His Ragtime Band
  18. Broom of Truth - Thomas Newman
  19. Submit! - Thomas Newman
  20. Plasma Orgasmata - Thomas Newman
  21. Delicate Particle Logic - Thomas Newman
  22. The Mormons - Thomas Newman
  23. Prophet Birds - Thomas Newman
  24. More Life - Thomas Newman
  25. Black Angel - Thomas Newman
  26. Garden of the Soul - Thomas Newman
  27. Heaven - Thomas Newman
  28. Bethesda Fountain - Thomas Newman
  29. The Great Work Begins (End Title) - Thomas Newman
  30. Tropopause - Thomas Newman
  31. I'm His Child - Zella Jackson-Price
◎レビュー (Amazon)
Playwright Tony Kushner adapted his sprawling meditation on the AIDS epidemic of the 80's into an equally epic, Mike Nichols-directed HBO miniseries. But while Thomas Newman’s score spans that dramatic landscape with rich stylistic diversity, the young champion of the daunting Newman family musical tradition (his father was Fox legend Alfred; his brother fellow film scorer David; his cousin songwriter/composer Randy) never lets musical bombast get in the way of compelling emotional introspection. Anchored by a delicate wind and string-driven main theme that’s as mature as it is bittersweet, Newman proceeds to explore some of the same adventurous, rhythmically restless soundscapes that characterized his work on Erin Brockovich and American Beauty. But that typically moody experimentalism is leavened elsewhere by moments of neo-baroque choral exultation, smokey 30's jazz (courtesy of George Lewis and his Ragtime Band and Duke Ellington) and even flashes of gospel and orchestral post-modernism, all of it served up with a masterful sense of irony-free restraint that’s become one of the composer’s most refreshing hallmarks. It’s easily one of Newman’s -- and 2003's -- most accomplished and satisfying film scores. --Jerry McCulley
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