I expect it goes without saying that Silvestri employs plenty of percussion, mostly timpani and snares of a militaristic nature, throughout the album. It’s quite a lengthy one for silky smooth strings that owes a little to the love theme from “The Abyss”, in that it’s got that same kind of fluid movement it just glides along effortlessly. Then at around 2:20 the composer hints at, why I consider to be, the score’s main theme. It actually reminds me of “Die Moldau” by Bedrich Smetana, but I suppose that in “Blown Away” it depicts a building tension. They just move up and down the scales in a fluttery sort of way. It seems to be a kind of danger motif, though it has a sad tinge to it.Īround 1:30 (in “The Escape”) Silvestri introduces some running flutes. Later in the score this motif is mostly picked up by woodwinds, but it’s always the brass that finishes it off. Around 0:50 we hear the first glimpse of a short motif here on piano, followed by resolving chords for brass. The second track, “The Escape”, introduces the score’s key ingredients. The only drawback here is that they appear so often, and in various combinations, that it becomes nigh impossible to work out what (or who) they represent. The album as a whole is very structured and coherent, as Silvestri employs a handful of recurring themes and motifs. He may not have written it as such, but the arrangements, especially during the latter cue, are trademark Silvestri. It serves as a main title (though not as a main theme, there is a difference) and returns in a more folksy arrangement (for strings and flute) towards the end in “Everybody Loves a Hero”. The performance by, what appears to be a boy soprano accompanied by a humming choir and soft strings is nothing short of breathtaking. Its melody is said to be first published in John Playford’s collection of folk tunes from 1650. “The Prince’s Day” is a lengthy and lyrical Irish melody set to a classic song by 19th century poet Thomas Moore. The album opens with an absolute gem, though one that Silvestri can only take limited credit for. Each cue plays for its full length and in the sequence originally intended by the composer.‘ Thankfully, Intrada have finally been able to release ‘ all of the music Silvestri recorded for the film. A soundtrack CD was released at the time, which contained nine (pop)songs and just one cue by Alan Silvestri. The film didn’t perform well at all, and was out-done by the similarly themed “Speed”. Needless to say, their paths are bound to cross. The 1994 film stars Tommy Lee Jones (as an Irish terrorist who escapes from prison and subsequently executes several bombings) and Jeff Bridges as a Boston-based bomb disposal expert. Twenty years after the film’s release, Alan Silvestri’s score for “Blown Away” is finally available in its full and wonderful glory.įollowing their collaboration on “Predator 2” and “Judgement Night”, director Stephen Hopkins turned to Alan Silvestri for a third and last time on “Blown Away”.
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