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Film Soundtracks - Released December 1, 2017 | Decca (UMO) (Classics)

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How can music translate the idea of a natural element such as water? One Claude Debussy already tackled the subject, but Alexandre Desplat chose a different esthetics from the one of his elder—even if, just like with Debussy, the timbers are at the heart of Desplat’s idea. For this fantastic tale from Guillermo Del Toro, which tells the love story between a young mute girl, Elisa (Sally Hawkins), and an amphibian creature (Doug Jones), Desplat incorporated no less than twelve flutes to the legendary London Symphony Orchestra—alto flutes, bass flutes, transverse flutes. The partition integrates very few brass instruments, and it is the string and wood instruments that suggest the undulation and water’s fluidity. To this is added the delicacy of instruments such as the piano, the harp and the vibraphone, which reinforce this idea. From this uncommon orchestral canvas, Alexandre Desplat joins different themes and moods. Therefore, the title sequence is a solo whistling (performed by the composer himself), which represents the young heroine’s “voice”. As for the bandoneon (which symbolizes the creature), it accentuates the oneiric aspect of the pictures thanks to its sensuality and softness. Those two instruments graciously evolve together, just like the two movie protagonists, atypical heroes who dream of being the stars of a Hollywood musical. Because beyond this incongruous script premise, The Shape of Water most of all pays homage to cinema—mostly to classic American movies. Throughout the soundtrack, you will continuously find this feeling of nostalgia, especially in the choice to highlight the South-American percussion (bongos, congas…), evoking so many movies from the 1950s and 1960s (remember Touch of Evil, directed by Orson Welles and composed by Henry Mancini). For the end credits, and just like the movie’s subject, Alexandre Desplat plays the crossover card by calling upon soprano Renée Fleming to perform a brand new arrangement of the jazz classic from the 1940s You’ll Never Know. Finally, let’s note that with The Shape of Water, Alexandre Desplat won his second Academy Award, three years after his first one for Wes Anderson’s The Grand Budapest Hotel. ©Nicolas Magenham/Qobuz
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Film Soundtracks - Released December 13, 2019 | Sony Classical

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Film Soundtracks - Released November 8, 2019 | Warner Classics

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Film Soundtracks - Released May 20, 2006 | Playtime

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Film Soundtracks - Released November 1, 2019 | Warner Classics

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Film Soundtracks - Released November 18, 2013 | Playtime

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Film Soundtracks - Released November 7, 2014 | Sony Classical

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Film Soundtracks - Released October 28, 2013 | Decca (UMO)

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Film Soundtracks - Released May 16, 2014 | Varese

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Film Soundtracks - Released March 15, 2019 | New Line Records

Film Soundtracks - Released April 12, 2018 | Mercuziopianist

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Film Soundtracks - Released March 13, 2018 | Mercuziopianist

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Film Soundtracks - Released December 12, 2014 | Parlophone UK

French film composer Alexandre Desplat caps off a prolific 2014 season with his deeply resonant and uplifting score to Angelina Jolie's WWII drama Unbroken. The film chronicles the true story of Olympian runner Louis Zamperini, who survived a dramatic plane crash at sea and internment in several Japanese prison camps during his military service. The increasingly in-demand Desplat also scored the WWII caper The Monuments Men earlier in the year, but the tone he adopts for Unbroken is far different, relying heavily on warm, sentimental themes to accompany Zamperini's inspirational story. Playing back and forth between airy, atmospheric pieces and massive, theatrical swells, he uses far more light than darkness here and the result is a very melodic and motivational score. Heavy percussive sections accent the militaristic feeling and nimble wooden flutes accent many of the Japanese scenes. The overall feel-good tone is enhanced by the inclusion of Coldplay's slightly bland but pleasant original track "Miracles." ~ Timothy Monger
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Film Soundtracks - Released March 15, 2019 | New Line Records

French film composer Alexandre Desplat already had several exotic and evocative scores to his credit -- one thinks immediately of 2006's The Painted Vail and 2005's Syriana -- when he got the contract to compose the music for the film version of Philip Pullman's The Golden Compass, the first of the author's His Dark Materials trilogy. Like his previous scores, Desplat's music for The Golden Compass is made up of driving ostinatos à la Philip Glass, ominous harmonies à la Bernard Herrmann, colorful orchestrations à la Jerry Goldsmith, and emotionally charged motives à la Alexander North, plus a slew of spooky sound effects à la John Williams. The tone of the score, however, is entirely Desplat's own: located somewhere between ethereal and demonic and innocence and decadence, his music for The Golden Compass is as atmospheric as his music for The Painted Vail, but much weirder and otherworldly. Produced by Desplat in EMI's Abbey Road Studios and AIR Studio in brightly lit but deeply textured sound, this disc is a lovely aural souvenir from the film. Kate Bush's typically idiosyncratic but strangely haunting performance of her song "Lyra," named for the film's central character, is an apt way to end both the film and the soundtrack.
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Film Soundtracks - Released March 15, 2019 | WaterTower Music

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Film Soundtracks - Released June 1, 2018 | Abkco Music & Records, Inc.

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Musical Theatre - Released August 24, 2018 | Sony Classical

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Classical - Released February 26, 2016 | Mercury (Universal France)

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Film Soundtracks - Released October 11, 2004 | Gaumont