- Audio CD (Jan 17 2006)
- Number of Discs: 1
- Format: Soundtrack
- Label: Universal Music Group
- Run Time: 164 minutes
- ASIN: B000CEV8Z0
- Amazon Bestsellers Rank: #76,120 in Music (See Top 100 in Music)
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Product Details |
Track Listings
| 1. Munich, 1972 |
| 2. The Attack At Olympic Village |
| 3. Hatikvah (The Hope) |
| 4. Remembering Munich |
| 5. Letter Bombs |
| 6. A Prayer For Peace |
| 7. Bearing The Burden |
| 8. Avner And Daphna |
| 9. The Tarmac At Munich |
| 10. Avner's Theme |
| 11. Stalking Carl |
| 12. Bonding |
| 13. Encounter In London And Bomb Malfunctions |
| 14. Discovering Hans |
| 15. The Raid In Tarifa |
| 16. Thoughts Of Home |
| 17. Hiding The Family |
| 18. End Credits |
Product Description
From Amazon.com
This soundtrack caps a busy year for John Williams: In addition to Munich, he also scored Star Wars: Episode Three: Revenge of the Sith, War of the Worlds, and Memoirs of a Geisha. When it comes to Hollywood's A-list big-budget needs, Williams, with 46 Oscar nominations by the end of 2005, remains the go-to composer. But does he deserve his reputation? Well, it depends on what you want from a score: If you expect it to surprise you at every turn, you should look elsewhere; but if you want music to faithfully match the mood of the images it accompanies, and as lavish as said images usually are, Williams is worth every penny he gets, as Munich amply proves. While Steven Spielberg's drama-thriller starts off in 1972, Williams eschews period touches and delivers a mix of powerful, string-heavy atmospherics--"Hatikvah (The Hope)," "A Prayer for Peace," "Thoughts of Home"--while ethnic elements (which could easily have been overdone in a film dealing with Palestinians and Israelis) are, cleverly, almost subliminal. Fans of otherworldly female vocals should note that sought-after session singer Lisbeth Scott (The Chronicles of Narnia) appears on tracks such as "Munich, 1972" and "Remembering Munich." Elisabeth Vincentelli
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Customer Reviews
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
4.7 out of 5 stars (16 customer reviews)
9 of 10 people found the following review helpful
5.0 out of 5 stars
Score #4 for 2005 by John Williams., Jan 30 2006
By Brian Litton - Published on Amazon.com
Amazon Verified Purchase(What's this?)
This review is from: Munich (Audio CD)
"Munich" is not a "common" John Williams score with sweeping melodies. It isn't instantly memorable like his other work, but is every bit as effective as anything he's ever written. It's a wonderful score, lending great power to the images that Steven Spielberg uses to tell his story. I'm continually amazed by Mr. Williams's ability to adapt his style to each project. Another notable fact is that "Munich" is his fourth score during 2005, following "Revenge of the Sith," "War of the Worlds" and "Memoirs of a Geisha." No tracks really stand out (the work as a whole is very consitent), and this may not be a CD to listen to over and over again. But its effectiveness and power make it a wonderful part of any John Williams collection.
3 of 3 people found the following review helpful
5.0 out of 5 stars
Another Williams gem!, Oct 31 2006
By Nicholas A. Ziinojr - Published on Amazon.com
Amazon Verified Purchase(What's this?)
This review is from: Munich (Audio CD)
John Williams'superb score for "Munich" pulls off something rare-it'sbetter than the movie.This is the maestro at his full-throttle best.
The score is intense,powerful,thrilling,and magnificently performed
by the LA Recording Arts Orchestra under the master's superb baton.
This is his best work since "Saving Private Ryan"
3 of 3 people found the following review helpful
4.0 out of 5 stars
Williams surprises again, Feb 24 2006
By Mark Ford - Published on Amazon.com
Amazon Verified Purchase(What's this?)
This review is from: Munich (Audio CD)
After nearly a decade or more of writing scores that, although incredibley well crafted, were pretty much same-old-same-old, Williams is experiencing a fresh creative take in his film scoring. Munich is another score that departs from his more conservative post romantic style. Although some of the cues are not as fun or as easy to listen as those from his golden age styled scores, they are excellent accompaniments to the film working sublty below the images. Many long time William's fans may not like this less thematic and overtly orchestrated approach, but this style works best for the type of film being scored. There is a maturity here that perfectly compliments the maturity of Spielberg's film making.
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