Jesus
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Composer: Patrick Williams
Lable (Release Year): Angel Records/Sparrow Records (2000) Availability: **** Rating: ***1/2 |
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Jesus, as some of you may know, is not a feature picture but an American TV mini-series. For today's movie trend, it's unlikely that we will see those 3 hours long biblical epic movie in theaters shortly. Patrick Williams' approach is unlike Elmer Bernstein's rousing symphonic score for The Ten Commandments or Peter Gabriel's moody modern score for The Last Temptation of Christ. In some ways, it is similar to Alfred Newman's music for The Greatest Story Ever Told. Williams' soft and occasionally epic score is performed primarily with strings, brass and percussion. The main theme, as heard in "Main Title", is not the dominant type: not one of those that you can easily recall. It is a moderate, lonely and some what larger than life theme, usually play by solo trumpet accompanied with gentle strings. It appears though out the score and acts as the back bone. "Temple, The Early Days" is the only track that uses a beautiful angelic voice. It also has a very majestic unison French horn sound. I am surprise that I don't hear more vocal parts in the score. "Zealots" and "The Passion" are the only somewhat rousing cues. Because of the use of synthesizer and brass, for a split second, "Zealots" sounds like Maurice Jarre's Mad Max Beyond the Thunderdome and Christopher Franke's music. "Walking on Water" and "Jesus Arrives" are the cues that have the most epic feel. A more positive and energetic variation of the lonely main theme can be heard. "The Crucifixion" is similar to "Jesus Arrives". It has lush strings and long bold horn notes accompanied with timpani and reprises the main theme. The score closes with "I Am With You", a more peaceful version of the main theme. In general, the score doesn't have many dominant motifs. It also does not have a lot of fast rhythm passages. It is mainly composed with long string and brass notes. For the more energetic moments, the timpani will kick in and the brass will play a bit louder. But the score is generally soft and peaceful. The tone of the score is very coherent through out. The quieter moments, like the "Last Supper", are composed with soft lush strings alone. Synthesizer is also used occasionally. "Satan", the longest cue, has the heaviest use of synth among all. Except for some brief unsettling moments, the track is still dominant with lush strings and soft brass. The score never sound too dramatic or too low key. If you are looking for a symphonic score that has a strong epic feel, this will not be it. However, you should like it if you soft orchestral score. | |
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