Composed By Trevor Jones
Performed by The London Symphony Orchestra
Conducted by Marcus Dods
Album Produced By Trevor Jones
The booklet that comes with the CDs is 12 pgs. There is a spread about the movie story line with small pictures from the movie (these are quite faded, but I'm being especially picky now), a spread about Trevor Jones, London Symphony Orchestra credits, movie and production credits, and finally a two page interview with Trevor Jones from 1987. The front cover shows the original Amsel movie art and the back cover has an image from the movie of Jen atop the dark crystal. It is an elegantly presented set and even the CD covers are very nice. Apparently, this is a limited edition set of only 5000 copies - I wish it was part of a wider release as these CDs are a real treat for fans who have waited so long. Thanks!
I found the LP of this soundtrack from Keith Zinkham's Records website after searching the
internet for weeks on end. The front cover is quite a bit beat up, but I can't really complain because I'm so
glad to finally have this thing.
What follows is taken directly from the back of the LP. As a note, this LP included an insert upon which the following was printed (This insert folds out into the movie poster by Brian Froud!):
"Read THE DARK CRYSTAL books from Alfred A. Knopf, Holt, Rinehart and Winston, and Marvel Comics."
"TREVOR JONES was raised in an entertainment environment (his family is involved in various aspects of theater, film, and television) in Cape Town, South Africa. At the age of five he decided he wanted to compose music for films, an ambition he has fulfilled. In 1967 he came to London to study on a scholarship at the Royal Academy of Music. He worked for four years at the BBC as a music reviewer for radio and television, and in 1974 he went to York University, from which he was graduated with a Masters Degree in Film and Media Music. Jones also studied at the National Film School, a three-year course of study in general filmmaking and film and sound technique. He continued there until 1980 as a composer- in-residence, and wrote the music for twenty-two student projects. In 1981 he wrote the score for the Academy Award-winning short film The Dollar Bottom and another short film The Black Angel. Jones has since created the sound tracks for the BFI production Brothers and Sisters and John Boorman's Excalibur."
"About the music for THE DARK CRYSTAL, Mr. Jones has written: 'From the very first in scoring the music for THE DARK CRYSTAL, I set out to find two melodic ideas -- one for the Mystics, the other fro the Skeksis. These two motifs, when counterpointed, fuse to become one, and in the Great Conjunction at the film's climax, they join to become the central theme.'
'In the Overture, this central theme is contrasted with the Landstrider motif, the nearest musical idea that not only provides good musical balance but, more important, reflects the fantasy world of the film; the melody line is played by one of over three hundred electronic sounds specially realized for the film on the Synclavier Computer, the Fairlight CMI Computer, and the Prophet Synthesizer, and used with traditional symphonic tone colors to heighten the orchestration. The Power Ceremony, which opens the film, fuses electronic sounds with the orchestration to provide a ritualistic and sinister atmosphere.'
'A synthesized organ accompanies the brass in the grandiose baroque setting of the Skeksis funeral. But the transition to the Mystic ceremony is made by a double-flageolet, an English Regency instrument acquired for the film because of its characteristic capability of simultaneously sounding two independent pitches. and in the feasting scene in the Pod Village the merry-making is to the music of such medieval instruments as the grumhorn, titin, and tabor. The modern okema tlaves and the double-flageolet complete a line-up spanning five centuries of instruments.'"
OVERTURE (Trumpet Solo: Maurice Murphy)
THE POWER CEREMONY
THE MYSTIC MASTER DIES
THE FUNERALS; JEN'S JOURNEY (Harp Solo: Skaila Kanga; Flageolet Solo: Christopher
THE SKEKSIS DUEL
THE POD DANCE (Percussion: Morris Perl;
Solo Pipes: Richard Havey)
LOVE THEME (Recorder Solo: Christopher Taylor)
GELFLING SONG (Flageolet: Christopher Taylor; Singer: Catherine Bott; Environmentals'
Synthesized Sounds Realized on the Fairlight Computer)
THE GELFLING RUINS
THE LANDSTRIDER JOURNEY
THE GREAT CONJUNCTION
My Thoughts on some of these Tracks
(but I think every single piece is absolutely magnificent)
THE POWER CEREMONY: This is probably the darkest and most directly evil sounding of tracks on this album. You have to love it!
THE FUNERALS: I do not remember hearing this track in the movie, but has become one of my favorites on this album. The organs music is complex, pompous, and sinister. You can almost feel the neuroses of the Skeksis oozing out of this music.
THE POD DANCE: This is such joyous, foot-tapping music. I like that it is complete all of the way through to the logical end of this piece (it is not interrupted abruptly by the Garthim attack as it is in the movie).
GELFLING SONG: I loved this during the movie and this version is complete from beginning to end. The music fades in and out with nature sounds from the bog. The voice and flageolet interact beautifully with many more variations than are present in the movie. An exceptional track.
THE GELFLING RUINS: This piece is quite unsettling. Taking place when the Gelflings visit the ruins of their murdered ancestors. This piece illuminates the sickening emptiness where something beautiful once was. It is the musical reflection of Kira's sentiment: "Bad things ...happened in here once."
THE LANDSTRIDER JOURNEY: I wish, wish, wish that this piece was an extended version of what we heard in the movie, but alas, no such luck. This is a fantastic track full of life, speed, and whimsy.
THE GREAT CONJUNCTION: I liked that aside from the distractions of the Skeksis, Garthim, and Jen's jump to the crystal, the underlying pulsing which seems to resemble time marching on is woven through the phrases growing louder and louder until the moment of the Great Conjunction.
THE FINALE: This is a good recap of all of the major themes present in the sound track. It is the music that is heard in the movie during the end credits.
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Page last updated: May 10th, 2003