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Filmtracks Editorial Review:
Without a doubt, however, Angela's Ashes and Star Wars: The Phantom Menace are completely different breeds of music from the same composer... almost as much so as Jurassic Park and Schindler's List in 1993. Not only does Williams pull every dramatic stop for Angela's Ashes, his final accomplishment of the 1990s is the strongest in the drama genre since Schindler's List. With many of his recent efforts, Williams has been entranced by the use of a famous soloist. And after hearing his classically inclined underscores as accompaniment for these soloists (most recently heard in Stepmom with Christopher Parkening), it is refreshing to hear him cut loose with the heavy power of the entire symphony orchestra. I say "heavy" because one can always tell when Williams is being serious by the heavy nature of the cellos in his ensembles. In previous dramatic efforts, Williams had created pretty, and certainly functional scores, but never the awe inspiring power that blesses Angela's Ashes. The score has dark undertones, which is no surprise given the ordeals of the characters in the story, and at times (especially in the title theme), I am reminded of Presumed Innocent. The album opens and closes with the concert arrangement of the title theme (again, nothing new for the concert-minded Williams), and these performances are highlighted by frenetic and mysterious piano solos. The theme also takes a page out of the Presumed Innocent score, with many of the same major/minor alternating chords in the opening themes. Luckily, Williams takes the rest of the score down a different path. The album for Angela's Ashes is ultimately an upbeat listening experience, with a two minute major-key finale that would knock the socks off any true film music fan. The serious nature of the score never becomes too burdensome for the listener, because a sense of pride envelopes almost every cue. Consistent in this tone and introverted style, the music flows beautifully from cue to cue. It flows, that is, if you can overlook or enjoy the numerous quotes from the narrator over the music in many of the tracks. These quotes from the book/film performed seamlessly with the music have been a source of much controversy. Personally, I enjoy quotes from a film, but I emphasize my wish to hear them on separate tracks from the music. On the Angela's Ashes album, the quotes are heard at the start, middle, and end of various cues, and although I was initially annoyed by their presence on the album, I warmed up to them on the second listen. The album is just as coherent as the tale itself, and the quotes chosen are excellent at describing what point in the story we are at. For purists, there are three or four great tracks --including the concert arrangements-- which play in the absence of quotes. Otherwise, I'd recommend giving the quotes a chance, for two reasons: first, they set up the cues very well, and second, they overlap sequences when Williams' music is minimal, if not barely audible. The mass of important cues is left untouched. Overall, the score is an enormous success and the album is similarly enjoyable. Unlike other albums that try to incorporate quotes (like Devil's Advocate, which simply was an excuse to publish some of the most vulgar and unGodly quotes from the film on the soundtrack), the soundtrack for Angela's Ashes is a definite highlight of the year. In fact, it's entirely possible that the quotes over the music will inspire you to see the film or, better yet, read the book. The music itself is ethnically rich, with the harp running appropriately throughout the Irish tale. Williams' themes are sweeping and grand, yet personal and warm. The balance is astonishing in parts. My only two gripes about the album are the lack of individual and separate tracks for the quoted material, as well as the two source songs in the middle which drive a nail through the heart of Williams' score. In the end, the album for Angela's Ashes is a remarkable and highly recommended piece of art.
The score as heard on the album: **** Overall: ****
The insert includes extensive photography from the film, but no extra information about the score. The album wins the award for "ugliest cover art of the year." | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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