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Main Titles - James Horner - The Name Of The Rose (Original Soundtrack)


Download Main Titles - James Horner - The Name Of The Rose (Original Soundtrack)

The score for The Name of the Rose is by James Horner, and is the third of the four films he scored in Recent information suggests that Horner was specifically asked to score the film with synths by director Annaud and producer Bernd Eichinger, and that Horner initially resisted, before eventually acquiescing to their wishes, but none of it is really clear.

However, instead of using live instruments, the score is instead embellished and enhanced by a vast array of dark, brooding electronic textures which give the entire thing a sense of mysterious isolation, otherworldliness, and overarching dread. The electronic tones Horner uses are slow, morose, almost morbid in the way they capture the gloominess of the abbey, and terrible goings-on within its walls.

This is not a score which overflows with lightness or real tonal beauty, although some may find parts of it to have a soothing, religious quality. Thematically, the score is understated too. Instead, much of the rest of the score is dominated by dark, textural writing. The clean, elegant, simple writing and searching textures in this cue remind me of the more intimate parts of Cocoon, while the hesitant, gentle performance of the main theme, accompanied by flute and cello playing in double counterpoint, is just lovely.

The former sees the theme emerging from a clanging, banging, cacophonous collision of bells and electronic textures; the rising-and-falling string contrapuntal ideas Horner uses here are a composer hallmark, while the cello and harp duet just after the mark is especially attractive. The latter cue begins with sampled wordless plainsong, light bells, chimes, and drones, before eventually flourishing into a faster-tempo, elegant statement of the main theme to conclude the score.

Even the B-phrase of the main theme would later go on to influence part of the theme for The Missing, which Horner would write some 17 years later. All this is fascinating from an intellectual point of view, but I have to conclude that, while my admiration for The Name of the Rose has certainly increased over the years, many will find it to be something of a slog, despite the entire album running for less than 45 minutes.

The pursuit of the murder is seen through the frustrating lens of illogical pious behavior, though that didn't stop Annaud from exhibiting some nudity in a popular Prison Days (Were Nice) - The Frogs - Made-Up Songs #2,3,4 scene involving Christian Slater as William's young assistant.

By no means a particularly memorable film, The Name of the Rose is still solid entertainment, relying upon the performances by the two older leads to carry the mystery to its thoughtful conclusion.

Composer James Horner was already becoming a mainstream name bywith several high profile projects already under his belt. In the 's and again sporadically in the 'sthe composer experimented with almost completely synthetic scores, sometimes by necessity and other times for impact. One of the composer's more curious synthetic scores indeed belongs to The Name of the Rosea Main Titles - James Horner - The Name Of The Rose (Original Soundtrack) that on the surface does not seem to suggest that such an approach would be viable.

There is a fair amount of source material that better addresses popular expectations of what one should hear when viewing scenes within a 14th Century monastery, and Horner assisted in the recording of three specific traditional choral pieces with a soloist and school ensemble, seemingly that match the oppressive atmosphere of the story.

This music translates into the most varied and easily accessible portion of the many European album releases of the soundtrack for The Name of the Rosethough even in these portions it's difficult to find much more than solemn beauty of a highly restrained character.

As for Horner's original contribution, there is no doubt that the composer sought to accentuate the morbid ambience of a murder mystery first and cater to the period and locale second.

The result is unfortunately a very pedestrian and cold effort. Read More Don't expect a plethora of stylistic references to medieval stereotypes in the music for The Name of the Rose.

In fact, parts of the score are closely bound in rendering and scope to Vibes and Unlawful Entry. The former score is specifically reflected in the low keyboarding of faux-strings that Horner seemed Regina Maris Theme - Joachim Heider, Michael Holm - Regina Maris of utilizing at the time.

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