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Road to Perdition Score Pdf Road to perdition score pdf Continue 2002 film score Thomas NewmanRoad to PerditionFilm score Thomas NewmanReleasedJune 25, 2002GenreSoundtrack, InstrumentalLength1:10:11LabelDeccaThomas Newman chronology of the Salton Sea (2002) The Road to Perdition (2002) White Oleander (2002) Professional RatingsSource:Getty Images for Decca Records, 2002 Oscar-nominated film Road to Life starring Tyler Holin Jennifer Jason Leigh, Jude Law, Daniel Craig and Paul Newman. The original score was written by Thomas Newman. The album was nominated for an Academy Award for Best Original Result, but lost on Frida's score. Track listing Rock Island, 1931 – 3:22 Wake – 1:55 Just the Feller – 2:44 Mr. Rance – 1:38 Bit Borrowers – 2:25 Murder (in Four Parts) – 7:54 Road to Chicago – 3:06 Reading Room – 1:25 Someday Sweetheart – 3:06 Performed by The Charleston Chasers Meet Maguire – 1:44 Blood Dog – 1:06 Finn McGovern – 2:11 The Farm – 2:09 Dirty Money – 3:10 Rain Hammers – 2:41 A Blind Eye – 2:27 Nothing to Trade – 2:25 Queer Notions – 2:46 Performed by Fletcher Henderson & His Orchestra Virgin Mary – 1:34 Shoot the Dead – 2:25 Grave Drive – 1:20 Cathedral – 2:40 Contains a Vocal Sample from the song Alma Redemptoris Mater, Performed by Choir of King's College There'll Be Some Changes Made – 2:59 Performed by the Chicago Rhythm Kings Ghosts – 3:40 Lexington Hotel, Room 1432 – 1:45 Road to Perdition – 3:55 Perdition – Piano Duet – 1:39 Performed by Tom Hanks and Paul Newman References ^ Road to Perdition [Music from the Motion Picture]. allmusic.com. Received 2015-07-01. The road to life. filmtracks.com. Received 2015-07-01. In search of Neverland. soundtrack.net. Received 2015-07-01. Thomas Newman - The Road to Life. discogs.com. Received 2015-07-01. Received from (soundtrack) 'Oldid'977837644 Cat' Artist Title (Format) Label Cat' Country of the Year 017 167-2 DH Thomas Newman Road to Perdition (Music from Motion Picture) (CD, Album) Sell this version 017 167-2 Thomas Newman Road To Perdition (CD, Album) Sell this version 440 017 167-2 Thomas Newman Road to perdition (CD, album, club) Sell this version 4400171672 Thomas Newman Road to perdition (CD, Album) Sell this version of 017 167-2 DH Thomas Newman Road To Perdition (CD, Album) Selling this version Composer Thomas Newman and director Sam Mendes have formed, for ten years, one of the most significant partnerships in recent cinematic memory. Their most iconic, of course, came for their most successful film, American Beauty, with a shrewd Newman, a witty score perfectly in tune with Mendes suburban angst. Jarhead and Revolutionary Road are more minimalist efforts, but it was their second outing, The Path to Death, which sees Newman at his most conventional (if, indeed, this word can be used in conjunction with the composer). Newman has formulated the most unique sound of any film composer in recent times (along with Elliot Goldenthal), with his lushly ethereal orchestra often taking away strange acoustic and ethnic textures. It's perfect for the sullen Mendes and haunts take on the standard gangster tale, one about a mob hitman (Tom Hanks) who has to escape with his son after he witnesses a execution. It doesn't have the gravitas of American beauty, but visually, it's breathtaking, and there are strong supporting performances from Paul Newman and Jude Law. The composer is not one toil the obvious too much, and so the early stretches are the only ones to show carefully intertwined trumpet arrangements pointing to the Irish background of the characters. Rock Island, 1931 and Wake are particularly beautiful in this regard. Once this is done, he can settle down on his more distinctive scoring method. There is a common, intricately multi-layered wash of acoustic and electronic sounds, chimes, bowls and triangles mixed with strings and winds so brittle that they hold their breath in the hope that they will continue. As a gangster tale, Newman doesn't shy away from the dark strings in Beat the Borrowers and Killing in Four Parts; This soundscape is so beautifully in tune with Mendes rain swept the street cleaning, the film can not imagine without it. However, it's the more conventionally melodic parts that make the biggest impression, emerging from the dissonance to wash over the listener like the tide on the beach. The road to Chicago is one of the most notable, delicate figure piano climbs to embrace the entire orchestra in a marvellous counterpoint to the stunning visuals recreated by the city. Reading a number that follows is quietly devastating, highlighting Newman's ability to wring real emotion away from minimalism. Maguire's delightfully quirky Encounter demonstrates a brilliant strain of wit in the composer's work, a whimsical mass plucked by strings beneath squeaky wooden winds; This is a sinister and seductive piece for the hideous villain Jude Law. There are several pieces cut from the same fabric in the score, venturing close to the action of the material, but never quite getting there - Nothing to trade and charming Dirty Money (where Hanks and his son become amateur bank robbers) are surprisingly hilarious examples. Fin McGovern (emphasizing the scene of a murder catalyst closer to the beginning) restores the violent, disturbing sound of criminal life to the score of the most magnificent theme cultures for the first time in the Farm, an extremely soothing, pastoral piece piano and strings. Truly, there is no one better, scoring soothing, beauty-healing beauty Newman at the moment; track it at its best. Ghostly Rain Hammers brilliantly flags its name, chimes and plucked instruments generating pitter-patter music. The next Virgin Mary takes the Road to Chicago theme and decorates it with a great sense of melancholy through the wooden wind; Its flip side is the thrilling Shoot The Dead, the most conventionally gripping piece on the soundtrack. Of course, the excitement didn't last long, with a sense of despondency tuning before the track was over. It informs the climax of the score as Hanks settles his scores with his enemies: instead of finishing it as a blood and thunder epic, the sense of sadness increases from Grave Drive to Cathedral (introducing the boy's chorus for the first and only time) and the spooky Ghosts, highlighting the showdown between Hanks and Paul Newman in the rain (a stunning combination of image and music). There's another moment of unnerving musical violence overcome at the Lexington Hotel, number 1432 before the promise of redemption in a stunningly beautiful finale, The Road to Poverty, which takes the Farm theme soars to great orchestral heights during the film's moving conclusion. There is really no one better at squeezing a big emotional climax out of the account than Newman at the moment, but the key is how carefully he has led us to this point; its steady build- up therefore pays off in spades. Another surprise arose on us afterwards with a pre-piano duet called Perdition playing Hanks and Newman himself; It's as if the characters are trying to understand the elusive happiness denied to them because of their violent lifestyle, a sharp, reflective end. What is most obvious about the score is how well reticed it is with themes Mendes sets in the film, an almost anti-gangster piece consumed with notions of faith, heaven, hell and father-son relationships. However, Newman's genius is how successfully his own voice is passed out of the film's mainstream context, becoming a haunted, introverted tone poem in its own right. While not for everyone, its rich, incredibly detailed orchestrations celebrate some of the film's most impressive music around. Reviewer: Sean Wilson This CD soundtrack is available in the following places online where music can be viewed: Amazon.com and Amazon.co.uk. Full track list as follows: Rock Island, 1931 Wake Just the Feller Mr. Rance Bit Borrowers Murder (in four parts) Road to Chicago Reading Room Ever Sweetheart - Charleston Chasers Meet Maguire's Blood Dog Finn McGovern Farm Dirty Money Hammers Blind Eye Nothing to Trade queer Concepts - Fletcher Henderson's Virgin Mary Shoot Dead Road and Paul Newman's Thomas Newman, Road to Perdition (DreamWorks, 2002) When the soundtrack to the film The Road to Rebellion begins with Rock Island, 1931, you almost know without hearing anything more that the soundtrack will be worth the purchase price. This instrumental, compiled and conducted by Thomas Newman, is an obsessive Irish piece that sets the mood of this Depression-era gangster flick. For those of you who aren't familiar with the film (and I can't imagine there are too many of you out there), The Road to Perdition stars Tom Hanks as Michael Sullivan. When his wife and youngest son are killed by the Irish gang he is a member of, Michael goes for revenge with his surviving son. Paul Newman and Jude Law also starred in the film. Newman does an excellent job of supporting the film with the soundtrack. Many tracks are thin enough to set the mood, but don't invade your viewing experience. However, some of the tracks, including the aforementioned Rock Island, 1931, tend to go to the fore and make this album worth considering, even if you're not on the soundtracks. I really like the Road in Chicago, which is a sharp piano piece. At some points, stringed instruments join in touching an emotional level that should be felt rather than read. While many of the 27 choices may fit the stereotypical soundtrack filler roles, there are several period parts that really shine and you should take note.
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