Klimt
Jorge Arriagada
" MovieScore Media's Klimt is thereby perhaps one of their best personal releases. It holds a flame and carries it straight through the end. "Written by Thomas Glorieux - Review of the regular release
MovieScore Media continues to expand the horizon in releasing the best of the unknown composers. Klimt is definitely not one of Jorge Arriagada's first since the composer has been doing music for movies since 1977. The movie centres around painter Gustav Klimt. He was an Austrian Symbolist painter and one of the most prominent members of the Vienna Art Nouveau movement. This movie deals around his life and sketches a carefully and detailed biography until his death in 1918. The entire score of Jorge Arriagada breaths classicism, and strives to capture the morale of 1900 Venice. And my god has he succeeded in doing so.
"Persephone" is the wonderful opener of the score. A vocal led piece based on Mahler's Son of the Earth, this piece is as airy and optimistic as it can be. And the flightiness continues with "Monuments of Vienna" which is based on a waltz by Strauss (and a famous one at that).
That Arriagada's score is extremely detailed is evident on how the music progresses from track to track. The ancientness of the sound in "Rosamond (piano version)" or the detailed use of Chinese instrumentation in "Chinoiserie", it all evokes the true artistry of a composer who searches for the means to strive to the ultimate perfection. True classical lovers will hear a lot of composers' styles during many tracks. Including Brahms in the surging "Flanneries" while the darker "The Angel" holds Alban Berg's Concert for Violin as cornerstone.
The basic fact that Arriagada returns to the classical roots to portray Vienna and the painter's life is one that demands attention and praise. The evoking spirit makes sure that you feel yourself present in 1900, and musically you can't do better than what Arriagada does here. That aside, the music is all about a style and a tone you must love. I appreciate classical music but only certain pieces can really hold my attention. Sometimes classical music is so close to film music boundaries that you honestly can't differentiate which from which. If you like me have it harder to adore and like the familiar side of classical music, Klimt will be a harder score for you to appreciate.
Enjoying Klimt is up to your taste and personal style. Appreciating and accepting Klimt is all up to the fact on how much you adore composers to let you sink in a subject matter and keep you there. If you adore that, than Klimt is a thumb's up creation. Listen to the wonderfully constructed darker "Transitions" and you'll find a brilliant emotional journey through Klimt's paintings.
Schoenberg, Shubert, they all lead the road to discovery in the following tracks. Sometimes it will be hard to distinguish which style is Arriagada's because sometimes I swear, you can't hear a difference (at least for a rookie in knowledge of classical music). The style in "The Primavesi's Ball" is wonderful, it makes you almost breath the air of the civilizations itself. Yet what's clear is that the longest tracks hold the actual original film music of Arriagada. Surely another winner is "Mirrors" where the subdued underscore takes on a light unnerving tone. The piano led "Moustache" and the mysterious strings in "Snow" finish the score in a very soothing manner.
I can't find a fault in Jorge Arriagada's Klimt, because technically, it is superb in context with the biography of the painter. Musically it stretches every emotion, every feel you can imagine to the brink that you actually think you're inside the life of Klimt himself. The only remark which I can find is that the personal sound of the score isn't for everybody. This is probably a score I will hardly listen to but it is a score I greatly admire for the detail and personal love that went inside of it.
MovieScore Media's Klimt is thereby perhaps one of their best personal releases. It holds a flame and carries it straight through the end. Once you can appreciate that a personal style has been set, there is no denying that Klimt is a masterful emotional and colourful drawing of one of European's most expressive painters.
Tracklisting
1. Persephone (3.06) Excellent track
2. Monuments of Vienna (3.11)
3. Rosamond (piano version) (1.23)
4. Chinoiserie (2.04)
5. Cafe Central (1.26)
6. Flanneries (2.06)
7. The Angel (2.00)
8. Evocation (1.13)
9. Bonbon Waltz (1.38)
10. Transitions (4.44) Excellent track
11. The Double (2.52)
12. Trifleness (1.14)
13. Recalling the Old Masters (1.00)
14. Scene from a Film (1.33)
15. History of Music (1.28)
16. Rosamonde (1.38)
17. Sic Transit (2.07)
18. The Primavesi's Ball (1.25)
19. Mirrors (4.39) Excellent track
20. Moustache (1.16)
21. Snow (1.16)
Total Length: 43.19
"Persephone" is the wonderful opener of the score. A vocal led piece based on Mahler's Son of the Earth, this piece is as airy and optimistic as it can be. And the flightiness continues with "Monuments of Vienna" which is based on a waltz by Strauss (and a famous one at that).
That Arriagada's score is extremely detailed is evident on how the music progresses from track to track. The ancientness of the sound in "Rosamond (piano version)" or the detailed use of Chinese instrumentation in "Chinoiserie", it all evokes the true artistry of a composer who searches for the means to strive to the ultimate perfection. True classical lovers will hear a lot of composers' styles during many tracks. Including Brahms in the surging "Flanneries" while the darker "The Angel" holds Alban Berg's Concert for Violin as cornerstone.
The basic fact that Arriagada returns to the classical roots to portray Vienna and the painter's life is one that demands attention and praise. The evoking spirit makes sure that you feel yourself present in 1900, and musically you can't do better than what Arriagada does here. That aside, the music is all about a style and a tone you must love. I appreciate classical music but only certain pieces can really hold my attention. Sometimes classical music is so close to film music boundaries that you honestly can't differentiate which from which. If you like me have it harder to adore and like the familiar side of classical music, Klimt will be a harder score for you to appreciate.
Enjoying Klimt is up to your taste and personal style. Appreciating and accepting Klimt is all up to the fact on how much you adore composers to let you sink in a subject matter and keep you there. If you adore that, than Klimt is a thumb's up creation. Listen to the wonderfully constructed darker "Transitions" and you'll find a brilliant emotional journey through Klimt's paintings.
Schoenberg, Shubert, they all lead the road to discovery in the following tracks. Sometimes it will be hard to distinguish which style is Arriagada's because sometimes I swear, you can't hear a difference (at least for a rookie in knowledge of classical music). The style in "The Primavesi's Ball" is wonderful, it makes you almost breath the air of the civilizations itself. Yet what's clear is that the longest tracks hold the actual original film music of Arriagada. Surely another winner is "Mirrors" where the subdued underscore takes on a light unnerving tone. The piano led "Moustache" and the mysterious strings in "Snow" finish the score in a very soothing manner.
I can't find a fault in Jorge Arriagada's Klimt, because technically, it is superb in context with the biography of the painter. Musically it stretches every emotion, every feel you can imagine to the brink that you actually think you're inside the life of Klimt himself. The only remark which I can find is that the personal sound of the score isn't for everybody. This is probably a score I will hardly listen to but it is a score I greatly admire for the detail and personal love that went inside of it.
MovieScore Media's Klimt is thereby perhaps one of their best personal releases. It holds a flame and carries it straight through the end. Once you can appreciate that a personal style has been set, there is no denying that Klimt is a masterful emotional and colourful drawing of one of European's most expressive painters.
Tracklisting
1. Persephone (3.06) Excellent track
2. Monuments of Vienna (3.11)
3. Rosamond (piano version) (1.23)
4. Chinoiserie (2.04)
5. Cafe Central (1.26)
6. Flanneries (2.06)
7. The Angel (2.00)
8. Evocation (1.13)
9. Bonbon Waltz (1.38)
10. Transitions (4.44) Excellent track
11. The Double (2.52)
12. Trifleness (1.14)
13. Recalling the Old Masters (1.00)
14. Scene from a Film (1.33)
15. History of Music (1.28)
16. Rosamonde (1.38)
17. Sic Transit (2.07)
18. The Primavesi's Ball (1.25)
19. Mirrors (4.39) Excellent track
20. Moustache (1.16)
21. Snow (1.16)
Total Length: 43.19