Περιγραφή
Elliot Goldenthal – Titus (Original Motion Picture Soundtrack) (CD, Album) (Very Good Plus (VG+))
Format: CD, Album – Label: Sony Classical – SK 89171, 0891712000
Media Condition: Very Good Plus (VG+)
Sleeve Condition: Near Mint (NM or M-)
Please note that all pictures are stock photos unless otherwise stated. Actual item pictures can be provided upon request.
Special Comments:
Country: Europe
Release Year: 2000
Genre: Electronic, Jazz, Rock, Classical, Stage & Screen
Style: Score, Soundtrack, Opera, Jazz-Funk, Alternative Rock, Experimental
Tracklist:
1. Victorius Titus
2. Procession & Obsequis
3. Revenge Wheel
4. Tribute & Suffrage
5. Arrows Of The Gods
6. An Offering
7. Crossroads
8. Vortex
9. Swing Rave
10. Ill-Fated Pirate
11. Pickled Heads
12. Tamora’s Pastorale
13. Titus’ Vow
14. Mad Ole Titus
15. Philimelagrum
16. Pressing Judgement (From “A Time To Kill”)
17. Aaron’s Plea
18. Coronation
19. Apian Stomp
20. Adagio
21. Finale
22. Vivere
Notes:
“O Cruel Irreligious piety!” With this oxymoron – the Goth Queen Tamora’s plea to spare her son from being sacrificed at the hands of the Andronici – Shakespeare starts the engine that drives the play – the engine that drives my music. it is fueled by the combustion of opposites: vengeance and forgiveness, purity and defilement, the grotesque and the sublime. But there is another byproduct – for this lamentable tale of woe oddly yields a great deal of irony and humor. In perhaps one of Shakespeare’s most absurdist moments (Act III, scene i) the two heads of Titus’ wrongly accused sons, and the General’s own severed hand, are cruelly returned to him outside his home. At this nightmarish presentation, Titus inexplicably breaks into laughter. He then commands his handless daughter, Lavinia, to take up his severed hand between her teeth and enter the house. Performance after performance, production after production, audiences nervously laugh at this scene, thus falling into Shakespeare’s ingenious trap: the playwright has devilishly induced the audience into a similar state to Titus’ – involuntarily laughing at the horror. Such unexpected juxtapositions forced me to find unexpected musical solutions.But let me take you back to the beginning. Almost one year prior to the commencement of principal photography on Titus, I was encouraged by Julie Taymor and scenic designer Dante Ferretti to accompany them on location scouting in Rome. On day one, glancing at the Palatine Hills from a 1998 Fiat, we saw the great Circus Maximus with the ruins of privileged patricians’ villas perched overhead, and I heard in my mind’s ear an archetypal ancient percussion ensemble. In that same moment, another car pulled up alongside ours, equipped with a sub woofer – with the pentameters and hexameters of hip-hop blasting through every window. The music cross-faded as I watched a group of Andean pan flute players in native Bolivian garb hawking their tapes and playing their music, which was almost drowned out by an Elvis impersonator with a cheap karaoke setup – replete with cheesy reverb – singing “Jailhouse Rock” in a Neapolitan dialect…well, you get the idea. My mind was put at ease: in Rome – as in this film – it is possible in an instant to embrace æons.
— Elliot Goldenthal
Barcode and Other Identifiers:
Barcode 5099708917128
Companies:
External ID: – Listing ID: 2735451610
