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Laura Karpman|Taken (Original Television Score)

Taken (Original Television Score)

Laura Karpman

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Composer Laura Karpman does her best to channel John Williams for the Steven Spielberg-produced television miniseries Taken. From the opening woodwind/celeste crescendo, she manages to evoke the fantastical whimsy that he employed throughout his sci-fi heydays. That's not to say that her own voice is muted by Williams' work; rather, it's shadowed and informed by it. She exhibits a light touch on the main theme that only occasionally touches on the descending piccolos and bursts of Vader-esque dissonance that propelled the Star Wars trilogy. The work's highlight is the shimmering "Mothership Arrival," a fresh and exhilarating piece of ear candy that tosses a wonderful brass motif in circles before deflating into a lush field of chords. Unfortunately, the score as a whole never takes off. Karpman misses the opportunity to establish a real voice by opting for long forgettable soundscapes instead of evolving the opening theme into a memorable creation.

© TiVo

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Taken (Original Television Score)

Laura Karpman

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1
Main Title
00:01:03

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

2
Spaceship
00:01:45

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

3
Artemis
00:02:40

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

4
Implant Mania
00:02:45

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

5
Romans
00:04:08

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

6
Mothership Arrival
00:02:51

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

7
To The Rescue
00:04:10

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

8
Ride
00:02:32

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

9
Tom's Revenge
00:02:36

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

10
Truth Kills Owen
00:02:42

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

11
Allie's Fire
00:02:17

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

12
Lift Off
00:04:38

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

13
Mary's Dream
00:03:04

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

14
Allie's Miracle
00:03:36

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

15
Allie Is Gone
00:04:53

Laura Karpman, MainArtist, ComposerLyricist

℗ 2002 DreamWorks, L.L.C., under exclusive license to Varese Sarabande Records

Approfondimenti

Composer Laura Karpman does her best to channel John Williams for the Steven Spielberg-produced television miniseries Taken. From the opening woodwind/celeste crescendo, she manages to evoke the fantastical whimsy that he employed throughout his sci-fi heydays. That's not to say that her own voice is muted by Williams' work; rather, it's shadowed and informed by it. She exhibits a light touch on the main theme that only occasionally touches on the descending piccolos and bursts of Vader-esque dissonance that propelled the Star Wars trilogy. The work's highlight is the shimmering "Mothership Arrival," a fresh and exhilarating piece of ear candy that tosses a wonderful brass motif in circles before deflating into a lush field of chords. Unfortunately, the score as a whole never takes off. Karpman misses the opportunity to establish a real voice by opting for long forgettable soundscapes instead of evolving the opening theme into a memorable creation.

© TiVo

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