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Alexander, the soundtrack to the Oliver Stone biopic, features Vangelis at his best. It's a rousing score, a satisfying album, and a likely Oscar contender.

With this score, Vangelis delivers vivid orchestrations, lyrical themes, and his unique style of crowd-pleasing bombast. If you're a Vangelis fan, click on over to Amazon and be done with it - you must have this CD!

Vangelis is sometimes criticized for the simplicity of his music. He rarely creates variations on them or develops them in the tradition of western classical music. This is the case with the Alexander score.

To focus on this, though, would be to miss the unique character of Vangelis' music. Vangelis comes from outside the tradition of western classical music, and has a unique style and perspective. Vangelis brings to this score a intuitive sense for orchestration, an ear for simple, direct themes, and a overflowing sense of passion.

The score is unusual for Vangelis in the fact that it is primarily orchestral. Electronic music fans may be disappointed at the lack of overt synth work. In fact, many of the cuts sound completely acoustic. What Vangelis has done is create an orchestral soundtrack that incorporates synthesized textures in a very subtle way.

For this score, he worked with conductor Nic Raine to translate his ideas to the orchestra. The collaboration is seemless, and the orchestrations perfectly capture Vangelis' unique voice. It's a revelation to hear Vangelis' soaring themes played by a full orchestra, instead of his usual symphonic electronic orchestrations. With this soundtrack, Vangelis jumps into new territory, and is sure to gain some new fans.

The score offers many treats. The overall arch of the recording makes it a satisifying listen, more so than many of his soundtracks. He introduces big themes at the beginning of the CD, bringing things quickly to a peak with the rousing Titans. The middle section of the CD explores a variety of textures and moods, including battle music, romantic themes, and subtle ambiences. At the end, he recapitulates some of the themes he introduced at the beginning, and then delivers a quiet denoument in Tender Memories.

His orchestration is vivid througout. In the Introduction, Vangelis uses his symphonic electronic style. It transitions seemlessly into the heroic theme, Young Alexander, which features a full orchestra and chorus. He also incorporates folk instruments and vocals into many of the pieces.

The score is also very melodic. The bombastic Titans starts with a basic, almost simplistic melody, but is redeemed by Vangelis' orchestration, which just feels right. The soundtracks' romantic melodies equal any that he's done previously. While this music is intended to serve as background to visuals, one listen is sure to leave melodies echoing in your mind.

After the beautiful Introduction, Young Alexander, and the rousing Titans, comes The Drums of Guagamela. This is a long, martial battle track. Instead of the fake Holst that many film composers seem to fall back on for big battle scenes, Vangelis relies on what sounds like a percussion loop to provide a foundation over which strings, brass and choir clash.

One Morning at Pella is a reflective harp piece. It begins very quietly, and towards the end, Vangelis adds strings to subtly support the harp.

Roxanne's Dance sounds vaguely similar to some of the background music from Blade Runner that combined exotic rhythms, electronics, and a solo melody instrument. Gardens of Delight fuses harp, vocals and strings with percussive loops into a exotic, hypnotic blend.

In the middle of the album is Roxane's Veil, a lyrical violin showcase that features the violin work of Vanessa-Mae. The music has more of new age or pop sound, similar to some of Vangelis work on Voices, but it provides a tasteful backdrop for Vanessa-Mae's lovely playing.

Across the Mountain builds from a quiet hymn to a march with full orchestral splendor. Another composer might use this as the final cut in the soundtrack, but Vangelis has a lot more up his sleeves.

Immortality is a quiet track that's primarily strings and choir. It has a more somber, mysterious mood about it. Though it is primarily acoustic, the actual sound may remind listeners to Vangelis' synth string and vocoder work on Blade Runner.

The last three tracks are as good as the first three. Dream of Babylon recapitulates the Titans theme, but adds a new alternate theme that has an angelic feel, combining choir and harp. This blends into Eternal Alexander, a Elgaresque march that brings the soundtrack to an final climax. It features a romantic march theme, which Vangelis repeats several times, expanding the orchestration each time. Vangelis brings the music to a climax with full orchestra and chorus, diverts momentary to a quiet countermelody, before returning to the march theme.

He ends the soundtrack with Tender Memories, which is a reflective variation on the romantic theme of Eternal Alexander. Vangelis has arranged the melody for electronic instrumentation, which brings the soundtrack back to the quiet synthesizer work of the Introduction. This is a satisfying way to end the CD.

There is a version of the CD that tacks on an extra track, Bizarre Bazaar. While it is an interesting track, it detracts from the overall shape of the soundtrack, making the standard version a more satisfying listen.

Vangelis' Alexander soundtrack is one of his better, if not his best, soundtracks. It isn't as surprising or groundbreaking as Blade Runner or Chariots of Fire, but it's mature, passionate and endlessly melodic. And when it comes to bombastic excess, Alexander is probably as good as anything Vangelis has done, and that's saying something.

The minimal amount of synth work is initially a disappointment. However, the strength of the music and the way he has translated his ideas to a full orchestra sweep away your expectations.

Full of passion and grandeur, Vangelis' Alexander is one of the most enjoyable soundtracks in years.

Tracks:

Introduction
Young Alexander
Titans
The Drums Of Gaugamela
One Morning At Pella
Roxane's Dance
Eastern Path
Gardens Of Delight
Roxane's Veil
Bagoa's Dance
The Charge
Preparation
Across The Mountains
Chant
Immortality
Dream Of Babylon
17. Eternal Alexander
Tender Memories

Vangelis

1/17/2004

Vangelis is one of the most acclaimed electronic musicians of all time. He has recorded a great variety of music over the last thirty years, won the academy award for musical score, composed hit songs, and written the scores for several ballets. Vangelis is best known for his music featured in the television show Cosmos, and his scores to movies. His scores include Chariots of Fire, The Bounty, and Blade Runner.

Synthtopia Reviews of Vangelis' Music

Vangelis - 1492 Conquest of Paradise

2/19/2004

Conquest of Paradise is a sumptious combination of orchestral electronica, folk melodies, choral vocals and renaissance influences.

Vangelis - Alexander Soundtrack

11/18/2004

Alexander, the soundtrack to the Oliver Stone biopic, features Vangelis at his best. It is a rousing score, a satisfying album, and a likely Oscar contender.

Vangelis - Beaubourg

12/7/2003

This is one of Vangelis' most daring and experimental pieces. Listeners that love Vangelis experimental side will love it, while listeners that like his new age side will be covering their ears.

Vangelis - Blade Runner

2/20/2004

Blade Runner is a science fiction classic, and it has a classic electronica score to go with it.

Vangelis - Chariots of Fire

1/18/2004

When Chariots of Fire was released in 1981, it came with a unique soundtrack by Vangelis. At that time, putting a soundtrack of electronic music on a period film was unheard of. The music worked, though, because of the simple, beautiful melodies and the way Vangelis used synthesizers in an orchestral way.

Vangelis - China

12/6/2003

If you're interested in a real fusion of Chinese and western musics, this isn't it. But if you like the music of Vangelis, China is work from one of his creative peaks.

Vangelis - Direct

1/17/2004

This 1988 Vangelis CD is a bridge between the symphonic electronica sound that Vangelis made popular in the eighties and is current, more dense orchestral sound. Direct is a mixture of electronica, new age, space music, and folk sounds, mixed together in the unique style of Vangelis.

Vangelis - Heaven and Hell

1/3/2004

This 1975 recording is the first time Vangelis fully realized his lush orchestral style. The music contrasts images of heaven and hell. After nearly 30 years, it holds up as a classic of electronic music.

Vangelis - Oceanic

4/18/2004

Oceanic is a collection of tone poems with Ocean themes. On this 1996 release, Vangelis creates a soothing 50 minute journey through deep oceanic spaces, sounding a bit like a Hearts of Space show. The new age music showcases his wonderful ear for melodies and lush synthetic orchestration, but does not have the edge or sense of experimentation that marks his best work.

Vangelis - Opera Sauvage

11/22/2003

Vangelis' Opera Sauvage is one of the classics of popular electronic music.

Vangelis - See You Later

1/3/2004

This CD is one of the strangest that Vangelis has ever created. The music is the soundtrack to a dystopian future, or maybe just the ugly side of the present. This cult record is not for the new age fans, but Blade Runner freaks and people who like the darker side of electronic music will find a lot to like.

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