{"id":6815,"date":"2013-07-16T02:19:54","date_gmt":"2013-07-16T06:19:54","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=6815"},"modified":"2013-07-17T11:57:28","modified_gmt":"2013-07-17T15:57:28","slug":"mp3-frozen-planet-2011","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=6815","title":{"rendered":"MP3: Frozen Planet (2011)"},"content":{"rendered":"

Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>F<\/a><\/p>\n

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\"\"<\/a>Rating: Excellent<\/p>\n

Label:\u00a0Silva Screen<\/a> \/ Released: March 18, 2013<\/p>\n

Tracks & Album Length: 32 tracks \/ (73:30)<\/p>\n

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Special Notes: \u00a0n\/a<\/p>\n

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Composer: George Fenton<\/p>\n

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Review:<\/p>\n

The BBC\u2019s ongoing nature series have been a boon for George Fenton, giving him a broad range of creature subjects that live above, on top, and below ground, and spanning ocean bodies and all of Earth\u2019s continents, but unlike prior series Life<\/strong> (2009), The <\/strong>Blue Planet<\/strong> (2001), and Planet Earth<\/strong> (2006), Frozen Planet<\/strong> is both modernistic and smaller-scaled in its sonic scope.<\/p>\n

Fenton\u2019s use of less grandiose sounds means there\u2019s no need to establish an opulent, epic main theme that announces Wonderment or something Elegant and Hypnotic. FP is comprised of a short main theme which re-emerges in more chamber-styled guises, allowing for intimacy and fixed instrumental colours that capture the quirks of characters like penguins, bears, and seals, and the surreal atmosphere of the planet\u2019s super-cooled environments. There are a few kinetic cues \u2013 \u201cFlying Sound\u201d has a revolving rhythmic figure with soft synth pulses and emerging orchestral tones from strings and brass \u2013 and Fenton does occasionally bring up the might of the orchestra, as in the elegantly ferocious \u201cElephant Sea Duel,\u201d which mixes orchestral and minimalist synth chords – but FP is more of an emotionally focused work.<\/p>\n

Amid several misty, eerie, and tense cues there is lighter fare, such as the wistful \u201cSurfing Penguins,\u201d and the waltzing \u201cStones\u201d with pizzicato strings and lightly lumbering woodwinds. Woody vibes, brass, and woodwinds perfectly capture the curiosity and awkwardness of young pups in \u201cCubs First Hunt,\u201d and \u201cLeaping Penguins\u201d captures the frolicking birds with airy flutes and cupped brass \u2013 a tongue-in-cheek sensibility that\u2019s also carried over into the next cue, \u201cOwlets \/ Protection.\u201d<\/p>\n

A handful of tracks run over 3 minutes, but their intermingling with more brief material doesn\u2019t create an uneven flow of musical ideas. FP is one of Fenton\u2019s best BBC scores, and especially classical in design, with periodic transgressions into jazz and modernism.<\/p>\n

Silva\u2019s album features a generous chunk of music, all beautifully mastered to show off the score\u2019s crisp engineering and superb orchestrations. Performance nuances, which are a main feature to FP, are always up close, yet the miking scheme does present a fairly broad stereo spectrum.<\/p>\n

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\u00a9 2013 Mark R. Hasan<\/p>\n

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External References:<\/p>\n

IMDB <\/a>— Soundtrack Album<\/a> — Composer Filmography<\/a><\/p>\n

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Select Merchants:<\/p>\n

Amazon.ca<\/a>\"\" —<\/span> Amazon.com<\/a>\"\" —<\/span> Amazon.co.uk<\/a>\"\" —\u00a0BSX<\/a> —\u00a0Intrada<\/a> —\u00a0SAE<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0F<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ F . Rating: Excellent Label:\u00a0Silva Screen \/ Released: March 18, 2013 Tracks & Album Length: 32 tracks \/ (73:30) . Special Notes: \u00a0n\/a . Composer: George Fenton . . Review: The BBC\u2019s ongoing nature series have been a boon for George Fenton, giving him a broad range of creature subjects […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[20],"tags":[502,2110,2109],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1LV","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6815"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6815"}],"version-history":[{"count":4,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6815\/revisions"}],"predecessor-version":[{"id":6823,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6815\/revisions\/6823"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6815"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6815"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6815"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}