- Koyaanisqatsi
- Organic
- Cloudscape
- Resource
- Vessels
- Pruit Igoe
- The Grid
- Prophecies
- Serra Pelado
- The Title
- Anthem - Part 1
- That Place
- Anthem - Part 2
- Mosque And Temple
- Anthem - Part 3
- Train To Sao Paulo
- Video Dream
- New Cities In Ancient Lands, China
- New Cities In Ancient Lands, Africa
- New Cities In Ancient Lands, India
- The Unutterable
- Caught!
- Mr. Suso #1
- From Egypt
- Mr. Suso #2 With Reflection
- Powaqqatsi
- Dracula
- Journey To The Inn
- The Inn
- The Crypt
- Carriage Without A Driver
- The Castle
- The Drawing Room
- 'Excellent, Mr. Renfield'
- The Three Consorts Of Dracula
- The Storm
- Horrible Tragedy
- London Fog
- In The Theatre
- Lucy's Bitten
- Seward Sanatorium
- Renfield
- In His Cell
- When The Dream Comes
- Dracula Enters
- Or A Wolf
- Women In White
- Renfield In The Drawing Room
- Dr. Van Helsing And Dracula
- Mina On The Terrace
- Mina's Bedroom/The Abbey
- The End Of Dracula
- Ouverture
- Les Soeurs
- Le Damande En Mariage D'Avenant
- Le Voyage Du Pere
- Le Domaine De La Bete
- Le Retour Du Pere
- La Belle Va Au Chateau
- Le Diner
- Les Tourments De La Bete
- Promenade Dans Le Jardin
- Le Saisie Des Meubles
- La Confiance De La Bete En La Belle
- Belle Retourne Chez Son Pere
- Belle Raconte Son Histoire
- Le Plan
- La Passion D'Avenant
- La Magnifique Apparait
- Le Miroir
- La Pavillon
- Le Metamorphose
- The Beginning
- Perpetual Motion
- The Witness
- Sand Mandala
- Projector
- Escape To India
- Mishima/Opening
- Osamu's Theme: Kyoko's House
- November 25: Ichigaya
- Mishima/Closing
- Secret Agent
- The First Meridian
- Trust
- End Credits
- The Man In The Bath
- Facades
- Diaspora
発売日:2001年10月2日(火)
レーベル:Nonesuch
レビュー (Amazon)In order to approach this fine collection of works by Philip Glass for the screen, you must not only have a strong liking for Glass and/or minimalism in general, but also you must dispense with the idea that Glass' music works as dramatic film scoring. Glass does succeed in his scoring for certain types of picture--those that perhaps approach the realm of post-modern fine art, including various montage sequences (the acclaimed
Koyaanisqatsi) or indeed silent movies, but with any other type of film the scoring cannot provide or accentuate the drama and it becomes merely a sort of aural wallpaper. Glass does exactly the opposite of what a film composer would normally do--he writes very long cues instead of very short ones. This can be appealing for certain types of film (such as
Kundun) but for others it can fight the picture, rather than add to it. Putting this aside, the resulting collection is extremely satisfying in its quantity of sounds. Glass certainly has validity in experimental film; his use of repetition in its hypnotic effect on the audience transforms the mood slowly. As a serious film composer one could argue that there are many others who don't need to provoke such extreme reactions (Jerry Goldsmith or Bernard Herrman for example).--
Dominic Sewell