He essentially scored the same scenes multiple times from disparate emotional stances, and that result is intriguing, to say the least. The score clearly exists in three parts, and casual listeners will notice obvious differences between them. The composer devised three themes for the film, one for each of the major characters, and not all of them extend fully to each chapter.
For instance, Jean's theme is dominant in his chapter, the first, and less impressive in Marguerite's chapter, the third; this makes sense, given that Jean has a much higher opinion of his stature than anyone else has of him. Meanwhile, Jacques' theme is mostly absent in Jean's chapter because his threat is unknown to Jean; rather, Jacques' theme dominates his own chapter, the second, and that of Marguerite. Finally, Marguerite's theme is the constant in all three chapters, naturally, but the confidence with which Gregson-Williams conveys it is strikingly different between the three, the theme filled with capability in Jean's chapter, frightened in Jacques' chapter, and quietly resolute in her own chapter.
As such, be prepared for the listening experience to exude significantly different personalities depending on which chapter you are in. The score opens with "Duel Preparations," which begins with Marguerite's theme on solo female voice, a predictable but effective technique that the composer relies upon throughout the score to represent her call for recognition and respect. From there, the themes for the two men mostly define how her theme is styled until the end.
It's clever manipulation from start to finish. The theme for Jean produces some of the most ambitious tonal material in the score for The Last Duel , mostly limited in its glory to his own chapter. Its performance in the latter half of "Marguerite de Carrouges" suggests his victory of finances but not of heart, while it receives a hero's welcome at into "Returning Home" on woodwinds over chanted male vocals. That prominence is expanded upon early in "Jean de Carrouges" on whimsical choir over militaristic percussion, the score's most major performance of the idea.
From there, the theme struggles, a light choral and percussion rendition in "I Offer You a Name" keeping its distance and the theme remaining slight on strings late in "House Meeting. The brute force of the theme's usual backing defines early "The Duel" muscularity, and allusions to the theme in the first half of "The Aftermath" give a slight hint of victory and relief.
On the other hand, the theme for Jacques is comparatively atmospheric and elusive, rooted in a rising pitch effect that is sometimes two separate notes that are tied to Marguerite's theme structurally. The idea opens "The Wolves" on female voices and is often performed similarly thereafter, suggesting the massive impact Jacques' actions will have on Marguerite's life.
The rising pitch is immediately heard in "Jacques Le Gris," masks a longer identity throughout "I've Never Seen You Like This," and recurs during the latter half of "Confession" under continuing, unnerving solo female voice. The rising pitch also opens "Forgive Me for Intruding," the prelude to the rape scored with synthetic groaning and dissonance by the composer. His handling of the theme at the end of the score suggests a defiant but whimpering death, the solo voice in the middle of "The Duel" including the rising pitch effect as it defines the major crescendo and resolution of the cue.
Another solo voice reference in the middle of "The Aftermath" leads to an eerie conclusion to the cue that offers one final reference to the rising two notes, albeit in the deceptive tones of victory, almost as if to remind the audience that character's legacy will live with Marguerite regardless. The Jacques theme is so understated throughout the second and third chapters that much of this material will sound purely atmospheric to casual listeners, Gregson-Williams seemingly content to allow a sense of dread to prevail over more straight-forward narrative devices.
The heart of The Last Duel is Marguerite's theme, a lyrical, Celtic-inspired melody that is partially based on a traditional tune. It opens "Duel Preparations" on solo female voice and shifts to woodwinds over chanted male vocals at the outset of "Returning Home," Jean's perception of her theme that extends to the resolute stature of "Managing the Estate" on organ and violas.
It turns menacing on organ in "Confrontation" and is subservient by the second chapter. A dulcimer hammers at the theme in the middle of "Jacques Le Gris," and it's tentative and cold early in "I Offer You a Name," as the reality of the relationship sinks in. A lesser version of "Managing the Estate" is conveyed in "Left Alone," a nicely reduced rendition for Marguerite's perspective of the same scene. By the start of "The Duel," the theme is subjected further to subtle fear; only in the tempered relief of her own sparing at the very end of the story does the theme begin to emerge with any sense of true independence for Marguerite.
It builds to a stoic, full choral conclusion in the latter half of "The Aftermath" and is provided a beautiful song adaptation in "Celui Que Je Desire," the performance and tone sounding remarkably similar to a 's Loreena McKennitt recording. This song represents the score's one moment of triumph for Marguerite, perhaps a result of her prevailing symbolically over both men in the end. One other aspect of the The Last Duel remains consistent, and that is the religious element for the political power of the story.
Sparse Latin chants dominated by males are expected in this role, and you hear this influence in "Leaving for Scotland" and "Court of King Charles. These passages do slow the album's short listening experience, and along with Jacques' theme, the majority of the score apart from the film can be challengingly unsettling.
The decision by Gregson-Williams and Scott to leave most action sequences without music causes the score to really dwell on the character applications, which are not always pleasant or engaging. But even these parts remain far superior to Daniel Hart's just preceding The Green Knight in accomplishing a medieval, religious sound of disheartening intent.
There are enough tonally accessible passages in The Last Duel to sustain a solid suite of music from the album, anchored by the song at the end and half a dozen cues conveying Marguerite and Jean's themes in their brighter incarnations. Approach it as a smarter, more subtle companion to Kingdom of Heaven. The maximum rating is 5 stars.
Okay soundtrack but could be much better for men ZimmerFan1 - December 26, , at a. Total Time: There exists no official packaging for this album. All rights reserved. The reviews and other textual content contained on the filmtracks. Fantastic Beasts: Dumbledore 2. Most of the time I want to listen to a soundtrack after watching the movie, and this time, it is the other way around. I want to see the images after listening to the score, and that can be seen as a huge compliment to Harry Gregson-Williams.
Anton is the editor-in-chief and founder of Soundtrack World. After writing about film music occasionally, he thought it was time to create his own site to celebrate music from film but also other media. Next to working on this website, Anton is a member of the International Film Music Critics Association, has a job in IT and plays the tuba in a local orchestra. View all posts. Your email address will not be published.
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|Muriel rousseau||Another solo voice reference in the middle of "The Aftermath" leads to an eerie conclusion to the cue that offers one final reference to the rising two notes, albeit in the deceptive tones of victory, almost as if to remind the audience that character's legacy will live with Marguerite regardless. The rising pitch also opens "Forgive Me for Intruding," the prelude the last duel ost the rape scored with synthetic groaning and dissonance by the composer. But it's the vocal layering in both male and female solos and an ensemble choir that steal the show in The Last Duel ; the fuller choral moments sound almost identical to Kingdom of Heavenbut the heart and soul of the score is carried by especially the female soloist. If you think about duels and medieval times, you think about fighting, clashing swords and a lot of manly adrenaline, but the music does not reflect that at all. The endeavor did mark the return of composer Harry Gregson-Williams to his collaboration with Scott, one which originated with Kingdom of Heaven and has included some of Gregson-Williams' more engaging music since.|
|Png converter||Manage consent. The movie is about a conflict between two noblemen fighting over a lady and Gregson-Williams has created themes for these three characters. A lesser version of "Managing the Estate" is conveyed in "Left Alone," a nicely reduced rendition for Marguerite's perspective of the same scene. No Time to Die 8. The decision by Gregson-Williams and Scott to leave most action sequences without music causes the score to really dwell on the character applications, which are not always pleasant or engaging. The maximum rating is 5 stars.|
|Macbook pro retina display connectors english grammar||Advertisement Advertisement. John Williams in Vienna 3. I was quite surprised by the musical style of this score, because the music is completely different from what I was expecting. Anton is the editor-in-chief and founder of Soundtrack World. Cookie Settings Accept All. Skip to content Lees het artikel in het Nederlands.|
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|King of my castle remix||It's a story of how male perceptions dictate outcomes in society and how dangerous allegations of rape could be at a time when religion and male honor dominated the lands. Manage consent. The rising pitch also opens "Forgive Me for Intruding," the prelude to the rape scored with synthetic groaning and dissonance by the composer. Being a Gregson-Williams score for a historical movie by Scott, I was expecting an epic the last duel ost score. The decision by Gregson-Williams and Scott to leave most action sequences without music causes the score to really dwell on the character applications, which are not always pleasant or engaging. By the start of "The Duel," the theme is subjected further to subtle fear; only in the tempered relief of her own sparing at the very end of the story does the theme begin to emerge with any sense of true independence for Marguerite.|
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The Last Duel (Original Motion Picture Soundtrack) ; 1. Duel Preparations ; 2. Leaving For Scotland ; 3. Marguerite de Carrouges ; 4. Returning Home ; 5. Jean de. The Last Duel (Original Motion Picture Soundtrack) ; 9. Confrontation by Harry Gregson-Williams, ; Jacques LeGris by Harry Gregson-Williams, Listen to The Last Duel (Original Motion Picture Soundtrack) by Harry Gregson-Williams on Apple Music. Stream songs including "Duel Preparations".