laohu
01-10-2016, 01:20 AM
George Fenton - Anna and the King (1999, FLAC)
01. How Can I Not Love You (04:34)
02. Arrival At The Palace (Main Theme Title) (06:00)
03. Meeting The Children (01:32)
04. Tuptim (01:32)
05. Letter Of The Week (01:38)
06. The House (01:38)
07. The rice Festival (04:23)
08. Rajah Attack (00:58)
09. Anniversary Polka (03:20)
10. "I Am King, I Shall Lead" (02:28)
11. Flowers On The Water (04:22)
12. Moonlit Beach (01:42)
13. Betrayed (01:52)
14. Chowfa's Death (01:28)
15. The Execution (04:19)
16. Anna Returns (03:44)
17. The Bridge (06:42)
18. "I Have Danced With A King" (06:17)
https://mega.nz/#!Z8FSzQpJ!XqgKl8wvex1yH9y78Rwfj92NASwoiyjG5CntBN5U-tg
The original soundtrack to Anna and the King features George Fenton's orchestral score, which incorporates classical European and Asian elements, along with Joy Enriquez's ballad "How Could I Not Love You," which was produced by Babyface.
The score to Anna and the King is a beautiful landscape of multiple layers. With its percussive liveliness and majestic undertones, this score is one of a kind and it could well be the best classical film score of 1999. Of course, many would compare it with The Last Emperor, Kundun and Mulan, all of which contain Oriental influences. And compare them I did. But rather than repeating the status quo of what Oriental music is thought to sound like, I feel that Anna and the King is in a class of its own with lyrical melodies and aural qualities never before explored. With this unique identity, it re-defines the boundaries of musical scoring. Featuring a diversity of East meets West, the score fuses the best of Oriental and Western musical influences to give the listener a kingdom of so long ago. The percussions and bells are very characteristic of Thai culture, and these are very well utilized to evoke the majesty, the suspense and of course the tender moments of the film. I believe George Fenton has composed his best score to date with Anna and the King. Had the score been longer, say 77 minutes, that would certainly have been heaven! Nevertheless, at 59.13 minutes, this CD will keep the listener entertained for up to an hour.
There are a few surprises. For example, on track 15 entitled The Execution, the piano takes centre-stage. Instead of a pounding motive, Mr. Fenton's choice of piano music has the ability to focus our attention on the lovers (Tuptim and Balat) rather than the execution process. By doing so, we are thus able to connect with the characters rather than just listening to the execution scene.
The score works remarkably well on its own. Tracks are of sufficient length to keep the listener well-entertained and even the shortest track of them all does not end abruptly. To this end, Mr. Fenton's meticulous attention to detail is awe-inspiring. Take a listen to track no. 5 "letter of the week". As the music swells mid-way through, imagine a giant dragon boat sailing down a river and the hill-tops in the background are covered in a thick mist. I must say that having watched the film only once, the music was powerful enough to evoke vivid images from the film everytime I listen to the CD.
The CD is well-arranged and there is never a dull moment. The recording is good. Sound quality is well-regulated with deep bass and spatial resonance all round. It felt like I was there in the concert hall with the orchestra playing.
My only minor disappointment is the vocal love theme song on track 1. Somehow I felt that it should have come at the end, thus making way for the main title to better establish the opening scene. The song is simplistic, perhaps a little unsophisticated. But my baby sister enjoys it. So there is beauty in simplicity after all! And I suppose this CD has something for everyone!
It is a score that should be listened to with closed eyes in a darkened room. No words, no expressions can describe the inspiring power, the grandeur and tender compassion of this score to Anna and the King. And with Mr. Fenton conducting his own compositions, that's an additional mark for quality and craftsmanship.
Its Golden Globe nomination bears witness to its impressive artistry. Please give the Oscar to George Fenton for a masterpiece well done!
Review by S.Y. Wong, Amazon.com
01. How Can I Not Love You (04:34)
02. Arrival At The Palace (Main Theme Title) (06:00)
03. Meeting The Children (01:32)
04. Tuptim (01:32)
05. Letter Of The Week (01:38)
06. The House (01:38)
07. The rice Festival (04:23)
08. Rajah Attack (00:58)
09. Anniversary Polka (03:20)
10. "I Am King, I Shall Lead" (02:28)
11. Flowers On The Water (04:22)
12. Moonlit Beach (01:42)
13. Betrayed (01:52)
14. Chowfa's Death (01:28)
15. The Execution (04:19)
16. Anna Returns (03:44)
17. The Bridge (06:42)
18. "I Have Danced With A King" (06:17)
https://mega.nz/#!Z8FSzQpJ!XqgKl8wvex1yH9y78Rwfj92NASwoiyjG5CntBN5U-tg
The original soundtrack to Anna and the King features George Fenton's orchestral score, which incorporates classical European and Asian elements, along with Joy Enriquez's ballad "How Could I Not Love You," which was produced by Babyface.
The score to Anna and the King is a beautiful landscape of multiple layers. With its percussive liveliness and majestic undertones, this score is one of a kind and it could well be the best classical film score of 1999. Of course, many would compare it with The Last Emperor, Kundun and Mulan, all of which contain Oriental influences. And compare them I did. But rather than repeating the status quo of what Oriental music is thought to sound like, I feel that Anna and the King is in a class of its own with lyrical melodies and aural qualities never before explored. With this unique identity, it re-defines the boundaries of musical scoring. Featuring a diversity of East meets West, the score fuses the best of Oriental and Western musical influences to give the listener a kingdom of so long ago. The percussions and bells are very characteristic of Thai culture, and these are very well utilized to evoke the majesty, the suspense and of course the tender moments of the film. I believe George Fenton has composed his best score to date with Anna and the King. Had the score been longer, say 77 minutes, that would certainly have been heaven! Nevertheless, at 59.13 minutes, this CD will keep the listener entertained for up to an hour.
There are a few surprises. For example, on track 15 entitled The Execution, the piano takes centre-stage. Instead of a pounding motive, Mr. Fenton's choice of piano music has the ability to focus our attention on the lovers (Tuptim and Balat) rather than the execution process. By doing so, we are thus able to connect with the characters rather than just listening to the execution scene.
The score works remarkably well on its own. Tracks are of sufficient length to keep the listener well-entertained and even the shortest track of them all does not end abruptly. To this end, Mr. Fenton's meticulous attention to detail is awe-inspiring. Take a listen to track no. 5 "letter of the week". As the music swells mid-way through, imagine a giant dragon boat sailing down a river and the hill-tops in the background are covered in a thick mist. I must say that having watched the film only once, the music was powerful enough to evoke vivid images from the film everytime I listen to the CD.
The CD is well-arranged and there is never a dull moment. The recording is good. Sound quality is well-regulated with deep bass and spatial resonance all round. It felt like I was there in the concert hall with the orchestra playing.
My only minor disappointment is the vocal love theme song on track 1. Somehow I felt that it should have come at the end, thus making way for the main title to better establish the opening scene. The song is simplistic, perhaps a little unsophisticated. But my baby sister enjoys it. So there is beauty in simplicity after all! And I suppose this CD has something for everyone!
It is a score that should be listened to with closed eyes in a darkened room. No words, no expressions can describe the inspiring power, the grandeur and tender compassion of this score to Anna and the King. And with Mr. Fenton conducting his own compositions, that's an additional mark for quality and craftsmanship.
Its Golden Globe nomination bears witness to its impressive artistry. Please give the Oscar to George Fenton for a masterpiece well done!
Review by S.Y. Wong, Amazon.com