As a composer, musician and teacher, it's completely promising that I've heard most kinds of music ended the age. However, I increasingly care the auditory communication of the show and, in particular, old fear big screen soundtracks (think Hammer Films, etc). Dracula auditory communication is a immovable favourite!

Let's creation next to auditory communication by Philip Glass, composed for the 1931 Bela Lugosi classical show Dracula and performed by the remarkable Kronos String Quartet.

Glass's minimalist way lends itself cured to this subject-matter. The album is fashionable superficial but near a sensitive of perpetual chamber-music quality, and is a serious accompaniment to a dialogue-only picture.

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The accustomed Glass fingerprints are here: continual ostinati, arpeggios, motifs and rocking two-note low-pitched lines, but colorful with tender, rhythmical moments. To me (being a melody-man at heart!), it was these lyrical moments which prevented this medium from decorous too dull. Don't get me wrong; I wallow in modern, jarring music, but sooner or later I durable for a damn-good air and this record album gave me something snuggled to that.

Most of the 26 tracks are pretty truncated (1-4 report) and, though eerie, are astonishingly tuneful. The flex musical performance is excellent, as you'd expect from the Kronos gang.

Here are a few of my partiality highlights:

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"Excellent, Mr. Renfield": an eerie hunk next to the anticipated recurrent ostinato/riff but near strident shuddery moments when the quaternity immediately damaged in. The sound low-pitched chain keeps property heart-rending and a terrible tortuous harmony finished the top completes the sign of the fly-eating lunatic who lives in the asylum!

"The Storm": a hostile set in train to the track, riddled of inharmonious harmoniousness and fundamentally evocative of a gust of wind. Pizzicato section green groceries the downfall and prompt runs construct an mark of promptness.

"Horrible Tragedy": not certain if this is bi- or tri-tonal! Sounds same all accomplice of the quatern is playing in a distinguishable key. I close to its mesmeric virtues and sincere brief riffs.

"In the Theatre": a severe persistent refrain and flowing straight line progressions - reminds me of Phantom of the Opera for numerous reason!

"Renfield": a amazingly good-looking and empathetic grumble for our resident madman! Very neoclassical looking with many foreseeable straight line changes and two-note deep accompaniment, following upsetting into triplets. Very nice.

This is not the average blood-spattered Dracula music, bursting of lessened chords and high-pitched strings. Yes, it can be repetitive, but Glass seems to be using a greater collection of speech colors than typical and, for this stylishness of music, I recovered it quite tuneful (although you'd be hard-pressed to whistle along with the CD!).

Perhaps the single gets fairly exhausting half-way through: 26 tracks is a lot of art movement music! I have to hold that I've not seen the picture show next to this soundtrack, but I've heard that it complements the imagery perfectly, specially in 'Carriage Without a Driver', where the moving wheels are manifestly represented and the music invokes a be aware of of danger.

On the total... I same it!

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