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K-19: The Widowmaker

 

 

K-19: The Widowmaker (2002)

Composer(s):
Klaus Badelt, Geoff Zanelli, Richard Einhorn (non-original music; from oratorium "Voices of Light") 

Released in:
2002

Reviews
Russian All The Way!!!
by
Thomas Kiefner (August 19, 2002)
When I went to the theater to see the film, I had little if any expectations. The reviews had not been good, but being a fan of Harrision Ford, I went anyway. Not only did I enjoy the film, but I heard an incredible soundtrack. This is not the average soundtrack that you normally here. It is 100% Russian classical in nature, but yet it still has the flavor of Hollywood mixed in. I am sure that Klaus knows and understands very well, the 20th century Russian composers because he hit the nail on the head, driving it in with one swing!!! It is ominous and dark because that is what the film's story is about. The recording was performed by who else but the outstanding Kirov Orchestra and Chorus, conducted by Valery Gergiev.

A strong word of caution. You must listen to this recording a few times before you get the true flavor and feeling of the recording. My first listen is not how I feel about it now. The first time I listened I thought they just put a bunch of tracks on the CD and put it out for sale. The Suite For Orchestra and Chorus in G Minor is a work that can stand on its own and be performed by any symphony orchestra in the world.

Highly recommended!!!

A noble score.
by a soundtrack collector (July 26, 2002)
Given the film's fevered, rooted-in-cold-war-history nuclear tensions and claustrophobic, intensely Russian settings, promising newcomer/Hans Zimmer protégé Klaus Badelt (The Time Machine and contributions to Gladiator and Pearl Harbor) was saddled with more than a few expectations in scoring director Kathryn Bigelow's Soviet sub thriller. But Badelt has admirably risen to the occasion, conjuring up an orchestral score (masterfully performed by the Kirov Orchestra and Chorus under Valery Giergiev) rooted in moody Russian classicism--and a dash of Zimmer's favorite Holstian drama as well. The centerpiece here is the neo-classical Suite for Orchestra and Chorus in G Minor, its four movements ("Fear," "Fate," "War," "Soul") powerfully underscoring the film's unrelenting pressure cooker of drama and emotion. Badelt's use of excerpts from Richard Einhorn's Voices of Light suite ("Reactor") is equally inspired, its haunting choral touches and spare, evocative arrangements imparting some compelling gravitas to the story's dark sense of impending doom. A score as noble, if emotionally ominous, as the 20th-century Russian masters who inspired it.<br>
<i>Jerry McCulley - Amazon.com.</i>





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