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| John Williams [composer] | Primary Artist, Conductor |
| Charlie Bisharat | Fiddle |
| George Doering | Mandolin |
| Alan Estes | Percussion |
| Randy Kerber | Piano |
| Chicago Symphony Orchestra | Performing Ensemble |
| Daniel Gingrich | Horn |
| Susan Nigro | Contrabassoon |
| Chicago Symphony Chorus | Choir, Chorus |
| David McGill | Bassoon |
| Steven Roberts | Guitar |
| Don Williams | Percussion |
| Stephen Williamson | Clarinet |
| Christopher Martin | Trumpet |
| Jeremy Moeller | Trombone |
| Carol Cook | Viola |
| Duain Wolfe | Choir Director |
| Robert Chen | Violin, Concert Master |
| Tommy Morgan | Harp |
| Eric Millstein | Percussion |
| John Williams [composer] | Composer, Producer |
| Jim Taylor | Arranger |
| Shawn Murphy | Engineering |
| Steven Spielberg | Liner Notes |
| Patricia Sullivan Fourstar | Mastering |
| Mark Cavell | Licensing |
| Isabelle Tulliez | Product Development |
tiger84
Posted December 12, 2012
Lovely music from composer John Williams; it's solemn, stirring, poetic (Great "Battle Cry of Freedom").
Reminds one in places of Aaron Copeland's " Fanfare for the Common Man." As far as movie soundtracks go,
it's more like "Dances With Wolves" rather than "Glory." Buy it--you won't be disappointed!
2 out of 2 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.markd
Posted April 23, 2013
Beautiful music - people who hear it for the first time always want to know what is playing. Solemn would be too strong as
an adjective - thought proving and disarmingly pure say it for me.
Editorial Reviews
All Music Guide - James Christopher Monger
Director Steven Spielberg's 2012 Lincoln biopic eschewed the genre's usual trappings by focusing on a single month in the extraordinary life of the 16th president of the United States. Bereft of the weight of depicting a lifetime, he was able to play small ball with a big moment, something that his longtime composer counterpart John Williams does as well with his remarkably subtle score. Opening with a wistful, lovely clarinet cue, Williams sets the stage for what is essentially a cornucopia of measured yet soul-stirring, Aaron Copland/Randy Newman-imbued Americana that is delivered with the patience and grace of a true master. The score does away with much of ...