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Lincoln Soundtrack

4.6 out of 5 stars 115 customer reviews

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Lincoln
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Audio CD, Soundtrack, November 6, 2012
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Editorial Reviews

In a career spanning almost six decades, John Williams has composed some of the most recognizable film scores in the history of motion pictures including Star Wars, Jaws, the Indiana Jones films, E.T. The Extra-Terrestrial, Schindler's List and the first three Harry Potter films. Winner of twenty-one Grammy® Awards, four Golden Globe® Awards and five Academy Awards®, Williams is easily the most recognized composer working in film today. He has a long association with Steven Spielberg, composing music for all but two of Spielberg's feature films, most recently on the Academy Award® -nominated scores for The Adventures of Tintin and Warhorse.
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Product Details

  • Audio CD (November 6, 2012)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Sony Classical
  • ASIN: B009A9EPLM
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (115 customer reviews)
  • Amazon Best Sellers Rank: #21,318 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD Verified Purchase
It saddens me to see there are reviews that try to compare John Williams recent output to that of his past. As a serious orchestral composer, I have watched and listened to him grow artistically in a manner reminiscent to our masters of the past 300 years of music history. He's not going to write music like he did 30 years ago. His orchestration style has become more dense and focused, his melodic lines longer and more complex, his harmonic palette ridiculously advanced. This is master craftsman and our nation's greatest living composer at work. And in LIncoln, those talents are openly displayed. The music is simply breathtaking, beautifully orchestrated and as dense as ever. Yet the clarity of line as of late never ceases to astound the ear. At times I feel Williams channeling Mozart or Ravel. What I mean is that there is a richness and complexity to the music yet every line is crystaline and seems that it inevitably had to sound like this.

The Chicago Symphony plays with precision and sweeping dynamics, reaffirming their status as One of the Five. Easily one the year's best scores. I was particularly stunned with Malice Towards None and it's passionate string lines. Highly recommend this one. Like Waxman, Goldsmith, and Korngold, John Williams' music functions as a strong support or emotional center to the image its written for as well as standing up as serious concert music. A remarkable feat.
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If I could have one wish come true, it would be that I will enjoy this Motion Picture, as much as I enjoy this Music.

I awoke this morning with John Williams' rousing score for "The Cowboys" in my head. That's a beautiful theme and I hadn't hummed it in many months, but knew every note by heart. There hasn't been a day since June 1977 that I haven't had at least one of John Williams' scores playing in my head, or hummed on my lips.

"Lincoln." This is music which should be listened to in the evening hours. In a dimly lit room, shades drawn. With a glass of wine and candles lit, you'll soon fall into an ambiance of love and remembrance, traveling back 148 years to 1864.

Now about Lincoln, the man. We know how the story ends. It's tragic. Lincoln was a tragic figure in American history. A great leader, wise and courageous and a mystery of how he comported himself and sounded in real life. Maestro Williams segregates (forgive the pun) Lincoln in a magnificent aura of haunting melodies to portray the President as a hallowed figure, and a leader who loved America. This is important in fully appreciating this masterful score.

Performed by the Chicago Symphony Orchestra and Chorus, the music is utterly flawless and beautiful. Shawn Murphy has been recording and mixing John Williams' scores for many years, and he deserves much appreciation from Williams' fans when it comes to tweaking digital music to perfection. Thank you, Shawn!

"The People's House" reminded me just a little of some passages from "NIXON" with a fading solo trumpet, however this is all original and different from anything I have heard from Maestro Williams. It is unbelievably new and you will be moved by it.
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After my first listen, I was both moved and disappointed by this score. As an avid Williams fan, I have impossible expectations for America's greatest composer. Each and every time, I expect Williams to create a score that will become entrenched into the annals of great movie soundtracks. He has shown time again he is capable of doing so. That being said, this score is average for Williams. He goes through all of the motions and creates a beautiful score, but its nothing we haven't heard before albeit with a new permutation. William's days of experimenting with new techniques and sounds are over and I have been critical of him as of late.

Between his recent War Horse and Tintin soundtracks, Lincoln is the best. He establishes a signature theme and plays with it effortlessly. I was privileged with being able to see an early screening of the movie and the soundtrack is almost exclusively played softly for a subdued background effect. Unlike the Patriot, which I consider this score to be most similar to, the score is not the focal point. The most powerful moments of the film are times when there is no score being played at all.

The main theme is really only played in the ending credits thus making this soundtrack almost better as a stand alone listen. Overall, I was moved by the score and it truly demonstrates the work of a god amongst men, yet it falls short of my admittedly lofty expectations.
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Sounding almost as if Williams is channeling Aaron Copland, this is one of the composer's more surprising and subdued works. I cannot say how appropriate it is to the story since I haven't seen the film yet but it certainly makes me more eager to do so. It treats the subject with appropriate respect and gravity without the typical bombast and layers of blasting brass that I associate with Williams's work, particularly when he writes for Spielberg.

Most of the tracks are somber and meditative, and when they lift above that solemn mode it is because the material seems to call for it. The track containing "Battle Cry of Freedom" is astonishing in the way it seems to capture the mood of a time when both sides of the conflict still believed there was something glorious about their cause. What is most appealing, for this listener at least, is the way in which the recorded score coheres as a complete work. Again, the experience is reminiscent of listening to Copland; I like simply putting the disk on and letting it play straight through as I would with a symphony.

If you are a fan of Williams's work, this is a must-have. I'm sure the film will create more interest in his other scores, however this is one of the rare instances when the score may have a life of its own beyond the film (much as Howard Shore's scores for the Tolkien films do--and will).

This music owes much, also, to the scores of the Burns documentaries, in particular the piano stylings of Jacqueline Schwab. It would have been nice to see some acknowledgment of that fact in the liner notes but perhaps those musical treatments have become so much a part of our culture that Williams adapts them without realizing it. Overall, this is a worthwhile purchase and repays repeated listenings as few other Williams scores do.
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