14 Songs, 50 Minutes

EDITORS’ NOTES

Nineteenth-century English naturalist Charles Darwin’s theory of evolution might well be the single most challenging scientific idea to threaten the social-religious order in a millennia, spurring a rift that extended as far as Darwin’s own marriage to a fundamentalist Christian, the personal conflict that’s central to director Jon Amiel’s artfully restrained biopic. Composer Christopher Young musically evokes the emotional/philosophical complexities of the Darwins’ relationship, delivering a score that deftly colors that interior emotional landscape with dignity and grace. Centered on intimate chamber arrangements dominated by strings, woodwinds, haunting piano figures and unabashedly emotional solo violin motifs, the contemporary contours of Young’s score gently contrast the film’s period setting, occasionally recalling the equally centered, delicately brooding work of English colleague Rachel Portman. Yet by the soundtrack’s final cues, Young also manages the not inconsiderable task of fusing his delicate themes for piano and solo violin with hypnotic, minimalist-influenced orchestral cascades, a masterful marriage of melancholy and modernism.

EDITORS’ NOTES

Nineteenth-century English naturalist Charles Darwin’s theory of evolution might well be the single most challenging scientific idea to threaten the social-religious order in a millennia, spurring a rift that extended as far as Darwin’s own marriage to a fundamentalist Christian, the personal conflict that’s central to director Jon Amiel’s artfully restrained biopic. Composer Christopher Young musically evokes the emotional/philosophical complexities of the Darwins’ relationship, delivering a score that deftly colors that interior emotional landscape with dignity and grace. Centered on intimate chamber arrangements dominated by strings, woodwinds, haunting piano figures and unabashedly emotional solo violin motifs, the contemporary contours of Young’s score gently contrast the film’s period setting, occasionally recalling the equally centered, delicately brooding work of English colleague Rachel Portman. Yet by the soundtrack’s final cues, Young also manages the not inconsiderable task of fusing his delicate themes for piano and solo violin with hypnotic, minimalist-influenced orchestral cascades, a masterful marriage of melancholy and modernism.

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Ratings and Reviews

4.7 out of 5
35 Ratings

35 Ratings

ANewEra ,

Wow! Very impressed!

I'm not usually a big Chris Young fan, but I love this score! It's got so much heart, passion, and musicality. The strings are amazing and remind me of some of Thomas Newman's work, especially when the oboes come in on "The Treatment at Malvern". This is the kind of score I love listening to, the kind that sweeps you away to another place. It will be getting a lot of play time on my iPod along with my new favorites like "The Reader", "A Single Man", and Josh Kramer's "Beginnings".

HororMovieFan ,

Young has done it again

I first heard young from hellraiser and i thought that was his best but now he has outdone himself i espeicially reccomend To Emma

JCStahley ,

Really nice offering from Christopher Young

This style of music is something of a departure for Christopher Young, who's done more bombastic-type music in the past. I'm not familiar with this movie, but I really like the score as a standalone work, most especially some of the string work: nice tensions that build and build and eventually resolve quite beautifully. Favorite track is #14, which has some fantastic moments in it. The music is good enough that it makes me want to see the movie.!

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