A memorable Oscar-winning score makes it’s vinyl debut!
Academy Of St. Martin In The Fields/Gabriel Yared – Original Soundtrack Recording The English Patient – Fantasy Records (1996)/ Varèse Sarabande VSD00739 Sahara Sun Orange stereo vinyl (distr. by Concord Music Group) 72:48 ****1/2:
(Harry Rabinowitz – conductor; John Constable – piano soloist; Márta Sebestyén – vocalist; Ronnie Hazelhurst – conductor, arranger Shepheard’s Hotel Jazz Orchestra)
In 1996, the romantic war drama, The English Patient was a huge commercial and critical success, garnering 9 Oscars. Among the awards was the original score by Gabriel Yared. Included on the soundtrack were period-based big band numbers by Benny Goodman, Ella Fitzgerald, Shepheard’s Hotel Jazz Orchestra, and a Bach aria. At the core of this successful musical journey are the mysterious original compositions by Yared. A movie score can provide visceral emphasis in a movie, like the terrifying repeat note from Jaws (John Williams), the lyrical sweep of Titanic (James Horner), the prominence of The Magnificent Seven (Elmer Bernstein), pageantry of Chariots Of Fire (Vangelis) or the aching beauty of The Mission (Ennio Morricone). It can also shade the context and narrative.
Varèse Sarabande has released the soundtrack to The English Patient for the first time on vinyl Sahara Sun Orange). Side A opens with the title track. After the a capella vocal intro, A moody, atmospheric theme is enriched by strings and woodwinds. This is followed by another string/flute snippet (“A Retreat”) with a slight ominous resonance. The shorter orchestral cues (“Rupert Bear”) are lovely and the delicate piano on “What Else Do You Love?” Is haunting. “Why Picton?” Is also moving, and transitions from punctuation to sweeping aesthetics. The first period song is “Cheek To Cheek” sung by Fred Astaire in his warbling tenor. The piano interludes like “Kip’s Light” are followed by a reed-infused arrangement (“Hana’s Curse”), weaving different textures into the score. After more cues, Benny Goodman swings on “Wang Wang Blues” before an extended piano cut, “Convento Di Sant’Anna. It is precise (including trills) with evocative shading and well-placed emphasis that reflects the film’s narrative.
There are many highlights on this soundtrack. Hungarian folk vocalist Márta Sebestyén gives a mesmerizing performance on the traditional “Szerelem, Szrerelem”. Benny Goodman’s down ’n’ dirty cover of Count Basie’s “One O’Clock Jump” is freewheeling and jazzy. An orchestral “I’ll Be Back” is infused with emotion with a blend of aspiration and uncertainty. This dichotomy can also be felt on “Read Me To Sleep”. A sinewy clarinet and violin-lead version of “Where Or When” is an entirely different mood-inducer. Bach’s “Aria From The Goldberg Variations” is played by pianist Julie Steinberg. Two American institutions, Ella Fitzgerald and Irving Berlin are a perfect match for the second rendition of “Cheek To Cheek”. Both multi-faceted songs (“As Far As Florence”) and less complicated exotic motifs (“Én Csak Act Csodálom”) connect with the listener.
This vinyl release of The English Patient is still engaging and relevant. Yared’s score has stood the test of time. The sound mix is balanced with excellent stereo separation. Vinyl enthusiasts will appreciate the eye-popping vinyl and superior gatefold.
—Robbie Gerson
The English Patient, Original Sound Track
TrackList:
Side A:
The English Patient; Retreat: Rupert Bear; What Else Do You Love?; Why Picton?; Cheek To Cheek; Kip’s Lights; Hana’s Curse; I’ll Always Go Back To That Church; Black Nights
Side B:
Swoon, I’ll Catch You; Am I K. In Your Book?; Let Me Come In; Wang Wang Blues; Convento Di Sant’Anna; Herodotus
Side C:
Szerelem, Szerelem; Ask Your Saint Who He’s Killed; One O’Clock Jump; I’ll Be Back; Let Me Tell You About Winds; Read Me To Sleep
Side D:
The Cave Of Swimmers; Where Or When; Aria From The Goldberg Variations; Cheek To Cheek; As Far As Florence; Én Csak Azt Csodálom (lullaby For Katherine.
