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原声大碟 John Williams -《偷书贼》(The Book Thief)[FLAC]

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    发行时间2013年11月19日
  • 时间: 2014/02/23 22:40:01 发布 | 2014/02/24 09:54:01 更新
  • 分类: 音乐  原声音乐 

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专辑中文名偷书贼
专辑英文名The Book Thief
资源格式FLAC
发行时间2013年11月19日
地区美国
语言英语
简介

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专辑介绍:

偷书贼 电影原声带
The Book Thief (Original Motion Picture Soundtrack)
2013年11月26日
産品编号: 88883797072

电影2014/ 2/27上映

‧被誉为2014年奥斯卡大黑马的畅销书改编瞩目电影。
‧荣获5座奥斯卡并入主好莱坞露天剧场名人殿堂,获颁甘迺迪中心荣誉奖的John Williams掌控配乐。
‧靠著《侏儸纪公园》抱走奥斯卡「最佳声效」的Shawn Murphy,负责录制和混音大任。

【关於电影】
曾经徘徊《纽约时报》畅销书榜超过230个礼拜之久,荣获《亚马逊网路书店年度选书》、《全国犹太图书协会》小说奖、《澳洲书商年度选书》等礼讚的《The Book Thief偷书贼》,在各界好评期待下,终於改编电影搬上大萤幕。故事发生在二次大战期间,女主角Liesel Meminger因环境所逼,得不到亲生父母的爱,弟弟又因病离开人世,从小生长在寄养家庭。在弟弟葬礼上捡到生平第一本书,自此打开「偷书」的起源。Liesel藉由书本找到内心慰藉,并且努力学习认字阅读,从文字中找到生存的力量,进而将内容朗读给躲进防空洞的人民听,安抚大家紧张惶恐的情绪。在Liesel家楼下,养父母秘密成立了一间庇护所,收容前来投靠的犹太裔遗孤Max Vandenburg,逃避德军对犹太人的大屠杀。然而,Liesel和Max的命运将会遇到怎样的遭遇?一部充满勇气和感动的小品,福斯影片继《少年PI的奇幻漂流》后的最新力作。《The King's Speech王者之声:宣战时刻》金奖影帝杰佛瑞‧罗许(Geoffrey Rush)、英国影后艾蜜莉‧华森(Emily Watson)、年仅13岁,加拿大籍漂亮演技派新秀苏菲‧奈里斯(Sophie Nelisse)等明星参与演出。由金球、艾美等大奖加冕的英国影集《Downton Abbey唐顿庄园》导演布莱恩派西佛(Brian Percival)执掌。

【关於原声带】
入主好莱坞露天剧场名人殿堂,获颁甘迺迪中心荣誉奖的约翰‧威廉斯(John Williams),在他60餘年的艺术生涯中,荣获5座奥斯卡(赢得48次提名,成为获取入围最多的在世人物)、4座金球、3座艾美奖、21座葛莱美等大奖加冕,举凡《星际大战系列》、《超人》、《大白鯊》、《侏儸纪公园》、《法柜奇兵系列》...等卖座鉅片,都是约翰最得意的作品。此回执掌《The Book Thief偷书贼》,约翰邀请身拥超过330部影片,靠著《侏儸纪公园》抱走奥斯卡「最佳声效」的多年伙伴夏恩‧墨菲(Shawn Murphy),负责录制和混音大任。钢琴的飞扬音符勾勒《One Small Fact》美丽图像,一连接续到忐忑心情迎接新环境的《New Parents And A New Home》、书香围绕的《Ilsa's Library》,再加上弦乐辅佐,谱出古典质感和生动画面;焚烧书籍的深沉线条《Book Burning》、对希特勒镇导的无奈之《I Hate Hitler! 》、《Max And Liesel》初次相遇之歌,都特别加强内心戏份的演绎桥段;层次鲜明的《Foot Race》,其中还透著轻巧的旋律,相当讨喜;最后总长7分多鐘的主题音乐《The Book Thief》,擅长用弦乐队,交织出盪气迴肠的声韵,其中来回穿绕的钢琴,不定点的现形点缀,又可温暖动容的引发催泪氛围。

Release Date November 19, 2013
Duration 52:35
Genre Classical Stage & Screen
Styles Soundtracks

Original Release Date: 8 Nov 2013
Release Date: 8 Nov 2013
Label: Sony Classical
Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
Total Length: 52:03
Genres: Classical
ASIN: B00G71FPLU

Original Review by Jonathan Broxton

The Book Thief, based on the popular novel by Markus Zusak, is a World War II drama set in Germany about the power of the written word. Young Sophie Nélisse stars as the lead character, Liesel, who is sent to live with foster parents (Geoffrey Rush and Emily Watson), just as the specter of war looms over the country and Nazism begins to take hold. Through her innocent eyes Liesel begins to witness the first months of what would be eventually become the Holocaust, but through the compassion of her new parents, their imparted love of books and literature, and her friendship with of a young Jewish man named Max, she finds a way to deal with the atrocities that are starting to take place in her community. The film is directed by Brian Percival, best known for his work on the critically acclaimed TV series Downton Abbey, and has a score by the legendary John Williams.

It came as something of a surprise when Williams was announced as The Book Thief’s composer, as it marks the first time he has worked on a film that did not involve either George Lucas or Steven Spielberg since Harry Potter and the Prisoner of Azkaban in 2004 (Spielberg was originally set to direct Memoirs of a Geisha, and is one of that film’s producers). Williams has tackled this sort of subject matter before, in films like Schindler’s List, and he is an acknowledged master at composing scores from a child’s point of view, as he has done numerous times through his career, but for him to turn up scoring a film such as this, working with a new director at the age of 81, is unexpectedly wonderful. Apparently Williams read Zusak’s novel, and when he heard that a film was being made, he actively sought out the scoring gig. As such, this is clearly a very personal project for Williams, and the resulting score reflects that obvious love of the source material.

The Book Thief falls squarely within that realm of heartfelt, weighty, profound dramatic works that also feature a little bit of child-like innocence and idealism, to stop the whole thing from bogging down. As with virtually all Williams works, it’s also remarkably beautiful, written for a full orchestra, masterfully orchestrated, and containing a great deal of heart and sentiment, as befits the work of someone who has been bringing beauty, heart and sentiment to the world of cinema for over 50 years. In terms of overall sound, one could say that The Book Thief is an amalgamation of Schindler’s List and Angela’s Ashes, with a little bit of Empire of the Sun and a little bit of Jane Eyre thrown in for good measure. It’s classic emotional Williams through and through, and a welcome reminder of everything that can be good about film music, and his music in particular.

The score is mainly dominated by piano and strings, with the rest of the orchestra dancing around it, bringing little bits of color and flavor to the score, but never overwhelming this intimate core sound. The main theme flows fluidly through many cues, beginning in the opening “One Small Fact”, which passes the main melody from strings to woodwinds and back again, while the piano provides elegant, undulating accompaniment. “The Journey to Himmel Street” is a slightly more downbeat and reflective recapitulation, but by the time the florid piano line reappears in “Learning to Read” it has become a recurring leitmotif for Liesel’s thirst for knowledge, and her increasing love of literature. The solo cello that anchors “Learning to Write” allows the theme to grow even more, as another new aspect of Liesel’s communication skills is developed, and the whole thing reaches a lovely conclusion in the warmly emotional “Writing to Mama” .

Elsewhere, Liesel’s idyllic life, and her carefree childhood is depicted by the lovely “New Parents and a New Home”, while the flighty playfulness of cues like “The Snow Fight” and “Foot Race” bring the similarly effervescent sequences from The Adventures from Tintin and his Harry Potter scores into a new setting. Conversely, cues like “Book Burning” and the tragedy-laden “Rudy is Taken” are starker and darker, reminding the listener that the horrors of war and the evils of Nazism and the Holocaust are never far from Liesel’s front door. Low-end piano chords, bassoons combined with deep brasses, minor key crescendos and an overtly more oppressive tone anchor the former in a sense of darkness that is wholly appropriate in context, while the overwhelming poignancy of the latter is quite devastating.

Dotted throughout the score are several moments of wonderful orchestration, masterful technique, and beautiful instrumental combinations. The duet between Gloria Cheng’s piano and Joanne Turovsky’s harp in “Ilsa’s Library” is sublime; the sensitive oboe solo in “Max and Liesel” is heartbreakingly tender; the crescendo towards the end of “The Train Station” has a profound sense of longing and loss. Later, “The Visitor at Himmel Street” offers a touch of romance to the proceedings, with a warm string and harp combination that is very touching, while the lovely “Finale” features the most compelling piano solo of the entire score. The seven-minute end credits concert piece, “The Book Thief”, gives Williams the opportunity to raise the emotional content of his music even further, with the boldest performances of his main themes.

Some may criticize The Book Thief for being unoriginal. It’s true, The Book Thief breaks no new ground, and it’s awash in all the compositional traits and hallmarks that have characterized the majority of Williams’ scores over the last 20 years. But, at this stage in the game, re-inventing the wheel is not really the point any more – when you hire John Williams to write music for your film, you do so because you want more of what John Williams brings to the table – his sound, and his sensibility. The Book Thief is exactly that sort of score. Warm and inviting, familiar and comfortable, a vintage Williams work in every sense of the word.

As has been mentioned by myself and others over the last few years, Hollywood is currently going through a period where strongly thematic, emotionally direct scores for serious films are considered passé, and perhaps even a little cheesy, by mainstream film critics. I just don’t understand how that opinion has become the prevalent one, especially when listening to scores like this one. The Book Thief illustrates and brings out the emotions in the listener and the viewer with grace and sincerity, never overwhelming them, allowing the audience to feel the story at it unfolds. Simultaneously, the musicality and compositional excellence in the score illustrates just how well Williams understands musical storytelling and the importance of structure and narrative in film music. How can this be passé or cheesy? It’s the essence of good cinema, and just proves once more why Williams is one of the greatest film composers who ever lived.

引用
  John Williams的<偷书贼>,它的音乐本身并没有太多惊喜,熟悉John Williams过去作品的乐迷,大概可以举几个著名的往例概括<偷书贼>的表现,它的苍凉近似<艺妓回忆录-Memoirs of a Geisha>,它的沈幽近似<天使的孩子-Angela's Ashes>,它的钢琴语法让人联想到<无罪的罪人-Presumed Innocent>,但泛著<亲亲小妈-Stepmom>般柔和温暖的光泽。平心而论,小品格局的<偷书贼>很难超越John Williams以往的成就,也不若John Williams近期几部作品那样丰富多元,但无论乐迷是否熟悉那些昔日作品,还是很容易被<偷书贼>典雅的曲风与细腻的情感所感染。

  主旋律在开场曲目One Small Fact即完整呈现,前四小节以沈静的钢琴语法独奏第一主题,和缓优雅而内敛感伤,随后第二主题以管絃合奏绵延开展,编曲手法上神似<艺妓回忆录-Memoirs of a Geisha>,蜿蜒流转的钢琴则有<无罪的罪人-Presumed Innocent>的风格,但整体来说比较轻盈温润,不若两部前作那般幽暗沈重。第二主题在整部配乐中表现十分吃重,从The Journey to Himmel Street,Ilsa's Library,到Learning to Read,Learning to Write ,"Jellyfish" ,Writing to Mama等,各个曲目虽氛围相似连贯,但仔细听来仍有不同的表逹层次。第一主题在配乐中的份量较少,但变化相对更有戏剧性,The Visitor at Himmel Street以第一主题的双簧管独奏开场,随后以优美迷茫的絃乐发展成动人的抒情乐章,这个片段也编辑在集主要主题旋律於大成的终曲The Book Thief裏。这种凄迷的抒情风格非常的Bernard Herrmann,尤其容易让人联想起<华氏451度>,另一个同样涉及压迫控制与焚书的故事。而第一主题最为迷人的变奏曲目则是Finale,John Williams以原始的音乐结构,将原来的沈鬱昇华为柔美的抚慰,与原来的版本气息相连,又几乎变成另一首曲子。

  第三个主题以絃乐合奏为主要音色,在New Parents and a New Home登场时翩然宽厚,在Revealing the Secret重现时则转而较为沈重。John Williams在<偷书贼>中几个情绪张力较高的曲目多以絃乐合奏层层堆迭编织,如The Train Station,Revealing the Secret,Rudy is Taken等,他并不使用主题旋律来架构这些时刻,而以絃乐直接勾勒情绪起伏,显得格外悲愴与具有渲染力。

  其他的主题包括了Max的主题,因为我并没有看过电影或原著小说,所以其实这个主题是不是Max这个角色的主题我并不确定,但从几个曲目来看,这个主题都和这个角色相连,它在Max and Liesel裏以纤弱温婉的双簧管独奏登场,The Departure of Max中以竖琴钢琴轻轻弹拨,更显无助感伤,而在Max Lives中,这个主题以木管衍变出明亮甜美的变奏而拨云见日。

  <偷书贼>的整体配乐典雅温暖,带著轻轻的悲伤,当中夹杂部份紧张悬疑的乐章如Book Burning,Rescuing the Book,或者较具童趣表现的时刻,如The Snow Fight ,Foot Race,採用的是John Williams十分典型的语法,但风格与力道皆拿捏得宜,与整体配乐的和缓乐风协调平衡。原声带上的最后两首曲目,Finale与集三个主题旋律於大成的The Book Thief,则是这部配乐最具代表性的作品。

  近十年来John Williams几乎只为史匹伯拍摄的电影配乐,年逾80的他基本上已经处於半退休状态,连<偷书贼>的制作团队接洽到John Williams并且签下John Williams出任配乐时,自己都感到十分意外。John Williams为<偷书贼>作曲原非意料中事,但John Williams为<偷书贼>写的音乐多为意料中事,这种属於John Williams的,意料中的精致与美感,或许难以超越往日经典,在年度配乐中,还是难得迷人的佳作。

The Book Thief

By James Southall Sunday November 10, 2013
The Book Thief

Composed by John Williams
Sony Classical / 2013 / 53m

A child’s eye view of Nazi Germany, The Book Thief (based on Australian author Markus Zusak’s acclaimed novel) tells the story of a girl who lives through the harrowing times with the help of a love of books, a Jew hiding in her family house and her foster parents. The film stars Sophie Nélisse as the main character, Liesel, and Geoffrey Rush and Emily Watson as her foster parents; it’s directed by Downton Abbey‘s Brian Percival. It’s generating a lot of buzz and its release in the traditional “awards slot” is a decent sign that it’s expected to do well.

It’s probably fair to say that the film wasn’t on the radar of many film music fans until the surprising announcement – which didn’t happen until the eve of the recording sessions – that the great John Williams was to provide its score. He may be the pre-eminent film composer of his (perhaps any) generation, but Williams – now 81 – seemed to have been in semi-retirement (in terms of writing film scores) for some time now, making exceptions only for his friends Steven Spielberg and George Lucas; indeed, the last time he scored a film which didn’t involve either of those men was his last Harry Potter score, in 2004. Any new score from John Williams these days feels like a special event; one for a non-Spielberg film perhaps even more so.
John Williams

John Williams

There aren’t any surprises in The Book Thief – which itself is not surprising (he’s 81!) – instead, the score album plays almost like a comforting letter from an old friend, a highly-welcome one at that. It oozes class from every pore, a young whippersnapper in terms of this composer’s glorious career but with all the hallmarks of a classic vintage. The main themes are sad, of course – but somehow also very homely, with a personal feel, thanks in no small part to the superb piano solos. There’s a real clarity to the solos throughout – Williams’s orchestration staggering as ever – just listen to the haunting “I Hate Hitler!”, harp and oboe and piano taking turns to tug the heartstrings; such moving music. In common with most cues on the album, it’s quite short, particularly by this composer’s standards; but the musical structure is as strong as ever. Everything has a beginning, middle and end; nothing here feels bitty.

While there is generally a sombre tone, this is a story from a child’s perspective and as such there is often a compelling innocence to it; and just occasionally, a delightfully playful air. ”Foot Race” is a brilliant little scherzo, the type only John Williams has ever really done in film music; quite wonderful. In terms of other scores, there are hints of Angela’s Ashes, plus the slightest of reminders of certain aspects of Memoirs of a Geisha and Presumed Innocent. Those imagining another Schindler’s List are wide of the mark – this isn’t so reverential and, while there are harrowing moments, they are done very differently.

Actually, it’s life that dominates here – an indomitable spirit. The genuine warmth of “Max Lives” late on the album is lightyears from the kind of Hollywood schmaltz that film reviewers so often accuse Williams of doing (by daring to put music in films that people might actually notice); then there is strained anguish in “Rudy is Taken”, an emotional powerhouse of a cue. Best of all is the concert arrangement of the main theme which closes the album; it blossoms in its fuller, longer arrangement, again passed around various soloists, the whole orchestra swelling too. It’s moving, emotional music, the central melody memorable; it’s tragic, but spirited, very beautiful.

There’s nothing groundbreaking in The Book Thief. It’s well-worn territory. It sounds like you expect it to sound. And that means it sounds good. Williams has always been a master at telling a story through his music; he tells this one beautifully. There’s heartache and beauty, side by side; agony and ecstasy. Every spine-tingling chill is eventually contrasted with one of warmth. Class never ages and Williams has class in abundance; as his forays into film music become more occasional, they become all the more special.



专辑曲目

01. One Small Fact (1:46)
02. The Journey to Himmel Street (1:48)
03. New Parents and a New Home (1:33)
04. Ilsa’s Library (2:21)
05. The Snow Fight (1:01)
06. Learning to Read (2:48)
07. Book Burning (2:52)
08. I Hate Hitler! (2:06)
09. Max and Liesel (1:11)
10. The Train Station (2:16)
11. Revealing the Secret (4:11)
12. Foot Race (1:20)
13. The Visitor at Himmel Street (2:02)
14. Learning to Write (2:07)
15. The Departure of Max (2:32)
16. Jellyfish (2:08)
17. Rescuing the Book (1:55)
18. Writing to Mama (2:42)
19. Max Lives (1:31)
10. Rudy is Taken (2:00)
21. Finale (2:48)
22. The Book Thief (7:05)

Running Time 52 minutes 15 seconds

Sony Classical 379707 (2013)

Music composed and conducted by John Williams. Recorded and mixed by Shawn Murphy. Edited by Ramiro Belgardt. Album produced by John Williams.

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