The Twilight Saga: New Moon
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| # | Track | Duration | |
|---|---|---|---|
| 1. | New Moon | 3:19 | |
| 2. | Bella Dreams | 2:05 | |
| 3. | Romeo & Juliet | 2:46 | |
| 4. | Volturi Waltz | 1:17 | |
| 5. | Blood Sample | 1:15 | |
| 6. | Edward Leaves | 5:03 | |
| 7. | Werewolves | 4:25 | |
| 8. | I Need You | 1:38 | |
| 9. | Break Up | 2:04 | |
| 10. | Memories Of Edward | 1:39 | |
| 11. | Wolves V. Vampire | 4:32 | |
| 12. | Victoria | 2:05 | |
| 13. | Almost A Kiss | 2:12 | |
| 14. | Adrenaline | 2:24 | |
| 15. | Dreamcatcher | 3:31 | |
| 16. | To Volterra | 9:18 | |
| 17. | You're Alive | 2:11 | |
| 18. | The Volterra | 8:37 | |
| 19. | The Cullens | 4:32 | |
| 20. | Marry Me, Bella | 4:04 | |
| 21. | Full Moon | 3:15 | |
| 72:12 |
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Do you crave romance, a sensuous love theme, and short lived yet interesting action pieces? Then this may be the score for you!
Alexandre Desplat is one of the most celebrated composers of this year by far - and if he's not yet seen as such - he certainly should be.
The man is an enormously talented workaholic it would seem, going from one film to the next and always seeming to leave it better than he found it.
Desplat astounds with his keen sensibilites of weaving classically influenced waltzes, sweetly harmonic beds of strings, and mystical celeste and piano solos he is so ready to employ to create the ethereal qualities found in so much of his music.
This is no disappointment if you recently are or have always been a fan of Alexandre Desplat. The restrained excellence of quality of melodies and textures throughout the 70+ run time effortlessly flows from one piece to another creating a true atmospheric world all of its own.
This is easily my favorite Alexandre Desplat score of the year.
Tracklisting:
1) New Moon: This beginning track introduces you to the overall atmosphere of the film score with lush strings, throbbing bass, and a piano-led yearning love theme. 1/2
2) Bella Dreams: A slightly creepy piece that will bring back memories of Mr. Desplat's score to Birth - complete with the undulating bass and celeste/harp arpeggios.
3) Romeo & Juliet: This track, though fairly short, is overflowing with incredibly splendid strings playing one of the most gorgeous romantic pieces of music I have heard this year.
4) Volturi Waltz: A short yet necessary representation of the Volturi which serves them quite well - who knew the bad guys would get the signature waltz this time around? 1/2
5) Blood Sample: An edgy little action cue that is practically over as soon as it starts - unfortunately making it largely forgettable. 1/2
6) Edward Leaves: Lovely celeste and piano carry us through a forest of strings producing autumn sounds of despair and love lost.
7) Werewolves: A successful cue at creating thick atmospheres of trepidation, but nothing truly memorable about this piece otherwise.
8) I Need You: A short and sweet cue that is frankly forgettable, but works within the score. 1/2
9) Break Up: Sad and somewhat melodramatic strings and drum hits make this cue only serviceable until the very end when there is some Phillip Glass-type ostinato that will wake you out of the slight lull that these last 3 cues have put your ears into.
10) Memories Of Edward: This track represents the closest to anything from the original score album by Carter Burwell. It truly sounds like Desplat was trying to emulate a little bit of Twilight for this flashback/dream sequence as used in the film.
11) Wolves V. Vampire: Fantasy action music is featured at a more than sufficient level - especially for the limited amount of action actually featured in the movie itself. Alexandre Desplat is really quite impressive in his approach to this short yet intense action piece.
12) Victoria: A menacing, descending motif is the star of this track - along with the throbbing bass and string ostinato. 1/2
13) Almost A Kiss: Delicious harp and piano along with sumptuous strings fill this cue with quiet sentiment.
14) Adrenaline: A sumptuous pinnacle of the love theme is reached by sweeping strings, though all too briefly.
15) Dreamcatcher: This tender piece is haunting and luscious in its smoothly glowing textures - it ranks with the third cue in terms of elegant beauty and richness.
16) To Volterra: A phantasmagorical piece that really puts you into the musical tapestry of the story. Aching harp solos, chopping strings, drum hits, and pulsing beats swirl around your head as you take in this musical journey. 1/2
17) You're Alive: A delectable interpretation of the main love theme is presented a bit succinctly, but delightful all the same. 1/2
18) The Volterra: This is a dark and foreboding piece that briefly features the Volturi Waltz, along with sometimes frenetic but mainly deep string tones seemingly resurrected from Interview With a Vampire by Elliot Goldenthal. 1/2
19) The Cullens: Quiet and reflective, this piece showcases Desplat's deft hand with solo piano and strings to bring across sweet yet haunting melodies with swaying chord progressions.
20) Marry Me, Bella: The gorgeous love theme music from the closing scene of the film is simply heartfelt yet restrained in its refined beauty. The flute accents near the end of the track are just wonderful.
21) Full Moon: Bella and Edward's love theme gets one more performance to close out the album. It may remind you a little of the Hours by Phillip Glass, but somewhat more intriguing, by way of its driving theme of fiery determination that builds until the very end. 1/2
Alexandre Desplat is one of the most celebrated composers of this year by far - and if he's not yet seen as such - he certainly should be.
The man is an enormously talented workaholic it would seem, going from one film to the next and always seeming to leave it better than he found it.
Desplat astounds with his keen sensibilites of weaving classically influenced waltzes, sweetly harmonic beds of strings, and mystical celeste and piano solos he is so ready to employ to create the ethereal qualities found in so much of his music.
This is no disappointment if you recently are or have always been a fan of Alexandre Desplat. The restrained excellence of quality of melodies and textures throughout the 70+ run time effortlessly flows from one piece to another creating a true atmospheric world all of its own.
This is easily my favorite Alexandre Desplat score of the year.
Tracklisting:
1) New Moon: This beginning track introduces you to the overall atmosphere of the film score with lush strings, throbbing bass, and a piano-led yearning love theme. 1/2
2) Bella Dreams: A slightly creepy piece that will bring back memories of Mr. Desplat's score to Birth - complete with the undulating bass and celeste/harp arpeggios.
3) Romeo & Juliet: This track, though fairly short, is overflowing with incredibly splendid strings playing one of the most gorgeous romantic pieces of music I have heard this year.
4) Volturi Waltz: A short yet necessary representation of the Volturi which serves them quite well - who knew the bad guys would get the signature waltz this time around? 1/2
5) Blood Sample: An edgy little action cue that is practically over as soon as it starts - unfortunately making it largely forgettable. 1/2
6) Edward Leaves: Lovely celeste and piano carry us through a forest of strings producing autumn sounds of despair and love lost.
7) Werewolves: A successful cue at creating thick atmospheres of trepidation, but nothing truly memorable about this piece otherwise.
8) I Need You: A short and sweet cue that is frankly forgettable, but works within the score. 1/2
9) Break Up: Sad and somewhat melodramatic strings and drum hits make this cue only serviceable until the very end when there is some Phillip Glass-type ostinato that will wake you out of the slight lull that these last 3 cues have put your ears into.
10) Memories Of Edward: This track represents the closest to anything from the original score album by Carter Burwell. It truly sounds like Desplat was trying to emulate a little bit of Twilight for this flashback/dream sequence as used in the film.
11) Wolves V. Vampire: Fantasy action music is featured at a more than sufficient level - especially for the limited amount of action actually featured in the movie itself. Alexandre Desplat is really quite impressive in his approach to this short yet intense action piece.
12) Victoria: A menacing, descending motif is the star of this track - along with the throbbing bass and string ostinato. 1/2
13) Almost A Kiss: Delicious harp and piano along with sumptuous strings fill this cue with quiet sentiment.
14) Adrenaline: A sumptuous pinnacle of the love theme is reached by sweeping strings, though all too briefly.
15) Dreamcatcher: This tender piece is haunting and luscious in its smoothly glowing textures - it ranks with the third cue in terms of elegant beauty and richness.
16) To Volterra: A phantasmagorical piece that really puts you into the musical tapestry of the story. Aching harp solos, chopping strings, drum hits, and pulsing beats swirl around your head as you take in this musical journey. 1/2
17) You're Alive: A delectable interpretation of the main love theme is presented a bit succinctly, but delightful all the same. 1/2
18) The Volterra: This is a dark and foreboding piece that briefly features the Volturi Waltz, along with sometimes frenetic but mainly deep string tones seemingly resurrected from Interview With a Vampire by Elliot Goldenthal. 1/2
19) The Cullens: Quiet and reflective, this piece showcases Desplat's deft hand with solo piano and strings to bring across sweet yet haunting melodies with swaying chord progressions.
20) Marry Me, Bella: The gorgeous love theme music from the closing scene of the film is simply heartfelt yet restrained in its refined beauty. The flute accents near the end of the track are just wonderful.
21) Full Moon: Bella and Edward's love theme gets one more performance to close out the album. It may remind you a little of the Hours by Phillip Glass, but somewhat more intriguing, by way of its driving theme of fiery determination that builds until the very end. 1/2
A vampire movie, or should I say another vampire movie! Yes it is but it’s an intelligent and well made vampire movie, I am pleased that filmmakers are at last taking the story of these creatures mythical or real? Seriously. Last year we had LET THE RIGHT ONE IN which was excellent, and now the second instalment of the Twilight sage in the form of NEW MOON, Carter Burwell’s score for the first outing of these tales entitled simply TWILIGHT. Were I thinking serviceable, but really not that special or even outstanding? This score by French film music Maestro Alexandre Desplat however, is quite a different story. The award winning composer shows us why he is such a master of his craft with this highly rich, romantic and sensuous sounding work, ok yes there are obviously the action cues as well, but even these are not purely atonal crash’s, bangs, bumps and booms they have real substance and musicality. The CD opens with the title track ‘New Moon’, which begins with low and subdued almost swirling strings that act as an introduction to a piano solo which is underlined by rich and full bodied strings and laced with woods giving the composition a warm and romantic feel, also in the background there is delicate usage of harp and triangle that are played in unison with the piano creating an almost magical and mysterious atmosphere, add to this faraway sounding French horn and we have the recipe for a stunning and breathtaking theme, a theme that builds, gathers pace and increases in volume till it reaches its crescendo of sorts. Desplat is so good at creating melodies, passages and motifs such as this and has I think fashioned a theme that is splendidly spectacular. Its one of those cues that once heard has to be heard again and again, it is infectious, inspiring and so emotionally charged, a real delight. Track 2, ‘Bella Dreams’, is a slightly harder edged composition, again strings are in the forefront of proceedings with dramatic use of percussion, woods and muted brass being employed in a very Barry-esque style, creating a tension filled cue. In track number 3, ‘Romeo And Juliet’, we hear Desplat at his romantic best, a beautifully lush and full version of the scores central love theme is given a heartrending work out by the strings of the LSO, this poignant and highly charged emotionally composition is for me the real highlight of the score. Track 4,’Volture Waltz’, is a waltz macabre where Desplat employs strings and trumpet embroidered by percussion to relay to us an uneasy sounding slightly off kilter waltz that is pleasant but menacing at the same time.
Track 5, ‘Blood Sample’ is a more up-tempo and noisy affair, short lived but dramatically it makes its mark. Track 6, ‘Edward Leaves’ is again more of a romantic sounding cue, a well structured and wonderfully orchestrated piece that includes, the string section, graceful piano solo sombre sounding cello and light use of harp, again the central theme is fleetingly introduced almost teasing the listener as Desplat employs solo trumpet underlined by woods and meandering piano creating a poignant but powerful composition that ticks all the boxes for any film music collector. Track 7, ‘Werewolves’, begins with low strings and lone horn solo, which melt away leaving woods and trumpet which are played softly, until they are joined by percussion more woods and underlying strings, the tension builds but subsides as the cue reaches its conclusion, strings and percussion being replaced by delicate sounding woods. This is a score of great quality, the music on this CD is probably a contender for best original score award at the Oscars next year, if not there is certainly no justice in this world. Desplat has created a score of tremendous originality here and also one that will entertain and delight film music fans, other stand out cues include, ‘Wolves V Vampires’, ‘Dreamcatcher’, ‘To Volterra’ and the touching and vibrant tone poems ‘Almost A Kiss’ and ‘Marry Me Bella’. I recommend this release, I urge you to purchase it, it is you who will be the poorer for not experiencing this composer’s marvellous score.
Track 5, ‘Blood Sample’ is a more up-tempo and noisy affair, short lived but dramatically it makes its mark. Track 6, ‘Edward Leaves’ is again more of a romantic sounding cue, a well structured and wonderfully orchestrated piece that includes, the string section, graceful piano solo sombre sounding cello and light use of harp, again the central theme is fleetingly introduced almost teasing the listener as Desplat employs solo trumpet underlined by woods and meandering piano creating a poignant but powerful composition that ticks all the boxes for any film music collector. Track 7, ‘Werewolves’, begins with low strings and lone horn solo, which melt away leaving woods and trumpet which are played softly, until they are joined by percussion more woods and underlying strings, the tension builds but subsides as the cue reaches its conclusion, strings and percussion being replaced by delicate sounding woods. This is a score of great quality, the music on this CD is probably a contender for best original score award at the Oscars next year, if not there is certainly no justice in this world. Desplat has created a score of tremendous originality here and also one that will entertain and delight film music fans, other stand out cues include, ‘Wolves V Vampires’, ‘Dreamcatcher’, ‘To Volterra’ and the touching and vibrant tone poems ‘Almost A Kiss’ and ‘Marry Me Bella’. I recommend this release, I urge you to purchase it, it is you who will be the poorer for not experiencing this composer’s marvellous score.
Other releases of The Twilight Saga: New Moon (2009):
Soundtracks from the collection: The Twilight Saga
