Shawshank Redemption Soundtrack Mozart

 admin



  1. Shawshank Redemption Theme Song
  2. Shawshank Redemption Soundtrack Mozart Compositions

Mozart's music in The Shawshank Redemption ‘Duettino- Sull'aria’ from one of Mozart’s most popular operas ‘The Marriage of Figaro’ features in the film ‘The Shawshank Redemption’. The soundtrack has as much of an impact as the film itself, lending itself to the greatness of Mozart to Hank Williams, put together by Thomas Newman. This is the theme from the movie Shawshank Redemption (1994). It's a great instrumental music. I do not own the music but I put it all together.

Review
The Shawshank Redemption
Film score by
ReleasedSeptember 20, 1994
Recorded1994
GenreClassical
Length53:24
LabelSony BMG
ProducerThomas Newman, Bill Bernstein
Thomas Newman chronology
Little Women
(1994)		The Shawshank Redemption
(1994)		The War
(1994)
Professional ratings
Review scores
SourceRating
Allmusic[1]
Filmtracks[2]
SoundtrackNet[3]

The Shawshank Redemption is the original soundtrack of the 1994 film The Shawshank Redemption starring Morgan Freeman, Tim Robbins, Bob Gunton, William Sadler, Clancy Brown, and others.[4]

The original score was composed by Thomas Newman and released via Sony BMG label on September 20, 1994.

Track listing[edit]

Shawshank Redemption Theme Song

  1. May (0:33)
  2. Shawshank Prison (Stoic Theme) (1:53)
  3. New Fish (1:50)
  4. Rock Hammer (1:51)
  5. An Inch of His Life (2:48)
  6. 'If I Didn't Care' by The Ink Spots (3:03)
  7. Brooks was Here (5:06)
  8. His Judgement Cometh (2:00)
  9. Suds on the Roof (1:36)
  10. Workfield (1:10)
  11. Shawshank Redemption (4:26)
  12. 'Lovesick Blues' by Hank Williams (2:42)
  13. Elmo Blatch (1:08)
  14. Sisters (1:18)
  15. Zihuatanejo (4:43)
  16. 'The Marriage of Figaro: Duettino - Sull'aria' performed by Edith Mathis, Gundula Janowitz, Orchestra of the Deutsche Oper Berlin, Karl Böhm (dir.) (3:32)
  17. Lovely Raquel (1:55)
  18. And That Right Soon (1:08)
  19. Compass and Guns (3:53)
  20. So was Red (2:44)
  21. End Title (4:05)

Credits[edit]

  • Artwork – Castle Rock Entertainment
  • Music By – Thomas Newman
  • Photography By – Castle Rock Entertainment
  • Producer – Bill Bernstein, Thomas Newman

Recognition[edit]

The album was nominated for the Academy Award for Best Original Score and a Grammy Award: 'Best Instrumental Composition Written for a Motion Picture or for Television' but lost both to The Lion King.

References[edit]

  1. ^The Shawshank Redemption [Original Motion Picture Soundtrack] at AllMusic. Retrieved 2015-06-30.
  2. ^'The Shawshank Redemption (soundtrack)'. filmtracks.com. Retrieved 2015-06-30.
  3. ^'The Shawshank Redemption Epic Soundtrack'. soundtrack.net. Retrieved 2015-06-30.
  4. ^'Thomas Newman – The Shawkshank Redemption - Original Motion Picture Soundtrack'. discogs.com. Retrieved 2015-06-30.

Shawshank Redemption Soundtrack Mozart Compositions


Retrieved from 'https://en.wikipedia.org/w/index.php?title=The_Shawshank_Redemption_(soundtrack)&oldid=977834042'
What does one imagine when viewing a comic opera? A ornamented opera house? Patrons dressed in black tie apparel? However, would one imagine a comic opera playing in a maximum-security prison? Would uneducated prisoners appreciate the music? In The Shawshank Redemption both of these events occurred. In The Shawshank Redemption, Andy Dufresne plays an duet from Mozart’s comic opera, The Marriage to Figaro, as its Enlightened ideals represent Andy’s prison experience and its Classical characteristics evoke a sense of hope in the repressed prison. Wolfgang Amadeus Mozart’s The Marriage of Figaro reflects the social and musical influence of the Classical period. Socially, The Marriage of Figaro reflects the ideals of the Enlightenment. The Enlightenment was “was a period that saw the institutions of Europe—religious, political, social, educational, industrial, financial and artistic—slowly but inexorably lower their focus from the ruling aristocratic and clerical classes to a new class of people. For want of a better term, we call this new and rising class of people the middle class” (Greenberg “Opera Buffa”). The Enlightenment placed an emphasis on the “‘natural man’” or the common man, not just the aristocratic class (Kerman and Tomlinson Listen 153). Consequently, Mozart focused his comic operas on lower to middle class protagonists like the servants Figaro and Susanna whose marital bliss is delayed by nobles (“Synopsis: Le Nozze di Figaro” The Metropolitan Opera). Another