Heidi
John Williams
" Johnny goes to Tirol "Written by Thomas Glorieux - Review of the regular release
There was a time John Williams was called Johnny Williams, and that time feels so long ago. However when noticing, hearing and experiencing Heidi from 1968 that time feels just like yesterday. Because it's proof the world of movie magic didn't begin with Jaws in 1975. For the fans who want to hear it all, that time began even before The Reivers in 1969. With an NBC made-for-TV film version of the original 1880 novel of the same name, namely Heidi.
So, how do you define this soundtrack if you heard already so much before it? Well, like good film music needs to be defined. By its themes, class and perfection. And then things couldn't sound more delightful with the sprightly and wonderful "Main Title". It must be a mistake of mine hearing Carol Anne's theme of Poltergeist theme in it (or just common sense) but the opening does sound promising. And what follows after that is like hearing John Williams as you always heard him. The inventiveness through the use of the instrumentation, the way he scores every scene so delicately and precisely, the fact his eye was set on emotion, passion and thematic progression from the very beginning. It proves once again how different he and various other composers tackled movies in the golden age of movie music.
Just listen to the creative dancing delight of "The Alm", the playful version of the main theme in "Reflections", the soothing sound of "Meditation" or the emotional "Shadows to get a taste of the early John Williams. The love theme ("Dancers in the Night (Love Theme)") is a bit of an unremarkable creation, but that's just because it's not the memorable version you need to hear. No, better performances are discovered in "The Sleeping Child" and "Love Theme".
Finally, a touch of class rises in the finale of "Miracle", followed by the lovely version of the Carol Anne main theme in "Finale". To summarize, Heidi is a ?lesser? score if you compare it with all the wonders John Williams composed after it. But it is a delight if you compare it with what's written today. The basic fact there are again 2 themes to work with shows us the undeniable necessity of thematic music in movie music. Showing once again there's no Johnny Williams amongst the composers of today. Thank god John Williams himself is still amongst us in the end.
Main Theme delight, hello!
Can't compare it with the John Williams catalogue.
Track Listing
1. Main Title (2.18) Excellent track
2. Arrival (2.28)
3. The Alm (3.35)
4. The Old Man And The Child (3.24)
5. Dancers in the Night (Love Theme) (2.19)
6. The Sleeping Child (3.25)
7. Meditation (2.18)
8. Shadows (3.49)
9. Reflections (3.56)
10. Alone in Zurich (1.57)
11. Love Theme (2.51)
12. The Miracle (3.45)
13. Finale (3.08)
14. A Place of My Own * (2.37)
* Vocal by Carrie Chase
Total Length: 41.50
So, how do you define this soundtrack if you heard already so much before it? Well, like good film music needs to be defined. By its themes, class and perfection. And then things couldn't sound more delightful with the sprightly and wonderful "Main Title". It must be a mistake of mine hearing Carol Anne's theme of Poltergeist theme in it (or just common sense) but the opening does sound promising. And what follows after that is like hearing John Williams as you always heard him. The inventiveness through the use of the instrumentation, the way he scores every scene so delicately and precisely, the fact his eye was set on emotion, passion and thematic progression from the very beginning. It proves once again how different he and various other composers tackled movies in the golden age of movie music.
Just listen to the creative dancing delight of "The Alm", the playful version of the main theme in "Reflections", the soothing sound of "Meditation" or the emotional "Shadows to get a taste of the early John Williams. The love theme ("Dancers in the Night (Love Theme)") is a bit of an unremarkable creation, but that's just because it's not the memorable version you need to hear. No, better performances are discovered in "The Sleeping Child" and "Love Theme".
Finally, a touch of class rises in the finale of "Miracle", followed by the lovely version of the Carol Anne main theme in "Finale". To summarize, Heidi is a ?lesser? score if you compare it with all the wonders John Williams composed after it. But it is a delight if you compare it with what's written today. The basic fact there are again 2 themes to work with shows us the undeniable necessity of thematic music in movie music. Showing once again there's no Johnny Williams amongst the composers of today. Thank god John Williams himself is still amongst us in the end.
Main Theme delight, hello!
Can't compare it with the John Williams catalogue.
Track Listing
1. Main Title (2.18) Excellent track
2. Arrival (2.28)
3. The Alm (3.35)
4. The Old Man And The Child (3.24)
5. Dancers in the Night (Love Theme) (2.19)
6. The Sleeping Child (3.25)
7. Meditation (2.18)
8. Shadows (3.49)
9. Reflections (3.56)
10. Alone in Zurich (1.57)
11. Love Theme (2.51)
12. The Miracle (3.45)
13. Finale (3.08)
14. A Place of My Own * (2.37)
* Vocal by Carrie Chase
Total Length: 41.50