The Alamo [Original Motion Picture Soundtrack]

( 1 )

Editorial Reviews

All Music Guide - Heather Phares
Carter Burwell's score for The Alamo incorporates, aptly enough, elements of music from the Old West into his intricately melodic and percussive style. Cues such as "What We're Defending" have a typically rousing, patriotic mix of strings and horns, but even then Burwell finds a way to give these moments some of his character by ending the track with a contemplative harp. Mexican musical motifs also come through on tracks like the charming "El Bexareno," which moves from playful flutes and mariachi horns into bittersweet strings. Still other tracks, like "300 Miles of Snow," have a folky, Western cast to them. The score also juxtaposes radically different pieces, such as...
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Editorial Reviews

All Music Guide - Heather Phares
Carter Burwell's score for The Alamo incorporates, aptly enough, elements of music from the Old West into his intricately melodic and percussive style. Cues such as "What We're Defending" have a typically rousing, patriotic mix of strings and horns, but even then Burwell finds a way to give these moments some of his character by ending the track with a contemplative harp. Mexican musical motifs also come through on tracks like the charming "El Bexareno," which moves from playful flutes and mariachi horns into bittersweet strings. Still other tracks, like "300 Miles of Snow," have a folky, Western cast to them. The score also juxtaposes radically different pieces, such as the ominous "Who Took Their Loved Ones" and the lighthearted "Listen to the Mockingbird Sing." "Deguello de Crockett" is an especially striking track, pairing lonesome fiddles with martial drums and brass. But the main attraction of the score, is, of course, the music that accompanies the battle of the Alamo itself. The six-part suite begins with the eight-minute "The Battle of the Alamo, Pt. 1," commencing with tremulous strings before building into a more ominous brass and string melody, followed by a rousing flourish of brass and percussion that is abruptly cut off by more bleak-sounding strings. The rest of the suite follows suit, becoming gradually more and more mournful until it ends with an aptly funereal finale. The score ends with "Blood, or Texas," a pensive finale that, like the rest of The Alamo, conveys the mood of the film while also expressing Burwell's unique approach.
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Product Details

  • Release Date: 4/6/2004
  • Label: Hollywood Records
  • UPC: 720616243324
  • Catalog Number: 162433

Album Credits

Performance Credits
Carter Burwell Primary Artist, Conductor
Michael Davis Trombone
Bill Mays Piano
John Patitucci Bass
Steve Williamson Clarinet
Mark Sherman Percussion
Paul Stephens Bugle
Sid Page Violin
Emily Mitchell Harp
Joseph Alessi Trombone
Kenneth Bichel Piano
Charlie Bisharat Violin
Virgil Blackwell Clarinet
Terry Bozzio Percussion
George Doering Mandolin
Karen Dreyfus Viola
Daniel Druckman Percussion
Mitch Estrin Clarinet
Gordon Gottlieb Percussion
Mark Gould Trumpet
Benjamin Herman Percussion
Jean Ingraham Violin
Birch Johnson Trombone
Howard Joines Percussion
Tony Kadleck Trumpet
Karen Karlsrud Violin
Myung Hi Kim Violin
David Krauss Trumpet
Gail Kruvand Bass
Kim Laskowski Bassoon
Jeanne LeBlanc Cello
Ray Mase Trumpet
Nancy McAlhany Violin
Charles Miles Percussion
Yurika Mok Violin
Kathleen Nester Flute
Keith O'Quinn Trombone
Suzanne Ornstein Violin
Joe Passaro Percussion
Sue Pray Viola
Erik Ralske Horn
Jim Saporito Percussion
Laura Seaton Fiddle
Ira Siegel Guitar
Dennis Smylie Clarinet
Ramon Stagnaro Guitarron
Hartt Stearns Percussion
Stephanie Taylor Viola
Howard Wall Horn
Bruce Wang Cello
Shelley Woodworth Oboe
Mary Wooten Cello
Jim Baker Percussion
Laura Frautschi Violin
Jim Hynes Trumpet
Lou Kosma Bass
Nadine Asin Flute
Jacqui Danilow Bass
William Ellison Bass
Julie Landsman Horn
Freddie Mendoza Horn
Julie Rosenfeld Violin
Tom Sefcovic Bassoon
Sheryl Staples Violin
Sherry Sylar Oboe
Ron Wasserman Bass
Paul Woodiel Violin
Evan Barker Trumpet
Maureen Gallagher Viola
Kenneth Mirkin Viola
Martin Wind Bass
Craig Eastman Fiddle
Sally Clarke Viola
Phil Smith Trumpet
Richard Hagen Horn
Toby Appel Viola
Marji Danilow Bass
Megan Meisenbach Fife
Larry Salzman Guitar
Ray Sasaki Bugle
Sarah Seiver Cello
Judith Sugarman Bass
Peter Winograd Violin
Marc Goldberg Bassoon
Rob Shaw Violin
Mel Mandel Viola
Erik Charleston Percussion
Anne Lehmann Violin
Michael Mermagen Cello
Conway Kuo Violin
Susan Rotholz Flute
Ralph Farris Viola
Lisa Matricardi Violin
Eileen Moon Cello
Mina Smith Cello
Sharon Yamada Violin, Concert Master
Daniel Reed Violin
Robert Rinehart Viola
Daniel Panner Viola
Natasha Lipkina Viola
Phil Myers Horn
Gary Slechta Bugle
Elizabeth Dyson Cello
Lisa Kim Violin
Fiona Simon Violin
Ellen Payne Violin
Anna Rabinova Violin
Jenny Strenger Violin
Qiang Tu Cello
David Smith Horn
Kevin Cobb Trumpet
Nick Cords Viola
Vivek Kamath Viola
Krystof Kuznik Violin
Jeremy McCoy Bass
Jung Sun Yoo Violin
George Flynn Trombone
Paul J. Armstrong Bugle
Dawn Hannay Viola
Jon Manasse Clarinet
Sarah Kim Violin
Matthew Lehmann Violin
Javier Gandara Horn
Tom Rosenthal Viola
Kathryn Lockwood Viola
Irene Breslaw Viola
Mindy Kaufman Flute
David Creswell Viola
Katherine Fong Violin
Elizabeth Lim-Dutton Violin
Duoming Ba Violin
Maurycy Banaszek Viola
Paul Biss Violin
Maryia Borozina Violin
Charles Cade III Percussion
Rachel Calin Bass
Robert Cannon Bugle
Minyoung Chang Violin
Brian Chen Viola
Bori Choi Violin
Kenny Decarlo Trumpet
Desiree Elsevier Viola
Danielle Farina Viola
Karen Marx Violin
Kurt Muroki Bass
Ayano Ninomiya Violin
Satoshi Okamoto Bass
Shmuel Katz Viola
Sarah OBoyle Violin
Wen Qian Violin
Mark Schmoockler Violin
Caterina Szepes Violin
Mark Nuccio Clarinet
Cathy Sim Violin
Pablo Rieppi Percussion
Troy Rinker Bass
Patrick Milando Horn
Morris Kainuma Tuba
Keisuke Ikuma Oboe
Kingsley Wood Bass
John Zhang Violin
Michael Roth Violin
Alan Stepansky Cello
Jeremy Turner Cello
David Weiss Flute
Stacey Shames Harp
Diva Goodfriend-Koven Flute
Soohyun Kwon Violin
Jessica Lee Violin
Alamo Musicians Performing Ensemble
Calvin Wiersma Viola
Bob Carlisle Horn
Technical Credits
Carter Burwell Composer, Producer, Score Orchestration
Michael Farrow Engineer, Engineering
Sonny Kompanek Score Orchestration
Craig Eastman Arranger
Mitchell Leib Executive of Soundtracks
Pat Sullivan Mastering
John Hancock Liner Notes, Executive Producer
Jason Stasium Engineer, Engineering
Desirée Craig-Ramos Soundtrack Manager
Traditional Composer
Jennifer Hammond Arranger
Dean Parker Composer's Assistant
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Customer Reviews

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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Burwell's Low Key Approach for the Alamo

    Carter Burwell has been known for doing the strange films and handling many of them very well with music that one does not expect. For the Alamo he took a subtle, low key approach that is folksy and is trying to create a sound which he believes fits early Texas. For me, it seems to work fairly well. The music is not like most epic films we have seen on this topic and is thoughtful and melancholy in places to remind us of what happened here, the sorrow and loss of life in a great struggle. After all, these were humans on all sides, not superhuman as some films make them out to be. This score seems to say that well. Overall, not a bad effort. Three stars. JW.

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