|1.||Prologo del Christus||4:06|
|2.||Giuseppe e Maria||2:24|
|6.||Strage degli Innocenti||1:22|
|7.||Fuga in Egitto||4:16|
|8.||L'infanzia di Gesu'||2:56|
|13.||Ingresso in Gerusalemme||1:25|
|16.||Rinnegamento di Pietro||3:17|
|17.||Davanti a Pilato||5:02|
|18.||Giuda a Sinedrio||2:40|
|19.||Via Crucis , Tra la Folla||3:05|
|20.||La Croce sul Golgota||2:30|
|21.||La Deposizione della Croce||5:38|
|22.||La Resurrezione dal Sepolcro||3:07|
|23.||L'ascensione sul Monte degli Ulivi||1:59|
|Total Album Time:||76:48|
From the Manufacturer
Kronos Records is immensely proud to present the CD soundtrack for Giulio Antomoro's Christus from 1916, one of the first epic biblical films of the silent age of cinema.
The film is divided into three segments which are referred to as mysteries, the first of these includes the birth of Jesus, the Magi, Herod and the slaughter of the innocents, the escape to Egypt and Pilate. The second part takes in the preaching of the Jordan, the expulsion of the merchants from the Temple, the adulteress and the entry into Jerusalem. The third Mystery is itself then divided into three separate parts, which are The Passion, The Death and The Resurrection.
The musical score for the movie which was added in 1999 is the work of acclaimed Italian composer, scholar and Monsignor Marco Frisina. The Maestro has fashioned a work that is filled with celestial magnificence, highly emotive and inspiring thematic material and plaintive and poignant passages which are embellished and complimented by dramatic and powerful compositions. Being a silent movie the music is almost continuous and adds much to the dramatic and emotional content of the motion picture, written for large orchestra and choir the composer has provided the film with a work that is not simply a musical wallpaper or background it is an important and vitally integral part of the story telling process and not only underlines and supports the images but acts as another component expressing to audiences the emotion the melancholy and also the powerful fearsome and foreboding elements that are required for such a story. The composer also utilised a style not dissimilar to the ancient Gregorian Chant repertoire for certain scenes and sequences which added another dimension to the proceedings and further underlined the deep spiritual ambience of the film and story.
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