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Heaven
and Ear |
Heaven and Earth
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Having
been set on a search
to find the
enthralling music
contained in the first
theatrical trailer for Anna and the King,
I finally came to find
Kitaro’s Heaven and Earth
as the source. The score from Heaven and Earth
provides much more
than this one
beautiful theme, but
additional, truly
authentic and engaging
musical moments as
well. Kitaro’s
score for this Oliver
Stone film is an
interesting mix of
orchestra,
synthesizers, vocals,
and eastern
instruments. It
is a mix that works. The
flavor is unmistakably
from the Orient, as
the film is set in
Vietnam.
Instead of
going with a “western”
composer hired to
write Eastern music,
Stone selected rookie
film composer, Kitaro.
Stone’s
choice has proven to
be wise, indeed.
Kitaro is certainly no
rookie to musical
composition as he has
earned multiple award
nominations and
awards, including a
Golden Globe for this
score. Kitaro is
best known for his
music, which most call
New Age, but that he
likes to simply call,
"spiritual." The score, as released by Geffen Records, begins with a
wonderful piece that builds from a solo flute into a powerful, full
orchestral theme. This track
not only wets the musical appetite, but also sets the tone for the quality
of music that is to follow. At
the close of the first track, we get that unforgettable theme featured in
the previously mentioned trailer; although, it appears only briefly.
This theme, unfortunately, only makes two other brief appearances
on the disc: in track 4 and track 17. The
first and last tracks
are easily the best of
the disc, but between
them are a number of
noteworthy tracks. Sau
Dau Tree (track 2),
begins with solo
female vocals and then
moves into a purely
synthesized theme.
Track 3, Ahn and Le Ly
Love Theme is
interesting in that
the moments are
definitely eastern and
provide little that us
westerners would
consider a typical “love
theme;” however,
about two minutes in
the track begins to
reveal a wonderful
love theme that is
heard in the opening
and final tracks. It
is played with a great
deal of passion on the
Chinese-violin, the
huqin, by Yu Xiao
Guang, a frequent
performer on Kitaro's
other albums.
In contrast to
this pretty piece,
Saigon Reunion (track
4), erupts through the
speakers with an
ominous
militaristic-edge
which weaves in and
out of the love theme. Finally,
this track concludes
with that
trailer-worthy theme.
The
disc concludes with
the wonderfully
lengthy, End Titles.
At over ten
minutes in duration,
this track accurately
depicts the range of
emotion and
corresponding styles
that comprise this
film’s score. It
begins with an
interesting
synthesized theme with
solo female vocals.
Once again,
that unforgettable
theme, that set me on
the trek to finding
its source, shows up
one last time; played
first on the synths
and then gets the full
orchestral treatment,
before moving into
other various
highlights of the film’s
score. One draw back to this release of
Heaven and Earth is the lack of breaks between several tracks.
This sort of production always makes it difficult on the listener
who may not want to hear the final notes of the previous track or the
first few of the following track ncluded.
Despite this minor irritant, this disc is certainly worth
obtaining.
Oliver Stone certainly chose wisely for his film. Kitaro may have
not had any experience prior to this in scoring a feature film, but one
certainly does not hear any signs of rookie film music here.
Hopefully, we will here more from this artist in the film score genre. Track Listing and Ratings Rating Total
Running Time |
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Referenced
Reviews |
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