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Dracula: Original Motion Picture Soundtrack Soundtrack


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Audio CD, Soundtrack, February 20, 1990
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Product Details

  • Audio CD (February 20, 1990)
  • Original Release Date: February 20, 1990
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Varese Sarabande
  • ASIN: B0000014RC
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (23 customer reviews)
  • Amazon Best Sellers Rank: #220,971 in Music (See Top 100 in Music)

1. Main Title & Storm Sequence
2. The Night Visitor
3. To Scarborough
4. The Abduction Of Lucy
5. Night Journeys
6. The Love Scene
7. Meeting In The Cave
8. The Bat Attack
9. For Mina
10. Dracula's Death
11. End Titles

Editorial Reviews

Dracula: Original Motion Picture Soundtrack CD

Customer Reviews

Recommended for fans of the movie.
bOoKwOrM
Utilizing the orchestra to its fullest, Williams elicits strong romantic motifs, emphasizing the gothic nature of the story rather than the horror elements.
Kevin A. Little
This is, perhaps, John Williams's best score.
Reginald D. Garrard

Most Helpful Customer Reviews

17 of 18 people found the following review helpful By Thomas C. Nagy on May 9, 2001
Format: Audio CD Verified Purchase
John Williams is known for such hummable Hollywood tunes as "Superman", "Star Wars", "Jaws", "Raiders of the Lost Ark" and "Schindler's List." This score, however, will not have you humming, but music afficianados will see the brilliance of this man, John Williams. The score is dark, romantic and shows influences of Samuel Barber, Arnold Schoenberg, Serge Prokofiev and Gustav Mahler. It is riddled with lush orchestrations, beautiful solo lines, and dramatic climaxes. The performances are stellar. Truly a score that you can listen to for its own musical merit!
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10 of 10 people found the following review helpful By Luis M. Ramos on November 16, 2000
Format: Audio CD
Bravo for a man who apparently wasn't in touch with vampire flicks. Or that was what the booklet said about John Williams, when he was commisioned to compose the music for "Dracula". Yet for a man who knew nothing about vampires, Williams' score ranks as one of his best.
The theme for Dracula is gothic, thrilling, and romantic at the same time. All you have to do is to listen to 'Main Title And Storm Sequence', 'Night Journeys', and 'The Love Scene', and discover how Williams creates different moods for a character who is considered a monster.
For action cues, there is nothing like 'To Scarborough', which has a technique Williams is an expert on: "scherzo". This piece is propulsive, and exciting. Also the 'Storm Sequence' is outstanding, with quite some frightening notes that keep you wide awake, especially if you listen to it at night with the lights off. And let's not forget 'Dracula's Death', a track that begins quietly, and finishes rousingly, with an operatic eloquence that only Williams can create.
It's too bad that the movie, for which this music was written, wasn't well-received. But there is no question about the excellence of this CD. I insist that John Williams wrote an excellent piece of music; perhaps one of his great classics, supported by an outstanding performance by the London Symphony Orchestra. If you haven't seen the movie, don't hesitate in buying this soundtrack. Believe me, it's worth it.
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5 of 5 people found the following review helpful By Kevin A. Little on September 7, 2000
Format: Audio CD
During the late '70s and early '80s, John Williams entered a more somber, gothic-style period in his career. The scores of this period are some of his finest work, including THE FURY, MONSIGNOR (regrettably unavailable on CD), THE EMPIRE STRIKES BACK (a considerably darker score than the earlier STAR WARS) and DRACULA.
If one goes back to the early '70s, one will find Williams' score for the television movie JANE EYRE reflecting much of the same musicology. But the Williams' gothic style seemed to disappear after that, in favor of more light-hearted scores (CINDERELLA LIBERTY, THE SUGARLAND EXPRESS) or Korngold-esque fanfares (JAWS, STAR WARS, SUPERMAN).
DRACULA marks a return to the gothic style first explored in JANE EYRE (and makes an excellent companion disc to that fine score). It is also the pinnacle of this period in Williams career and is one of his finest scores. Utilizing the orchestra to its fullest, Williams elicits strong romantic motifs, emphasizing the gothic nature of the story rather than the horror elements. In keeping with Richard Donner's direction and Frank Langelis' performance, Williams' music plays DRACULA as a romantic figure, rather than a monster.
This is not to say that this score doesn't have its horror elements. But they are laced within a main theme that is lush and memorable.
DRACULA's opening title lays the theme out in a simple manner, then immediately gives way to variations through a storm sequence.
"To Scarborough" is one of Williams' most delightful scherzos as it builds to an unexpected, explosive drop.
"For Mina" is a lovely, understated bit of melancholy featuring a beautiful trumpet solo.
Read more ›
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4 of 4 people found the following review helpful By Steve Miller on September 18, 2000
Format: Audio CD
The soundtrack for the 1979 'Dracula' film is among one of John Williams' best works to date, rivaling 'The Empire Strikes Back.' Although written for a somewhat weak adaptation of Bram Stoker's novel, the music Williams delivered is exciting and vibrant. It even features the spirit of the gothic sensibility that the film nearly completely lacked. Any fan of his music should own a copy of this disk, and I even feel it's a worthy addition to the library of anyone who apprecites good orchestral work. There isn't a dull musical moment anywhere.
Tension and romantic sensibility are mingled thorughout the music on this disk. Every selection included is a high mark in the annals of film music recordings.
High points are "Main Title & Storm Sequence" (which features the score's main theme and a series of neat variations upon it), "To Scarborough" (which may be one of Williams' best compositions on a technical level), "Night Journeys" (which is a series of elaborations on the main theme that include some nice choral touches), "For Mina" (one of the few calm pieces on the disk, it features a melancholy horn solo and some touching string work), and the "End Titles" (a subdued, yet still with a threatning undercurrent, presentation of the film's main theme).
Heck, even the tracks that are primarily sections of utilitarian music (such as "The Night Visitor" and "The Bat Attack") feature sections that makes one sit up and take notice. "The Love Scene" is also noteworthy, if only for its straight-forward presentation of the score's main theme and for being the only noteworthy part of one of the film's most excrutiating sequences... the love scene after which the piece is named.
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