ALEXANDRE DESPLAT

Thanks for the opinion (or facts? ) Michael. I'm looking forward to it now! A new take on De Battre... Delicious!

I know Still a damn fine score!

Surprising review of The Tree of Life by Jon Broxton:

http://moviemusicuk.us/2011/05/10/the-t … e-desplat/

It seems like it's not a score for everybody's taste. Maybe in the film can have their true valour.

Speaking of Desplat, it's been confirmed that DH part 2's has been finished. The last Harry Potter score

I am sure this one will polarise opinion. I couldn't dare review it yet - there is so much in it (ironic, given the minimalistic nature of the composition). I like it, a lot.

Making a general statement here: isn't it a bit off to review film music outside the..., well, film all the time? Especially obviously complex and difficult scores like this one here... a very tricky case. I wouldn't dare review it before i watched the film. It's one of those scores that have absolutely nothing to do with the cd album that carries them in this form. Anyway, off to bed!

Old but, well always spot-on, imo, as what we have is programme music here essentially. IT's the nature of the whole thing. Discussions with composers (i am sure many have way more experienced on this one than me) always reveal interesting juxtapositions between the way they and the directors think about their music and films and - us.

I am not passing judgments here, just thinking out loud; it's something that's circling in my head a lot especially since i started my master's and teaching at a local college on film music and sound, it gave me some different experiences and perspectives on film music in general whilst presenting it to people, analyzing it and taking the feedback back in, i am sure Michael can perhaps understand this point better? I am not sure yet, it's still cooking but it's one of the primal reasons i stopped reading such reviews and of course i don't write as much as i used to 'cause i found that i did that too especially in the past, but also now, by the time i watch the movie and am ready to present a "from within the movie and the album" review, everybody has listened to it to death by then.

I've always thought there are basically two different things available for review - the score as written and used in the film, and the music on the album. It's a great shame that there is nobody reviewing the former. It's more difficult to do, I guess that's the problem. Anyone with a CD player and an internet connection can review the latter. (I should know.) You need a deeper understanding and a LOT more time in order to the former.

Well. I've read that the film was edited according to the music.

Desplat chilled him out.

Move over Alex, you're going to be sharing the stage in TREE OF LIFE with...

“Funeral Canticle”
Written by John Tavener and Mother Thekla
Performed by George Mosley, Paul Goodwin
and the Academy of Ancient Music
Courtesy of Harmonia Mundi USA

“Cosmic Beam Take 5”
Written and Performed by Francesco Lupica
Courtesy of Twentieth Century Fox Film Corporation

“Symphony No. 1”
Written by Gustav Mahler
Performed by the Polish National Radio Symphony Orchestra conducted by Michael Halász
Courtesy of Naxos
By arrangement with Source/Q

“Morning Prayers”
Written by Giya Kancheli
Courtesy of ECM Records

“Faunophonia Balkanica”
Written, Performed and Produced by Arsenije Jovanovic
Courtesy of Arsenije Jovanovic

“Wind Pipes”
Written and Performed by Michael Baird
Courtesy of Sharp Wood Records

“Approaching”
Written, Performed and Produced by Arsenije Jovanovic
Courtesy of Arsenije Jovanovic

“Ta Há 1”
Written and Performed by Klaus Wiese
Courtesy of Aquamarin Verlag GmbH, Germany

“Snapshot from the Island”
Written and Performed by Tibor Szemzo
Courtesy of Leo Records

“Lacrimosa 2”
Composed by Zbigniew Preisner
Performed by Elzbieta Towarnicka (soprano) and the Sinfonia Varsovia
and the Varsov Chamber Choir, conducted by Jacek Kaspszyk
Courtesy of New Music B.V.

“Ascending and Descending”
Written by David Hykes
Performed by David Hykes and The Harmonic Choir
Courtesy of Harmonic Presence Foundation

“Resurrection in Hades”
Written by John Tavener and Mother Thekla
Performed by Joseph Jennings and the Chanticleer Choir and Chorus
Courtesy of Warner Classics
By arrangement with Warner Music Group Film & TV Licensing

“Berlioz: 7. Domine Jesu Christe [Requiem Op. 5 (Grande Messe des Morts)]”
Performed by Wandsworth School Boys Choir, London Symphony Chorus, London Symphony Orchestra, Sir Colin Davis
Courtesy of Decca Music Group Ltd.
Under license from Universal Music Enterprises

“Siciliana Da Antiche Danze Ed Arie Suite III”
Written by Ottorino Respighi
Performed by the National Symphony Orchestra of Ireland Conducted by Rico Saccani
Courtesy of Naxos
By Arrangement with Source/Q

“Hymn to Dionysus”
Composed by Gustav Holst
Performed by The Royal Philharmonic Orchestra and Chorus
Courtesy of Unicorn-Kanchana Records

“My Country –Vltava (The Moldau)”
Composed by Bedrich Smetana
Performed by Vaclav Smetacek and
The Czech Philharmonic Orchestra
Courtesy of SUPRAPHON

“Brahms: 2. Andante moderato [Symphony No. 4 in E minor, Op. 98]”
Performed by Berliner Philharmoniker, Herbert von Karajan
Courtesy of Deutsche Grammophon GmbH, Hamburg
Under license from Universal Music Enterprises

“Symphony No. 3”
Written by Henryk Górecki
Performed by the Polish National Radio Symphony Orchestra conducted by Antoni Wit
Courtesy of Naxos
By Arrangement with Source/Q

“Pièces de clavecin, Book II 6e Ordre N5:Les Barricades Mistérieuses
Written by Francois Couperin (1668-1733)
Performed by Angela Hewitt
Courtesy of Hyperion Records Ltd.

“J.S Bach: Fugue [Toccata and Fugue in D Minor, BWV 565]”
Performed by Helmut Walcha
Courtesy of Deutsche Grammophon, GmbH, Hamburg
Under license from Universal Music Enterprises

“The Well-Tempered Clavier”
Written by Johann Sebastian Bach
Performed by Jenő Jandó
Courtesy of Naxos
By arrangement with Source/Q

“Pièces de clavecin, Book II 6e Ordre N5:
Les Barricades Mistérieuses
Written by Francois Couperin
Performed by Hanan Townshend
Courtesy of Hanan Townshend

“Hymn 87: Welcome Happy Morning”
Performed by Hanan Townshend
Courtesy of Hanan Townshend

"Mussorgsky: Pictures at an Exhibition - Promenade - The Tuileries - Bydio (Piano Version)"
Performed by Vladimir Ashkenazy
Courtesy of Decca Music Group Ltd.
Under license from Universal Music Enterprises

“Schumann: 1. Allegro affettuoso [Piano Concerto in A Minor, Op. 54]”
Performed by Martha Argerich, Gewandhausorchester, Leipzig, Riccardo Chailly
Courtesy of Decca Music Group Ltd.
Under license from Univesral Music Enterprises

“Klangschalen 2”
Written and Performed by Klaus Wiese
Courtesy of Akasha, Germany

“Eternal Pulse”
Written and Performed by Hanan Townshend
Courtesy of Hanan Townshend

“After the Rain: Antiphon”
Written by Barry Guy
Performed by Richard Hickox and the City of London Sinfonia
Courtesy of NMC Recordings

“Harold in Italy”
Written by Hector Berlioz
Performed by the San Diego Symphony Orchestra conducted by Yoav Talmi
Courtesy of Naxos
By Arrangement with Source/Q 42

“Piano Sonata No.16 in C Major K. 545”
Composed by Wolfgang Amadeus Mozart
Performed by Jim Lynch

“Siciliana Da Antiche Danze Ed Arie Suite III”
Written by Ottorino Respighi
Performed by Hanan Townshend
Courtesy of Hanan Towhnshend

“Lacrimosa 2”
Written by Zbigniew Preisner
Performed by Hanan Townshend
Courtesy of Hanan Townshend

“Berlioz: 10. Agnus Dei [Requiem, Op. 5 (Grande Messe des Morts)]”
Performed by Wandsworth School Boys Choir, London Symphony Chorus, London Symphony Orchestra, Sir Colin Davis
Courtesy of Decca Music Group Ltd.
Under license from Universal Music Enterprises

“Sound Testament of Mount Athos”
Written, Performed and Produced by Arsenije Jovanovic
Courtesy of Arsenije Jovanovic

“Ma Maison”
Written, Performed and Produced by Arsenije Jovanovic
Courtesy of Arsenije Jovanovic

I must admit, I've always wanted to see what Malick would do with Mahler 1 in a film.

Having like thirty-five songs in a two hours film it's not sharing.

Suffice to say a good night out with me in Sydney is a bit more sedate than it would be with some others.

It must be the longest film in history if it accommodates all that... unless he's "done a New World" on Desplat. (Which seems unlikely, really.)