Aleksandra
Andrei Sigle
" Sigle's music is of great visceral beauty. "Written by Joep de Bruijn - Review of the regular release
Aleksandr Sukorov excels in intimate portraits in often complex films, his views on perspective and conception, while intermittentlyn making inspiring film poems such as Elegiya Dorogi. Aleksandra (Alexandra, 2007) is his most accessible film, in all its simplicity and strength, yet with ambiguity and a deviating (slightly) realistic approach to portray a grandmother taking care of her grandson. In a sense, this is a reversed telling of the dying mother being cared for by her son in Sokorov's Mat i syn. Aleksandra Nikolaevna visits her grandson in a camp during the First Chechen War, but through meetings with Russian soldiers and local inhabitants, she is 'exposed' to universal emotions, complemented by the contrast of her warmth against the excessive military force. The contrast peaks in a 'sensory integrated' scene in which the grandson tenderly combs the hair of his grandmother, which defuses the Mat i Syn comparison slightly.
Andrei Sigle worked on numerous Aleksandr Sokurov' films, of which Aleksandra and Soltzne are musical masterpieces. His score to Aleksandra fuels the contrasts, but foremost the simplicity in Sokorov's approach, and accommodates it with a fragile sadness and melancholy as the grandmother converges with other people. While on film, the meetings between people seem random and uncohesive, but they form the strength of the film in all its simplicity and intimacy, while addressing the status quo of (non)humane aspects of war. The orchestral nuances are well on display, performed by the Symphony Orchestra of the Mariinsky Theatre (conducted by Valery Gergiev), including wonderful solo performances of the cello, piano, guitar, accordion, brass and woodwind sections. It is impelling in melodic content, receiving many remarkable renditions. While Sigle's music is rich in textures, sombre and warm in tone, some regular orchestral characteristics give the score in context a slightly melodramatic touch. Seen from Sokurov's career perspective, it is the only film that does warrant this musical touch.
The aforementioned sensory sequence is stunning; simple in visual execution and endearing in emotion as the grandson and grandmother connect, highlighted as he strokes and weaves the hair of his grandmother. The actress playing Aleksandra, Galina Vishnevskaya, was a famous opera singer, and a recording of her is heard in the opening credits, while briefly in this scene, naturally seguing into music by Sigle.
To anyone not familiar with Sokurov's cinema, the film itself, and Andrei Sigle's career, the score is presumably instantaneously satisfying. Sigle's music is of great visceral beauty. The release by MovieScore Media includes a track with dialogue, which is unfortunate.
Tracklist
1. Parting 05:20
2. Road 04:41
3. In the Tent 02:55
4. Meeting 05:12
5. Motion 04:09
6. Mood 03:54
7. Walk 07:13
8. Dust of Roads 04:45
9. Lyrical Guitar 02:36
10. Monologue 05:25
Total Album Time: 46:10
(30-07-2024)
Andrei Sigle worked on numerous Aleksandr Sokurov' films, of which Aleksandra and Soltzne are musical masterpieces. His score to Aleksandra fuels the contrasts, but foremost the simplicity in Sokorov's approach, and accommodates it with a fragile sadness and melancholy as the grandmother converges with other people. While on film, the meetings between people seem random and uncohesive, but they form the strength of the film in all its simplicity and intimacy, while addressing the status quo of (non)humane aspects of war. The orchestral nuances are well on display, performed by the Symphony Orchestra of the Mariinsky Theatre (conducted by Valery Gergiev), including wonderful solo performances of the cello, piano, guitar, accordion, brass and woodwind sections. It is impelling in melodic content, receiving many remarkable renditions. While Sigle's music is rich in textures, sombre and warm in tone, some regular orchestral characteristics give the score in context a slightly melodramatic touch. Seen from Sokurov's career perspective, it is the only film that does warrant this musical touch.
The aforementioned sensory sequence is stunning; simple in visual execution and endearing in emotion as the grandson and grandmother connect, highlighted as he strokes and weaves the hair of his grandmother. The actress playing Aleksandra, Galina Vishnevskaya, was a famous opera singer, and a recording of her is heard in the opening credits, while briefly in this scene, naturally seguing into music by Sigle.
To anyone not familiar with Sokurov's cinema, the film itself, and Andrei Sigle's career, the score is presumably instantaneously satisfying. Sigle's music is of great visceral beauty. The release by MovieScore Media includes a track with dialogue, which is unfortunate.
Tracklist
1. Parting 05:20
2. Road 04:41
3. In the Tent 02:55
4. Meeting 05:12
5. Motion 04:09
6. Mood 03:54
7. Walk 07:13
8. Dust of Roads 04:45
9. Lyrical Guitar 02:36
10. Monologue 05:25
Total Album Time: 46:10
(30-07-2024)