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Does anybody own this score? I've found it on the web, and it is said to be very thrilling. However, I can't find the CD to purchase.
Would you recommend it? I like Corigliano's "Red Violin", however I guess this one's a bit different.
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Heinrich, I'd recommend it wholeheartedly. A stunning score. Very "organic" in its massive percussion (a bit like Goldenthal there), and with a gorgeous love theme. This is really something out of the ordinary.
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Terrific score - the love theme is so moody and beautiful, it's my favorite part of the score. It's just a small ray of sunshine amidst the atonal madness, and adds a real dimension to the score. Too bad the planned Dolby re-release that would have paired this score with Revolution never happened.
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A friend of mine played the LP of this score, and I bought the CD when it came out. I was blown away by the powerful percussion and the unbridled sound this score had.
I didn't ever actually get around to seeing the film Altered States until last Winter, when I rented the DVD of it. The score is really at the forefront of the sound mix in the film.
I thought that the film, while interesting, was somewhat limited in emotional scope, although it was visually stunning. That's true of most Ken Russell films, though, so I wasn't really all that surprised. However, the music raised the level of intensity of several scenes to a white-knuckle level.
The film/music interaction is quite complex, but I must say that one of the main pleasures of listening to this score is the textures and upheavals that constantly occur.
Because I was familiar with this score and with Corigliano's first symphony (which I found to be extremely moving), both of which are firmly rooted in modern musical idioms, I was quite surprised when I saw The Red Violin, and found Corigliano writing in a very different, yet no less involving style.
What I think is interesting about Corigliano in both of these cases is how each of these films rely heavily upon their scores, and his dramatic acumen seems to be quite spot-on. Both scores are incredibly appropriate, and yet both are also very clearly his music.
In both cases, however, it must be remembered that the filmmakers involved understood music and were willing to allow Corigliano to maintain his own musical identity.
Nevertheless, I think it is quite a shame that more filmmakers do not seek out his considerable talent.
I have never seen Revolution (most who have told me I am not missing much beyond the score), so I have no idea what that score sounds like, or how the music interacts with the film.
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I never bought the album but this was a striking, carefully constructed piece of work. In an interview done in 1992 (for Soundtrack! magazine) Shirley Walker said that this score was a good example of uncompromised, "real" music, and she was right.
There are a lot great pieces in the score, but the one I remember most was the cue for the scene where William Hurt reverts to his primitivism and runs wild in the zoo. A lively, virtuoso piece.
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Thank you all, that sounds great. 
I'll try to get this music as soon as possible. I have no doubts I will like it very much, as I tend to like this described style of music very much.
It's been often mentioned that Elliot Goldenthal has borrowed some orchestrational techniques from John Corigliano, and habing been familiar with "The Red Violin" only, I couldn't see this connection.
Now that I've listened to some sound clips from "Altered States" at amazon.com, I recognize this certain connection.
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Sure, Corigliano was (as well as Aaron Copland) Goldenthal's teacher, they met every week for quite a time and Corigliano would teach him his knowledge of music.
I refered to Goldenthal's statement, that he borrowed some "typical" Corigliano orchestrations for "Sphere" (1998). "Altered States" proves this.
Has Goldenthal really been creditet to this score as an assistant of Corigliano's?
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IMO this film has one of the most beautiful love themes.
Tell it to Timmer!!!!!
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