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Bram Stokers Dracula Soundtrack

39 customer reviews

Price: CDN$ 22.95
Only 1 left in stock.
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4 new from CDN$ 22.95 19 used from CDN$ 0.77

Product Details

  • Audio CD (Nov. 24 1992)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Sony Music Canada Inc.
  • Run Time: 128 minutes
  • ASIN: B0000028UY
  • Other Editions: Audio Cassette
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (39 customer reviews)
  • Amazon Bestsellers Rank: #56,227 in Music (See Top 100 in Music)
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1. Dracula-The Beginning
2. Vampire Hunters
3. Mina's Photo
4. Lucy's Party
5. The Brides
6. The Storm
7. Love Remembered
8. The Hunt Builds
9. The Hunters Prelude
10. The Green Mist
11. Mina/Dracula
12. The Ring Of Fire
13. Love Eternal
14. Ascension
15. End Credits
16. Love Song For A Vampire - Annie Lennox

Product Description

Dracula ~ Bram Stoker's Dracula: Original

Customer Reviews

4.6 out of 5 stars

Most helpful customer reviews

Format: Audio CD
When I first saw Bram Stoker's Dracula in the theaters, the music didn't initially catch my interest. Of course when this movie came out, I was in elementary school. Nonetheless, everytime I watched the movie once it came out on video and finally DVD, the music began to grow on me. Now at an age where I can truly appreciate good music, I can honestly say that this is without a doubt one of the best motion picture scores to ever grace a movie. There hasn't been one to surpass it since.
Everytime I listen to the music, I keep thinking back to 1992 when the movie came out and I think of the sellout crowd I was a part of when I saw it. This soundtrack invokes all the feelings I had when I saw the movie for the first time. The moody violin and choral arrangements accent what is already a great film. I just don't like that Annie Lennox song at the end of the CD. It sounds incredibly out of place with the rest of the album.
If you see this CD the next time your in your local record store, pick it up and put your money down for it. You won't be disappointed.
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Format: Audio CD
I have all Kilar's soundtracks but this one is my favorite.
"Dracula - The Begining" is very emotional at first but then it gets very boring and may make a listener think that the composer was very desperate.
"Mina's photo" is a very lovely piece of music. I read Kilar's autobiography book where he said that he never completed.
"Vampire Hunters" is a classical and is the most remembered music from the movie. But again...The melody repeats over and over again but gets louder with each time.
"The Brides" is a very sad and the emotional music in the whole album. In the movie this track appears three times. First it was when Jonathan Harker was dealing with the "angels of hell" Dracula's brides. Another time was in the middle of the movie and the last time it was edited and placed in the credits.
These are my favorite tracks. Other tracks are very good too exept "Love Song for Vampires" which was completely off the topic and in my opinon would look good in Interiew With Vampire soundtrack.
You really should buy Bram Stoker's Dracula soundtrack.
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Format: Audio CD
Part of the score's power is that Wojciech Kilar makes no concessions to 20th-century music. When you hit "play," the comfort of the sunlit world is gone. Kilar takes a Philip Glass minimalism and bends it to his own relentless, spooky ends. The music for "Dracula" alternates among three main tactics:
1) Hopeless Dread
In "Dracula - The Beginning," "The Storm," and "The Hunt Builds," there's a steady buildup of voices and instruments dragging you from "Uh oh" to "This is the sound of apocalypse." The use of crescendo and the choir's abandon make it clear something awful is happening at these points in the movie. These pieces have a neo-martial power that makes the heart quicken. Particularly in "The Storm," the horn attack almost sounds like "You're're're DEAD..." As for "The Ring of Fire," there's no structure - just a blend of cackling and wrong notes leading to a moment of pure cold shock.
2) Elegant Dischord
"Lucy's Party" and "The Brides" seem nice and flowery at first, but after about ten seconds you can tell that something's wrong. There are off-key notes and melodies that don't blend with the strings; it's a melodic signature for Dracula's presence in the story.
3) Disarming Beauty
The brutality of "The Storm" leaves you stunned and vulnerable to "Love Remembered." No wrath, no sucker-punch climax...just a sad and beautiful song. This approach, also used in "Love Eternal" and "Ascension," reminds us that the only reason Vlad became Dracula was the hope of being reunited with his wife.
Annie Lennox's tacked-on "Love Song for A Vampire" is a nice finale, but it pulls us out of the red-skied decadence made so vivid during Kilar's score. Get this album and Kilar's score for "Death and The Maiden." You'll hear some of the same tricks, and they work just as well.
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By Roland Dark on Aug. 27 2002
Format: Audio CD
Why do I say ouch? Because this score bites!
Prepare yourself for a musical composition like none your auditory sense has ever experienced. Wojceich Kilar (who cares if you cannot pronounce his name!) has scored a... An... No singular adjective can possibly describe it. Let me put it this way - this score will sink its teeth into you (pun intended). And you will do the same in return. The entire score - not including the incongruous "Love Song For A Vampire" - is superb. Kilar completely eschews melodies, relying on a repetitive, minimalistic style. Even with its all too familiar "Mars the Bringer of War" style march, "Vampire Hunters" serves this symphony well. However, it is three particular pieces that tower over the rest.
"Dracula - The Beginning" is a perfect prologue, building from eerie, relentless, stringent notes, climaxing in a crescendo of blaring brass (in the film, this signified Dracula's rejection of God and his embracing of Satan). While this works well with the film, the entire score is better, more haunting, more nightmarish on its own. No greater example than in "The Storm". It begins with a soft - albeit quite mysterious - plucking of harp strings, tarrying until it has reached the faintest, gentlest note - piercing brass curtly disrupts this lull. After an unnerving passage of music, brass once again busts through the door, leading to repetitive, stentorian phrases accompanied by kettle drum and an otherworldly chorale arrangement. After electrifying blasts of brass, the chorus begins an ethereal chant of ascending and descending utterances - this particular section left me awe-struck. The piece appropriately ends with the gothic sounds of a cathedral organ.
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