5 Songs, 19 Minutes

EDITORS’ NOTES

Rather than rehash his famously sweeping scores for David Lean, Maurice Jarre gave Dead Poets Society an entirely new musical vocabulary. With its tapestry of harps and flutes, “Carpe Diem” is unnervingly fragile—perfect for a story about the emotional bonds between sensitive high school students. Like its subject, “Neal” is lovely and tenuous, highlighting Jarre’s ability to subtly blend acoustic and electronic sounds. His soft touch only serves to enhance the ominousness of “To the Cave,” which materializes like a dark specter in a field of flowers.

EDITORS’ NOTES

Rather than rehash his famously sweeping scores for David Lean, Maurice Jarre gave Dead Poets Society an entirely new musical vocabulary. With its tapestry of harps and flutes, “Carpe Diem” is unnervingly fragile—perfect for a story about the emotional bonds between sensitive high school students. Like its subject, “Neal” is lovely and tenuous, highlighting Jarre’s ability to subtly blend acoustic and electronic sounds. His soft touch only serves to enhance the ominousness of “To the Cave,” which materializes like a dark specter in a field of flowers.

TITLE TIME
4:48
3:18
2:36
6:00
2:34

Ratings and Reviews

4.8 out of 5

40 Ratings

40 Ratings

amazing

JJBICE

one of the best soundtracks i have ever hear. keating's triumph is my personal favorite. 5 stars!

Finally!!!

hoppus63

I Have been looking for the soundtrack to Dead Poet's Society since I first saw it when I was ten years old. The music haunted me, even then. Since then the music has been unavailable as the soundtrack has been out of print. This is the very first time I have seen any of the songs available in any form, and it's truly wonderful!

Amazing!!

zoeamalia

After I saw this movie, I had to have the music and I think it went really well with the plot and was composed beautifully. I'm so glad I've found it.

About Maurice Jarre

Film music composer Maurice Jarre attended the University of Lyons, then went to Paris, where he studied engineering at the Sorbonne before entering the Paris Conservatoire to study composition and percussion. He became musical director of the Théâtre National Populaire and composed his first film score for the short Hôtel des Invalides in 1951. He worked mostly on short films through the mid-'50s before graduating to mostly full-length features in the late '50s. By the early '60s, he had begun to attract international attention, getting assignments from British and American directors, and with that he embarked on a remarkably prolific career that found him scoring an average of over three films per year during the 40-year period 1960-1999.

Jarre's first major international success came with British director David Lean's 1962 epic Lawrence of Arabia. The soundtrack album containing the composer's appropriately lush and exotic music just missed topping the American LP charts, and when the film swept the Academy Awards, Jarre received his first Oscar for best original score. The following year, he was nominated for the award for best adapted score for the French film Sundays and Cybèle. He repeated his success with Lawrence of Arabia by scoring Lean's next mammoth production, Doctor Zhivago (1965). Again, he won the best original score Oscar, and the soundtrack album, stimulated by Ray Conniff's Top Ten vocal recording of "Lara's Theme" under the title "Somewhere, My Love," topped the charts and went gold. It was one of only a handful of all-instrumental recordings of movie scores ever to hit number one.

Jarre had his third soundtrack album in the charts in March 1967 with Grand Prix, the music for director John Frankenheimer's 1966 racing film, which spent more than six months among the LP best-sellers, and though the disappointing critical response to David Lean's 1970 effort Ryan's Daughter probably robbed Jarre of another Oscar, the soundtrack album of his music did get into the charts. The motion picture academy bestowed nominations on Jarre for The Life and Times of Judge Roy Bean in 1977 and Mohammad, Messenger of God in 1977, and he finally won a third Oscar for his music to David Lean's return to filmmaking and final work, A Passage to India, in 1984.

The 1980s were even busier for Jarre than the '70s had been, and he adapted himself to the expanded opportunities offered by technological innovations, composing and performing electronic music for such scores as the one for Peter Weir's The Year of Living Dangerously (1983) and Witness (1985). The latter earned an Oscar nomination, while Jarre's music for Mad Max Beyond Thunderdome produced a soundtrack album that reached the Top 40. There were further Academy Award nominations for Gorillas in the Mist in 1988 and Ghost in 1990. The composer slowed his busy pace after turning 70 in 1994, but he entered the new century still working, with I Dreamed of Africa released in 2000. (Jarre's son, Jean-Michel Jarre, is also a composer.) ~ William Ruhlmann

  • ORIGIN
    Lyon, France
  • GENRE
    Soundtrack
  • BORN
    September 13, 1924

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