- CD de audio (20 de agosto de 2013)
- Número de discos: 1
- Formato: Audiolibro, CD
- Sello: Mis
- ASIN: B00DNJ99CA
- Disponible también en: CD de audio | Música MP3
- Clasificación en los más vendidos de Amazon: nº84.624 en Música (Ver el Top 100 en Música)
Mortal Instruments: City Of Bones Audiolibro, CD
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Descripción del producto
Original score to the 2013 motion picture composed by Atli Orvarsson (Hansel & Gretel: Witch Hunters, The Eagle...). Directed by Harald Zwart and based on the first book of The Mortal Instruments series by Cassandra Clare, City Of Bones tells the story of a seemingly ordinary teenage girl, Clary Fray, who enters on a quest when her mom is attacked and taken from their home in NYC by a demon.
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Clary's Theme which is the same as the Opening, are so incredibly beautiful! I had to buy the single asap from ITunes because it was so wonderful, even though I was going to buy the physical copy of the cd anyways.
I just love this soundtrack! Atli is a star on the rise!! No wonder Hans Zimmer took him under his wing - this guy has major talent.
Buy this album. Especially if you are fan of the books or film - you will not regret it.
The first installment of the series, City of Bones, forms the basis of director Harald Zwart's film, which stars Lily Collins in the lead role, and features Jamie Campbell-Bower, Lena Headey, Jonathan Rhys-Myers and Robert Sheehan. Despite being an immensely popular series of novels, the film has been criticized for its similarity to other entries into the fantasy genre, notably Harry Potter, Twilight and the Buffy the Vampire Slayer TV series, although a film based on the second film in the series, City of Ashes, has been greenlit and is scheduled for release in 2014.
The music for The Mortal Instruments: City of Bones is by Icelandic composer Atli Örvarsson, whose late appointment as a replacement for the film's original composer, Gabriel Yared, left him with just nine weeks to write and record the entire score. Apparently Örvarsson was hired on the spot after director Zwart came out of a screening of Hansel & Gretel: Witch Hunters, having been enormously impressed by Örvarsson's music for that film - despite the fact that Zwart had previously rejected Örvarsson's score for his Karate Kid remake in 2010. Örvarsson is a composer who has both impressed me (Babylon A.D., The Eagle) and left me indifferent (Vantage Point, The Fourth Kind), but I have to say that throughout his career the positives have vastly outweighed the negatives, and The Mortal Instruments: City of Bones is definitely a positive. The score is massive, written for a large symphony orchestra augmented by all manner of unusual percussive and metallic specialty instruments, a large Gothic choir, and a fairly large bank of contemporary electronics, all wrapped up in a mysterious, religioso soundscape that is compelling and interesting to the ear.
The opening piece, "Clary's Theme", is a whopper; it has a little hint of Hans Zimmer's Sherlock Holmes music to it through the use of a tinkling cimbalom, but whereas Zimmer's theme was all mischief and whimsy, Örvarsson's has a real sense of epic grandeur to it. A chanting Latin choir and string accents are gradually added to the mix, and by the half way point theme has grown into an enormous tour-de-force. A sensitive piano interlude brings things down a little, before the whole piece climaxes with a large, major key explosion of angelic strings-and-chorus. It wouldn't be hyperbole to say that this is probably the most powerful and emotional cue of Örvarsson's career to date.
Clary's Theme is one of several which weave in and out of the score, giving the piece a sense of itself, a structure, and a leitmotivic identity which captures different aspects of the story - listen especially for the creepy music-box version of the theme in "Demon Doll", and the excellent extended restatement of theme in the penultimate cue. A subtle piano love theme for Clary and her fellow shadow hunter Jace is heard at several of the score's more emotional more, notably in "Midnight in the Garden", and there is also a darker, more dance-like theme for the film's main antagonist Valentine Morgenstern, which is all chanted vocals, throaty brasses, dark electronic effects and unyielding, remorseless percussion.
Much of the rest of the score unfolds via the same palette; "City of Bones" uses a boy soprano to add an air of mystery to the proceedings, while the high-register metallic percussion, bells and chimes, and the unique use of an ancient string instrument called a viol continues to ramp up the score's liturgical air. The viol, which is performed by an specialist in ancient music named Richard Boothby, who is a professor at the Royal College of Music in London, acts as a musical marker for the "mortal cup" - one of the eponymous mortal instruments - an ancient and mysterious artifact which acts as the film's maguffin, and can be heard prominently in "Pretty Far from Brooklyn", parts of "The Angel Rune", the creepily imaginative "Madame Dorothea", and in the first moments of the enticing-yet-dangerous "Valentine" .
The action music is loud, fast, and complicated, especially in the way Örvarsson works in various distorted electronic textures, complementing the thrusting orchestral lines, and illustrating the concept of two vastly different worlds existing side-by-side, but apart from each other. Cues such as "The Angel Rune", "Magnus Bane", "Where's the Cup" and "J.C." are tremendously exciting, and at times reach quite monumental heights of power and volume. Some of the twisted, fade-in-fade-out synths remind me a little of the sort of thing composer Olivier Derivière wrote for the well-received video game Remember Me earlier this year, and are very impressive indeed; "Vampires and Werewolves" is a notable example of this.
Some of the choral crescendos, especially in the score's second half, are goose bump-inducing, spine-tinglingly good, especially when they combine with large-scale performances of Clary's Theme in cues such as the epic "You're a Morgenstern" and in the first half of "She's Not a Mundane", while the lovely finale, "The Portal", rounds out the score on a dreamy, hopeful note. With the exception of a few moments in Babylon AD in 2008, this is a side of Örvarsson we haven't heard before, but it's one I absolutely hope to hear in future.
The Mortal Instruments: City of Bones is one of the most unexpectedly pleasant surprises in film music in 2013, a year which has, for the most part, failed to deliver many outstanding scores during its first eight months. Considering how quick his turnaround was from when he was hired, Atli Örvarsson's work here is astonishingly accomplished, emotional and exciting, with plenty of enjoyment to be gleaned from its three main elements: orchestra, chorus and synths. He continues to be a chameleon whose scores are impossible to predict beforehand, and this a good thing; I hope he continues down this road with his next series of scores.
The opening theme sets the stage for the wonderful journey that follows. I mentioned crafting a mythology, and the score does indeed do that. The music feels solely part of the world that the movie exists in, and that's important. It gives the listener a grounding quality for the characters in the setting. The music's approach utilizes high-energy melodies and choral arrangements to give it a large scope. The action is also executed in pure Örvarsson style. Övarsson's scores all have this pulsating energy that drives them, and Mortal Instruments continues that. He can build tracks to great effect to give them an epic fantasy scope. The choral work in the score is definitely one of the main draws. It's not as deep and brooding as say Lord Of The Rings, which Shore used to create darkness and impending doom. Here the chorus has enough weight to give it substance yet light enough to keep it ethereal and mystical. The music really ramps up in energy and intensity in the final act, and there are some fantastic action tracks. Electronics are used to give the music the hard modern edge it needs, but we still keep that other worldly mysticism all the way through to the end.
The Mortal Instruments: City Of Bones is some of Atli Örvarsson's best thematic work and it's a fantastically engaging score. The music is high-energy, but it also packs a lot of that grand fantasy to make the soundscape truly unique. Örvarsson's pulsating style works incredibly well here, and the choral arrangements really make a dramatic impact in the music. I've been a huge fan of Atli's music since the beginning of his career, and it's been great to see his sound gain strength over the years. Mortal Instruments is a wonderful example of Örvarsson's thematic sensibilities and pulsating action stylings.
I had no expectations about the score, and I haven't watched the film in ages so I couldn't have told you how the music went.
Imagine my surprise when there is an included AutoRip, and the magic I felt listening to the score before the CD even shipped.
I'm really glad I purchased this and can't wait to have the physical disc in my hands. The music is gorgeous, gothic, magical, ethereal, electronic (I know, I was surprised too!) and everything else that makes the world of the Shadowhunters irresistible.
Cannot recommend it high enough to Mortal Instruments fans - fans of the movie and books. Go forward and destroy Downworlders!