Nominated for 10 Academy Awards, including Best Original Score, and shot in the glorious, vintage VistaVision format, Brady Corbet’s The Brutalist stands as a monumental achievement in filmmaking. Opening with a mesmerizing and continuous 10-minute overture, composer Daniel Blumberg’s music sets the stage for the film’s epic narrative, which spans multiple decades and follows fictional Hungarian architect Laszlo Toth (played by Adrien Brody) as he rebuilds his life in post-war America. Encompassing large-scale brass orchestrations, intimately lyrical piano melodies and freewheeling, improvisational jazz, The Brutalist’s score is as ambitious and broad in scope as the film itself. Envisioning the score as slabs of sound ? rich and resonating while also measured and restrained ? the music developed into the sonic embodiment of the Brutalist design aesthetic, where imposing scale and raw textures meet values of simplicity and economy. To craft its singular sound, Blumberg worked with a cast of boundary-pushing musicians and improvisers, traveling across the UK and Europe with a custom-built remote recording setup to capture his players on location. Exploiting the tension between the fluidity of improvised music and the meticulous precision of film scoring, Blumberg coaxed out beautifully rich and resonant performances from his collaborators, including avant-garde innovators Axel Dorner (trumpet), Evan Parker (saxophone), Sophie Agnel (piano), and John Tilbury (piano), to name a few. For the film's frenetic and intoxicating jazz club scene, Blumberg assembled a jazz quartet (comprised of Pierre Borel on saxophone, Simon Sieger on piano, Joel Grip on bass, and Antonin Gerbal on drums) to perform improvised versions of his themes live on set, resulting in one of the film’s most electrifying numbers, as well as additional period-specific pieces that appear throughout the soundtrack. For the film’s 1980s-set Epilogue, Blumberg traveled to New York to work with synth-pop pioneer Vince Clarke (Depeche Mode, Erasure), deconstructing and rebuilding the film’s main theme into a redemptive, synth and drum machine-driven dance track befitting of the new era.? The score was mixed and co-produced by longtime Scott Walker collaborator Peter Walsh, who also worked on Blumberg’s past three records. The double CD edition from Milan Records includes the 32-track score alongside credits and film photography designed by The Brutalist title designer Sebastian Pardo in close collaboration with Daniel Blumberg.
アカデミー賞で作曲賞を含む10部門にノミネートされ、栄光のヴィンテージ・ヴィスタヴィジョン・フォーマットで撮影されたブレイディ・コルベット監督の『ブルータリスト』は、映画製作における記念碑的偉業である。作曲家ダニエル・ブルムバーグの音楽は、魅惑的で連続的な10分間の序曲で幕を開け、この映画の壮大な物語の舞台となる。この物語は数十年に渡り、エイドリアン・ブロディ演じる架空のハンガリー人建築家ラースロー・トトが戦後のアメリカで生活を再建していく姿を描く。大規模なブラス・オーケストレーション、親密で叙情的なピアノの旋律、自由奔放で即興的なジャズを包含する『ブルータリスト』のスコアは、映画そのものと同様に野心的で幅広い範囲に及んでいる。豊かな響きと抑制の効いた静けさを併せ持つ、音の塊としてのスコアを構想していたこの音楽は、ブルータリストのデザイン美学を音で体現するものへと発展した。その特異なサウンドを作り上げるため、ブルンバーグは境界を押し広げるミュージシャンや即興演奏家たちと協力し、特注の遠隔録音セットアップを携えてイギリスとヨーロッパを旅し、彼のプレイヤーをロケ撮影した。即興音楽の流動性と映画音楽の緻密さの間の緊張を利用し、ブルムバーグ監督は、前衛的な革新者であるアクセル・ドルナー（トランペット）、エヴァン・パーカー（サックス）、ソフィー・アグネル（ピアノ）、ジョン・ティルベリー（ピアノ）などの共演者から、美しく豊かで響きのある演奏を引き出した。映画の熱狂的で酔わせるジャズクラブのシーンでは、ブルムバーグがジャズカルテット（ピエール・ボレル（サックス）、サイモン・シーガー（ピアノ）、ジョエル・グリップ（ベース）、アントニン・ジェルバル（ドラムス）で構成）を結成し、撮影現場で即興的にテーマを演奏した。映画の1980年代を舞台にしたエピローグでは、ブルムバーグがニューヨークを訪れ、シンセ・ポップのパイオニアであるヴィンス・クラーク（デペッシュ・モード、イレイジャー）と仕事をし、映画のメイン・テーマを、新しい時代にふさわしい、シンセとドラム・マシーンを駆使した救いのあるダンス・トラックに分解・再構築した。? ミックスと共同プロデュースは、スコット・ウォーカーとの長年のコラボレーターであり、ブルムバーグの過去3枚のレコードも手がけたピーター・ウォルシュが担当した。ミラノ・レコードから発売される2枚組CDエディションには、32曲のスコアとクレジットが収録され、ブルータリストのタイトル・デザイナー、セバスチャン・パルドがダニエル・ブルムバーグと共同でデザインしたフィルム写真も収録されている。
Nominated for 10 Academy Awards, including Best Original Score, and shot in the glorious, vintage VistaVision format, Brady Corbet’s The Brutalist stands as a monumental achievement in filmmaking. Opening with a mesmerizing and continuous 10-minute overture, composer Daniel Blumberg’s music sets the stage for the film’s epic narrative, which spans multiple decades and follows fictional Hungarian architect Laszlo Toth (played by Adrien Brody) as he rebuilds his life in post-war America. Encompassing large-scale brass orchestrations, intimately lyrical piano melodies and freewheeling, improvisational jazz, The Brutalist’s score is as ambitious and broad in scope as the film itself. Envisioning the score as slabs of sound ? rich and resonating while also measured and restrained ? the music developed into the sonic embodiment of the Brutalist design aesthetic, where imposing scale and raw textures meet values of simplicity and economy. To craft its singular sound, Blumberg worked with a cast of boundary-pushing musicians and improvisers, traveling across the UK and Europe with a custom-built remote recording setup to capture his players on location. Exploiting the tension between the fluidity of improvised music and the meticulous precision of film scoring, Blumberg coaxed out beautifully rich and resonant performances from his collaborators, including avant-garde innovators Axel Dorner (trumpet), Evan Parker (saxophone), Sophie Agnel (piano), and John Tilbury (piano), to name a few. For the film's frenetic and intoxicating jazz club scene, Blumberg assembled a jazz quartet (comprised of Pierre Borel on saxophone, Simon Sieger on piano, Joel Grip on bass, and Antonin Gerbal on drums) to perform improvised versions of his themes live on set, resulting in one of the film’s most electrifying numbers, as well as additional period-specific pieces that appear throughout the soundtrack. For the film’s 1980s-set Epilogue, Blumberg traveled to New York to work with synth-pop pioneer Vince Clarke (Depeche Mode, Erasure), deconstructing and rebuilding the film’s main theme into a redemptive, synth and drum machine-driven dance track befitting of the new era.? The score was mixed and co-produced by longtime Scott Walker collaborator Peter Walsh, who also worked on Blumberg’s past three records. The double CD edition from Milan Records includes the 32-track score alongside credits and film photography designed by The Brutalist title designer Sebastian Pardo in close collaboration with Daniel Blumberg.