OST-Jerry_Goldsmith_-_The_Russia_House-1990-55L
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█▀ ■ [ 5 a f e 5 e x L o v 3 r 5 ] ■ █
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█ Jerry Goldsmith - The Russia House (OST) █
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█ ARTiST....[ Jerry Goldsmith █
▄█▄ TiTLE.....[ The Russia House ▄█▄
█ LABEL.....[ MCA Records █
▄▀ ▀▄ GENRE.....[ Soundtrack ▄▀ ▀▄
█ RLS.DATE..[ 29-11-2005 █
█ SOURCE....[ CDDA █
▄█▄ ENCODER...[ LAME ▄█▄
█ QUALiTY...[ VBRkbps / Joint-Stereo █
▄▀ ▀▄ TRACKS....[ 17 ▄▀ ▀▄
█ SUPPLiER..[ 3D3Q █
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█ The Russia House: (Jerry Goldsmith) This could █
█ very well be the best score ever to feature an █
█ unwanted theme and an unwanted album. Not only did █
█ Jerry Goldsmith disapprove of the MCA Records █
█ album for The Russia House, but the title theme of █
█ the film itself was a reject from a previous Jerry █
█ Goldsmith score. The saga of the score for The █
█ Russia House begins two years before the film's █
█ release, when Goldsmith conjured up a bold and yet █
█ longing love theme for the film Alien Nation. In a █
█ seemingly nonsensical move by that film's █
█ producers, Goldsmith's score was rejected and █
█ expunged. Knowing that he had a perfectly viable, █
█ not to mention powerful, theme on his hands, he █
█ waited a few years before working it into the █
█ potentially explosive adaptation of John LeCarre's █
█ novel The Russia House. However, because audiences █
█ were unprepared for either the gloom of the film █
█ or the distorted and confusing ending of the █
█ adaptation, the film fell short of all █
█ expectations... save Goldsmith's score. Perhaps or █
█ perhaps not related was Goldsmith's wish for a █
█ short album release of his score; MCA did not █
█ agree, and thus was born the lengthy album with █
█ the mass of the music from the film intact. █
█ Undeterred by this development, however, █
█ Goldsmith's fondness for his theme for The Russia █
█ House would cause a reprise of its jazzy █
█ performances in the bittersweet finale of the 1993 █
█ thriller, The Vanishing. █
█ █
█ The film was one of the first to ever be shot on █
█ location in the former Soviet Union, and its █
█ genuine locale was countered by Goldsmith's █
█ interestingly American approach to scoring the █
█ visuals. The story revolves around the central █
█ themes of espionage and romance, with an █
█ ultimately doomed fate awaiting both main █
█ characters (in this case, Connery and Pfeiffer). █
█ Goldsmith took a chance by composing an almost █
█ exclusively jazzy score, building off of the █
█ Barley character's performance of the instrument. █
█ To address the espionage, and not to mention █
█ Connery himself, Goldsmith inserts a slight touch █
█ James Bond's mechanical instrumentation. To █
█ address the danger of the romance itself, he █
█ offers us a glimpse of the nervous strings that we █
█ would eventually hear in full for Baisc Instinct. █
█ The suprising aspect of the score for The Russia █
█ House is its simplicity in instrumentation and █
█ repitition. It's hard to imagine how a score of █
█ this minuscule size and scope could be so █
█ overwhelming in its appeal. That might say █
█ something about Goldsmith's raw talent. █
█ █
█ The elements are simple: A jazz trio handles the █
█ majority of the themes and underscore. The █
█ saxophone performances by Branford Marsalis are █
█ nothing short of spectacular, with some of the █
█ best improvised sax recordings I have yet to hear █
█ in any genre. Never once does he quiver or even █
█ slightly miss a note. Michael Lang is equally █
█ reknown for his fabulous piano performances, and █
█ he delicately establishes an elevated level of █
█ classy bar room atmosphere for Marsalis' sax. The █
█ bass, performed by John Patitucci, has a larger █
█ role in the score, not only providing a rhythm for █
█ the other two jazz performers, but also handling a █
█ large portion of the underscore. It is during █
█ these sequences with the bass that Goldsmith █
█ utilizes his electronics to his fullest. With his █
█ knowledge of synthesized integration having █
█ matured since the experiemental days of Legend and █
█ Hoosiers, Goldsmith's electronics are almost █
█ identically appealing in both Total Recall and The █
█ Russia House in 1990. The James Bond aspect of the █
█ spy tale called for the presence of mechanized █
█ subterfuge, and thus, the use of Goldsmith's wide █
█ array of synthesized sounds keeps a consistent █
█ rhythm set throughout the score. █
█ █
█ Not always are the bass and electronics geared █
█ towards suspence, though. The third element of █
█ Goldsmith's score is the reasonably sized string █
█ section, which is added to provide a whimsical █
█ effect for the grand, romantic performances of the █
█ title theme (this could also just be a smaller █
█ string ensemble simply mixed over itself). During █
█ these moments, the electronics cease their █
█ systematic beats and blossom into chimes and █
█ twinkles. No better of an example exists than the █
█ finale of the film, when the dream-like "The █
█ Family Arrives" sequence provides a false sense of █
█ hope at an otherwised doomed finish to the story. █
█ During these elegant performances of Goldsmith's █
█ cherished theme, the sax, strings, and piano █
█ rotate in their pronouncement of the theme, with █
█ all three together occasionally blowing the █
█ listener away with stunning aural beauty (such as █
█ "Bon Voyage"). Over half of the score, though, █
█ consists of the suspenseful underscore previously █
█ mentioned, with the bass and electronics leading █
█ the way. Goldsmith throws in two more elements █
█ during these sequences. First, some very light █
█ percussion, crisply recorded, keeps the film █
█ moving at a pre-set tempo. To do this, Goldsmith █
█ integrates the clicking of a metronome (the device █
█ by which instrument performers set their tempo in █
█ practice) right into the scheme. Assessing the █
█ need for a slight, Russian influence on the score, █
█ Goldsmith also composes for the duduk and █
█ balalaika, Armenian instruments that sound, to the █
█ American ear, like a low, fluttering woodwind █
█ instruments. These moments are combined well with █
█ Goldsmith's American jazz, leading to a very █
█ smooth and listenable hour of music. █
█ █
█ In sum, Goldsmith's music for The Russia House is █
█ the type that you wish you could hear every time █
█ you go into an upscale bar. It is friendly, yet █
█ mysterious. It is smokey, yet vibrant. Its █
█ recording quality is so crisp that Marsalis' sax █
█ bounces off the walls with delightful clarity. The █
█ monotony of its construction is compensated by the █
█ sheer talent of its performers. The vocal version █
█ of Goldsmith's theme, performed in the song by █
█ Patti Austin, melts wonderfully into the center of █
█ the album. The song's arrangement and █
█ instrumentation by Goldsmith is consistent with █
█ the rest of the album. The ultimate highlight of █
█ the album is the final track, for which Goldsmith █
█ allowed the trio of jazz musicians to improvise █
█ over seven minutes of material, leading to an █
█ enjoyably snazzy conclusion for the album. Aside █
█ from the electronics, this score is like nothing █
█ composed by any other major film composer in the █
█ last twenty years. Other compsoers have tried to █
█ score films with the same emphasis on jazz, but █
█ none has succeeded with the same class as █
█ Goldsmith did. To that end, the traditional █
█ Goldsmith fan might not warm up to The Russia █
█ House. But I guarantee you that it will grow on █
█ you... without fail. It has become a legend within █
█ the film score industry, with similar praise █
█ extended from fans all over the world. It's the █
█ best score that the mass populus has never heard, █
█ and if I was restricted to taking one score with █
█ me to a desert island for the rest of my █
█ existence, it would be The Russia House. If you █
█ agree, then you will want to seek out a copy of █
█ the bootleg for Goldsmith's 1993 The Vanishing, █
█ which features a less crisp, but still enjoyable, █
█ three minute reprise of the theme from The Russia █
█ House █
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█ TRACK LiST █
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█ NR. TRACKNAME TiME █
█ ................................................................ █
█ 01 │ katya │04:00 █
█ 02 │ introductions │03:15 █
█ 03 │ the conversation │04:16 █
█ 04 │ traning │02:04 █
█ 05 │ katya and barley │02:35 █
█ 06 │ first name, yakov │02:56 █
█ 07 │ bon voyage │02:16 █
█ 08 │ the meeting │04:00 █
█ 09 │ i'm with you │02:42 █
█ 10 │ alone in the world │04:12 █
█ 11 │ the gift │02:37 █
█ 12 │ full marks │02:31 █
█ 13 │ barley's love │03:27 █
█ 14 │ my only country │04:37 █
█ 15 │ crossing over │04:16 █
█ 16 │ the deal │04:12 █
█ 17 │ the family arrives │07:39 █
█ │ │ █
█ │ │ █
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█ TOTAL TiME: 61:35 min █
█ TOTAL SiZE: 98,2 MB █
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Files
| Path | Size |
|---|---|
| 01-jerry_goldsmith_-_katya-55l.mp3 | 6,63 MB |
| 02-jerry_goldsmith_-_introductions-55l.mp3 | 5,10 MB |
| 03-jerry_goldsmith_-_the_conversation-55l.mp3 | 6,75 MB |
| 04-jerry_goldsmith_-_traning-55l.mp3 | 3,28 MB |
| 05-jerry_goldsmith_-_katya_and_barley-55l.mp3 | 4,09 MB |
| 06-jerry_goldsmith_-_first_name_yakov-55l.mp3 | 4,92 MB |
| 07-jerry_goldsmith_-_bon_voyage-55l.mp3 | 3,70 MB |
| 08-jerry_goldsmith_-_the_meeting-55l.mp3 | 6,37 MB |
| 09-jerry_goldsmith_-_im_with_you-55l.mp3 | 3,88 MB |
| 10-jerry_goldsmith_-_alone_in_the_world-55l.mp3 | 6,39 MB |
| 11-jerry_goldsmith_-_the_gift-55l.mp3 | 4,28 MB |
| 12-jerry_goldsmith_-_full_marks-55l.mp3 | 3,87 MB |
| 13-jerry_goldsmith_-_barleys_love-55l.mp3 | 5,47 MB |
| 14-jerry_goldsmith_-_my_only_country-55l.mp3 | 7,27 MB |
| 15-jerry_goldsmith_-_crossing_over-55l.mp3 | 6,75 MB |
| 16-jerry_goldsmith_-_the_deal-55l.mp3 | 6,50 MB |
| 17-jerry_goldsmith_-_the_family_arrives-55l.mp3 | 12,94 MB |