The world to come


Blumberg, Daniel

  • Titel: The world to come / Daniel Blumberg
  • Person(en): Blumberg, Daniel [Komposition]
  • Ausgabe: Original Motion Picture Soundtrack
  • Sprache: Englisch
  • Originalsprache: Englisch
  • Umfang: 1 CD (73:45 Min.) + 1 Booklet (8 ungezählte Seiten)
  • Erschienen: London, UK : Mute Artists Ltd. ; NODE RECORDS, 2022
  • EAN, ISMN/Preis: 5400863054489 : EUR 17.99
  • Bestellnummer: CDSTUMM468
  • Anmerkungen: Score composed by Daniel Blumberg. "The world to Come" song written by Daniel Blumberg & Josephine Foster. "Abigail's Theme (Brötzmann Solo) & "Tallie's Theme" (Brötzmann Solo) written by Daniel Blumberg & Peter Brötzmann Enthält: Opening (Dyer's Farmhouse). Nellie. Abigail's Walk. Tallie. Flummoxed. Chicken Plucking. The Storm. Falling In Love. First Kiss. The Orchard. The Woods. Spying House. Thoughts And Townships. The Fire. Empty House. Tallie Missing. Finny Letter. Atlas. The Wagon. Love And Death Rooftop The World To Come Abigail's Theme (Brötzmann Solo) Tallie's Theme (Brötzmann Solo)
  • Signatur: MUSIK und TANZ > Soundtracks
  • muc D 2 Soundtrack Film WORL

Inhalt: Blumberg has created a bold score for the film which captures the passionate intensity of the lovers romance against a backdrop of extreme physical hardship in an unforgiving rural landscape. Co-produced with Peter Walsh (Scott Walker), Blumberg enlisted an ensemble of internationally revered avant-garde musicians including Peter Brötzmann (clarinet), Josephine Foster (voice), Ute Kanngiesser (cello), Steve Noble (cowbells), Yoni Silver (clarinet), Billy Steiger (violin), Alex Ward (clarinet) and Tom Wheatley (double bass). Together they created an evocative sound palette which moves dynamically from poignant, melodic motifs representing Abigail and Tallie's characters, to extreme dissonance and textural experimentation, as the harshness of the elements and Tallies husbands vindictive jealousy come to challenge the lovers growing connection. Talking about the score, Blumberg explains, "it was a huge challenge to retain the unique qualities of improvised music within the structure of cinema, but that friction is something that excited me about working in this context."