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John Towner Williams: Empire of the Sun

 A l b u m   D e t a i l s


Label: Warner Bros. Records
Released: 1987.12.09
Time:
 54:29
Category: Soundtrack
Producer(s): John Towner Williams
ing:
Media type: CD
Web address: www.jwfan.com
Appears with:
Purchase date: 2012
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Suo Gân (Traditional/R.Bryan) - 2:19
[2] Cadillac of the Skies (J.T.Williams) - 3:48
[3] Jim's New Life (J.T.Williams) - 2:33
[4] Lost in the Crowd (J.T.Williams) - 5:39
[5] Imaginary Air Battle (J.T.Williams) - 2:35
[6] The Return to the City (J.T.Williams) - 7:45
[7] Liberation: Exsultate Justi (J.T.Williams) - 1:46
[8] The British Grenadiers (Traditional) - 2:25
[9] Toy Planes, Home and Hearth [Chopin Mazurka Opus 17 No. 4] (F.Chopin) - 4:37
[10] The Streets of Shanghai (J.T.Williams) - 5:11
[11] The Pheasant Hunt (J.T.Williams) - 4:24
[12] No Road Home/Seeing the Bomb (J.T.Williams) - 6:10
[13] Exsultate Justi (J.T.Williams) - 4:59

 A r t i s t s ,   P e r s o n n e l


John Towner Williams - Conductor, Producer

London Symphony Orchestra - Orchestra
Skywalker Symphony Orchestra - Orchestra
Boston Pops Orchestra - Orchestra on [3]

The Ambrosian Junior Choir on [1]:
John McCarthy - Director
James Rainbird - Soloist

Shawn Murphy - Engineer
Armin Steiner - Remixing
Ken Wannberg - Editing, Music Editor
Kim Champagne - Design

 C o m m e n t s ,   N o t e s


Empire of the Sun: (John Williams) So much potential went unrealized in Steven Spielberg's 1987 World War II film Empire of the Sun that J.G. Ballard's autobiographical story largely wasted its chance to make a significant impact as a whole on audiences. Like all of Spielberg's films, there are moments of brilliance in his grasp of psychological perspective, and in Empire of the Sun, these highlights come early. A young British boy (played by newcomer Christian Bale on his way to a career of stardom) lives a life of privilege in Shanghai with other Westerners just prior to the Japanese invasion at the war's start, and in one of the director's most compelling and frightening scenes (once again dwelling upon child and parent separation issues, major hang-up for Spielberg throughout his career), he is separated from his family inside a mob of frantic evacuees. From there, the boy ends up in an internment camp for foreigners, learning all the methods of stealing and scamming his way to likeability and survival. The key to his positive mental outlook is his fascination with the sky and airplanes, fantasizing about aircraft battles and maintaining good knowledge of the vehicles. The story lives through his imagination, which is both an appealing element and, unfortunately, the film's downfall. Empire of the Sun went on to several academy award nominations, all in technical fields, and the reason it did not attract better accolades or particularly strong reviews at the time was due to Spielberg's inability to reconcile the imaginative side of the plot with the necessary horrors of war depicted throughout. Because Spielberg presents the boy's life in a series of episodic scenes, Empire of the Sun loses its sense of direction and ultimately concludes without having delivered a clear, consolidated message. This fault is unquestionably reflected in John Williams' music for the film, continuing a fruitful collaboration that occasionally suffered minor hiccups. While veteran collectors of Williams' scores stand by Empire of the Sun without fail, some even proclaiming its greatness, the fact remains that it suffers from the same split personality as the film. More intriguing is the fact that Williams' music for the project suffered from the whims of the director during the editing process, representing one of the only major times when the composer clearly did not see the same larger picture as the director in their lengthy collaboration.

There are enthusiasts of the film who claim that the dialing out or rearrangement of Williams' score, sometimes to a significant degree, is of benefit to the film. While a case could be made advocating the long sequences of Empire of the Sun without any music whatsoever, Williams' contributions simply removed, a full examination of the score as intended reveals that the composer had pretty good idea of what he was trying to do, regardless of Spielberg's alternate vision. The quality of the composition aside, it is a score of two incompatible halves, contributing to the awkward imbalance of fantasy and reality in the harrowing circumstances on screen. On one hand, you hear the jubilant, celebratory music of both the boy's imagination and his eventual liberation (known best in its concert arrangement, "Exsultate Justi"). On the other is the grim, deeply disturbed ambient material for the actual depictions of wartime hardship. Alone, either half of the score for Empire of the Sun would be effective, but together they especially produce an awkward album experience. It was Williams' intention to score the movie strictly from the perspective of the child's mind, explaining some of the use of classical and traditional music, as well as his somewhat alienated relationship to his parents. But the exuberant side of the score, an offshoot of the boy's hopeless optimism about certain subjects like the airplanes, can be received as representing too much detachment and false hope. The light half of Empire of the Sun ranges from the effortless fun of the frolicking primary theme in "Jim's New Life" to wondrous full ensemble harmony representing the airplanes in "The Plane" and "Cadillac of the Skies." In both "Imaginary Air Battle" and "Liberation: Exsultate Justi," Williams explores lovely variations on this material, foreshadowing the warmth and sense of freedom that both Home Alone and Hook would more exhibit to much greater degrees shortly thereafter. The addition of a choir to Williams' standard orchestral tones was something relatively new in 1987, though the technique is as much a highlight here as it would be in Hook and several other later works. The choral concert arrangement of the primary theme (in Latin), "Exsultate Justi," is by far the most famous piece remembered from the original score, though like the similar application of the primary vocalized themes in Saving Private Ryan and Amistad, this recording is not particularly representative of the remainder of the score.

In fact, Empire of the Sun is dominated in its running time by its frightfully darker half, arguably more interesting music that may or may not translate to an engaging listening experience depending on your opinion of Williams' suspense and horror material. In the most turbulent portions, the instrumentation and tone of JFK and Jurassic Park is hinted, "The Streets of Shanghai" strongly suggestive of the latter. The anguish of "Lost in the Crowd" causes emotional responses similar to equally troubled parts of A.I. Artificial Intelligence. The lengthy "The Return to the City" rumbles with a rhythmic bass horn figure reminiscent of Christopher Young's material from the era. Like the equally long "No Road Home/Seeing the Bomb," this cue is ultimately atmospheric; with whining string effects, lonely shakuhachi flute, faint reminders of a classical existence on piano, and disembodied chorus, these cues maintain a sense of wonderment, though in a distinctly oppressed atmosphere. Many of the score's early family cues are similarly detached in their cooing choral tones, some of which minimized in its impact on the film. Existing by itself is the four minute "The Pheasant Hunt," a straight precursor to the jungle-like suspense material of sparse construct in Jurassic Park and a cue that all but kills the score's flow on album. When you add the movie's source inclusions, themselves disparate in style and breaking up the continuity of Williams' original contributions, Empire of the Sun is a difficult soundtrack album at best. Of particular importance is the "Suo Gan" traditional Welch song that is performed on screen and serves as the boy's own voice several time in the picture, in some ways overshadowing Williams' own music. The original 1987 Warner album for Empire of the Sun featured a typical LP-inspired arrangement of highlights of the score out of chronological order. A 2014 expanded and limited La-La Lands set, however, restored Williams' score to its original length and order, providing not only the properly timed versions of "Suo Gan" and "Exsultate Justi" for their screen edits but also supplementing the classical pieces with numerous alternate takes of Williams' score. There is much to appreciate in the score, though like the film, there is general lack of overarching direction that forces the music to react without consistent references to a memorable core of ideas. As such, Empire of the Sun is the kind of Williams music that is easy to recommend, but it's not a source of easy listening on album to revisit in its entirety too often, the ten minutes of enthusiastic, imaginative portions a clear exception for suite rearrangement. ***

Editorial Review - 8/11/09
Filmtracks.com



La-La Land Records, WEA and Warner Bros. proudly present the remastered and expanded, limited edition 2-CD set of John Williams’ Academy Award Nominated original score to the 1987 feature film EMPIRE OF THE SUN, directed by Steven Spielberg and starring Christian Bale, John Malkovich and Miranda Richardson. Heralded as one of the acclaimed composer’s finest works, Mr. Williams’ masterful orchestral score seeks no less than the openness of the human heart, mind and soul – the perfect compliment to this powerful and indelible film about a young English boy’s emotional and physical struggle to survive the Japanese occupation of China during WWII.

This deluxe re-issue was produced, assembled and mastered by Mike Matessino in cooperation with John Williams, Steven Spielberg and the film’s co-producers Kathleen Kennedy and Frank Marshall.  Disc 1 contains a full presentation of the film score, including never-before-released music, while Disc 2 pulls back the veil of the creative process with a selection of alternate cues and other additional music. A 28-page CD booklet features handsome art design by Jim Titus and Matessino’s exclusive, in-depth essay, approved by the director and composer.

© Copyright 2002 - 2015 La-La Land Records.



Marking the ninth movie that Steven Spielberg and John Williams collaborated on, Empire of the Sun is the second “not action” movie directed by Spielberg. His first serious movie was E.T., where he branched from his normal running from sharks and blowing up Nazis type movies to a more emotional genre; thus, Empire of the Sun has a mature and adult score. Many of its works are more quiet and reflective than those in Raiders, or even E.T. at times, and at times, the music is dismal and unendingly fierce. If you want some Williams music that is different than the rest, get the Empire of the Sun!

The plot in Empire of the Sun revolves around a young English boy, Jamie, or Jim, as he is later referred to in the movie, who is living in China during the Second World War. Jamie is separated from his parents in a terrifying and frantic scene and is left to fend for himself on the streets of Shanghai. Later, Jamie befriends two Americans, Basie and Frank. Together, these three friends are sent to a prison camp and held by the Japanese. The movie is mainly about Jamie’s revelations during these months.

The movie isn’t nearly as good as Schindler’s List, yet to come, but still is very dramatic at times, as is the music. The first work on the CD is “Suo Gan”. Sung beautifully by the Ambrosian Junior Choir, “Suo Gan” is a traditional Welsh lullaby, not composed by Williams. The song is rather well known, and is very beautiful in its own right. The soloist, James Rainbird is excellent. The further the film progresses, we learn about Jamie’s love of fighter planes. I am not absolutely sure, since I have only seen the movie twice, but I think that there are some variations of the main theme played as Jamie imagines about these majestic vessels.

The main theme is truly magnificent. It starts out with a few familiar notes, recognizable from the Over the Moon theme from E.T., and branch out into a beautiful and simple composition. In many ways, it is similar to the statement of the Jurassic Park theme during the “Welcome to Jurassic Park.” Later, at a dinner party, Jamie discovers a fallen war plane in the middle of a field. This scene is accompanied by the “Imaginary Air Battle”, a light and invigorating piece with a few flourishes of the main theme, as well as some beautiful choral work. But just as it is beginning to seem that Jamie has the ideal life of a rich boy living in a mansion full of servants, the unthinkable happens. In one of the most nervous, anxious and terrifying scene ever written, Jamie is separated from both of his parents in a panicking mob of frightened Chinese citizens fleeing from the Japanese, first his father, then his mother. And he is left stranded in the center of the crowd, calling pitiful and useless wails for his mom. The music accompanying the scene, on “Lost in the Crowd”, is just as dramatic and frightful as the scene. Without any theme or recognizable motifs, save a Jaws like repeating of two notes, Williams lets loose on the orchestra creating a shocking and scary piece of music. As the fear and excitement hightens, so does the music, until you are completely engulfed into the terror sweeping through the very music. As the scene progresses and Jamie is left alone, atonal and low piano and brass create a clashing and sweaty sort of experience, complete with a rolling cymbal throughout the entire section. This is one scene that is hightend tenfold by the music going along with it.

Next comes “The Streets of Shanghai”. As Jamie explores the mysterious paths and roads he never knew in Shanghai, ambiguous choral music help him feel the distress and amazement he feels at the same time. Soon after though, the music turns to a mad frenzy, as Jamie is caught up in an exciting run for what he thinks is his life from a local citizen. Fast paced and pounding, several points in the music resemble parts of “Eye to Eye” and “Visitor in San Diego” from both the Jurassic Parks. Finally, the music calms down, still retaining its pacing feel, with a statement of oriental style music at the very end.

The music in the movie continues to follow Jamie to the camp, where he has a better time than he first suspected. He has a host of new friends, and is accepted into the American’s bunks. Jamie, or Jim as he is now called, is a very witty boy, and this is demonstrated in “Jim’s New Life”, a frolicking little scherzo that is practically the only piece on the CD that is both upbeat and quick. It is a joy to listen to.

The music comes to some of its emotional peaks as the next series of tracks begin. In chronological order of the movie, first come “The Pheasant Hunt”, I think. The Hunt is a remarkable composition by Williams, because he composes it for nearly all percussion. Many ethnic and exotic instruments are used also. As the music progresses, it becomes more and more tense, but it never gives up its sense of flowing, unlike “Lost in the Crowd”, which is just a panicky and jumping piece.

Then comes “The British Grenadiers”, which is not written by Williams. In a short, march style rhythm a solo piccolo plays its part, later joined by the entire orchestra. The piece ends in a sentimental little part played by the piano, after a short pause on the track. It is a perfect introduction to the next track, “Toy Planes, Home And Hearth”. The first part of the work is completely centered around the beautiful main theme. Quiet and reflective various parts of the symphony create one of the most beautiful works of art ever with the booming choir joining in at one point. The music begins to wane, and moves on to the second section on the track, an adapted version of Chopin’s Mazurka #4. Played wonderfully on the piano with flourishes from the winds now and then, the Mazurka is warm and comforting. The composition couldn’t fit its title better.

Next comes “Cadillac of the Skies”. After starting off quick and loud, the chorus takes over as Jim looks at a huge American “Cadillac of the Sky” swoop right past him, pilot waving to him as he bombs the camp. Jim, who is acting rather odd for a boy witnessing a huge bombing is entranced and amazed by the plane, and you can tell in the movie. Soon, the doctor that has been teaching Jim comes up to the roof where Jim is gazing at the plane and tries to slap some sense into the young child. Jamie just keeps on raving about how he wants to be a Kamikaze pilot until he realizes that he cannot even remember what his parents look like. The music now is sad and quiet, almost crazy in a way until it becomes completely sorrowful, as Jamie begins to chant some Latin to the doctor. Soon after the bombing, the camp is let free. Unfortunately, all the hundreds of prisoners are forced to walk to the city. In one of the most painful compositions I have ever heard, a lone oboe calls out the mournful procession, with low strings playing the marching textured accompaniment on “The Return to the City”. More winds and horns begin to bring fourth the suffering. Even the chorus is revived to help the scene and all of its pain. The procession continues until the mass discovers a huge garden full of cars, books, furniture and all sorts of memorabilia. Jamie finds his old car among the lot, and more saddening music continues. As a woman begins to play a piano found in the garden, we hear a quiet and atmospheric piano piece by a composer I am not familiar with. Williams adds quiet and foreboding strings throughout the piece to demonstrate the mystery in the scene. Soon after, really strange music begins to play. Some type of panpipes or similar instrument play exotic music accompanying a scene with a woman who seems to be dying, I think.

Next to come in the movie is “No Road Home/Seeing the Bomb”. For the first part, much of the pain is brought back from the Return to the City to dictate exactly what the title suggests. The chorus sings mysterious and endlessly somber music, until it begins to get a bit brighter. The music struggles to achieve it, and at times, it seems that the pain will not stop, but finally, the full majesty and joy of the orchestra is released when Jamie sees the bomb. Why would Jamie be happy to see a bomb? Because he thinks the white light is the dying woman’s soul going up to heaven. The music is a fantastic rendition of the main theme, which ends more reflective than it started, with the Chorus chanting some extraordinarily mystifying and beautiful music, which almost seems sad, but in the way that you feel that you are crying for joy. Actually, I believe that the music from the second portion of the track actually accompanies the scene when Jamie discovers food dropped by the American army, but it isn’t that relevant to the music. After Jamie finds the food, the soldiers rescue Jamie, who is found riding a bike for joy throughout the old base. The music that highlights this scene is one of the best highlights of the score. It is found on the track entitled “Liberation: Exsultate Justi”. The full, uncut version of this piece can be found on its reprise on the last track, “Exsultate Justi”. Exsultate Justi is a truly unique work written by Williams. A full choir sings out a traditional Latin text adapted brilliantly by Williams. Words cannot describe this piece, as is the case with much of Williams’ material. The full English translation of Exsultate Justi can be found below:

Exsultate Justi

Laudamus te, laudamus !
We praise you, we give praise !

Exsultate, justi, in Domino;
Exult, you just, in the Lord;

Exsultate in Domino.
Exult in the Lord.

Exsultate, justi, in Domino;
Exult, you just, in the Lord;

rectos decet collaudatio.
praise from the upright is fitting.

Alleluia, Alleluia !
Salvator Dominus, Salvator mundi :
The Lord is Savior, Savior of the world :

Qui tollis peccata mundi.
You who take away the sins of the world.

Cantate ei canticum novum,
Sing to him a new song,

bene canite ei cum clangore.
pluck the strings skillfully with shouts of gladness.

Overall, Empire of the Sun is one of Williams’ most beautiful works, and it has very few flaws. Its type of music will not appeal to everyone, which keeps it from getting a full ten points, but clearly, if you are a fan of incredible dramatic and emotional music, Empire of the Sun is for you!

Frank Lehman - January 25, 2003
Copyright © 2015 JOHN WILLIAMS Fan Network



Empire of the Sun is the soundtrack, on Warner Bros. Records, of the 1987 film Empire of the Sun, directed by Steven Spielberg. The original score was composed by John Williams and recorded in September-October 1987. The album is a 54-minute selection of music from Empire of the Sun. The order of the track listing does not follow the chronology of the film. The album won the BAFTA Award for Best Film Music. It was also nominated for the Academy Award for Best Original Score, the Golden Globe Award for Best Original Score and the Grammy Award for Best Score Soundtrack for Visual Media.

A version of the track "Jim's New Life," performed by the Boston Pops Orchestra, was included on the 1995 album Williams on Williams: The Classic Spielberg Scores. A Boston Pops Orchestra version of "Cadillac of the Skies" is on Disc One of the 1999 double album John Williams Greatest Hits 1969–1999.

A limited edition, 2-disc edition of the Empire of the Sun soundtrack, produced and remastered by Mike Matessino, was released by La-La Land Records in 2014. This edition of the soundtrack runs twice as long as the original album. The first disc contains a full presentation of the film score (in chronological order, and including never-before-released music), and the second disc features a selection of alternate cues and other additional music.

Wikipedia.org
 

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