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84 of 85 found the following review helpful:
 The Red ViolinMar 10, 2000
A strangely hypnotic soundtrack that travels around the world musically with the movie it portrays. From the beginnings of Red Violin theme in Italy, to its ending in Montreal, the music takes us to each place it travels to. In Italy it is haunting as the Red Violin is created. In Austria the music is graceful (with a unique, lively gypsy tune), in Oxford it is passionate, in China wistful (included in the China section is a piece that has a Chinese song sung by children). At last, in Montreal, where the Red Violin ends its journey through time, the music returns to its roots in Italy, becoming both sad and haunting. The entire soundtrack centers around a single theme; expanding and elaborating it as the Red Violin journeys from one place to another. This is a soundtrack that evokes feelings of a mysterious love, a deep passion, and a haunting power. To truly understand the almost magical grip it has, one must listen to it.
38 of 39 found the following review helpful:
 Four sophisticated strings in five sophisticated storiesJun 16, 2003
By Bram Janssen
Corigliano does not consider himself a film-music composer, not even after winning an Academy Award for this score, and tossing high eyes with his score for "Altered States". He is more the type for 'classical music' such as chamber music and concertos. That is perhaps one reason why he's asked to score such films of this calibre. In particular the tale of the cultural, literary and geographical travails of a small, melancholic fourstring. Corigliano's approach is awesome and at the same time the only right one. As the violin passes from culture to culture, the music changes with it. However, at the centre of each of the five 'chapters' is one theme: "Anna's theme". And seeing that - in a certain spiritual approach - Anna herself incorporates the violin, her theme is also the Red Violin's theme. This is beautifully illustrated in the soundtrack's first piece (properly named "Anna's theme") - which is first hummed by a woman's voice and then deftly handed over to solo violin. After departing from the violin's place of birth - Cremona - the listeners relocates it in baroque Vienna. So far the music had been rather ageless (meaning: modern, non?contemporary film-music), yet here it has started to absorb some Zeitgeist. This three?track chapter's most outstanding moment is "Kaspar's etude", which, symbolically and narratively, features a violin-solo and an accelerating metronome that abruptly stops ticking. Next stop in our time-travail is a group of Gypsy-travellers, who end up with the musical instrument in English Oxford. This chapter features some wonderful Roma music and a truly virtuoso etude by featured violist Joshua Bell (who plays all the solos and leads in the score). These five tracks are the zenith in an already outstanding body of composition. We journey to Shanghai next, but there is little original composition here, especially in the second track, which features an appearance of the Chinese Red Guard accordion band (still a very famous accordion/children's choir musical piece). Nevertheless, the music adds value to the whole with its oriental folklore and flavour. And with the fifth chapter we have arrived in more modern times - in Montreal to be exact. What you get here is music with very mysterious quality. "Morritz's theme" is a slightly altered "Anna's Theme", very interesting. After the "End Titles" - in which "Anna's Theme" is given back to the humming female vocal by the solo violin - we are treated with a 17-minute long orchestral piece. Here, Corigliano used stagnation in the film's production-process to further delve into some of the earlier themes. (Normally, composers are called in only AFTER all the imagery has been shot, but here characters being filmed IN the film had to play a composer's film-music, which is why Corigliano came into the moviemaking early.) This music is much more than "suite" and a living identity of its own. The music on this album is intelligent and sensitive, varied and literary. And there aren't simply excerpts from it: there is a lot of it. It doesn't break boundaries, and it will not define new standards. But the album's content is great quality all the way, which will move you with deep instrumentations, astounding virtuoso performances and vibrant storytelling, each time you grace it with a listen. This is worth at least four stars. Bram Janssen,
The Netherlands
26 of 27 found the following review helpful:
Great! But...go see the movie firstJul 04, 1999
Any recording involving Joshua Bell almost guarantees that there will be little to criticize. Let me state, first off, that Bell's playing has nothing to do with why this didn't get five stars. As usual, he gives a wonderful performance, full of the lyricism and passion that make music critics smile in spite of themselves and young Bell fans swoon. The music itself is hauntingly beautiful and "Anna's Theme" is as unforgettable and captivating as her violin in the movie. The big BUT comes here: this is a wonderful score BUT it won't seem to make sense unless you go see the movie first. You have to know the plot; there are about five different subplots that fit together to make the movie as a whole. If you don't know it, the CD just sounds like five different soundtracks from seperate movies. At best, it will make you want to go find out what the movie is about. At worst, it will confuse you and you'll think the movie is weird and badly done, which it isn't. BTW I encourage you to go see this movie! You will never forget it, it is beautiful, a joy to watch. I highly recommend the movie, and I highly recommend you then go to pick up the soundtrack- but in that order, not the other way around.
17 of 17 found the following review helpful:
A perfect melange....glorious!Sep 06, 1999
As an enthusiast in multimedia art, I am always delighted to see the image, motion and sound blend well in a film, although it is a rarity. I am especially satisfied that this work has elevated the aspect of sound to its full potential. Corigliano's score so wonderfully combines the tradition of classical music and contemporary emotional element---simply marvelous. The talent of Salonen and Bell as performers reaffirmed my conviction in classical music, the future and now. Absolutely an electrifying, intelligent achievement!
13 of 13 found the following review helpful:
Best Score of 1999Feb 29, 2000
As soon as I left the theater after seeing "The Red Violin," I immediately bought the magnificent score. I have found that the most amazing thing about this score, aside from the fact that it is truly and simply amazing, is that one does not have to see the film nor know what the plot is about in order to enjoy Corigliano's moving composition; however, I am glad I did see the film first. He poetically captures the mood of The Red Violin's travels across five time-periods and regions, and it is a wonderous trip that I enjoy more and more every time I listen to the soundtrack. It is absolutely the PERFECT studying/reading/relaxing/resting music that I own or have ever heard. Hopefully, if the Academy is reasonably competent, Corigliano will walk away the winner of the Academy Award for Best Original Score--I don't know of a more appropriate award that could be bestowed upon this exquisite work. But even if he leaves the Oscars as merely a nomminee, treat yourself to "The Red Violin." Trust me, it is the one piece of music that you will keep forever. Five stars and more!
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