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Dances With Wolves Banda Sonora ORG 2LP Vinil 180gr 45rpm John Barry Edição Limitada Numerada RTI USA

Dances With Wolves Banda Sonora ORG 2LP Vinil 180gr 45rpm John Barry Edição Limitada Numerada RTI USA Maximizar
Artista: John Barry
Título: Dances With Wolves
Número de Catálogo: ORG 150
Editora: Epic
Reeditado por: ORG Original Recordings Group
Código de Barras: 858492002503
Ano da edição original: 1990
Ano da reedição: 2014
Quantidade de discos: 2
Rotações por minuto: 45 rpm
Tamanho do disco: 12"
Gramagem do Vinil: 180gr
Edição Limitada: Sim
Edição Numerada: Sim
Peso Total do Artigo: 674gr
País prensagem: USA
Produzido para o Mercado de: USA
Adicionado ao catálogo em: 12 Novembro, 2014
Nota: Nunca elegível para descontos adicionais
Vinyl Gourmet Club: Não


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Preço Unitário: 68,77 €

Referência: ORG45150GF

Disponibilidade: Em Breve


Banda Sonora Original do western épico de 1990 de Kevin Costner, vencedor de Academy e Grammy Awards, Dances With Wolves foi composto e conduzido por John Barry. Esta música profundamente emotiva recebeu um Oscar para Melhor Banda Sonora Original em 1991 e um Grammy para Melhor Composição Instrumental Para Filme em 1992. Corte de Bernie Grundman a partir das Master Tapes Originais!



Vencedor do Academy Award para Melhor Banda Sonora Original em 1991

Vencedor do Grammy Award para Melhor Composição Instrumental para Filme ou Televisão em 1992

Nomeado para Golden Globe Award Melhor Banda Sonora Original em 1991
Nomeado para BAFTA Award para Melhor Música de Filme em 1992

  • Edição Limitada
  • Edição Numerada
  • Prensagem Limitada a 2500 unidades mundialmente
  • Capa Gatefold Laminada Deluxe
  • LP Duplo em Vinil Audiófilo 180 Gramas prensado na RTI USA
  • Masterizado por Bernie Grundman
  • Masterizado a partir das Master Tapes Analógicas Originais



"The film won 7 Academy Awards in 1991, including Best Picture and Best Director, validated Costner’s talent as a filmmaker, and effectively made the western ‘bankable’ again after years in the wilderness. It also marked the return to the film score world of John Barry. After completing work on The Living Daylights in 1987, the then 60-year old Barry was diagnosed with a rare type of throat disease, and for the better part of two years battled against it. When Basil Poledouris – who was Costner’s original choice to score the film –decided to score Flight of the Intruder for his old friend John Milius instead, the project fell into Barry’s lap. Having finally recovered from his ruptured oesophagus, he responded to Costner’s film with what is arguably the greatest score of his career, an enormous, romantic, sweeping, theme-filled epic which characterizes everything that is great about the Englishman’s music.

In recent years especially, many people have criticized Barry for being a one-theme-per-film composer, who repeats his motif ad nauseum through his scores. Dances With Wolves is the ultimate rebuttal to those criticisms. It’s a grand, multi-layered work which contains at least eight different themes and variations, and several standalone set-pieces, all of which inhabit the same sonic world, and all of which are singularly stunning. The style, of course, is familiar: Dances With Wolves, in terms of orchestration, is similar to other classic scores of his, notably Out of Africa, High Road to China and Somewhere in Time. Where this score excels, however, it in its development, and in its scope. There is never a moment where one of the main themes is not carrying the weight of the emotion of the score, or where the themes are not playing off each other to expert effect.

The score actually begins somewhat unnervingly, with a dark, snare-led march underscoring Dunbar’s sense of desperation at the Civil War, and screeching strings marking his desperate attempt to make the ultimate escape from its horrors, but which eventually proves to be his salvation through a triumphant brass-led finale. This dark opening leads into the first of the major motifs, “Ride to Fort Hayes”, a grand, spacious string and brass theme which perfectly encapsulates the natural beauty and stunning grandeur of the American West; this continues on into the equally magnificent “Journey to Fort Sedgewick”, which introduces a new thematic element, but retains the same sense of scope and majesty. The languid pacing of Barry’s writing, combined with the effortless beauty of the theme itself, is intoxicating in a way which only Barry can achieve. Then, finally, the score moves into the first majestic performance of the film’s main melody, “The John Dunbar Theme”, a warm, hopeful, old-fashioned nostalgic piece for a lush symphony orchestra. It’s a theme which somehow captures Dunbar’s personality perfectly: optimistic, wholesome, romantic, but a little bit melancholy. Its second restatement in the 16th track features a glowing harmonica performance which brings back memories of his 1970 western score Monte Walsh, and is just wonderful. It’s easily one of the most beautiful pieces John Barry has ever written." - Jonathan Broxton



Lista de Faixas:

LP 1 Lado A:
1. Main Title - Looks Like A Suicide
2. The John Dunbar Theme
3. Journey to Fort Sedgewick
4. Ride to Fort Hays
5. The Death of Timmons

LP 1 Lado B:
1. Two Socks - The Wolf Theme
2. Pawnee Attack
3. Kicking Bird's Gift
4. Journey to the Buffalo Killing Ground
5. The Buffalo Hunt

LP 2 Lado C:
1. Stands With a Fist Remembers
2. The Love Theme
3. The John Dunbar Theme
4. Two Socks at Play
5. The Death of Cisco

LP 2 Lado D:
1. Rescue of Dances with Wolves
2. The Loss of the Journal and the Return to the Winter Camp
3. Farewell and End Title

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