WarezRocker

This is Glass' first bigtime burst into recognition in the filmmusic world --the score for Kundun, as of the end of 1997, has won the Los Angeles Film Critics nod for best score, and has been nominated for best score by the Golden Globes. Glass is a classical-based composer who caught the interest of Martin Scorsese many years ago, and Glass' Buddhist faith and Tibetan knowledge made him the perfect choice to score Kundun.

What's coincidental about this score is that John Williams' score for the Dalai Lama film Seven Years in Tibet was but a month old when this one was released. The two, naturally, are perfect for comparison. They both feature Gyuto Monks as the centerpiece of their ethnic needs. Glass adds a much pronounced emphasis on certain instruments that create perhaps a superior cultural touch.

The difference between the scores is how they sound apart from the film. As for Williams, you can take or leave the film --the theme is very enjoyable by itself. With Glass, the music is even more appropriate for the film, with some beautiful and chilling moments of emotion and sensitivity to the subject. Kundun is not effective at all times on its own. It is no surprise that it has been recognized and awarded for its role in the film; the spirituality is perfect as a complimentary element of the film. This is not a score I can tolerate for very long on its own, though.

Rating this score comes down to your beliefs in the rating system. In the theater, the base tones created by the monks, bassoons, contra bassoons, and Tibetan horns are powerful and grand. Alone, it gets monotonous. Glass sets a tempo and theme for each and every track, and often times the same measure of music can repeat several (if not seemingly infinite) times. The theme for the score is very subtle (as is the entire score), whereas Seven Years in Tibet reaches out and asserts itself from the very first measure. As personal taste, I would rather a score on CD assert itself... this is something Kundun does not do until the very last track. The "escape to India" sequence is driving, with thematic intensity and a host of all the instrumental solos (it's not dominated by any one). The track builds up to a finale that includes all these pronounced instruments, the monks, and a choir.

Even with this delightful last track, I would definitely recommend viewing the film before purchasing this score. The score has long, drawn out moments of reflection that repeat too many times for my liking. Nor is this score the type that has any one or two tracks that are a must-include on a compilation. It's more of a "feeling" score that is meant to leave the listener with an impression. The impression is made, certainly, but the music on a second listen gets lost in the process.

tracklist
1. Sand Mandala
2. Northern Tibet
3. Dark Kitchen
4. Choosing
5. Caravan Moves Out
6. Reting's Eyes
7. Potala
8. Lord Chamberlain
9. Norbu Plays
10. Norbulingka
11. Chinese Invade
12. Fish
13. Distraught
14. Thirteenth Dali Lama
15. Move To Dungkar
16. Projector
17. Lhasa At Night
18. Escape To India

Conducted by MICHAEL RIESMAN
Produced by KURT MUNCKACSI
Executive Producer: JIM KELLER

Recorded at The Looking Glass Studios, New York City

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