Super Tracks Music (STCD 501)
Release Date: 1995
Conducted by John Morris
The London Studio Symphony Orchestra
|3.||Hester and Dimmesdale|
|5.||A Meeting on the Beach|
|6.||The Minister's Vigil|
|9.||A Soul Full of Sorrow|
|10.||The Scarlet Letter|
|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 James Barry
May 10, 2003
Where are you, John Morris? Where have you gone with your thematic accessibility? Your knack for simple but effective harmonies? Your wonderfully reserved orchestration? Please, come backand bring with you whatever muse was at your side when you scored The Scarlet Letter. The fact that this the score to this '70s mini-series has grown on me so is all the more remarkable in that I don't really care for the source material. I found Hawthorne's novel over-rated, and have yet to see a film adaptation which transcends it. Good film music, however, has the ability to stand quite well on it's owneven if it was written for utter dreck. Morris' score transcends the program for which it was written in a manner at once delicate and powerful.
The score keeps the same somber, melancholy feel throughoutboth in the main theme (first heard in track 1) and the love theme ("Hester and Dimmesdale"). It is the type of score which serves as a hybrid between several formsminimalist techniques, heavy romanticism, calm, reserved impressionism. It all lends to that type of score whose themes one could hum, but does not, instead choosing to play them over and over again in their mind and on the stereo. It creates a mood and carries it throughout an entire album, without growing tedious, and this is something altogether unique for film (or in this case, television) music. Again, I implore the powers that be to give us back John Morris before it is too late!
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