'Memoirs of a Geisha' album online

[publicist 4,643]

If you pre-order this CD via amazon.com you're able to listen to the complete score thru amazon's digital locker..and in 192k, no less:)

I like it. Stylistically, it crosses a little of 'Empire of the Sun' with a lot of '7 Years in Tibet' and 'Angela's Ashes'.

The extensive soli are a given and as always with talented soloists, a joy to behold.

The theme is featured rather prominently in a lot of cues (ie. 'Becoming a Geisha', complete with very up-to-date percussion á la Media Ventures).

Then there's a wonderfully subdued waltz theme in 'Chairmans Waltz' and the usual dissonant interruptions reminiscent of 'The Pheasant Hunt'(EoS) or 'Invasion' and 'Premonitions' (7YiT) in 'Rooftops of Hamamachi'.

'Destiny's Path' sounds a bit like something like 'Time spins it's Web'(Stepmom') and similar stuff, 'Fire Scene' has some vocal doodlings before erupting in another Vaughan-Williams style adagio (think 'Tallis') ending in a direct quote of the travelogue music of 'Tibet'(the ostinati).

It's all done with taste and a good feel for orchestral colors, asia style. What it lacks is something which elevates it above the scores cited, especially 'Tibet'.

A good 'listening' album, but it also feels a bit slight at the end. Still, very good Williams.

[Jacck 23]

They're not doing it in the UK

[Incanus 5,714]

How nice For you that is. Too bad I am not going to order it from amazon so I have no chance to listen to it :cry:

[King Mark 3,631]

. 'Becoming a Geisha', complete with very up-to-date percussion á la Media Ventures).

.

K.M.

[ChrisAfonso 186]

What's with all the "MV percussion" accusiations lately? GoF was critisized for the same, when Doyle actually used drums like those in his scores before Zimmer did... (and his are real, not synthesized). If that's your mindset you could also accuse Goldsmith of using "MV melodies" because of massive, broad horn lines played over orchestral chord hits... those are done by MV on a regular basis... so?

[publicist 4,643]

If that's your mindset you could also accuse Goldsmith of using "MV melodies" because of massive, broad horn lines played over orchestral chord hits... those are done by MV on a regular basis... so?

What are you talking about? You're the only one who characterizes the statement 'á la MediaVentures' as detriment. It sounds like something out of 'Tears of the Sun', but if it boggles your mind so much, call it 'Tan Dun'ish.

And the theme from '13th Warrior' is easily identifiable as inspired by 'Crimson Tide', so?

[pete 907]

Thanks for the tip... listening now.

Going To School is quite nice!

I like the main theme melody more after hearing it full too

Hey if anyone wants to listen...you realize you can cancel orders before they ship right?

[ChrisAfonso 186]

Well, I've read sentences like "this sounds like MV crap percussion" etc. repeatedly over the last few weeks, by people who bash everything sounding like MV music.

-Chris

Beyond Rangoon (Zimmer)

[pete 907]

The drum bit in the track "Becoming A Geisha" are (I think) traditional Japanese drums (Taiko Drums maybe.. those big loud bastards) , perhaps some other percussion thrown in....They had drums in Japan well before Zimmer was born

[Jeshopk 8]

The drum bit in the track "Becoming A Geisha" are (I think) traditional Japanese drums (Taiko Drums maybe.. those big loud bastards) , perhaps some other percussion thrown in....They had drums in Japan well before Zimmer was born

Yes, but it sounds like Shawn Murphy had the microphones too close, making them sound electronic by emphasizing the overtones. He did the same thing IN AOTC, making real percussion sound fake through an overproduced recording. I'm sure it would have the proper effect live.

[#SnowyVernalSpringsEternal 10,265]

And we are judging this from soundclips, instead of from the actual CD?

[ChrisAfonso 186]

Sure, as always.

[Richard Penna 3,688]

Hey if anyone wants to listen...you realize you can cancel orders before they ship right?

I can't be bothered to, and anyway, it won't work for UK customers. Discriminating a$$h0l3s

Anyone prepared to record & upload this somewhere?

(Hey, I did it for GoF so you can't blame me for asking )

Oh, and about the 'MV percussion', whether it is or not, I happen to like its use in Quidditch World Cup, and maybe the director is asking for these things?

[pete 907]

I can't be bothered to, and anyway, it won't work for UK customers. Discriminating a$$h0l3s  

Anyone prepared to record & upload this somewhere?

Sorry don't know how,

You can still access the US amazon site...it only takes a second.

Sorry don't know how,

You can still access the US amazon site...it only takes a second.

I think you can just use the same email and password

The scores really growing on me by the way.. 4 or 5 tracks will make a great little Geisha suite

Theme, Going To School, Becoming a Geisha, The Chairman's Waltz, (maybe the Garden Party too) and the last piece.

Still getting to know the other pieces, but those ones certainly hold their own in Williams' canon of works

[nightscape94 965]

It says it's available in an audio stream. So you can't listen to individual tracks? You have to put up with one long feed?

Tim

[pete 907]

No, I'm using Windows Media Player and I'm able to skip to any track I want to using the "next" and "previous" buttons.

[Liamsid 0]

i have the files recorded in the highest quality, and i have them up on soulseek, the quality isnt perfect on the stream though. E.g. allot of the loud drums in the score come out slighly scratchy, so i would consider these files recorded from the stream to be a preview to keep your taste buds warm till the CD comes out.

[nightscape94 965]

I refuse to spoil myself any more then the Soundtrack.net samples!!!!

Tim

[Jacck 23]

I just bought this and it's streaming at a shitty 62Kbps *throws up*

Is everyone else getting this poor quality?

[Jeshopk 8]

And we are judging this from soundclips, instead of from the actual CD?

The percussion is closely recorded at the end of Becoming a Geisha and End Credits (or is sampled percussion). I could hear this in great detail on the high quality stream.

[Jacck 23]

So am I the only one who is getting this streamed to me at 64Kbps?

[Richard Penna 3,688]

i have the files recorded in the highest quality, and i have them up on soulseek.

I can't connect to soulseek :cry: Stupid uni firewall blocks almost everything here...

You couldn't upload them to yousendit.com? Don't worry if it's too much trouble.

[nightscape94 965]

I don't feel like installing another share software. I have Kazaa, and that'll do it for me. If someone puts it up on rapidshare or something, that would be more convenient for the rest of us who don't really deserve it.

Tim

[Jacck 23]

I've made a rip, so I guess I'll upload it, so just PM me for links

[nightscape94 965]

Seriously, like 5 posts earlier I said I wasn't going to spoil it, especially with low quality. But the first thing I did when I got here was PM Jack for the link! My mind is working independantly from my body!

Tim

[Jacck 23]

ROTFLMAO

I have to say, Sayuri's Theme is really stuck in my head.. It's extremely memorable, and very "hummable"/catchy. I guess hearing it fully developed throughout the score has really drilled it into my head. hehe

[Padme 0]

I heard a little of this soundtrack from a site, it sounds wonderful, cant wait until it is released

[Bowie 45]

Here, for those of you with the tracks already, I've compiled a "Best Listening Experience" (to hold the listener's attention while placing the themes in a relatively logical, developmental and chronological order). The star-ratings are purely in terms of listening experience: two-star tracks may be skipped.

01 Sayuri's Theme (*****) Track 1

02 Going to School (****) Track 3

03 Becoming a Geisha (****) Track 6

04 Chiyo's Prayer (***) Track 5

05 Brush on Silk (***) Track 4

06 The Chairman's Waltz (*****) Track 8

07 The Journey to the Hanamachi (*** build-up pays off with Sayuri's Theme) Track 2

08 Finding Satu (**) Track 7

09 The Garden Meeting (****) Track 10

10 Dr. Crab's Prize (***) Track 11

11 Destiny's Path (***) Track 12

12 A New Name... A New Life (***) Track 13

13 The Rooftops of the Hanamachi (**) Track 9

14 As the Water... (***) Track 15

15 The Fire Scene (**) & The Coming of War (***) Track 14

16 Confluence (****) Track 16

17 A Dream Discarded (***) Track 17

18 Sayuri's Theme & End Credits (*****) Track 18

[Incanus 5,714]

Oh it is wonderful! Chairman's Waltz and Sayuri's theme in all its incarnations are brilliant piece of lyrical writing. The expressiveness and skill of both Yo Yo Ma and Perlman are beautiful.

[King Mark 3,631]

I'm missing the last four tracks (15,16.17.18) for some technical reason.I'd reaaaally like to hear them.

K.M.

[Ledzo 0]

llll

[nightscape94 965]

I'm on track 4 (Brush on Silk), and it's hyper kinetic. The score is amazing so far.

Tim

[David Coscina 3]

The End Credit suite really isn't a suite because it features melodic and rhythmic variations of Sayuri's Theme. It also builds to a climax rather than serve to rehash all of the prominant themes from the score. I still like it a lot but it's not like the End Credits to Star Wars, Far and Away, or other notable Williams' scores.

[nightscape94 965]

The End Credits is a great piece of music, but, as correclty stated by Fiery Angel, it's just another piece of music and not a suite. It keeps layering different instruments playing Sayuri's theme and builds momentum until the final striking measures and last chord. The last great suite from Williams is probably "Harry Potter and the Philosopher's Stone" with Harry's Wonderous World.

Tim

[Luke Skywalker 1,795]

It keeps layering different instruments playing Sayuri's theme and builds momentum until the final striking measures and last chord.

Tim

Sounds great for a end credits piece. Is it?

[nightscape94 965]

Yes. The build up I'm talking about can also be heard at the end of "Becoming a Geisha". All of the incarnations of the theme throughout the entire score are great. I'm holding off on a serious review until I've heard it a few more times.

Tim

[Jacck 23]

Well well, I'm actually glad Williams didn't Score GoF, Memoirs of a Geisha is a beautiful score and here is my track-by-track analysis

01. Sayuri's Theme - The cue starts of with a low gamelan and light tremolo violas and cellos, which creates a very calm, soothing backing. The solo cello (performed by Yo-Yo Ma) then comes in, playing Sayuri's Theme very beautifully and emotionally. A Japanese flute later comes in, playing Sayuri's Theme, while Ma continues to play a counter melody below the japanese flute. The track ends with a very ethnic sounding shakuhachi. I wish this cue could be a little longer, but it establishes the theme nicely, and I think it's a perfect way to start off the soundtrack.

02. The Journey to the Hanamachi - This cue starts off quite moodily, light low tremolo double basses and low gamelan. The shakuhachi and some nice ethnic percussion then come in. The track starts off as a very atonal atmospheric track. We then hear a hint of Sayuri's theme played by a japanese flute, followed by accompaniment from high dissonant strings. The ethnic percussion and shakuhachi continue. Hints of Sayuri's theme occur throughout the first part of this piece (on the japanese flute). But the dissonant strings and agressive shakuhachi distort the theme and make it sound much more dangerous and dark. The string section then come in with a beautiful statement of Sayuri's theme, followed by a beautiful solo cello melody played by Ma. The piece ends with another statement of the string section playing Sayuri's theme, with Ma accompanying them - starting off with a counter melody, and later playing in unison with the orchestra. In my opinion, Williams uses this cue mainly to further develop and establish Sayuri's theme. It's a very enjoyable track with beautiful playing from Ma.

03. Going to School - The cue starts off with light percussion. The marimba then comes in with a joyful motif which acts as a counter melody for a playful melody that Ma begins to play. The piece has a very nice ethnic feel... Superb instrumentation and orchestration. The instruments compliment eachother so well and give the piece a beautiful feel.

04. Brush on Silk - A koto starts off this piece. Playing a quirky melody. Tabla drums then come in, and later - a high japanese flute. The piece has a playful feel, and the quirky koto melody makes the piece very enjoyable. Later on, the percussion thickens, and the japanese flute and koto play together very energetically, with accompanying harp glissandos. Again, sounds very ethnic.. Not your typical John Williams, but's that definetely not a bad thing ... The piece ends with slightly dissonant crescendoing strings.

05. Chiyo's Prayer - Williams, again, starts this piece with a low gamelan. Followed by some light sorrowful strings. The Japanese flute then comes in and plays a beautiful, yet sorrowful melody. Ma then comes in on the cello. He is backed by a soft string ostinato which sounds similar to parts of Williams' Revenge of the Sith score. The strings slowly die down, leaving Ma to play a solo for a few seconds, before the harp comes in with the japanese flute which play beautifully together. Williams makes nice use of some chimes and other ethnic percussion later on in the piece, before the string ostinato returns with a beautiful oboe melody. The piece ends with a cello solo playing the ostinato that was previously heard from the string section. This piece has a very sorrowful feel, yet quite beautiful.

06. Becoming a Geisha - The harp begins this piece, with a soft ostinato, accompanied by some percussion. The strings then come in followed by Sayuri's theme heard on the solo cello. The percussion then changes, and features some more bassy, Taiko drums, with a light, optimistic oboe Melody played over the top. The solo cello and violins then come in, playing Sayuri's theme in unison. Williams develops Sayuri's theme a little bit more, and extends the theme with some beautiful trills from the string section. Sayuri's theme is further developed, with counter melodies from the solo cello and oboe. The orchestra then die down. An exciting percussion part enters (taikos, and other ethnic percussion) which plays for a while. The percussion slowly fades out as the oboe and strings eventually re-enter with Sayuri's theme. Again, we hear the beautiful extension of the theme played by the solo cello and oboe this time. The percussion gradually re-enters as the oboe plays an exciting optimistic melody followed by a beautiful harp glissando that starts off the strings playing a beautiful, bold statement of Sayuri's Theme with a beautiful counter melody from Ma. The orchestra crescendo to a stop. This piece is very exciting and energetic. I love the beautiful statements of Sayuri's theme and the oboe melodies are very beautiful and optimistic.

07. Finding Satu - Chimes come in followed by a melody on the solo cello, and then light strings and koto. Ma continues to play a melody which gradually becomes more optimistic sounding, as some interesting koto glissandos (?) come in. The orchestra crescendos to a stop. The string section then come in quietly continuing the ostinato that they have played throughout the piece. A very sudden change in style takes place, and the Strings begin to play a very tragic, sad melody, which is absolutely beautiful.. Superb writing! French horns then take over followed by the String ostinato heard earlier in the score. The piece ends with some ethnic percussion, shakuhachi and dissonant strings which create an eery, mysterious effect.

08. The Chairman's Waltz - In this piece, the harp establishes the 3/4 rhythm that one would expect from a Waltz. A soft celesta comes in playing a high melody before a solo violin (Perlman) comes in with the main melody. I actually found this melody to be very memorable and found myself humming it later on. This cue reminded me of some cues from Schindler's List. Beautifully written and played. I enjoyed this track a lot.

09. The Rooftops of the Hanamachi - This whole piece is very post modern sounding, with lots of different instrument articulations and unusual percussion. The solo cello creates some eery effects and glissandos, accompanied by some interesting percussion. The shakuhachi then enters, followed by some dissonant strings and very spooky cello glissandos. The harp and koto then enter playing a dissonant melody between eachother. This piece is very interesting, and I found it to be very enjoyable. I always love it when Williams really experiments with different instrumental techniques. The piece ends with a dangerous sounding string ostinato and dangerous sounding horn melody (reminded me of a cue from WotW), a beautiful, dissonant crescendo ends the piece. (Beautiful, Dissonant - is that an oxymoron? )

10. The Garden Meeting - This cue starts identically to The Chairman's Waltz.. Again, the solo violin enters, as Perlman plays The Chairman's Theme (or Waltz). The cello section then play this theme as the orchestration gradually hints at something more tragic. An oboe melody then enters which gradually turns into The Chariman's theme. The music then dies down, as a harp enters, followed by Perlman playing a beautiful solo of Sayuri's theme accompanied by beautiful harp glissandos, and light strings. I really do love The Chariman's theme/Waltz

11. Dr. Crab's Prize - This is a solo shakuhachi piece. And probably mostly improvised. The piece sounds slightly sorrowful.

12. Destiny's Path - An optimistic string/percussion ostinato begins the cue. It gradually builds in texture as marimba, harp, and strings enter. The ostinato then dies down to just strings and marimba, as the koto plays a melody over the top. The orchestra crescendos at the end. I always enjoy these percussive, rhythmic, serialism type cues that Williams writes.

13. A New Name... A New Life - Mysterious chimes enter followed by a solo cello melody. The chimes fade as the cello continues to play a sorrowful melody. The strings then come in with the solo cello playing an absolutely gorgeous, tragic sounding passage. Solo shakuhachi then enters. Followed by a more optimistic sounding statement of Sayuri's theme. Solo Cello, then harp and celesta end the piece with a calming, beautiful passage.

14. The Fire Scene and the Coming of War - Dissonant, eerie strings and low percussion enter. Followed by shakuhachi. A timpani roll introduces some low spooky tremolo double basses, bassoons and a dangerous percussion line. The timpani continues to pound away with dangerous sounding brass and strings continuing. The orchestra build with a building dangerous passage. An excerpt from "Ogi No Mato (The Folding Fan as a Target)", a classic Japanese opera then plays out. With heavy drum additions. Strings then re-enter with a distant melody. A motif played by the strings occurs throughout this piece that is very dangerous sounding (reminds me of parts of the Revenge of the Sith Score). The ostinato motif that I mentioned earlier (the one that sounded a bit like sections of the ROTS score) then re-enters. Later on, the horns play a quick excerpt of the Chariman's theme over the top of the busy string ostinato. This piece is more orchestral than most of the others. The piece ends with a beautiful statement of the Chariman's Theme played by horns with string accompaniment.

15. As the Water... - Pizzicato strings ostinato and oboe enter. The oboe plays a beautiful melody. An emotional, tragic sounding cello duet then comes in, with arpeggiated harp accompaniment.

16. Confluence - Japanese flute enters with a variaton of Sayuri's theme. With light string accompaniment. The oboe later enters playing Sayuri's theme with light string accompaniment and a beautiful solo cello counter melody. Strings build as the solo cello plays a variation of Sayuri's theme. The strings crescendo to a beautiful emotional passage. Followed by a BEAUTIFUL performance of Sayuri's theme on the solo cello from Yo-Yo ma followed by a spine-tingling emotional string passage. A high solo cello then comes in with another variation of Sayuri's theme. The piece ends with a beautiful, emotional, strings/french horns passage with a lightly played harp ending the piece.

17. A Dream Discarded - Ma enters on the cello with a distinctly emotional, sad melody. I suspect that this will jerk tears with the film. Ma plays perfectly, hitting some very high notes (for a cello) perfectly. Beautiful writing and beautifuly performed. This is a solo cello track.

18. Sayuri's Theme and End Credits - Optimistic flutes and harps enter, which are soon joined by the strings playing a statement of Sayuri's theme. The mood of the piece suddenly changes, the strings play an exciting ostinato with some harp additions, the ostinato is quick in pace and makes the piece very exciting. The Solo cello comes in with Sayuri's theme.. the string ostinato continues, the oboe plays a counter melody, before the horns join Ma with Sayuri's theme.. The key changes, the ostinato continues, Glockenspiel enters playing in unison with an optimistic sounding flute part. The strings start playing an exciting repeating chord that gradually builds. You know something good is about to come.. The strings build and build, Oboes and marimba enter, harp glissandos, Horns enter, repeated chords crescendo, the horns then play Sayuri's theme as the repeating chords are now being played by most of the orchestra. Timpani rolls and the strings play an exciting, magical, arpeggiated sequence, as horns and cello play a brilliant, exciting, energetic statement of Sayuri's Theme. The orchestra dies down as harp enters and Solo violin plays Sayuri's theme. An exciting string ostinato returns as Solo cello and horns return with Sayuri's theme. Percussion enters, as strings play a statement of Sayuri's theme. Very optimistic sounding. Sayuri's theme continues to develop as we hear Sayuri's theme as played in Becoming a Geisha performed again. The orchestra crescendos as they did in Becoming a Geisha to end the track. I adore this track, it is beautiful and really lets you appreciate Sayuri's theme. It is exciting and moves along perfectly, with perfect orchestration..

Overall, I love this score, it is a masterpiece, and the themes are very memorable.

My score- 9/10

[Hlao-roo 389]

As I've said before, John Williams has failed completely because there aren't enough action set pieces, and there is not a new, instant classic melody on every single track. My ears are permanently scarred by this terrible, terrible non-Harry Potter noise that masquerades as "music."

[Sandor 797]

Jack; you're my new hero man! Not only because you made an excellent rip (including IDtags and all), send me the link , but also because you've written such a good track-by-track review.

And by the way; I agree with everything you say! It's funny that I wasn't very impressed by Sayuri's Theme when I heard the samples over at soundtrack.net, but everytime I hear the theme in the complete soundtrack I get goosebumps. Wow...

[#SnowyVernalSpringsEternal 10,265]

Typical.

[Jacck 23]

As I've said before, John Williams has failed completely because there aren't enough action set pieces, and there is not a new, instant classic melody on every single track.  My ears are permanently scarred by this terrible, terrible non-Harry Potter noise that masquerades as "music."

"action set pieces" ??

And what OST does have an "instant classic melody" on every single track?

How do you even define "instant classic melody"?

Care to elaborate?

[Morlock 11]

The End Credits is a great piece of music, but, as correclty stated by Fiery Angel, it's just another piece of music and not a suite.  

You say that as if it's a bad thing. We've got to darn many useless, pointless end credit tracks or theme 'reprises' on JW CDs.

[ChrisAfonso 186]

Regarding End Credits, what I really like in that regard is Danny Elfman's approach, where almost every End Credits track is a variation on the corresponding Main Titles (especially those of Edward Scissorhands and Sleepy Hollow are gorgeous... I've got a thing for melancholy trumpet lines...).

[Jacck 23]

Yeah.. but then there's just rips, like Spiderman end credits, or MIB II End credits, where it's basically just the main titles, with slightly different orchestration and some added synths

Personally, I'd rather more "original" music than some revamped stuff...

[ChrisAfonso 186]

POTA end credits ("Main Title Deconstruction") have some amazing brass work

BTT, I hope the cd will be available here in time, otherwise I might resort to "other" means to get it... would be a shame.

[nightscape94 965]

The End Credits is a great piece of music, but, as correclty stated by Fiery Angel, it's just another piece of music and not a suite.  

You say that as if it's a bad thing. We've got to darn many useless, pointless end credit tracks or theme 'reprises' on JW CDs.

That's not what I meant though. I agree with you on the suites. I was simply answering Luke's question. I think you're still mad about that whole "Hymn to the Fallen" thing on the other thread! Don't get uppity!

Tim

[King Mark 3,631]

As I've said before, John Williams has failed completely because there aren't enough action set pieces, and there is not a new, instant classic melody on every single track.  My ears are permanently scarred by this terrible, terrible non-Harry Potter noise that masquerades as "music."

"action set pieces" ??

And what OST does have an "instant classic melody" on every single track?

How do you even define "instant classic melody"?

Care to elaborate?

He only writes posts in sarcasm.

K.M.

[Jacck 23]

I see -.-

[nightscape94 965]

I would write a review of my own, but I'm obsessing over this new revelation of a score. I've listened to it about six times straight through and can't get enough.

Tim

[MrAsterisk 0]

people who bash everything sounding like MV music.  

Beyond Rangoon (Zimmer)

Bold. Daring.