HinweiseArtist : Vangelis
Album : El Greco
Genre : Soundtrack
Source : CDDA
Label : Universal Music S.A. Greece
Date : 12-28-2007
Encoder : LAME 3.97 / -V2 --vbr-new
Quality : 179kbps 44100 kHz Joint Stereo
Tracks : 18
Time : 46:43 min
Size : 60.13 MB

It's interesting to see how Iannis Smaragdis' tale of El Greco's struggle
against the oppressive forces of power brought out a completely different side
of Vangelis then we saw when he revisited Blade Runner. Released almost back to
back, it's impossible not to be in awe at the contrast of Blade Runner's urban
angst against El Greco's elegant delight, or at how one artist can so
masterfully rule two of such different kingdoms.

Vangelis opens the album with the part of the movie everyone has kept talking
about: "the" choral theme, which so graciously supported the movie's emotional
climax. A humming choir starts a melody beautifully melody of restrained glory,
almost like a new "Hymne", seemingly simple but constantly evolving and
developing, pressing all the right buttons along the way. For the album release,
the piece has been extended by about a minute to become an entity in its own
right. The beautiful piano version that accompanied the end titles and the
graceful choral humming bridging the two pieces are saved for the very end of
the album.

The movie's opening titles are presented as Part 2. An ancient rhythm drives an
enigmatic theme on a plucked instrument, supported by a crystal clear chanting
choir, setting the time and place of the story that is to follow.

After that, things quiet down, in a beautiful way. In his lush, romantic manner
Vangelis colors the scenes and sets the mood with his delicate compositions.
These may not all be the top choices for a greatest hits selection, but it's
often when he's not trying to prove the heavy might of his music that Vangelis
shows his true gentle soul. Be it in part 7 with its bright harp and string
melodies, in Part 4 with piano, flute and synth string, or Part 12's synthesizer
voices with several overlaid strings modestly reflecting the drama, it's always
laid back, sensitive and with a strong touch of the Vangelis magic we are always
looking for.

The guest artists fit in very well. Part 5, performed with the choir of the
Historical, Cultural and Folklore Association of Chania, Crete, features a
passionate traditional Cretan chant, while Vangelis plays gracefully along on
his synthesizers, not unlike what we've enjoyed in "Rhapsodies" with Irene
Papas. Part 8, composed and performed by Psarantonis, is a fiery dance on
traditional acoustic instruments, performed at a party in the movie, adding a
touch of authenticity to the album, before Vangelis takes you back to his
musical story telling. The last of the intermezzos is Part 11 with Loudovicos
Ton Anogion's soft warm voice lamenting to the rhythms of one or two of Greece's
distinct plucked instruments.

As promised, the album ends with the piano reprisal of the gorgeous main theme.
Vangelis raises the bar for elegance, as choirs slowly and softly support the
delicate piano performance. The only downside of this piece is that at some
point, it ends, and with it the "El Greco" album. It just seems as if the
silence that follows sounds just a bit brighter than it did before. Lovely.