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The Twilight Saga: New Moon - The Score |  | Artist: Alexandre Desplat
Label: E1 Entertainment
Category: Music
List Price: $18.98
Buy New: $9.99
as of 11/21/2009 04:33 CST details
You Save: $8.99 (47%)
New (9) Used (1) from $9.99
Seller: Amazon.com
Rating:  6 reviews
Sales Rank: 33
Format: Soundtrack
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.5 x 4.9 x 0.4
UPC: 099923207528
EAN: 0099923207528
ASIN: B002Q4TKC2
Release Date: November 20, 2009 (New: This Week)
Shipping: Eligible for FREE Super Saver Shipping
Availability: Usually ships in 24 hours
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| Tracks:
| • | New Moon | | • | Bella Dreams | | • | Romeo & Juliet | | • | Volturi Waltz | | • | Blood Sample | | • | Edward Leaves | | • | Werewolves | | • | I Need You | | • | Break Up | | • | Memories of Edward | | • | Wolves v. Vampire | | • | Victoria | | • | Almost a Kiss | | • | Adrenaline | | • | Dreamcatcher | | • | To Volterra | | • | You re Alive | | • | The Volturi | | • | The Cullens | | • | Marry Me, Bella | | • | Full Moon |
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Album Description
Twilight: New Moon is the second installment of the highly successful film franchise Twilight, an action-packed, modern day vampire love story. The movie is based on the second novel in author Stephenie Meyer`s Twilight series titled, New Moon. Oscar Nominated composer Alexandre Desplat scores the follow up to the successful Twilight score. Desplat is highly regarded and the winner of numerous awards including 2008's "Film Score of the Year" & "Best Original Score for a Drama Film" by the International Film Critics Association (The Curious Case of Benjamin Button), winner of the 2007 Golden Globe for "Best Original Score" (The Painted Veil), and two-time Academy Award Nominee (The Queen & The Curious Case of Benjamin Button). With even more anticipation, a growing fan base and an award-winning/critically-acclaimed composer , Twilight: New Moon Score is a must-have companion to the movie experience and sure to please not just movie fans but fans of the Score genre.
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| Customer Reviews:
Showing reviews 1-5 of 6
Desplat at his romantic best November 21, 2009
Jon Broxton (Thousand Oaks, CA)
Teenage girls the world over have been salivating over the impending release of New Moon ever since the first film in the Twilight series was released in 2008. This film, directed by Chris Weitz, is based on the second book in the string of unfathomably popular novels by author Stephanie Meyer, and continues the ongoing love story between the moody, introverted Bella Swan (Kristin Stewart) and her paramour, the brooding, sensitive vampire Edward Cullen (Robert Pattinson). However, there is a twist in the tale: native American teen Jacob Black (Taylor Lautner), a background presence in the first film, has stepped into the forefront and revealed that he has fallen for Bella himself. However, as if creating an undead love-triangle were not enough, Jacob also holds a dark secret of his own - he and his family are werewolves, and have been at war with the vampires for generations...
Despite predictably scathing reviews from critics, it is inevitable that New Moon will be an enormous commercial success, thanks to the immense popularity of the books, the three protagonists, and the three actors playing the leads, who attract screaming fans wherever they go. Misunderstood Goths and star-struck teenage girls from Alaska to Alabama have been lining up in droves to see the film; whether this snowball of success will translate to the film's music remains to be seen. Carter Burwell, who wrote a rather disappointing score for the first Twilight film, has been replaced this time round by Frenchman Alexandre Desplat, who previously worked with director Weitz on The Golden Compass in 2007. Desplat's music is an improvement over Burwell's effort in almost every way: thematically, orchestrally, technically, intellectually, and in terms of pure enjoyment. It contains some achingly beautiful string writing and some vividly dark dissonance, capturing both the essence of the relationship between Bella and Edward, and the increasingly dangerous world they inhabit.
The main theme - as heard in the superb opening "New Moon" - is a deceptively simple melody for piano, accompanied by a lush string wash and an undulating bass undercurrent, which gradually grows in size and impressive scope to incorporate the majority of orchestra. It's a theme which speaks of love, certainly, but also tragedy, longing, and a slight sense of apprehension; quite appropriate, really, when you are dealing with a girl falling in love with a vampire. "Romeo and Juliet" presents a morose version of the main theme, while later "Edward Leaves" has a bittersweet piano restatement of the theme that gives way to heartbreaking cello piece and, eventually, a dramatic and engaging orchestra. It has a pair of rapturous recapitulations in "Adrenaline" and "You're Alive", and eventually comes full circle by forming the basis of the excellent conclusive trio comprising the softly inviting "The Cullens", the euphoric "Marry Me, Bella" and the sweepingly passionate finale, "Full Moon". "The Meadow", the cue which features on the soundtrack CD that was released several weeks prior to the score album, is a solo piano variation on the main theme, and makes a nice addition to the score when programmed into the mix.
In addition to the main theme, there are several other gorgeous romantic textures to be found throughout the score, more often than not accompanying Bella, her sense of loss when separated from Edward, and her joy at being reunited with her love. "I Need You" features some lovely, intimate harp writing; "Break Up" counterpoints breathy, vaguely ethnic flutes against an almost funereal bass drum to give the cue a sense of desperate finality; "Almost a Kiss" re-ignites the romantic flame with a beautifully tender duet for piano and harp; and "Dreamcatcher" features subtle, nuanced textures for a three-note piano theme and wistful, lyrical flutes.
The Volturi - the coven of aristocratic vampires who rule their kind, and who become a shadowy omnipresence in the wider Twilight world - have their own theme; an opulent, mysterious waltz featuring harpsichords and a solo trumpet refrain that hints at their longevity and power, and continues to impart a malevolent influence over later cues such as "To Volterra" and, naturally, "The Volturi". "To Volterra" is one of the score's standout cues, beginning slowly, but eventually emerging from a twisted restatement of the waltz theme into a deliciously sinister piece for raging strings, dancing woodwinds, foreboding percussion and low, ominous horn chords. "The Volturi", after restating the waltz theme with the utmost sense of dread, explodes into an almost Goldenthal-esque frenzy of orchestral chaos that has a great deal of panache and energy.
The action music elsewhere tends to be more restrained, less well-structured than that heard in scores like The Golden Compass, but still significantly more mature than the harsh, grating, grungy electronics Burwell employed in the first movie. Cues such as "Blood Sample", "Werewolves" and "Wolves v. Vampire" make use of a heightened percussion element, nervous string ostinati, lonesome guitar chords, electronic pulses, and a weeping synth choir, and have a general air of unease. "Wolves v. Vampire", once it really gets going, is especially impressive, and has a punchy, muscular quality of barely-controlled fury that occasionally resembles parts of the jaw-dropping polar bear action music from The Golden Compass.
Of course, this would not be a Desplat score if he didn't incorporate some of his unique orchestral touches, or give the score some unexpected instrumental colors to keep things interesting. The slapping strings from Hostage and the synth pulse from Birth both appear in the unsettling second cue, "Bella Dreams", and the subsequent "Victoria", while the famous `fluttering flutes' make a guest appearance in "To Volterra". Also keep an ear out for the cool descending piano line right at the end of the opening "New Moon", the frenetic xylophones underpinning "Wolves v. Vampire", and the variation on the metallic bowl-like `dust' motif from The Golden Compass in "The Volturi". The clarity and intricacy of Desplat's orchestrations and the cleverness of the instrumental combinations is never less than perfect, and makes listening to his music a consistently enjoyable, interesting and surprising delight.
Yet again, I find myself running out of superlatives to describe Alexandre Desplat's music; his work speaks to me on an emotional level in a way that no composer's has done since I first discovered James Horner, and the technical and intellectual qualities of his writing fascinate me endlessly. New Moon is no different. Thankfully, Desplat has made no concessions to the dismal musical framework laid out by Carter Burwell in the first film, and had instead forged his own new path into the Twilight universe. In doing so, he may have just opened himself up to a whole new legion of angsty 15-year-old female followers, who will undoubtedly revel in the romantic parts of the score. For me, New Moon is the best of Desplat's eight scores from 2009, and up amongst the best scores of the year.
 An Sweeping, Haunting Score November 21, 2009
Phoenix Child (USA)
3 out of 3 found this review helpful
On the The Twilight Saga: New Moon Soundtrack album, one first hears Alexandre Desplat's scoring effort -- a dark, moody piano ballad titled "The Meadow." It was hearing this aching little theme that managed to convey a wistful sense of loss that built my anticipation for the release of the score to the new film "New Moon."
My anticipation was richly rewarded in this moving orchestral compilation. Following through from his previous work in the magnificent score to "The Curious Case of Benjamin Button," French composer Alexandre Desplat shows his rich experience as well as a much deeper feeling for thematics and composition than his predecessor, Carter Burwell. Gone are the moments of cliche-horror-movie ambience, the laughable rhythmic pulse tracks -- Desplat pulls out all the stops to create a singular work of musical art.
The focus of "New Moon" is not on physical action, for the most part -- in fact, on the few tracks that focus on that action, Desplat falls somewhat flatter (the building tension that runs through the Volturi/Volterra tracks being a magnificent exception) -- it is instead a ballad of love lost and love found again. Desplat created a theme of sorts for "New Moon" much as Burwell created a Bella/Edward theme in his "Twilight" score.
The opening tracks "Romeo and Juliet" and especially "Edward Leaves" are aching to hear, showcasing Desplat's skill to use music to pluck heartstrings as it was meant to. The focus of the music is on the skill of the composition and on the instrumentation rather than the unoriginal synthetics of many modern scores. Die-hard romantics will play "Marry Me, Bella" on repeat through the night.
That isn't to say that the score doesn't have its exciting moments -- "Wolves v. Vampire" is a fast-paced hunting theme, and again Desplat displays a willingness to create thematic elements by giving the wolves their own theme. While the action sequences could have been cut shorter, none are dull or uninteresting. There is a sort of bland sameness to a few of the tracks -- in fact, my only complaint is length; one gets the feeling by the end of the 21 track album that the score could have used a little more judicious editing.
In the end, however, "New Moon" is a far more professional and emotive piece, capturing the thematics of the movie, the feelings of the characters, and the drama of the action and the settings -- in short, "New Moon" succeeds as a film score. Also, in sheer talent, Desplat succeeded in every place that Burwell failed in his original score: there are no cliches, no synthesizers, no overplayed dramatics. With the slieght of hand of a magician, Desplat's scoring plays the emotions as if THEY are the instrument. The overall effect is masterful.
5 out of 5 stars.
WARNING: To all of those who loved Carter Burwell's "Bella's Lullaby" theme, be aware -- that theme is largely gone from "New Moon." To any actual fan of the book, that isn't such a bad thing -- in the novels, "Bella's Lullaby" was supposed to be a complex piano piece that was used by Edward in all four novels; in the movie, it was merely a love-theme motif that appeared now and again in about four scenes. It's not missed on this album.
Wonderful CD even for old person like me! November 20, 2009
R. A. Wells (Green mountain Falls)
I got this Cd as a surprise for my birthday and wasn't sure I would like it altho I love Twilight. I am very sensitive to sound and cannot tolerate most "now" music as its too loud and jarring to the nerves but this CD is wonderful! I play it lots and enjoy it immensely. As someone else wrote here its one that grows on you and this is true for me also. I highly recommend it.
New Moon, New Movie, New Score November 20, 2009
J. Genens (Chicago, IL.)
1 out of 1 found this review helpful
As I continue to listen to this score, I feel it growing on me. In fact, as I started this review I had given it 4 stars as it easily rated that for me, but now I just had to bump it to 5 as it takes a deeper hold.
This score definitely has a much different flavor than Carter Burwell's work for Twilight. Then again, they are also much different movies so I don't think it's truly fair to compare. While CB lead us through falling in love and the excitement of dangers and a chase, Alexandre Desplat has to turn the other direction to convey much darker emotions as heartbreak, pain, and loneliness... which he does quite well.
While this score may not be my go to when I'm looking for an up-beat pick me up, it definitely taps into depths of human (and maybe non-human ;) ) emotions in a way that's thoroughly enjoyable.
 OK November 20, 2009
Twilight fan
2 out of 2 found this review helpful
I love the Twilight score and was really looking forward to the New Moon score. Although there is some very beautiful music on here, I keep thinking the music belongs in a Harry Potter movie vs a Twilight movie. I think Twilight's score was much edgier and darker then this music is.
Showing reviews 1-5 of 6
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