Ark 21 (61868 10026 2 8)
Release Date: 1998
Conducted by Daniel May
The Northwest Sinfonia
Music from this album has been used in 1 trailer(s). Click to view which ones!
|1.||The Journey Begins|
|7.||The Spirit Returns|
|9.||The Final Climb|
|11.||Here Comes The Sun|
|12.||Jamlings Mountain Dream|
|Track lengths not available for this album. If you have track length/time information for this album, please e-mail it to us at firstname.lastname@example.org and we will add it to the database.|
|by David A. Koran
January 27, 2000
Everest came on the heels of a publicized tragedy of an entire summit party disappearing, of which the film crew for this film acted as its rescue team. However, this ascent of the mountain was designed to highlight the majesty and beauty of the tallest mountain on the Earth. Mentioned above, the IMAX has some special requirements for its film projection needs, and this carries over to the filming process as well. A special camera had to be designed from its 80 pound parent to weigh no more than 35 pounds and be protected from the harsh Tibetan and Nepalese environments.
With all these requirements under consideration, veteran IMAX producers, MacGillivray/Freeman, turned to Steve Wood, another veteran for scoring other IMAX films, and versatile composer in his own right. In one of Woods previous efforts, The Living Sea, he worked with Sting (of The Police fame) to adapt many of his songs as a score to the film. Here he adapts many of former Beatle, George Harrisons, songs along with original score elements to accompany this film. Pieces like "Here Comes The Sun" and "This Is Love" become interwoven throughout the score. Any music history buffs will attest, much of George Harrisons post Beatle music is already heavily influenced by southern Asian and Indian music, which made it an appropriate choice to go with this movie.
When I first picked up this album, I played it incessantly. Woods music is majestic and grand, yet poignant and lighthearted as well, integrating traditional musical elements from Tibetan and Nepalese music as well as some European influences (notably Uilleann pipes). His adaptations of George Harrisons song are also treated to the same care used with the rest of the score, seamlessly interwoven into the fabric of the music. Even without access to the IMAX version of the movie, its still an extremely worthwhile listen.
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