The Master [Original Motion Picture Soundtrack]

Editorial Reviews

All Music Guide - Heather Phares
For the soundtrack to his Scientology-inspired movie The Master, Paul Thomas Anderson reunited with Radiohead's Jonny Greenwood, who also provided the music to There Will Be Blood. The director's tale of a spiritually lost sailor and the leader of a religious organization he meets after World War II and the bond they form is set to music that alternately showcases the seeming innocence of the postwar era and tears off that veneer. Madisen Beaty's sweet yet somehow creepy version of "Don't Sit Under the Apple Tree" manages to accomplish both of those goals at once, but for most of The Master's music, the task of crafting claustrophobic intimacy falls to Greenwood, which ...
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Editorial Reviews

All Music Guide - Heather Phares
For the soundtrack to his Scientology-inspired movie The Master, Paul Thomas Anderson reunited with Radiohead's Jonny Greenwood, who also provided the music to There Will Be Blood. The director's tale of a spiritually lost sailor and the leader of a religious organization he meets after World War II and the bond they form is set to music that alternately showcases the seeming innocence of the postwar era and tears off that veneer. Madisen Beaty's sweet yet somehow creepy version of "Don't Sit Under the Apple Tree" manages to accomplish both of those goals at once, but for most of The Master's music, the task of crafting claustrophobic intimacy falls to Greenwood, which he does ably with deceptively simple pieces that usually focus on one or two instruments at a time, whether it's the disorienting woodwinds of "Atomic Healer" or the unearthly screech of "Baton Sparks"' descending strings. These discordant cues only make Ella Fitzgerald's "Get Thee Behind Me Satan," Jo Stafford's "No Other Love," and Helen Forrest's "Changing Partners" sound smoother, and vice versa. Most of Greenwood's compositions, such as "Back Beyond," convey a simmering sense of tension and marred, ambiguous beauty that occasionally resolves itself into more definite emotions such as "Alethia"'s alluring, harp-driven mysticality, "Able-Bodied Seamen"'s sense of danger, or "Sweetness of Freddie"'s poignancy. This uneasy listening provides a masterful backdrop for Anderson's film and also makes for fascinating listening in its own right, while once again separating Greenwood from more predictable composers.
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Product Details

  • Release Date: 9/11/2012
  • Label: Nonesuch
  • UPC: 075597960877
  • Catalog Number: 532292
  • Sales rank: 69,308

Album Credits

Performance Credits
Jonny Greenwood Primary Artist
Jo Stafford Vocals
Ella Fitzgerald Vocals
Helen Forrest Vocals
Jimmy Hastings Clarinet, Flute
Paul Weston Conductor
Dave Brown Double Bass
David Fuest Woodwind
Anthony Pike Woodwind
Sy Oliver's Orchestra Performing Ensemble
Paul Weston Orchestra Performing Ensemble
Marek Mos Conductor
Shabaka Hutchings Clarinet
Oliver Coates Cello
Neil Charles Bass
Charlotte Bonneton Viola
Peter Foggitt Organ, Piano
Antoine Fran├žoise Organ, Piano
Mark Simpson Clarinet
London Contemporary Orchestra Performing Ensemble
Peteris Sokolovskis Cello
Robert Ames Viola
Pasha Mansurov Flute
Madisen Beaty Vocals
Kate Hainsworth French Horn
Hugh Brunt Conductor
Galya Bisengalieva Violin
Daniel Pioro Violin
Daniel Llewellyn Roberts Violin
Andy Finton Woodwind
Aukso Chamber Orchestra Performing Ensemble
Tom Skinner Drums
Mark Wood French Horn
Simon Cox Trumpet
Technical Credits
Irving Berlin Composer
Lew Brown Composer
Joe Darion Composer
Bob Russell Composer
Paul Weston Composer
Jonny Greenwood Composer, Producer
Larry Coleman Composer
Charles Tobias Composer
Paul Thomas Anderson Director, Screenplay
Graeme Stewart Producer, Engineering
Shin Katan Artwork
Piotr Witkowski Engineering
Ewa Guziolek-Tubelewicz Engineering
Christian Wright Mastering
Sam Stept Composer
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