Soundtrack Review: "War Horse" and "Tintin"

Steven Spielberg has asked John Williams to score almost every single movie he’s ever directed since “Jaws,” which won Mr. Williams his second Oscar, and his first for Best Original Score.  It’s a working relationship that has lasted nearly 40 years, and given us some of the most memorable melodies of our time.

This holiday season, Spielberg is back with an unprecedented feat. He’s releasing two movies right on top of one another. “The Adventures of Tintin,” an animated adventure based on the Belgian comic, opens today, and “War Horse,” a period drama set in England and based on a stage play, opens on Christmas Day.  Williams was employed once again to create a unique atmosphere for each film.

Williams’ score for “War Horse” is sequenced on the soundtrack album programmatically. The early cues are pastoral, and evocative of the Dartmoor countryside. The music is ripe with Celtic influences, and a friend of mine even picked out a quote from an old Irish sea chantey. There are few big themes established, but the mood is set as a young boy takes in a steed named Joey.  Midway through the album, the mood turns more somber, as Joey is placed into service.  A solo trumpet passage is faintly evocative of a similar device in “Saving Private Ryan.” The biggest payoff for Williams fans comes in the final three tracks of the album, “The Reunion,” “Remembering Emilie,” and “The Homecoming.” All three are rich with those big melodies one expects from Williams.

For “The Adventures of Tintin,” Williams calls on his early jazz influences (he once played in a combo as Johnny Williams) and the grand scores of Korngold and Waxman that some say Williams built his career on aping. Personally, I think that Williams has at least distinguished himself from those other composers, even if there is a similarity. “Tintin” opens with a jazzy sound reminiscent of 1950s television sleuths, with a drummer using brushes to keep things hopping. Williams opens the orchestra up to allow unique colors like accordion and harpsichord to steal the spotlight.

I played the second track cold on the day the CD came in to the library at KPAC, and I wasn’t disappointed by the short and sparky “Snowy’s Theme,” representing Tintin’s loyal dog. Vertical runs by the orchestra are echoed by a solo piano at a fast clip. This is “Raiders”-esque high adventure, folks, and it’s a lot of fun.

Williams goes for mystery with some cues, and humor in others, such as a “shattering” guest turn by Renee Fleming.

Both “War Horse” and “Tintin” are welcome additions to the Williams canon, and “War Horse” seems a likely candidate for an Oscar nomination.

--Nathan Cone

Spotlight: Soley SOLI

An indepth look at SOLI Chamber Ensemble's Soley SOLI concerts on March 16th and 17th, 2009. Conversations with Diego Vega, Kevin Puts, and Robert Xavier Rodriguez, plus music by Henry Purcell and John Williams. Includes rehearsal footage from early March with the ensemble and interviews not seen before.


Produced by John Clare for Texas Public Radio in San Antonio.

Free Music: John Williams

Air and Simple Gifts, the classical work composed to celebrate the historic inauguration of Barack Obama as President of the United States, has been released by Sony Masterworks exclusively via the iTunes Store. The work, written especially for the talents of cellist Yo-Yo Ma , violinist Itzhak Perlman, pianist Gabriela Montero and clarinetist Anthony McGill by the American composer John Williams, was first heard at noon on January 20, 2009, by millions of people around the globe, as Barack Obama officially became President.
Air and Simple Gifts is the first classical quartet to be played at a Presidential inauguration. Williams based the piece on the familiar nineteenth-century Shaker hymn “Simple Gifts” by Joseph Brackett. The source piece is famous for its appearance in Aaron Copland’s score for the ballet Appalachian Spring. Williams chose the selection knowing that Copland is one of President Obama's favorite classical composers.
“We are thrilled to be able to make this historic piece of music available to the public as a special memento of the inauguration,” commented Alex Miller, General Manager of Sony Masterworks and the Victor label. “The public’s response to Air and Simple Gifts was as immediate and dramatic as the occasion itself, and captured the optimism and hope of the nation at a pivotal moment in America’s history.”
“I was deeply honored to be invited to participate in the Presidential inauguration with Itzhak Perlman, Anthony McGill and Gabriela Montero,” Yo-Yo Ma stated. “I am thrilled that this composition by John Williams, which so beautifully expressed the magnitude and emotion of the occasion, can continue to inspire people everywhere."
Get your own free copy of John Williams' Air and Simple Gifts by leaving your name, and email address below - the first four entires will win a free download!

Classical lip syncing?

Was it live, or was it memorex? Read about the Air and Simple Gifts performance Monday at the Inauguration - what was broadcast was a dress rehearsal! There's more here from MSNBC.

Inaugural Music

Just before Barack Obama was sworn in as America's 44th president this morning, violinist Itzhak Perlman, cellist Yo-Yo Ma, clarinetist Anthony McGill and pianist Gabriela Montero, performed the premiere of "Air and Simple Gifts," composed for the occasion by John Williams. Hear it again in an exclusive national radio broadcast on Wednesday's Performance Today, with Fred Child, from American Public Media - 12pm on KTXI and 6pm on KPAC.

New Release: Star Wars Clone Wars Soundtrack

As the approach of the opening of the movie Star Wars: Clone Wars this Friday, I listened with interest to the new soundtrack, featuring the City of Prague Philharmonic with composer Kevin Kiner conducting.
It's a must for all Star Wars fans, but not necessarily movie buffs. The new soundtrack is based on themes from John Williams, and is skillfully handled by Kiner. Cues are short, and sometimes memorable. There is also a lot of variety, both with orchestrations (electric guitar, erhu and electronics) and in drama. Throughout the score there is lots of rhythmic propulsion,
I think for the upcoming television show, Kiner's music will be far above anything on the small screen, but I'm not convinced how it will play on the silver screen.
For the radio and cd player it seems fine!
John Clare, KPAC host
Listen to excerpts and purchase it here at Amazon.com (and benefit Texas Public Radio.)