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Top Customer Reviews
Desplat captures the atmosphere of the year 1997 when Princess Diana's death shook the world and altered the history of the royal family. His music is aptly suitable for the stuffy feeling of Balmoral Castle while his liquid themes underline the beauty of Scotland, the tension within the castle, and the responses of the people. And while Desplat's score stands solidly on its own with the many themes included on this CD, he also has the sensitivity to close the recording with the hauntingly beautiful singing by soprano Lynne Dawson and the BBC Symphony Chorus in the Verdi Requiem movement, 'Libera me'. It is as well performed as any version on record and is a meltingly lyrical and somber way to conclude the CD. A very fine Soundtrack to add to anyone's collection. Grady Harp, February 07
The opening track "The Queen" begins very low then rises up into a majestic theme with brass horns then quiets down into a sweet melody of violins and harps. The opening track is essentially a preview of what the album is about, subdued yet rich melodies.
In "The People's Princess I," we hear a very prominent harpsichord playing away as drums, harps, violins, violas, and cellos all join in . . . this track sounds awfully a lot like a chase scene on its own. However, the melodies with the harps and the violas above the quiet bass heavy instruments, "THe People's Princess I" is among one of the most unique tracks on this album.
The album closes with a lament, "Libera Me." While not being rather a big fan of Verdi, I find this track to be very rich and aptly closes this album as it was sung during the funeral of Princess Diana of Wales.
Alexandre Desplat delivers a truly unique score to a majestic and magnificent film. Although much of this music is very quiet and almost to the point of being background music, his rich melodies and varied themes in these tracks bring a new dimension to the world of "The Queen."
The people were in the streets, not exactly manning the barricades but rather shedding tears that astonished themselves and challenged the stern facades of Buckingham and Balmoral. Desplat's music is almost spritely, as though hinting at a lightness of heart that would see the Queen through.
The London Symphony Orchestra manages its task exquisitely. No one--neither composer nor ensemble--overpowers the dramatic screen images. Rather, they suggest, they illuminate, they hint at matters of the heart, as soundtracks and their performers are meant to do.
This is not likely music you'll be playing for your grandchildren, obliging them to feel what *you* felt back then. Yet it *is* music perfectly adapted to its place. The staccato keyboard and the bubbling clarinet of track three ('People's Princess I') hint that such restraint will be the order of the day throughout. What follows does not disappoint.
Fine writing, in a genre that is meant always to play a subdominant role, behind the curtain, off in the wings, subtly from the margins.
Fitting, at moments, for a queen.
Most Recent Customer Reviews
Although many consider this one of the less Desplat scores, I actually love it. It is playful, dark, grand and mysterious.Published on August 27, 2013 by Rachel Hatch
I saw the movie 4 times, and realized that I liked the music even better than the film! This is one of my favorite CD's and I listen to it all the time!Published on November 30, 2008 by A. Bailey
I enjoyed the film, "The Queen" a great deal and so decided to purchase the soundtrack, and I wasn't disappointed. Read morePublished on February 9, 2008 by A. van de Kamp
I liked seeing the human side of the royals. I think we all look for that everytime we see them. Getting ready for bed, watching tv, liking to take walks. Read morePublished on June 11, 2007 by Sharla Lovelace
I would have chosen a different actor for Prince Charles--in person he is not handsome! If the story is true to life, shame on the whole family. Read morePublished on May 7, 2007 by Helen F. Allquist
This film should have been a made for TV movie. Normally, I love British drama, but this was shockingly dull. Read morePublished on May 5, 2007 by Kate Smart