14 Songs

EDITORS’ NOTES

Nineteenth-century English naturalist Charles Darwin’s theory of evolution might well be the single most challenging scientific idea to threaten the social-religious order in a millennia, spurring a rift that extended as far as Darwin’s own marriage to a fundamentalist Christian, the personal conflict that’s central to director Jon Amiel’s artfully restrained biopic. Composer Christopher Young musically evokes the emotional/philosophical complexities of the Darwins’ relationship, delivering a score that deftly colors that interior emotional landscape with dignity and grace. Centered on intimate chamber arrangements dominated by strings, woodwinds, haunting piano figures and unabashedly emotional solo violin motifs, the contemporary contours of Young’s score gently contrast the film’s period setting, occasionally recalling the equally centered, delicately brooding work of English colleague Rachel Portman. Yet by the soundtrack’s final cues, Young also manages the not inconsiderable task of fusing his delicate themes for piano and solo violin with hypnotic, minimalist-influenced orchestral cascades, a masterful marriage of melancholy and modernism.

EDITORS’ NOTES

Nineteenth-century English naturalist Charles Darwin’s theory of evolution might well be the single most challenging scientific idea to threaten the social-religious order in a millennia, spurring a rift that extended as far as Darwin’s own marriage to a fundamentalist Christian, the personal conflict that’s central to director Jon Amiel’s artfully restrained biopic. Composer Christopher Young musically evokes the emotional/philosophical complexities of the Darwins’ relationship, delivering a score that deftly colors that interior emotional landscape with dignity and grace. Centered on intimate chamber arrangements dominated by strings, woodwinds, haunting piano figures and unabashedly emotional solo violin motifs, the contemporary contours of Young’s score gently contrast the film’s period setting, occasionally recalling the equally centered, delicately brooding work of English colleague Rachel Portman. Yet by the soundtrack’s final cues, Young also manages the not inconsiderable task of fusing his delicate themes for piano and solo violin with hypnotic, minimalist-influenced orchestral cascades, a masterful marriage of melancholy and modernism.

TITLE TIME
2:27
2:31
2:50
2:31
4:44
4:53
5:59
2:20
3:44
1:46
2:05
2:48
5:17
6:21

About Christopher Young

Christopher Young composed film scores for over 50 movies beginning in 1980, including Hellraiser (1987), The Five Heartbeats (1991), Murder in the First (1995), and Wonder Boys (2000); as well as scores for TV movies such as Vietnam War Story: The Last Days (1989), Max and Helen (1990), and the project that garnered him an Emmy nomination, 1996's Norma Jean and Marilyn. Born in Redbanks, NJ, Young attended the Manhattan School of Music, North Texas State University, and UCLA before scoring his first film, 1980's The Power. He went on to work with director John Dahl and for Miramax and Paramount, scoring many more movies -- often horrors and thrillers -- including Oasis (1984), Bat 21 (1988), Copycat, Tales From the Hood (1995), and Rounders (1998). Young opened a studio in the early '90s and has regularly lectured at UCLA. ~ Joslyn Layne

  • ORIGIN
    Redbanks, NJ

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