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Schindler's List Soundtrack

64 customer reviews

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Product Details

  • Audio CD (Dec 15 1993)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Universal Music Canada
  • Run Time: 195 minutes
  • ASIN: B000002OR4
  • Other Editions: Audio CD  |  Audio Cassette
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (64 customer reviews)
  • Amazon Bestsellers Rank: #9,356 in Music (See Top 100 in Music)
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1. Theme From 'Schindler's List' - Itzhak Perlman
2. Jewish Town (Krakow Ghetto - Winter '41) - Itzhak Perlman
3. Immolation (With Our Lives, We Give Life) - John Williams
4. Remembrances - John Williams
5. Schindler's Workforce - John Williams
6. Oyf'n Pripetshok/Nacht Aktion - The Li-ron Herzeliya Children's Choir
7. I Could Have Done More - Itzhak Perlman
8. Auschwitz-Birkenau - Itzhak Perlman
9. Stolen Memories - John Williams
10. Making The List - Itzhak Perlman
11. Give Me Your Names - John Williams
12. Yeroushalaim Chel Zahav (Jerusalem Of Gold) - The Ramat Gan Chamber Choir/Hana Tzur, Cond.
13. Remembrances (With Itzhak Perlman) - Itzhak Perlman
14. Theme From Schindler's List (Reprise) - John Williams

Product Description

Because he's long been stereotyped by the rousing neo-romantic adventure scores for the Star Wars, Indiana Jones, and Jurassic Park franchises, it's easy to forget that composer John Williams is hardly idiomatically challenged. When Steven Spielberg gratifyingly used the clout of his enormous commercial success to produce and direct this brave Holocaust drama, his long-time musical collaborator used the opportunity to display both the depth and maturity of his musical gifts and training, producing a score with sad, evocative melodies frequently carried by the violin of the great Itzhak Perlman. Rich with ethnic nuance and showcasing the composer's masterful orchestral/choral subtlety, Williams's emotionally compelling score for Schindler's List also won the Academy Award for Best Dramatic Score. --Jerry McCulley

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Format: Audio CD
One of the most powerful movies made in the last 15 years, Steven Spielberg's Schindler's List gave John Williams a chance to eschew his normally operatic style in film scoring and to prove that simplicity and restraint can add more power to a film than a huge symphonic score. Instead of choosing heavy brooding Nazi-style marches or heroic Indiana Jones-like themes for the various characters, Williams chose instead to go for a subdued style, using solo piano, children's choirs, and poignant violin solos by the great Itzhak Perlman to underscore the horrors of the Holocaust and the eventual humanization of Oskar Schindler.
Williams' "Theme from Schindler's List" is a poignant composition that has its roots in the musical style favored by Eastern European Jews. That Williams can write scores using forms and instrumentation used by other cultures is not surprising. Williams, after all, won his first Academy Award for adapting the music from Broadway's "Fiddler on the Roof" for the movie version, and his score for Ron Howard's "Far and Away" employs Irish melodic forms quite effectively. The "Theme" is hauntingly beautiful, and it matters not whether it's performed by the entire Boston Symphony, a solo pianist, or Perlman on violin.
Another lovely yet melancholic piece is "Remembrances," which appears twice on this CD.
"Immolation (With Our Lives, We Give Life)" is a moving, keening choral piece, while "Oyf'n Pripetshok and Nacht Aktion" mingles a traditional Jewish song and original Williams material to underscore the Germans' "cleansing" of the Krakow Ghetto.
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By T. Lobascio on April 17 2003
Format: Audio CD
John Williams and world renowned violinist Itzhak Perlman made a powerful musical combination with their collaboration for Schindler's List. The score that they created is an example of how music can add so much, to a film already filled with unforgettable images, and then somehow makes the viewer even more speechless then you might think possible.
The music of Williams, would have no doubt, stood on its own. Perlman adds just the right touch to make the score even better. Through his solos, it's almost as though, he is acting as Oskar Schindler's conscience as he decides what to to do. For his part, Williams takes the horrors of the holocaust and somehow manages to give its victims, Schindler's heroic efforts, and their legacy, a dignity. As director Steven Spielberg mentions in his liner notes comments "The choice John Williams made was gentle simplicity."-That is true and the score will leave a lasting impression-by either watching the movie, or just listening to the soundtrack.
Like Schindler himself, Williams and Perlman take the tragic events of that period in world history, and somehow give us hope..with this emotional and powerful score. The CD has 14 track listings and a total running time of 64:34. The Schindler's List soundtrack comes highly recommended and is a must for anyone's collection
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Format: Audio CD
As other reviewers mention, this score sort of "legitmized" John Williams as more than a composer of catchy romance-adventure music. Because Williams is always faithful to the story being told onscreen, it took a film like "Schindler's List" to allow Williams to lead us into the sublime.
The opening theme is fairly pleasant, kind of mysterious, with a nice violin lead by Itzhak Perlman. The next track, "Jewish Town" also lets us off pretty easy. The violin does have its pathos, but overall it's more stately than sad. We're still being eased into the dignified, ancient structures of Jewish music.
With "Immolation," it really begins. The tension and uncertainty in the strings gives way to the choir; the starving and tormented citizens of Krakow will not be silent. This piece also begins the smartest tactic of the whole score - Williams keeps using the melody from the opening, but in different keys based on the events of the film. It's a happy melody the first time; track to track, it becomes less so.
"Schindler's Workforce" is sort of the juggernaut of the score at over ten minutes. It's a reprieve from the drama of the prior two pieces, just as working in the factory is a reprieve from being murdered. For "I Could Have Done More," the orchestration is subdued, and we start to hear the sublime. When the key changes to E-minor at 3:46, the last barrier between the listener and the tragedy of the story is removed.
With "Auschwitz - Birkenau," the violin and strings express the rage and desperation of the death camp. Williams no longer seeks to comfort us, and reality takes hold. The choir returns for the gentle, haunting "Stolen Memories," and so the tension is briefly set aside. (Acoustic guitar is an unexpected pleasure here.
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Format: Audio CD
From the response that one can observe to the score from Schindler's List, it is like no one took John Williams' work seriously prior to its release. He had been renowned for his bombast music and his loud marches, but his subtler works might have been too easily forgotten. However, there seems to be a turnaround in the public conception of Williams after Schindler's List. To many people, he became a composer capable of the deep emotion inherent in more somber films. To long time fans, this may have always been apparent, but for those who could not recognize his skill, Schindler's List divulged it completely and indubitably.
Schindler's List, even when it is depicting the greatest evil and the most visually horrifying images, never collapses and never overpowers. Its greatest gift is its ability to outline and highlight, not to overshadow and reconstruct. The multiple themes are all extraordinary and powerful, recurring where necessary, and coming to a crescendo as appropriate. Frequently intermingled are appropriate and stirring excerpts from Hebrew hymns that humanize and reconnect the images on screen with the validity of the past. Combined within are two sides of a film score that work together to create a magical whole. The dominant passages are the string pieces, led by Ithzak Pearlman, and colasceing the traditional images of the film with music that isn't wholly inappropriate from the era depicted. Alternately, there are delightful mechanical cues that reference Hebrew music and lighten the mood as necessary. Best depicted in the track "Schindler's Workforce"--perhaps the best an most delightful of the tracks, outside of the suites--maintains a constant beat that circles and epitomizes the interaction of the Jews and their forced occupation.
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