[电影原声] 原声大碟 -偷书贼 The Book Thief |
本专辑是关于原声大碟 -偷书贼 ，大小：220MB，格式：FLAC，压缩比率：192K，国家地区：美国，发行时间： 2013年11月19日，共广大设计师学习使用。 专辑介绍: 偷书贼 电影原声带 The Book Thief (Original Motion Picture Soundtrack) 2013年11月26日 産品编号: 88883797072 电影2014/ 2/27上映 ‧被誉为2014年奥斯卡大黑马的畅销书改编瞩目电影。 ‧荣获5座奥斯卡并入主好莱坞露天剧场名人殿堂，获颁甘迺迪中心荣誉奖的John Williams掌控配乐。 ‧靠著《侏儸纪公园》抱走奥斯卡「最佳声效」的Shawn Murphy，负责录制和混音大任。 【关於电影】 曾经徘徊《纽约时报》畅销书榜超过230个礼拜之久，荣获《亚马逊网路书店年度选书》、《全国犹太图书协会》小说奖、《澳洲书商年度选书》等礼讚的《The Book Thief偷书贼》，在各界好评期待下，终於改编电影搬上大萤幕。故事发生在二次大战期间，女主角Liesel Meminger因环境所逼，得不到亲生父母的爱，弟弟又因病离开人世，从小生长在寄养家庭。在弟弟葬礼上捡到生平第一本书，自此打开「偷书」的起源。Liesel藉由书本找到内心慰藉，并且努力学习认字阅读，从文字中找到生存的力量，进而将内容朗读给躲进防空洞的人民听，安抚大家紧张惶恐的情绪。在Liesel家楼下，养父母秘密成立了一间庇护所，收容前来投靠的犹太裔遗孤Max Vandenburg，逃避德军对犹太人的大屠杀。然而，Liesel和Max的命运将会遇到怎样的遭遇？一部充满勇气和感动的小品，福斯影片继《少年PI的奇幻漂流》后的最新力作。《The King's Speech王者之声：宣战时刻》金奖影帝杰佛瑞‧罗许(Geoffrey Rush)、英国影后艾蜜莉‧华森(Emily Watson)、年仅13岁，加拿大籍漂亮演技派新秀苏菲‧奈里斯(Sophie Nelisse)等明星参与演出。由金球、艾美等大奖加冕的英国影集《Downton Abbey唐顿庄园》导演布莱恩派西佛(Brian Percival)执掌。 【关於原声带】 入主好莱坞露天剧场名人殿堂，获颁甘迺迪中心荣誉奖的约翰‧威廉斯(John Williams)，在他60餘年的艺术生涯中，荣获5座奥斯卡(赢得48次提名，成为获取入围最多的在世人物)、4座金球、3座艾美奖、21座葛莱美等大奖加冕，举凡《星际大战系列》、《超人》、《大白鯊》、《侏儸纪公园》、《法柜奇兵系列》...等卖座鉅片，都是约翰最得意的作品。此回执掌《The Book Thief偷书贼》，约翰邀请身拥超过330部影片，靠著《侏儸纪公园》抱走奥斯卡「最佳声效」的多年伙伴夏恩‧墨菲(Shawn Murphy)，负责录制和混音大任。钢琴的飞扬音符勾勒《One Small Fact》美丽图像，一连接续到忐忑心情迎接新环境的《New Parents And A New Home》、书香围绕的《Ilsa's Library》，再加上弦乐辅佐，谱出古典质感和生动画面；焚烧书籍的深沉线条《Book Burning》、对希特勒镇导的无奈之《I Hate Hitler! 》、《Max And Liesel》初次相遇之歌，都特别加强内心戏份的演绎桥段；层次鲜明的《Foot Race》，其中还透著轻巧的旋律，相当讨喜；最后总长7分多鐘的主题音乐《The Book Thief》，擅长用弦乐队，交织出盪气迴肠的声韵，其中来回穿绕的钢琴，不定点的现形点缀，又可温暖动容的引发催泪氛围。 Release Date November 19, 2013 Duration 52:35 Genre Classical Stage & Screen Styles Soundtracks Original Release Date: 8 Nov 2013 Release Date: 8 Nov 2013 Label: Sony Classical Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more. Total Length: 52:03 Genres: Classical ASIN: B00G71FPLU Original Review by Jonathan Broxton The Book Thief, based on the popular novel by Markus Zusak, is a World War II drama set in Germany about the power of the written word. Young Sophie Nélisse stars as the lead character, Liesel, who is sent to live with foster parents (Geoffrey Rush and Emily Watson), just as the specter of war looms over the country and Nazism begins to take hold. Through her innocent eyes Liesel begins to witness the first months of what would be eventually become the Holocaust, but through the compassion of her new parents, their imparted love of books and literature, and her friendship with of a young Jewish man named Max, she finds a way to deal with the atrocities that are starting to take place in her community. The film is directed by Brian Percival, best known for his work on the critically acclaimed TV series Downton Abbey, and has a score by the legendary John Williams. It came as something of a surprise when Williams was announced as The Book Thief’s composer, as it marks the first time he has worked on a film that did not involve either George Lucas or Steven Spielberg since Harry Potter and the Prisoner of Azkaban in 2004 (Spielberg was originally set to direct Memoirs of a Geisha, and is one of that film’s producers). Williams has tackled this sort of subject matter before, in films like Schindler’s List, and he is an acknowledged master at composing scores from a child’s point of view, as he has done numerous times through his career, but for him to turn up scoring a film such as this, working with a new director at the age of 81, is unexpectedly wonderful. Apparently Williams read Zusak’s novel, and when he heard that a film was being made, he actively sought out the scoring gig. As such, this is clearly a very personal project for Williams, and the resulting score reflects that obvious love of the source material. The Book Thief falls squarely within that realm of heartfelt, weighty, profound dramatic works that also feature a little bit of child-like innocence and idealism, to stop the whole thing from bogging down. As with virtually all Williams works, it’s also remarkably beautiful, written for a full orchestra, masterfully orchestrated, and containing a great deal of heart and sentiment, as befits the work of someone who has been bringing beauty, heart and sentiment to the world of cinema for over 50 years. In terms of overall sound, one could say that The Book Thief is an amalgamation of Schindler’s List and Angela’s Ashes, with a little bit of Empire of the Sun and a little bit of Jane Eyre thrown in for good measure. It’s classic emotional Williams through and through, and a welcome reminder of everything that can be good about film music, and his music in particular. The score is mainly dominated by piano and strings, with the rest of the orchestra dancing around it, bringing little bits of color and flavor to the score, but never overwhelming this intimate core sound. The main theme flows fluidly through many cues, beginning in the opening “One Small Fact”, which passes the main melody from strings to woodwinds and back again, while the piano provides elegant, undulating accompaniment. “The Journey to Himmel Street” is a slightly more downbeat and reflective recapitulation, but by the time the florid piano line reappears in “Learning to Read” it has become a recurring leitmotif for Liesel’s thirst for knowledge, and her increasing love of literature. The solo cello that anchors “Learning to Write” allows the theme to grow even more, as another new aspect of Liesel’s communication skills is developed, and the whole thing reaches a lovely conclusion in the warmly emotional “Writing to Mama” . Elsewhere, Liesel’s idyllic life, and her carefree childhood is depicted by the lovely “New Parents and a New Home”, while the flighty playfulness of cues like “The Snow Fight” and “Foot Race” bring the similarly effervescent sequences from The Adventures from Tintin and his Harry Potter scores into a new setting. Conversely, cues like “Book Burning” and the tragedy-laden “Rudy is Taken” are starker and darker, reminding the listener that the horrors of war and the evils of Nazism and the Holocaust are never far from Liesel’s front door. Low-end piano chords, bassoons combined with deep brasses, minor key crescendos and an overtly more oppressive tone anchor the former in a sense of darkness that is wholly appropriate in context, while the overwhelming poignancy of the latter is quite devastating. Dotted throughout the score are several moments of wonderful orchestration, masterful technique, and beautiful instrumental combinations. The duet between Gloria Cheng’s piano and Joanne Turovsky’s harp in “Ilsa’s Library” is sublime; the sensitive oboe solo in “Max and Liesel” is heartbreakingly tender; the crescendo towards the end of “The Train Station” has a profound sense of longing and loss. Later, “The Visitor at Himmel Street” offers a touch of romance to the proceedings, with a warm string and harp combination that is very touching, while the lovely “Finale” features the most compelling piano solo of the entire score. The seven-minute end credits concert piece, “The Book Thief”, gives Williams the opportunity to raise the emotional content of his music even further, with the boldest performances of his main themes. Some may criticize The Book Thief for being unoriginal. It’s true, The Book Thief breaks no new ground, and it’s awash in all the compositional traits and hallmarks that have characterized the majority of Williams’ scores over the last 20 years. But, at this stage in the game, re-inventing the wheel is not really the point any more – when you hire John Williams to write music for your film, you do so because you want more of what John Williams brings to the table – his sound, and his sensibility. The Book Thief is exactly that sort of score. Warm and inviting, familiar and comfortable, a vintage Williams work in every sense of the word. As has been mentioned by myself and others over the last few years, Hollywood is currently going through a period where strongly thematic, emotionally direct scores for serious films are considered passé, and perhaps even a little cheesy, by mainstream film critics. I just don’t understand how that opinion has become the prevalent one, especially when listening to scores like this one. The Book Thief illustrates and brings out the emotions in the listener and the viewer with grace and sincerity, never overwhelming them, allowing the audience to feel the story at it unfolds. Simultaneously, the musicality and compositional excellence in the score illustrates just how well Williams understands musical storytelling and the importance of structure and narrative in film music. How can this be passé or cheesy? It’s the essence of good cinema, and just proves once more why Williams is one of the greatest film composers who ever lived. 下载地址： 链接：http://pan.baidu.com/s/1pLEOeEJ 密码：34kn
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[url=[url=原声大碟 -偷书贼.rar (232.37 MB)]原声大碟 -偷书贼.rar (232.37 MB)[/url]]原声大碟 -偷书贼.rar (232.37 MB)[/url] |
