This emotional passage is a long one with classic ABA form, which features warm strings, horns nobile and a beautiful solo oboe statement. When Messala challenges Judah to spear throws, we achieve radiant flourishes at when Messala hits the crossbeam, and when Judah matches him. Sadly Messala causes tension by injecting politics into their reunion.
The cue ends with the theme becoming slow, and heavy with a portentous tinge of sadness. The Friendship Theme reprises and maintains the brotherly bond as their arms entwine during the toast. In a scene change to the House of Hur, Messala visits and enjoys reminiscing of their boyhood adventures. Angry words are exchanged, when Judah refuses to be party to murder.
It is introduced darkly in the lower registers by bass with dissonant horn blasts, and then reprised by cellos. As a resigned Judah shares the bad news with his family, the cue concludes with a sad rendering of the Friendship Theme, an echo of a friendship lost. As she descends a stairway Judah is transfixed by her beauty.
She informs Judah that she has been betrothed to another man, yet we see in their eyes an unspoken love. Her theme is rendered fully in an ABA statement, opening hesitantly with violins delicato. A solo flute tendore emotes the B Phrase, before lush violins take up a final A Phrase statement. There is much to be said; yet restraint governs.
As they discuss her future, her theme is rendered fully with resignation in ABA form with an alto flute delicato carrying the A Phrase and strings gentile the B Phrase. Judah removes her slave ring and places it on his finger, a token of his love for her. A solo violin bathes us with the A Phrase of the theme as his love for her becomes palpable. At we begin a stirring slow crescendo on strings appassionato as all pretenses are dropped and Judah embraces and kisses Esther.
Rich antiphonal fanfare regale greets Gratus, whose ego is offended by the absence of locals. We see loathing in the eyes of the Jews, and dire horn declarations strike fear as snare drum and timpani provide a grim cadence. As the Governor passes beneath the Hur compound, Tirzah inadvertently causes a loose roof tile to fall, which knocks the Governor off his horse.
Pandemonium results and Messala dispatches his troops to arrest Judah and his family. I believe the music should have remained, as its kinetic fury intensified the terror and fear of the Hur household. He discerns what happened was an accident, and yet shows no mercy to Judah. A solo oboe doloroso pines an elegy for a friendship lost. The pathos is taken up by a mourning clarinet and violins affanato, ending darkly with despair. The next tertiary cue is multi-scenic and filled with a powerful intersection of emotions.
He tries to escape, yet fails. His purpose is political — by condemning his friend and his family without mercy he will instill fear in the Jews. Judah throws his spear against the wall and is taken away. We close with an anguished reprise of the Friendship Theme as Messala reflects upon what he has done.
Their progress through the fortress is carried grimly by low register tremolo strings, piano and a plaintive bassoon, which sow a rising tension. The rest of the cue is dialed out of the film. At we shift to the burning desert, as we see Judah sweltering, staggering, near exhaustion in the unrelenting heat.
As the guard halts the men by a well in Nazareth, strings affanato commence an impassioned ascent in pace and register as Judah desperately seeks water. When a guard denies him water he crumbles to the ground, as his will to live is lost.
The theme is carried with a soothing gentle radiance by pipe organ, celesta, vibraphone, plucked strings, and two sets of violins playing in harmonics. At the heartless guard moves in to confront Jesus with whip in hand. He is carried by menacing strings and timpani, yet as he gazes on Jesus he is flummoxed, and turns back with bewilderment.
We see that Judah has been invigorated in flesh, but also in spirit. As he departs and gazes back with a silent thank you, the Christ Theme resounds gloriously. We see the Roman fleet from afar and the cue opens with the Fleet Motif, which consists of competing repetitive fortissimo four note motifs by trombones, French horns and violas driving the warships with menace.
Playing slowly in their lower register we have methodical trombones while in the upper register we have a strident violin ostinato playing quickly. The hammering drum strikes of the hortator support a methodical and slowly paced statement of repeating triplets carried by trombones with counterpoint provided by harsh grating strings, horn blasts and drums.
As he ascends deck to advise his officer corps of their mission to destroy the Macedonian pirates his theme, a menacing descending string line, which never resolves emerges to support the scene. Methodical bass, trombone glissandi, and the hammering drum strikes of the hortator play a repeating ostinato, which is opposed by a counter ostinato by violas and horns.
Within this cue we are treated to an oppressive, stepped rhythmic accelerando. As Arius orders ever increasing rowing speeds the counter ostinato quickens and intensifies as the rest of the strings and horns join in. Soon further orders for more speed are made and the bass beat quickens while the music gains greater and greater energy and tension as we see the oarsmen struggling to sustain the pace.
I appreciate that you read it. All the best. Craig this is an excellent and depth review. I can tell you spent a lot of time working on it.
Some of them were recorded, but for some, it is not known if they were ever recorded. In the film the dungeon scene is without music so I made a MIDI mock-up and synchronized it to the movie. If you wish you can see and hear how the scene looks like with the music.
You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. This site uses Akismet to reduce spam.
Learn how your comment data is processed. Extended Version Ramming Speed! Comments 9 Trackbacks 1 Leave a comment Trackback. Thanks for the kind words, and thank you again Jon for this great opportunity. Wow, Craig. That review takes about as long to read as the film does to watch! Roman Martel. Keep up the great work! I so agree with this review of this magnificent score. It is unsurpassed.
Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:. Email required Address never made public. Name required. Member of the. Top Blog at WordPress. He varies the orchestration and use of the chorus and orchestra. Listening to this Overture gives the listener a sampling of the grand musical feast that is to unfold over the rest of over two hours on this expansive soundtrack.
As with all great film scores, especially those by Rozsa, there is great variety among the various themes. Frank K. DeWald's booklet notes are helpful and worth reading, though sometimes intended more for music specialists "Mixolydian mode" anyone? Here is his less technical description:. Much of the score moves with a fluidity of plainchant.
This is due in part to the contours of the melodies, but also to the way Rozsa manages his material,with motifs flowing naturally into and out of one another.
Condemned Escape Vengeance The Prison The Desert Exhaustion The Prince of Peace Part 1 The Prince of Peace Part 2 Roman Galley Salute to Arrius Quintus Arrives Roman Fleet The Galley Rowing of the Galley Slaves Rest The Pirate Fleet Ramming Speed! Rescue Roman Sails The Rowers Fertility Dance 2. Nostalgia 4.
Farewell to Rome 5. Judea Part 1 6. Judea Part 2 7. Click to enlarge. Track listing: Disc 1. Customers who bought this product also purchased. Novecento Extreme Close-Up. The Orphanage 10th Anniversary Edition. Wild Geese II.
The Groundbreaker (Posse Cut Remix), A Born Loser - Merv Benton - Great Country Songs (Vinyl, LP, Album), Bak Roest Op 18 Wielen - Unknown Artist - Hollandse Truck Liedjes No. 4 (Cassette), Chewing-Gum - Ben Steneker - Loving You (Vinyl, LP, Album), Country Boy - Alan Jackson (2) - Good Time (CD, Album), Anne You Will Sing - The Promise Ring - 30° Everywhere (Vinyl, LP, Album), Anita Harris - I Just Need A Lover (Vinyl), Absolutely - Gareth Gates - Go Your Own Way (CD, Album), Halftone Dots - Various - The Best Of NTNS Radio - OctNovDec 2008 (File, MP3), Feels Good (Kent Height Clubbd Mix) - Various - Fantazia - The Fourth Dimension (CD) Chuck Hammer - Guitarchitecture (Vinyl, LP)