I think the film runs hot and cold. Some aspects of it are great, others not. I especially don't like the peculiar "bullet-time" compressed point-of-view shots that I think were shot by a second unit director and not FFC.
But the CD is fantastic. This and BASIC INSTINCT are my only two favorite scores from 1992, if I'm not forgetting anything.
DRACULA is the first ost I ever purchased and heard in full outside of a film as a separate entity! (I was 12 years old). Also, it was the first film I saw 2 times in theaters. Up until then, I didn't know that the music of a film is released in albums and I just saw it mentioned in the poster of the film in the newspaper. I thought this was only for this film, but then I realised that film music scores are indeed released in albums.
After that, I stuck and started collecting soundtracks, and also started shaping my dreams about being a film composer.
The music is exceptional and I wish it had been nominated for an Oscar (although I don't remember what were the nominations that year). I especially love the Love theme and the way it modulates towards the end of "Mina/Dracula".
The movie seems to get better on repeated viewings and I'm very pleased with the blu-ray. As for the variations on a theme, I think the score is varied enough with lots of highlights. "The 9th Gate" had a similar approach.
Having heard and enjoyed the 6 part re-recorded suite (by Antoni Wit ~ Polish National Radio Symphony ~ Krakow Philharmonic Choir) on several plays these last few years, I decided to buy (a cheap 2nd hand copy) the full score a few months ago.
Only to find that it had little of the impact of the suite. Certainly the low sound mix is a factor but there seems little in the score that isn't in the suite and the latter is far more satisfying.
I haven't seen the film so don't know how effective the score is but I do like other works I have by Mr. Kilar.
When I came to rip the CD (for streaming) I found the last track - Annie Lennox' vocal - would not rip properly and so I have had to discard it ... what a shame
The only piece of music I miss on the soundtrack is the exciting pursuit up the mountain. Exciting track, that.
Totally agree! Most everything else in the score is accounted for and it's one hell of a score too....brilliant!
I'd say the same. There seems to be little point in requesting an 'expanded' release other than for the sake of it, the original is more than enough and I also find it repetitive at times. I'm no fan of Annie Lennox, but I do like the song.
In addition to the chase piece I'd also like to have the slower variation on The Brides that appears one or two times. But apart from those, I don't think there's anything extra score-wise in the film, it's just repeats or mixes of tracks. Still a terrific score that works really well though.
The first new piece should be track 3 ("Mina/Jonathan"), a sublime melancholic oboe melody that isn't included in the ost in any way. The 2nd must be the track entitled "Rules Cafe Waltz", which is an orchestral waltz that is heard in a behind the scenes documentary on the movie, and is based in that little celesta melody (also missing from the ost) when Jonathan says goodbye to Mina.
I had a chance to listen to the complete demo tape. This score desperately needs an expansion! Besides those sublime unreleased themes, it contains alternate/early versions of other themes (the ost has many edits), that elevate it even more! (eg. it contains an early marvellous version of The Storm, part of which is used in the ost).
Would any label be interested in this? Perhaps next year for the score's 25th anniversary?
By the way you can hear a bit of that sublime oboe theme I mentioned in my previous post here at 4.24-5.04:
There is a concert work by Kilar that I absolutely love. It could easily fit into an OMEN-like movie. It is a haunting work for orchestra and chorus, called "Angelus." It starts out as quite unsettling with the chorus chanting in whispers, building up to a huge choral/orchestral climax before settling down into the main part of the piece before reaching an incredibly peaceful conclusion.
WARNING: There are different recordings of this piece out there. The one to get is the one conducted by Antoni Wit on the Olympia label (OCD 308).