World premiere release of beautiful Maurice Jarre soundtrack from John D. Hancock Christmas movie with Sam Elliot, Cloris Leachman, Johnny Galecki. Jarre finds inspiration in tale of small town girl who discovers wounded deer in woods, believes it to be Prancer of Santa Claus fame. Warm tale of faith, magic affords composer to display his melodic gifts with gently lyrical theme for deer, haunting line for bond between girl and animal. Solo colors from ewi (electronic wind instrument) plus celtic harp play amidst piano, synthesizer, strings. Ideas meld outdoor, farm locale with magical, mysterious elements of tale. Major keys get spotlight. Absolutely gorgeous music with hints of mystery, drama. Entire CD presented in stereo from digital scoring session elements courtesy MGM. Maurice Jarre conducts. Intrada Special Collection release available while quantities and interest remain!
Maurice Jarre scored
Prancer for an intimate ensemble of strings, solo piano, Celtic harp,
synthesizers and choir. Almost the entire score plays in major keys and
reflects the beauty and warmth of this seasonal family favorite.
To present this world premiere CD release, Intrada was fortunate to locate
the original stereo session mixes made onto DAT and retained by orchestrator
Patrick Russ. Included along with the original score on this CD are Jarre’s arrangement
of “Silent Night” that opens the film’s main credits, a theme from
Giuseppe Verdi’s Nabucco (also arranged by Jarre and prominently featured
twice in the middle of the film), and a new Jarre arrangement of “Mysteries Of
Love” (from Blue Velvet, written by Angelo Badalamenti and David Lynch), that
plays near the end of the picture.
In his later years,
Jarre often preferred to
produce his albums with
musically satisfying programs
that combined numerous
cues into longer
listening experiences, with
a minimum number of individual
tracks. In fact, he
frequently composed sequential
cues with lengthier
ideas in mind, creating
cohesiveness not just
with related keys but also
through complementary harmonic and motivic material. Sometimes, when distinct
changes were appropriate for the picture, he would still find a common tone that
could actually sustain one disparate cue into the next. While we have retained the
picture’s narrative structure and sequence, we hopefully have honored the composer’s
memory by creating longer sequences from the numerous smaller pieces where
musically possible. The aforementioned cues arranged by Jarre are included in their
proper sequence as they are not heard as source music but participate in both the
dramatic narrative and the musical flow.
Enjoy now one of Maurice Jarre’s loveliest scores, for the first time playing
apart from this sentimental and beautiful motion picture.