The Alamo Carter Burwell

The Alamo [Soundtrack] [Import] [PR]

Carter Burwell （Hollywood Records）


CD
発売日：2004年4月7日(水)


≪関連『映画・ドラマ』タイトル≫

曲目リスト ※試聴はAmazonでどうぞ。
  1. Flesh And Honor
  2. 300 Miles Of Snow
  3. What We're Defending
  4. El Bexareno
  5. La Zandunga
  6. Who Took Their Loved Ones
  7. Listen To The Mockingbird Sing
  8. The Evacuation Of Bexar
  9. The Calm After The Storm
  10. The Visitation Of Saint Ursula
  11. Quiet Mountain
  12. They Ain't Bear
  13. Bonham's Ride
  14. Sell Our Lives Dearly
  15. Night Falls On The Alamo
  16. Deguello De Crockett
  17. The Last Night
  18. The Battle Of The Alamo, Part 1
  19. The Battle Of The Alamo, Part 2
  20. The Battle Of The Alamo, Part 3
  21. The Battle Of The Alamo, Part 4
  22. The Battle Of The Alamo, Part 5
  23. The Battle Of The Alamo, Part 6
  24. The Death Of Crockett
  25. Runaway Scrape
  26. Blood, Or Texas
レビュー (Amazon)
Carter Burwell cut his film scoring teeth on many a Coen brothers movie, quickly gaining a reputation for a quirky, human-scaled inventiveness that informed everything from jazz and folk to orchestral music and even the well-timed nod to Morricone. That often introspective sensibility is well paired to director John Lee Hancock's revisionist take on the legend of San Antonio's fabled doomed fortress, which focuses more on the conflicted human dimensions of its characters than familiar cardboard, pop culture heroics. Burwell's use of orchestral pomp is deliberate and decidedly restrained; more often the composer leans on spare, evocative passages of simple, though ever-inventive folk-based music (like the elegiac "Quiet Mountain") played by various combinations of guitar, banjo, and violin. Vintage traditional Mexican and American tunes are also given their atmospheric due via Jennifer Hammond's and Craig Eastman's arrangements of "La Zandunga" and "Listen to the Mockingbird Sing," respectively. But its Burwell's own peculiarly modernist instincts that inform both tradition ("Crockett's DeGuello") and his own masterfully understated cues, particularly the bleak, almost gothic emotional landscape of his six-part "Battle of the Alamo Suite" and its bittersweet coda, "Blood or Texas." --Jerry McCulley
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