undrgrnd Cliquez ici Toys KDP nav-sa-clothing-shoes nav-sa-clothing-shoes Cloud Drive Photos cliquez_ici nav_egg15 Cliquez ici Acheter Fire Shop Kindle cliquez_ici Jeux Vidéo Gifts
EUR 18,00
  • Tous les prix incluent la TVA.
Livraison gratuite dès EUR 25 d'achats. Détails
Il ne reste plus que 12 exemplaire(s) en stock (d'autres exemplaires sont en cours d'acheminement).
Expédié et vendu par Amazon. Emballage cadeau disponible.
Quantité :1
Wolverine [Score Edition] a été ajouté à votre Panier
Vous l'avez déjà ? Vendez sur Amazon

Wolverine [Score Edition] Import

16 neufs à partir de EUR 8,01 3 d'occasion à partir de EUR 10,65
Boutique de Noël CD & Vinyles
Découvrez vite notre Boutique de Noël CD &Vinyle : Coffrets à offrir, vinyles, petits prix etc.

Guide d'idées cadeaux divertissement
Guide d'idées cadeaux divertissement
Découvrez plus de 500 idées cadeaux livres, DVD & Blu-ray, jeux vidéos ainsi que musique sélectionnés par les équipes d'Amazon.fr.

Offres spéciales et liens associés

Détails sur le produit

  • CD (23 juillet 2013)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B00CSW07Z6
  • Classement des meilleures ventes d'Amazon: 44.880 en Musique (Voir les 100 premiers en Musique)
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?

Descriptions du produit


A peine remis de World War Z, Marco Beltrami est de retour sur les écrans avec The Wolverine. Pour l'occasion, il retrouve le réalisateur James Mangold avec qui il a déjà collaboré sur le western 3h10 pour Yuma en 2007. Cette fois, Marco Beltrami suit les aventures épiques au Japon de l'un des X-Men les plus marquants, l'indestructible Wolverine.

Ces tribulations d'un mutant au pays du Soleil Levant sont du pain bénit pour Marco Beltrami qui n'a aucun mal à ajuster sa partition. Ambiance japonaise donc avec « Threnody for Nagasaki » que l'on devine ne pas être de tout repos. Tout au long des vingt-deux morceaux, Marco Beltrami suggère d'ailleurs que le danger est prêt à surgir à tout instant, comme sur l'épique « Silver Samouraï ».

Oeuvre mineure de Marco Beltrami, The Wolverine se contente d'accompagner des images déjà fort relevées. Le score agit ici pratiquement comme un effet spécial dont le but est de plonger encore un peu plus le spectateur au coeur de l'action. Mission accomplie toutes griffes d'acier dehors. - Copyright 2015 Music Story

Quels sont les autres articles que les clients achètent après avoir regardé cet article?

Commentaires en ligne

Il n'y a pas encore de commentaires clients sur Amazon.fr
5 étoiles
4 étoiles
3 étoiles
2 étoiles
1 étoiles

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 12 commentaires
3 internautes sur 4 ont trouvé ce commentaire utile 
Marco's Best So Far 30 juillet 2013
Par Jared M. Kuntz - Publié sur Amazon.com
Format: CD
Marco Beltrami is a well-known composer, but he doesn't have the same recognition as others such as John Williams, Hans Zimmer, James Newton Howard and James Horner. Instead, he's on the level of Harry Gregson-Williams, Marc Streitenfeld and Ramin Djawadi: they all have some great scores, but only a few. They don't have as many films/TV shows scored, but what ones they do are fantastic. Recently Marco also scored World War Z, which is fantastic, but ranks just under his phenomenal score for 3:10 to Yuma. But here, in the same year with World War Z, he has The Wolverine, which, on all levels, ranks along side 3:10 for being intense, emotional, dark but also slightly tragic, in terms of the lead hero, who must struggle with his inner demons and the situation in order to save himself.

With the second track, "Threnody for Nagasaki," it starts off with a darkly peaceful sounding viola solo, which quickly turns into a terrifying run of haunting sounds, drums and strings. In "Funeral Fight," we get to hear the more intense an action-packed music, but it is no less compelling or well-composed, being much different from your standard action blockbuster music. Instead, Beltrami uses haunting strings, trumpets and drums to convey the battle taking place. I have to say, though, my favorite track on the disc is "Sword of Vengeance," which I feel ranks along side the incredibly famous track from 3:10 to Yuma, "Bible Study." It starts off sounding like something from a fast-paced horror movie with strings and sounds sounding chaotic and hellish, but then goes into something hopeful, something of order among the intense chaos. Like "Bible Study," the intensity is balanced by the hopeful theme placed in the musical notes, giving The Wolverine a fitting ending to the conflict at hand.

I must say, this is an award-worthy score that deserves the attention of all instrumental/classical music collectors. The film was a true marvel (no pun intended), and the score helps to prove this. I can't wait to hear what this year still has in store

5/5 Stars*****
5 internautes sur 7 ont trouvé ce commentaire utile 
Dark and Challenging but a Solid Beltrami Effort 7 août 2013
Par Movie Music Mania - Publié sur Amazon.com
The X-Men franchise has never really been one for thematic continuity. Since the first film's release in 2000, each and every entry into the series has seen a different composer tackling the material, amounting to a laundry-list of veteran names like Michael Kamen, John Ottman, John Powell, Harry Gregson-Williams, and even newcomers like Henry Jackman, but never a definitive X-Men sound. The various scores on their own have never been particularly weak, Michael Kamen's work on X-Men and Harry Gregson-Williams' on X-Men Origins: Wolverine being the only debatable exceptions, but each score has been a work started purely from scratch. Logically, this tactic has produced a number of themes for singular entries ranging from average to superb but never an overarching theme for the franchise.

With this past month's The Wolverine, which functions as both a standalone Wolverine story and a bridge between the ill-conceived X-Men: The Last Stand and the much-anticipated X-Men: Days of Future Past, the series has been taken in yet another musical direction by horror ace Marco Beltrami. It's hard to have a beef with Beltrami for doing this, though, for James Mangold's latest film removes the title character from his familiar surroundings and places him in an entirely unfamiliar environment: modern Japan.

Working on eight films this year ranging from action (A Good Day to Die Hard) to horror (World War Z) to drama (the upcoming The Homesman), Marco Beltrami has been consistently proving himself to be one of the most prolific and adaptable composers working today. In comparison to Beltrami's recent efforts, The Wolverine will likely come across as the smaller, slightly more aggressive and appropriately more ethnically-charged cousin of his score for World War Z.

Before Beltrami, only Harry Gregson-Williams conceived of any really significant thematic material for the franchise's increasingly focalized anti-hero Wolverine (or "the" Wolverine, whatever fits your fancy). For The Wolverine, Beltrami constructs two main identities for the character, both more challenging than Gregson Williams'. The first, heard most prominently in "A Walk in the Woods" and "Whole Step Haiku", is a two-note, rising motif on Asian woodwinds over an ambient wash. This particular motif, which will incite inevitable comparison to Hans Zimmer's two-note identity for Batman in the Dark Knight trilogy, drums up little warmth for the character and is rather anonymous, but it adequately conveys Logan's isolation in the film's opening scenes as he roams, hermit-like in the rural Yukon. On the other hand, when tackled by a full orchestra in the track "The Wolverine", the theme becomes a dramatic, stakes-raising mechanism of World War Z proportions, imbued with an even more tragic tone than that of the theme's simpler incarnations. Given the first theme's simplicity and moroseness, however, the score's sense of warmth will have to come from Beltrami's second identity for the character, heard in the highlight cue "Where to?". A slightly more optimistic effort given the overall downbeat and challenging nature of the score, "Where to?" is a sufficiently stirring bit of overdue heroism for Wolverine. Dominated by strings and brass over expected chopping ostinatos and a light electronic beat, it's nothing you haven't heard before and you can bet it won't be cropping up in future X-Men films, but it's certainly worth listening to as it is The Wolverine's most accessible piece of music. If not for "Whole Step Haiku", it would have also been a nice way to end the album. What's more, the theme recurs softly in "Two Handed" to infuse warmth into a brief moment of bonding between Logan and the young officer Yashida, as well as in "The Offer" and to inform the short, tender track "Goodbye Mariko".

In addition to the material for the titular character, Beltrami provides a minor, suitably menacing motif for the constantly on-trail gang of Yakuza thugs. Heard at 2:29 and 3:09 in "Logan's Run" as well as at 0:36 and 2:09 in "Bullet Train" and 1:06 in "Abduction", the motif intimidates in the lower registers of the string section (often accompanied by taiko drums) but never really builds to more than a brief reprise to denote the gang's presence.

Apart from these more recognizable motifs, Beltrami's score is mostly propelled by aggressive action material that often crosses the line into a concoction you're more likely to hear in one of his horror outings. As a result, large-scale dissonance and thrashing unpleasantness abound here. Percussive rhythms on taiko drums add a bit of ethnic propulsion to "Logan's Run", a fast paced chase cue that, given its reliance on percussion, is more rhythmically exhilarating than thematically interesting. This rhythmic percussiveness returns in "Funeral Fight" in addition to some orchestral dissonance for the slow-motion sequences in which Logan experiences a gunshot without the aid of his regenerative capabilities. Punctuated by quiet ambient tones, some ferocious orchestral work drives the thrilling "Bullet Train" as well as the similarly ferocious "Silver Samurai", two of the more listenable action cues. The "Bullet Train" rhythm can also be found towards the end of "Kantana Surgery" (I'm no samurai master, but isn't it spelled "katana"?), albeit clouded in a good deal of abrasive, orchestral dissonance. Unlike the similarly titled track in World War Z, "Ninja Quiet" is relatively subdued, especially compared to the other action cues, relegating its brutal aggressiveness to the lowest registers of the orchestra with some electronic pulses to denote tense sneaking around.

One of the more confounding aspects of Marco Beltrami's The Wolverine is the addition of a harmonica to the ensemble. Sliding up and down the scale like the electric guitar in World War Z's "Wales", the harmonica first crops up briefly in "Euthanasia", then in the latter half of "Trusting" and the beginning of "The Hidden Fortress" over hostile, orchestral blasts. I'm not saying that it's not an effective addition to the ensemble, but we've come to associate the harmonica with concepts that are just about as far away from modern Japan and Wolverine as one can get (the latter half of "Abduction" comes across as The Wolverine meets Once Upon a Time in the West), so it's a little perplexing as to why Belrami chose to use it here.

In addition to the action cues and themes discussed, there are a few lesser identities that are also worthy of note. The angst-ridden, dramatic burst at 0:28 in "Abduction" is a great bit of strained boldness, as is the closing of the fantastic "Sword of Vengeance", which will remind slightly of Beltrami's thematic material for humanity in World War Z and bits of Dario Marianelli's V for Vendetta.

It should be clear from the get-go that Marco Beltrami's The Wolverine is neither a straight action score nor an exercise in traditional "superhero" fare. In fact, The Wolverine makes much better use of Beltrami's horror mastery than his action capabilities, resulting in a challenging creation with little respite for warmth, but a few highlights of large-scale ferocity nonetheless. The strings shriek and the brass blasts and though it ultimately alternates between harshness and somberness, it's an appropriate balance for the film's somewhat dark tone. Furthermore, the addition of taiko drums, a few Asian woodwinds, and brief koto appearances add to the Japanese flavor of the score and hammer home the underlying theme of the "modern Rōnin story". Though the whole product will not garner too many repeated listens and may prove too taxing for some (just count the number of times I've used a variation of the word "dissonance"), Beltrami's The Wolverine still boasts some great thematic cues like "Where to?" and "Abduction" as well as vicious action cues like "Logan's Run", "Bullet Train" and "Sword of Vengeance". Another solid effort from Marco Beltrami that effectively puts a different spin on your typical comic book score.

Go to moviemusicmania . com for more great film score reviews! Happy listening!
I haven't really liked much of Marco Beltrami's work 14 juillet 2014
Par lobster face - Publié sur Amazon.com
Format: CD Achat vérifié
So far I'm loving this soundtrack. Other than 3:10 to Yuma, I haven't really liked much of Marco Beltrami's work. I am currently seeking out World War Z soundtrack, now that I have actually seen the movie itself. As for The Wolverine, I didn't really like the movie to much, but I did enjoy listening to the soundtrack.
By Taking A "Non-Superhero" Approach The Score Becomes More Personal & Engaging 18 octobre 2013
Par Kaya Savas - Publié sur Amazon.com
Format: CD
The last time Wolverine had his solo adventure we were treated to a surprisingly bad action movie full of cheesiness, bad writing, botched directing and a lot more that went wrong. Harry Gregson-Williams tried to make a decent score for the picture, and it was. It didn't stick though as well as it should have since the movie was so hallow and empty. For The Wolverine it seems 20th Century Fox is taking one more stab at a Logan movie, and if Beltrami's score is any indication then this direction is something good. This isn't a superhero score. The film isn't trying to be a superhero film either. James Mangold's take is obviously darker, still stylized but not so over the top.

Mangold re-teams with Beltrami (their last collaboration netted Beltrami with an Oscar nomination) and the two are definitely in sync here. The music is dark and rooted in the film's Japanese setting. The deep mystery behind it is very intriguing and borderline chilling. The score's emotional weight is so heavy that there is a constant sense of dread weaved throughout. Beauty peaks through the darkness in subtle forms with a hint of tragedy behind the motifs. The action is separated by passages of brooding music that is structured to really mount suspense and tension. The score takes on a "thriller" feel at times and makes everything feel all the more substantial. In tracks 11 and 12 we even get a harmonica for a little Once Upon A Time In The West feel as the film embraces its Ronin story. I also love that Beltrami was able to use the track title "Ninja Quiet" here. It was also the title of a track on the World War Z album, just a little easter egg. When Beltrami brings in the big action cues for the final act it really ramps up the tempo. Some of the tracks are exhilarating and since we have longer tracks you can really appreciate their dramatic structure. All in all this a fantastic character driven score that is different than anything we've heard from the X-Men adaptations or in the comic book genre as a whole.

The Wolverine is not a superhero score and neither was Harry Gregson-Williams' score for the first time around. There is nothing heroic about the music, but it does flesh out Logan's character immensely. Beltrami delivers a lot of precision and structure in the score that really makes the whole approach a very calculated one. The score is anything but generic action and that makes the actual action pieces even more effective. The Wolverine displays Beltrami's talent of infusing sounds and styles to craft a uniquely original soundscape every time he writes a score.
Words Don't Do This Soundtrack Justice 21 septembre 2013
Par Rich S - Publié sur Amazon.com
Format: CD Achat vérifié
Love Marco Beltrami's score! Love it. This is not your typical superhero summer music fare, but so much more. There is the requisite action music, with "Logan's Run" really being a unique piece of music as he battles ninjas and Yashida's funeral. But I think my favorite cues are the poignant ones, which this score is littered with - "A Walk in the Woods", "Threnody for Nagasaki" and "Goodbye Mariko" being my favorites. "Where To?" really leaves the listener with a feeling of hope, just as it played over the final scene of the movie.

There were so many great scores this summer for the genre - Man of Steel, Iron Man 3 among my favorites, but hands down The Wolverine was tops this year.
Ces commentaires ont-ils été utiles ? Dites-le-nous

Discussions entre clients

Le forum concernant ce produit
Discussion Réponses Message le plus récent
Pas de discussions pour l'instant

Posez des questions, partagez votre opinion, gagnez en compréhension
Démarrer une nouvelle discussion
Première publication:
Aller s'identifier

Rechercher parmi les discussions des clients
Rechercher dans toutes les discussions Amazon

Rechercher des articles similaires par rubrique


Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?