血色入侵的乐评 转贴自http://buysoundtrax.com/larsons_soundtrax.html 这是我听过Johan Söderqvis的最佳最品 之前的变奏曲让我快闷死了 这张旋律很美，管弦乐也很丰富 一扫先前变奏曲的阴霾！ 是一部很浪漫的作品！ Tomas Alfredson’s Swedish horror drama Let the Right One In (Låt den rätte komma in), a striking vampire love story, has won over a dozen international film awards, including top honors at the Tribeca Film Festival, Woodstock, and Sitges. Following the US premiere of the film on October 24, MovieScore Media has released the orchestral score by acclaimed Swedish composer Johan S öderqvist (Things We Lost in the Fire, Brothers, After the Wedding), who has crafted a very personal score that juxtaposes elements of melodic beauty with dark and ominous textures (including the use of the unusual instrument, the bass waterphone). “Writing the music for Let the Right One In gave me a rare opportunity to write a score that consists of both darkness and light,” the composer said. “The filmmakers weren′t looking for your typical horror soundtrack. The most important quality of the music in this film had to be melody and harmony, so even if the overall tone of the film and the score is dark and atmospheric, there is always a sense of hope and beauty.” Söderqvist’s score floats in the air like a crystal fog, a fluid mélange of melodic tonality that wafts down like freshly laundered bedsheets to give the film a soft and comforting atmosphere that belies its dark underbelly, just as the love story betwixt boy who meets girl, boy falls in love with girl, girl happens to be a vampire which complicates matters, glistens with its own airy lightness above its romantic yet dark underbelly. “Eli’s Theme ” supports the loveliness of the girl’s character through a lilting theme for violins, rich in the passion for life and love; while darker moments are supplied by keyboards and lower ambiances, while “The Slaughter,” “Hiding the Body,” “Giving Up,” “Spotting a Victim,” and others don’t so much waft as lay down a pervasive and weighty gloom through its low register and sustained tonalities, dealing as they do with the darker elements of Eli’s character. The boy, Oscar, is given a pensive and slowly-awakening motif for solo piano, reflective of his growing and very personal affection for Eli; eloquent strings embolden the cue, “Oscar in Love,” midway through. The same motif recurs for a wholly different feeling in “Death of Håkan,” the solo piano here resolute and lost in sorrow, reflectively reverbed. “The Father” provides a variation on Eli’s Theme for solo acoustic guitar; “ Virginia Wakes Up,” provides a cool eeriness through reflective tonality and exuding textures; and, at 5:49, the titular track, assembled for the End Titles, provides a pleasing recap of the score’s more benevolent nuances. A very nice score, rich on pervasive atmospheres and compelling melodic phrasing, effectively preserved. -- And in the dark times, Will there be singing? There will be singing. About the dark times. --Bert Brecht soundtrack weekly http://blog.roodo.com/beaux_tw plurk page http://tinyurl.com/5ngxjd --

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