1. The Pier
2. Main Titles
3. Bumper Crop
4. To The Cottages
5. The Boat
6. Madame Is Coming
7. Ruth's Betrayal
8. Making Tea
9. Evening Visit
10. Kathy And Tommy
11. Kathy Watches Behind Screen
12. Life As A Carer
13. Kingsfield Recovery Centre - Rachel Portman
14. Unseen Tides
15. The Worst Thing I Ever Did
16. Souls At All
17. We All Complete
18. Hailsham School Song
19. Never Let Me Go
Comment on Amazon:
An accomplished composer himself, I'm not sure why Ishiguro didn't contribute to the soundtrack. (Hopefully because he was/is too busy working on his next full-length novel...) That said, Portman has delivered an enchanting body of work. It seems that the critique of Rachel Portman's NLMG soundtrack is similar to many of the criticisms that often accompany Ishiguro's writing - it's not "exciting" enough, it's not "sexy" enough, it doesn't have the musical equivalent of car chases or explosions. If this soundtrack was for a film based on a Dan Brown book, I might concede one or two of the points. As it is for a rendering of an Ishiguro novel, I would suggest Portman has captured things perfectly. I confess I am also a little perplexed by the comments "solo instruments doodling" and "tuneless." Seriously? Portman's soundtrack is intricate and, at times, complex. Other times it is sweet, melancholy and purposely spacious - much like the author's novel on which the film is based. At no point are the musicians "doodling" or is any of the music "tuneless."
2. Main Titles
3. Bumper Crop
4. To The Cottages
5. The Boat
6. Madame Is Coming
7. Ruth's Betrayal
8. Making Tea
9. Evening Visit
10. Kathy And Tommy
11. Kathy Watches Behind Screen
12. Life As A Carer
13. Kingsfield Recovery Centre - Rachel Portman
14. Unseen Tides
15. The Worst Thing I Ever Did
16. Souls At All
17. We All Complete
18. Hailsham School Song
19. Never Let Me Go
Comment on Amazon:
An accomplished composer himself, I'm not sure why Ishiguro didn't contribute to the soundtrack. (Hopefully because he was/is too busy working on his next full-length novel...) That said, Portman has delivered an enchanting body of work. It seems that the critique of Rachel Portman's NLMG soundtrack is similar to many of the criticisms that often accompany Ishiguro's writing - it's not "exciting" enough, it's not "sexy" enough, it doesn't have the musical equivalent of car chases or explosions. If this soundtrack was for a film based on a Dan Brown book, I might concede one or two of the points. As it is for a rendering of an Ishiguro novel, I would suggest Portman has captured things perfectly. I confess I am also a little perplexed by the comments "solo instruments doodling" and "tuneless." Seriously? Portman's soundtrack is intricate and, at times, complex. Other times it is sweet, melancholy and purposely spacious - much like the author's novel on which the film is based. At no point are the musicians "doodling" or is any of the music "tuneless."
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