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Gravity [Import anglais] Bande originale, Import

4.8 étoiles sur 5 4 commentaires client

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Page Artiste Steven Price


Produits fréquemment achetés ensemble

  • Gravity [Import anglais]
  • +
  • Interstellar (Original Motion Picture Soundtrack)
Prix total: EUR 34,53
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Détails sur le produit

  • CD (30 septembre 2013)
  • Nombre de disques: 1
  • Format : Bande originale, Import
  • Label: Mis
  • ASIN : B00ER23V1W
  • Autres éditions : Téléchargement MP3
  • Moyenne des commentaires client : 4.8 étoiles sur 5 4 commentaires client
  • Classement des meilleures ventes d'Amazon: 49.080 en Musique (Voir les 100 premiers en Musique)
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Description du produit

Critique

Annoncé comme un tournant de la production hollywoodienne, Gravity du Mexicain Alfonso Cuaron se devait de disposer d'une bande originale à sa mesure. Steven Price y pourvoit en offrant un ballet spatial immobile totalement ahurissant. Déjà remarqué pour son à propos dans les films fantastiques loufoques et britanniques Attack the Block (2011) et Le Dernier Pub Avant la Fin du Monde, Steven Price s'inspire ici avec brio de la musique qui accompagnait 2001 l'Odyssée de l'Espace de Stanley Kubrick en 1968.

Sauf que là où le réalisateur mythique s'était servi d'oeuvres de la musique classique avec des emprunts à Richard Strauss, Johann Strauss fils, György Ligeti et Aram Khatchaturian, Steven Price s'est littéralement immergé dans l'espace pour composer une musique en apesanteur. Avec Gravity, on peut dire que Steven Price vient d'inventer la musique interstellaire.

Basé sur un travail des textures musicales, la musique de Gravity nous fait ressentir la dérive des deux astronautes dans le vide. L'impression est sidérante, ponctuée par des voix que l'on dirait célestes. Nous sommes entourés par la musique qui devient une matière qui imprègne notre imaginaire. Les effets notamment stéréophoniques sont nombreux, donnant aux sonorités de Steven Price l'amplitude nécessaire à leur expression.

Lorsque l'action s'emballe, Steven Price répond présent et se fait haletant sur « Fire », rare moment d'accélération sonore. Véritable opéra spatial, Gravity est un film qui fait appel à tous les sens. Il a trouvé avec Steven Price le compositeur adéquat, capable de magnifier les images autant par sa maestria et son imagination que par l'utilisation de la technologie Dolby Atmos. Une oeuvre de référence est née.

Francois Alvarez - Copyright 2017 Music Story


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Format: CD Achat vérifié
On retrouve absolument toute l'ambiance du film dans cette magnifique BO. Au début, tout est beau, tout est calme et c'est la catastrophe... On se replonge immédiatement dans l'ambiance du film et on se remémore les différentes séquences tout au long du CD. Un conseil: A écouter dans le silence avec un volume élevé pour retrouver toutes les sensations et l'oppression que l'on a ressenti au premier visionnage du film en IMAX 3D.
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Format: Téléchargement MP3 Achat vérifié
J'ai beaucoup apprécié cette BO qui alterne entre des rythmes lents et d'autres plus rapide. Elle permet facilement de ce souvenir des différentes scènes du film. Une mention particulière pour le morceau 14 "Tiangong"
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Format: CD Achat vérifié
Tres bonne Bo !! Musique qui reflète bien l'ambiance du film !! je vous conseille cette Bo et aussi le film bien sure !!
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Format: CD Achat vérifié
N'ayant encore jamais entendu de ce compositeur (Steven Price) je me suis risqué à l'achat de cette BOF. Et je ne suis pas déçu, j'espère même encore entendre beaucoup de lui à l'avenir.
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Commentaires client les plus utiles sur Amazon.com (beta) (Peut contenir des commentaires issus du programme Early Reviewer Rewards)

Amazon.com: 4.6 étoiles sur 5 91 commentaires
80 internautes sur 82 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 The majesty - and terror - of space 10 octobre 2013
Par Jon Broxton - Publié sur Amazon.com
Format: CD
There has never quite been a film like Gravity. In terms of plot, it's fairly thin - two astronauts, played by George Clooney and Sandra Bullock, suffer a disaster while repairing the Hubble space telescope, and are left floating stranded in space, desperately trying to find a way to safety, and to home. Instead, it is the scope and majesty of Alfonso Cuarón's film that takes audiences to a completely new sensory place. Space has never seemed so vast, so vivid, so beautiful, so terrifying. The cinematography and design of the film makes the viewer feel like it was genuinely shot in space, such is the sense of realism. Much more will be written about the film to convey how stellar it is, but I'm here to talk about the music, which also plays an enormous part in the success of the entire project.

The score for Gravity is by English composer Steven Price, and this is the second of his two major scores in 2013 (the other being the comedy The World's End) - truly his breakout year. Price is a guitar player by trade, who first cut his teeth in the film scoring world working with Trevor Jones on scores such as Dinotopia and The League of Extraordinary Gentlemen. A sideways move into music editing led him to working with composers as varied as Howard Shore, Anne Dudley, Patrick Doyle, Hans Zimmer and David Arnold - not a bad pedigree! - before he made his feature composing debut in 2011 with the British sci-fi comedy Attack the Block. With these two scores in 2013, and Gravity in particular, Price has announced himself as major new talent in the film scoring world with a bright future ahead of him.

Price's major problem in scoring Gravity was self-imposed. As space is a vacuum, and as there is no sound there, and in order to make the film as realistic as possible in that respect, director Cuarón kept the sound effects to an absolute minimum - meaning that Price, to compensate, had to both convey the film's emotion through music, while also providing some of the sound effects elements. In an interview with the Huffington Post, Price said "Cuarón was only interested in allowing sounds that the astronauts would hear themselves. You'd hear stuff within their spacesuits; if they touched something, you'd hear the vibration that they'd hear, but you don't hear any exterior noises. We kind of knew the music would be responsible for all the other things. I was asked to try and tonally represent things that would ordinarily be sound. You don't hear an explosion in the film, but you might hear some pulsation in the music that reflects it. The score is doing the job of traditional sound, while the sound crew was able to do an interesting job on their own".

The end result of all this is a score which treads a fine line between being traditional film music, and being a dissonant effects track, and under normal circumstances this is a kind of score that I would tend to shy away from. However, for some reason, Gravity is different. The music has a compelling, fascinating aura that captures the attention, not with traditional themes and melodies - although there are some of those - but instead with a challenging collision of sounds and styles that draws the listener in. Some of the sounds are enormous and overwhelming - the electronic pulse that opens the score in "Above Earth" is simply ear-shattering - but these are tempered by some beautiful, almost celestial spacey ambiances accompanied by the merest hint of a solo vocal and an electric cello. This is the wonder of Earth, as seen from high above.

The two-note electronic pulse, ominous and persistent, accompanies every bad thing that happens to Bullock and Clooney, from the devastating disaster as the "Debris" hits, to the terrifying blackness of "The Void", and the breathless energy and sense of panic in "Don't Let Go". The opening 20-plus minutes of the score are very much rooted in this dark, oppressive style, and listeners will find these cues are the most challenging, and the most difficult to swallow in terms of conventional `enjoyment'. The electronic tones build and overlap and swirl around each other in frightening ways to the point of sheer cacophony, although the voices and the cello are never too far away to keep the listener grounded in the human world. The action returns later in the score in the frantic and frenzied pair "Fire" and "Parachute"; the latter of these two is especially notable for the cracking cello ostinati and unexpected flutter-tongued brass triplets that really help raise the sense of urgency.

The first hint of anything remotely hopeful begins to appear in the first portion of "Don't Let Go", which retains the same orchestration and electronic palette as before, but twists things around to make the stark tones of the electric cello and the soulful, plaintive vocals into a forlorn lament speaking of loss and self-sacrifice. Later, "Airlock" features a peaceful piano solo - a moment of calm amongst the chaos. Subsequent cues such as "ISS", "Aurora Borealis", the blissful "Aningaaq", and the gossamer-light "Soyuz" also continue the trend with dreamy, swooning ambiences that are very appealing indeed.

The score's finale, comprising the cues "Tiangong", "Shenzou" and "Gravity" and running for just over 16 minutes, is where Price finally allows the thematic presence and emotional content to rise to the fore and shine at its fullest. "Tiangong" and the first half of "Shenzou" are all about painful, desperate anticipation, as Price gradually but relentlessly raises the tension levels through stepwise changes in key and gradual layering of vocals over acoustic instruments over electronics. The soaring vocal effect and increased melodic performance of the orchestra in the cue's second half, and in the conclusive "Gravity", bring blessed relief, sounding almost like something Ennio Morricone might have written on one of his more emotional days, perhaps recalling the vigorous anthem-like statements at the end of Queimada or The Mission. It's a wonderfully powerful and compelling - and human - conclusion to such an other-worldly story, and it's perhaps telling, and appropriate, that the closer the film gets to Earth, the more prominent the voices of those souls upon it become in the score.

Gravity is not a score which will appeal to the masses. A large part of it is made up of challenging, uncompromising electronic dissonance, and if that sort of music leaves you running for the hills, then you can expect to be going there after listening to the first 15 minutes of this score. Similarly, anyone who immediately expects space music to be grand and symphonic, á la Holst, will also be disappointed; this is not that kind of score, and it would have overwhelmed and undermined the film if Price had gone down that road. What more adventurous listeners will find instead is a bold, difficult, enchanting score by a talented newcomer which scares and crushes the listener as much as it entertains, but builds to a rousing and cathartic finale.
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Oscar-Worthy Score For "Gravity" 3 novembre 2013
Par Alan Caylow - Publié sur Amazon.com
Format: CD Achat vérifié
Rarely do I buy a movie soundtrack album that is just instrumental pieces of the score, rather than songs. But I HAD to buy Steven Price's phenomenal, haunting, memorable soundtrack album to the equally phenomenal, haunting, memorable sci-fi/drama film "Gravity". Besides Alfonso Cuaron's outstanding direction, the mindblowing visual effects and cinematography that make you feel like you really are in space, the wonderful performances of Sandra Bullock and George Clooney as the stranded astronauts in space, and the world-class sound design that engulfs you from all sides, Steven Price's mesmerizing film score is the final piece in the brilliant "Gravity" picture. This magnificent musical soundscape score instantly grabs you and keeps you engaged, piece by piece, from the first track to the last. Listening to the soundtrack album brings the movie back to me all over again. This isn't easy listening, per se, but WOW, is this music powerful, especially at night with the lights out, and on headphones. Steven Price easily deserves an Oscar for his amazing work here. If you're a huge fan of the film "Gravity", then buying this must-have soundtrack album is a no-brainer. I love it. :-)
33 internautes sur 36 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Gravity - Original Score 17 septembre 2013
Par JMM - Publié sur Amazon.com
Achat vérifié
"Gravity" is a fantastic score, one of my favorites of the year. The early tracks have a lot of variety - some evoke a sense of thrills/danger, while others are very calm and fill the listener with a sense of wonder. The tracks near the end of the album (particularly the final three tracks) seem to tie all the themes and emotions together in a way that is dazzling to the ears. I've rarely enjoyed a film score this much on a first listen; and I feel the music will only get better the more you listen to it.

At nearly 72 minutes in length, "Gravity" is a bit longer than most other soundtrack albums. I say the more music the better. In fact, since the movie is just over 90 minutes long, I'd guess we're getting a score here that's probably just about complete.

At the time of this review, I haven't seen the film yet - but after hearing the soundtrack I'm even more excited to do so.

EDIT: Have now seen the movie, it is fantastic. The music has a very prominent role in the film, given the decision to use almost no sound effects. Steve Price's score works very well in the film, but it's just as great to listen to on its own.

FAVORITE TRACKS
[3] The Void
[9] Parachute
[15] Shenzou
[16] Gravity
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Masterful Array of Electronics and Sweeping Orchestral Sounds 19 octobre 2013
Par Jared M. Kuntz - Publié sur Amazon.com
Format: CD Achat vérifié
Gravity is the newly released sci-fi epic from director Alfonso Cuaron, who previously directed the incredible Children of Men. To help him capture the haunting and intense atmosphere of the film, Cuaron brought the British composer Steven Price (who recently scored The World's End) on-board, and what came with him was a truly spectacular electronic score with some epic, sweeping orchestral sounds.

In the first track "Above Earth," Price sets the tone by offering some eerie, static-y sounds that move into a somber, electronic orchestra that is just beautiful in ever way. In the second track "Debris," the intensity kicks into gear. A viola and electronics make this track stand out at the beginning, sounding very tense and perilous in itself. The third track "The Void" establishes this intense theme even further, keeping in track with the previous "Debris" but also offering haunting vocals. It's the second to last track, "Shenzou," though that is truly epic and mesmerizing, and the track alone makes this score worth owning.

I'll stop there with the track analysis, but I will say, anyone who likes electronic scores will go bonkers for this masterpiece. Now, with other masterful scores released this year (including The Lone Ranger, Europa Report, Elysium, Pacific Rim and Captain Phillips), Gravity does have competition. Happily, I definitely place it on the top 5 of the year, just for being so fulfilling and all-around epic.
2 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Simple, but effective 3 novembre 2013
Par JB - Publié sur Amazon.com
Format: CD Achat vérifié
For a movie relatively bereft of sound effects and light on dialogue due to its setting, Gravity sure was heavily scored. The soundtrack runs 72 minutes (out of a movie slightly over 90 minutes long). As befits the movie, the soundtrack is presented simply with no gimmicks: sixteen long tracks that chronologically depict the emotional content of the movie.

The pulsating, layered electronic sounds and dissonant strings that characterize most of this album are not entertaining in the conventional sense-even for a film music buff-but they are effective in building tension. Ferocious action cues intermingle with extended background music. However, the climax is appropriately thrilling and becomes more melodic, and a nonverbal vocal element is introduced to highlight the increasing humanity of the situation.

Perhaps the most important criteria for evaluating any soundtrack is that it fits the movie, and this one definitely does. Minimalist, gut-wrenching, and uplifting.
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