The Day The Earth Stood Still (CD) ~ Original Score Cover Art

The Day The Earth Stood Still (CD)

By: Original Score

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Product Description

Track Listing

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DISC 1 for The Day The Earth Stood Still (CD) Album By Original Score
1   Prelude And Outer Space
2   Radar
3   Danger
4   Klaatu
5   Gort
6   Visor, The
7   Telescope, The
8   Escape
9   Solar Diamonds
10   Arlington
11   Lincoln Memorial
12   Nocturne
13   Flashlight, The
14   Robot, The
15   Space Control
16   Elevator, The
17   Magnetic Pull, The
18   Study, The
19   Conference, The
20   Jeweler, The
21   12:30
22   Panic
23   Glowing, The
24   Alone
25   Gort's Rage
26   Nikto
27   Captive
28   Terror
29   Prison, The
30   Rebirth
31   Departure
32   Farewell
33   Finale
 

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Title Note

Original score composed by Bernard Herrmann.

Conducted by Joel McNeely.

Recorded at Abbey Road Studios, London, England on January 5, 2002.

THE DAY THE EARTH STOOD STILL is one of Bernard Herrmann's most inventive soundtracks. This is attributable, largely, to the unusual instrumentation, which includes a small orchestra of Theremins, trumpets, trombones, tubas, reed organ, Hammond Organs, pianos, percussionists, and electrically amplified violin, cello, and bass. Naturally, the unusual ensemble, featuring acoustic and electric sounds, and the unearthly, vibrating voice of the Theremin (Herrmann scored the piece for two Theremins, and they often play at cross-purposes, using the instrument's already unconventional sound to create disorienting swirls) adds to the unsettling, futuristic theme of the film.

The music exemplifies Herrmann's strengths with minimalist expression and theme-and-variation technique. A master of dramatic tension and dynamic musical dialogue, Herrmann pits low-rumbling electric bass and timpani against airy, eerie celeste and Theremin melodies. Light, acoustic instruments like bells and harps ring around ominous horn lines and twangy electric guitar. While never atonal, Herrmann's approach to melody is unusual, employing odd interval leaps. Likewise, the music here is motivated by texture and mood rather than the development of themes (though several motifs are repeated) and the result is some of the most vital, forward-thinking music of the era (not only for film, but any medium).

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