Perfume: The Story of a Murderer [Soundtrack] [Import] [PR]
Johnny Klimek、Reinhold Heil、Tom Tykwer （EMI Classics）CD
発売日：2006年12月5日(火)
≪関連『映画・ドラマ』タイトル≫
- ジョニー・クリメック
- 『パフューム ある人殺しの物語』 (2006)
曲目リスト ※試聴はAmazonでどうぞ。
- Prologue- The Highest Point (Berliner Philharmoniker)
- Streets of Paris (Berliner Philharmoniker)
- The Girl with the Plums (Berliner Philharmoniker)
- Grenouille's childhood (Berliner Philharmoniker)
- Distilling Roses (Berliner Philharmoniker)
- The 13th essence (Berliner Philharmoniker)
- Lost Love (State Choir Latvia)
- Moorish Scents (Berliner Philharmoniker)
- Meeting Laura (Berliner Philharmoniker)
- The method works! (Berliner Philharmoniker)
- Grasse in panic (Berliner Philharmoniker)
- Richis' escape (Berliner Philharmoniker)
- Laura's murder (Berliner Philharmoniker)
- Awaiting Execution (Berliner Philharmoniker)
- The Perfume (Berliner Philharmoniker)
- The crowd embrace (Berliner Philharmoniker)
- Perfume- distilled (Berliner Philharmoniker)
- Epilogue- Leaving Grasse (State Choir Latvia)
レビュー (Amazon)
Germany's Tom Tykwer is among the rare directors who score their own movies (Charlie Chaplin, Clint Eastwood, and John Carpenter also belong to that small circle). Here, he and his regular collaborators, Johnny Klimer and Reinhold Heil (both boasting experience with... Nina Hagen!) have come up with a symphonic score performed by none other than Sir Simon Rattle and the Berliner Philharmoniker, with Absolute Ensemble founder Kristian Jarvi conducting the State Choir Latvia. Alas, even Rattle and Jarvi cannot make the score more than mildly pleasant--and ultimately unmemorable. Overall the vocal cues fare best: Soprano Chen Reiss shines on "Meeting Laura," for instance, a track that displays vague Philip Glass-esque echoes. Another highlight is the contribution of eerie-sounding boy soprano Victor de Maiziere on "Laura's Murder." Elsewhere, the composing trio mercifully doesn't overdo the middle-oriental exoticism on "Moorish Scents," though the track does feature a glockenspiel--now officially the most overused instrument on contemporary soundtracks. --Elisabeth Vincentelli
