Thanks to the hard work carried out in cooperation with recording studios as well as an increasing number of music labels (Plus Loin Music, Bee Jazz, Ambronay Editions, Zig Zag Territoires, ECM, Mirare, Aeolus, Ondine, Winter & Winter, Laborie, etc.), Qobuz now offers a rapidly-growing selection of new releases and back catalogue records in 24-bit HD quality. These albums reproduce exactly the sound from the studio recording, and offer a more comfortable listening experience that exceeds the sound quality of a CD (typically \"reduced\" for mastering at 44.1kHz/16-bit). \"Qobuz HD\" files are DRM-free and are 100% compatible with both Mac and PC. Moving away from the MP3-focused approach that has evolved over recent years at the expense of sound quality, Qobuz provides the sound calibre expected by all music lovers, allowing them to enjoy both the convenience and quality of online music.

Note 24-bit HD albums sold by Qobuz are created by our labels directly. They are not re-encoded using SACD and we guarantee their direct source. In order to continue on this path, we prohibit any tampering with the product.

2070 albums sorted by Bestsellers and filtered by Soundtracks
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Film Soundtracks - Released October 5, 2018 | A Star is Born OST

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Film Soundtracks - Released December 9, 2016 | UMGRI Interscope

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

Hi-Res Distinctions Preis der deutschen Schallplattenkritik
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 January 13, 2017 | Sony Classical

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Film Soundtracks - Released July 27, 2018 | Rhino - Warner Bros.

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Howard Shore’s themes for Peter Jackson’s Lord of the Rings trilogy are often considered as some of the greatest accomplishments in the history of movie soundtracks. By virtue of its operatic length, first: just for this second volume (available here in its entirety), the listener can enjoy this music for more than three hours! But first and foremost, we have to highlight here the extremely rich and inventive artistic performance of the composer of the movies of David Cronenberg, as well as Ed Wood, After Hours and Mrs. Doubtfire. For this second episode released in 2002 (called The Two Towers), the Canadian composer reuses here and there the epic and moving themes from the first volume, by injecting into them more darkness and ambiguity, as proven by the opening track (Glamdring, with Maori choruses), as well as tracks associated to Gollum that skillfully blend shadow and light (My Precious). This soundtrack is also filled with new themes like the one, epic and majestic, devoted to the Rohirrim, the riders of Middle-earth (The Plains of Rohan). But Shore’s score wouldn’t be complete without this Celtic flavor that the composer scatters with subtlety throughout this titanic partition—thus reminding that one of the influences of Tolkien, the author of the novels, was Irish mythology. Dermot Crehan (violin) and the great flutist James Galway (tin and low whistle) are usually responsible for bringing to this score this particular color (Edoras ; Ent-draught). In this regard, it is worth noting the impressive number of soloists inside Shore’s partition, something quite rare for a so-called “symphonic” partition. Naturally, throughout his work, the composer endeavors to respect to the letter the narrative and visual world of Tolkien and Jackson, thus intending it for the fans of the saga. But this rich and subtle original soundtrack proves in a blatant way that Howard Shore also wanted to speak to the heart of every music lover, whether they knew Tolkien’s fantastical world or not. © Nicolas Magenham/Qobuz
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Film Soundtracks - Released April 14, 1978 | Polydor Records

Hi-Res Distinctions The Qobuz Ideal Discography
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Film Soundtracks - Released March 23, 2018 | Reprise

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Daryl Hannah behind the camera and his man of the hour, one Neil Young, in front! This is Paradox, the first film with the actor-turned-siren, Splash in 1984. And as he wanted the soundtrack done properly, the Loner did it himself. In 1995, Neil Young made a brilliant foray into film music when he produced the score for Dead Man by Jim Jarmusch. Accompanied by Lukas Nelson's group Promise of the Real and some giants like Jim Keltner and Paul Bushnell but also Willie Nelson, it mixes instrumental pieces and songs. Unsurprisingly, the spirit is electric, à la Crazy Horse, with a rock'n'roll soul and a few excursions into country, but it's all 100% Neil Young. And at the climax of this orgy of decibels is Cowgirl Jam, a furious improvisation lasting over ten minutes: it's worth buying the record for this alone. A few ancient songs like a version of Pocahontas or a ukulele re-invention of Tumbleweed from the album Storytone come to round off a remarkably straightforward Paradox. © Max Dembo/Qobuz
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Film Soundtracks - Released June 10, 2016 | Mi'ster

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Film Soundtracks - Released December 1, 2017 | Eagle Rock Entertainment

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Film Soundtracks - Released May 13, 2013 | Wagram Music

Hi-Res Distinctions Victoire de la musique - The Qobuz Ideal Discography - Hi-Res Audio
French composer Eric Serra is best known as a constant collaborator of Luc Besson, and Le Grand Bleu contains music that Serra wrote for Besson's feature film of the same name. This was their third collaboration. ~ Sergey Mesenov
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Film Soundtracks - Released April 13, 2018 | Rhino - Warner Bros.

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Film Soundtracks - Released May 4, 2018 | Decca (UMO) (Classics)

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Film Soundtracks - Released September 25, 2015 | Atlantic Records

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Film Soundtracks - Released February 17, 2015 | Fifty Shades of Grey

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Film Soundtracks - Released October 30, 2015 | Universal-Island Records Ltd.

Hi-Res Distinctions Grammy Awards
Amy is the companion soundtrack for Asif Kapadia’s documentary film of the same name depicting the life, career, and struggles of late soul/pop singer Amy Winehouse. The album features alternate versions of popular tracks such as a downtempo version of "Some Unholy War," an a cappella version of "Back to Black," and an acoustic demo of "Like Smoke," her collaboration with Nas. The release also includes live tracks and original score pieces from film composer Antônio Pinto. ~ Rob Wacey
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Film Soundtracks - Released December 7, 2018 | Deutsche Grammophon (DG)

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Film Soundtracks - Released September 18, 2015 | Hollywood Records

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Film Soundtracks - Released May 25, 2018 | Walt Disney Records

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Film Soundtracks - Released June 26, 2018 | WaterTower Music

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Film Soundtracks - Released March 16, 2018 | Hollywood Records

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