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Track Listings
| 1 | Freedom Of The Wa |
| 2 | Wuji Main Theme |
| 3 | Love Theme |
| 4 | Kunlun, The Slave |
| 5 | Qingcheng, The Princess |
| 6 | Guangming, The General |
| 7 | Wuhuan, The Duke |
| 8 | Princess Kite |
| 9 | The Promise |
| 10 | Snow Country |
| 11 | The Robe |
| 12 | Save The King |
| 13 | Guilang, The Assassin |
| 14 | Saving A Princess |
| 15 | Feather Fight |
| 16 | Waterfall |
| 17 | Stampede |
| 18 | Come Back |
| 19 | Birdcage |
| 20 | Wuhuans Plan |
Editorial Reviews
Product Description
A new epic fantasy set in China's mythical past, The Promise is a visually stunning tale of passion that unfolds against a backdrop of war as a beautiful and mysterious princess becomes the object of affection for three very different men - a powerful Duke, a brave general and a lowly slave. As passions spark and egos clash, lives will be ruined and lovers spurned and no one will ever be the same. Directed by Chen Kaige, winner of the Golden Globe for Best Foreign Film for Farewell, My Concubine, The Promise was also nominated for a Golden Globe for Best Foreign Language Film. Cinematography and production design are by Academy Award winners for Crouching Tiger, Hidden Dragon, Peter Pau and Tom Yip, respectively.
From the Artist
"Once you have accepted your destiny, nothing can alter it unless rivers flow uphill, time runs backwards and the dead come back to life." --The Sorceress, Wuji-The Promise As human beings, are we free to live out our lives according to our own desires, in accordance with our will, or are we merely powerless pawns in the hand of destiny? These are potent questions that in some way or another confront us all, sometimes in the most unexpected of ways. In a sense, I do believe that our fate is pre-determined. Yet paradoxically, I do not believe that this absolves us of our responsibility to try to alter it for the greater good, nor do I believe that fate has the final word. We might even say we are co-authors with fate of our destiny. Of course, long before we began pre-production, I had conceptualized what the story would be: a beautiful Princess, a courageous Slave, an ambitious, charismatic Mighty General, an evil and cunning Duke, each propelled forward and entwined by vehement passions: greed, ambition, loyalty, revenge, the unremitting search for true love. Their dance with destiny would be choreographed not only by these powerful drives and desires, but also by promises and contracts made years before - each setting his or her own course for themselves earlier in life. Furthermore, I would set the story "3,000 years ago in the future, somewhere in Asia." That was the essence of the film, the premise from which I started. Yet a series of synchronicitous events unfolded that shaped the film in distinct ways that I had not previously envisaged. The film you "plan" to make is not the one which you shoot - the film will unfold as it will. Perhaps fate whispers stories to us in our dreams, in our subconscious, and we are compelled to tell them. And yet we do have an opportunity to shape them, to embellish them, to make them our own.
--Chen Kaige
About the Artist
PIRATES OF THE CARIBBEAN and over 25 other major Hollywood films have established Klaus Badelt as one of the most sought-after composers in Hollywood. Badelt approaches each film with the intention of generating a purely original score with authentic production value. His style is to constantly reinvent himself and create a musical undercarriage that supports and enhances each cinematic experience. He has developed a devoted team who share his personal drive to explore new ideas and push the creative envelop. Badelts credits include CONSTANTINE, THE RECRUIT, THE TIME MACHINE, K-19: THE WIDOWMAKER, NED KELLY, BASIC, CATWOMAN, Werner Herzogs INVINCIBLE, Richard Donners 16 BLOCKS, ULTRAVIOLET Wolfgang Petersen's POSEIDON.
Product details
- Is Discontinued By Manufacturer : No
- Package Dimensions : 5.55 x 4.97 x 0.54 inches; 3.06 Ounces
- Manufacturer : Superb Records
- Date First Available : January 28, 2007
- Label : Superb Records
- ASIN : B000FC2F74
- Number of discs : 1
- Best Sellers Rank: #469,096 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #5,499 in Movie Scores (CDs & Vinyl)
- #9,153 in Movie Soundtracks (CDs & Vinyl)
- #298,308 in Pop (CDs & Vinyl)
- Customer Reviews:
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His work here brings to mind other historical/fantasy epics such as `Conan the Barbarian' and `The 13th Warrior' with its mix of robust brass, soaring strings and ethnic instrumentation. That alone should be enough to entice even casual film score fans, but for the aficionados, there are several themes and leitmotifs that are utilized extremely well throughout the album's 70-odd minutes. A kind of showcase of these themes appears in the first seven tracks, which sets up the motifs for each of the film's major characters, as well as the Main Title and Love themes. The `Love Theme' in particular is a moving piece that opens quietly on Asian flutes and plucked strings before the orchestra picks up the theme and sweeps it away (think of the way the strings build up in `Ned Kelly' before the main theme drops in and you have an idea of how Badelt builds up his layers of instrumentation here).
`Kunlun, The Slave' follows on from where `Love Theme' left off, offering a second take on the love theme which culminates in another amazing climax of strings and brass. `Qingcheng, The Princess' is a gentler theme performed with little of the ethnic instruments that are present in the other motifs. The melody is passed between the wind and string sections, making for a very fine, very feminine theme for Cecilia Cheung's character.
The album then launches into `Guangming, The General,' the most vigorous of Badelt's themes and reminisicent of `Capt. Alexi Vostrokiv' from K-19, though not quite as brooding or dark. Keep in mind that Badelt here is writing for what is essential an epic fairytale - the music is bold and adventurous, and never dives too deeply into dark territory. `Wuhuan, The Duke' mirrors Qingcheng's theme, though in more somber tones. It is another gentle theme performed primarily by the strings, though with more presence from the brass.
With these leitmotifs presented early on the album, the listener then has the pleasure of hearing how Badelt interweaves them throughout the rest of the score. `Princess Kite' opens with Asian strings, builds with racey strings and choral effects before introducing the brass and percussion. It ends with a moving violin solo, which is featured again in `The Promise', as does Qingcheng's theme. `Snow Country' is a definite highlight, featuring choir and ethnic solos in a cue both epic and intimate by turns.
`The Robe' is perhaps the standout cue on the album, featuring the fullest statement of the main theme, as well as the Kunlun and Love themes. It is the first true action cue of the score, featuring Asian flutes, strings and percussion battling it out with the orchestra. It's an exciting cue that features several themes in an action setting.
`Guilang, The Assassin' is another motif that is introduced quite late on the album, but also features powerful, rolling Asian drums over ethnic flutes that build to a grand brass statement of quite epic proportions, and which flow nicely into `Saving A Princess,' which continues the bold brass statements and is moved along by marching percussion and choppy strings. `Feather Fight' is another exciting action cue that wouldn't sound out of place in `Conan the Barbarian'. It starts very gently before launching straight into pounding Asian drums and a very invigorating melody performed by the orchestra. `Waterfall' offers another statement of the Love theme before moving into `Stampede', another brass-lead action cue with exciting percussive elements, choppy strings and plenty of cymbal crashes, nicely living up to its name for nearly all of its 5 minutes. `Come Back' restates Kunlun's theme in full, before moving into the Love theme, which is here performed by Asian flutes. `Wuhuan's Plan' is an epic 10 minute piece that sees all the major themes restated with plenty of ethnic flourishes, all wrapped up in the guise of an epic action cue.
`The Promise' is Badelt's most accomplished work to date, and should see him win over many new fans. It's exciting, bold and adventurous, bringing to mind previous efforts such as `The Time Machine', `Ned Kelly' and `K-19: The Widowmaker,' while marking a distinct departure from all of these, as `Kingdom of Heaven' and `The Chronicles of Narnia' did for Harry Gregson-Williams. Pick up a copy of `The Promise', listen to it carefully and critically, and see what most of us already knew - that Klaus Badelt is one of the most creative, musical, dedicated and hard-working film composers in the industry today.
For one thing, the music here is purely orchestral in nature, not heavily laced with synthesizers like much of Badelt's other music. The music is performed by the China National Symphony Orchestra, and it delivers in spades.
Badelt's music is melodic, epic, and, performed by a group of this calibre, appropriately massive. Heroic brass, fluttering woodwinds, and a plethora of character themes are present in this score that, while made for an Asian film, and featuring appropriate ethnic instrumentation, is much more Western in structure and listening experience than say, "Crouching Tiger Hidden Dragon." This is perhaps the best work of Klaus Badelt's career, even eclipsing his impressive "Time Machine."
The quality of the work here promises great things for Klaus Badelt, and I look forward with interest to his future projects.
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