Action or feeling? For the soundtrack composers is extremely difficult to choose, during the construction of a soundtrack, what to emphasize the rhythm of the stage and musically between pathos of the situation interpreted by actors.
It 's rare to find a solution which covers these two requirements simultaneously in a movie, and who is so able to satisfy both, must possess, in addition to an immense technical and compositional skills, an innate artistic sensibility, particularly if it is a war movie seen on the side of the war suffer twice: women.
By the early twenty seconds of listening to the first track, ''Desperate'' is palpable the climate of tension and anguish in which the listener is enveloped. The roll of the tympanum, which increases more and more, with trombones and piano in unison, is interrupted by a violent blow of dishes and bows, always in unison, they respond with a short and painful sentence with lower-pitched sounds and supported by strong a background percussive vibraphone and piano that is able to describe the acoustic situation of danger and anguish actually present in the film.
This would suffice to emphasize mastery, sensitivity, and the compositional technique in which, M ° Lavagnino, has created this wonderful soundtrack, but his music is not limited to this, continuing in its hypothetical descriptive line, he says unquestionably, with a relentless rhythmic deep sound of tympanum and also with compact interventions winds in the lower register, the task of the accident and the severity with which the man, understood as the military continues to perpetrate undaunted, in a relentless rhythmic obsessive, the destruction of the human being called ''enemy'' being called ''enemy'' without worrying about the innocent victims that his action could result.
Suddenly, under a long military theme trumpet, emphasized by the tympanum and the intervention of the snare drum, appears a gentle chorus of female voices which emphasizes the fragility and sensitivity of their female gender.
This greatly influences the structure of the composition of the theme of the trumpet while continuing his sentence topic, it seems to bend to this new and delicate operation just getting sore.
This song, which is just the first, expresses, in little more than two minutes, the idea with which the Master Lavagnino has designed its entire soundtrack is music in its purest form. An example of his wisdom and knowledge of orchestral timbres of their ability to arouse new sensations and, at the same time, always different. ---レーベルより