Soundtrack Review: Cassandra’s Dream by Philip Glass
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I think Philip Glass secretly want to be Mozart or some famous composer, as his scores would suggest that he stays away from the modern sounds (computer sounds) that most composers use. I don’t think he and Trevor Rabin would be best composing buddies to put it like that. There’s nothing wrong in staying to the classical instruments, just look at Dario Marianelli and Alexandre Desplat who reaps the rewards. What is puzzling to me is why Philip Glass is always overlooked by the critics. This score is in my opinion better than Atonement and The Golden Compass, and I think if Dario Marianelli and Alexandre Desplat want to keep the classical style, they should learn from Philip Glass.
Cassandra’s Dream is a typical Philip Glass score. But why so short? It’s only about 30 minutes long.This soundtrack consists of almost only strings throughout. It’s a very dramatic score that uses powerful strokes and it feels heavy. If I were to compare the score with anything, it would be Jonny Greenwood’s There Will Be Blood, but they are very different creatures. While There Will Be Blood is more experimental, Cassandra’s Dream barely step out of the comfort zone. It’s certainly more comfortable to listen to this the first time than There Will Be Blood, but in the end, Cassandra’s Dream end on the boring side. That being said, the songs Howard’s Request and Death on the Boat might be stolen from Jonny Greenwood’s archives (or not, since a lot of the material he used in There Will Be Blood wasn’t his).
I’ve heard that the movie is a bit boring, and perhaps the difference between Philip Glass and the award mongers are the choice of movies. This score is pretty good, and though it doesn’t “stick” in your head like Jonny Greenwood’s There Will Be Blood, I’ll give Cassandra’s Dream thumbs up. Oh, and a sidenote. Today is Philip Glass birthday! Happy birthday Philip! Hope 2008 will be a great year for you. Listen to the score below:
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Comments
Answered you on your blog. Sorry! 
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Ah, Mr. Glass. He and I have this love hate thing going on. Some weeks I’m all about it, others just leave me wanting more.
Does this score have his signature “Doo-da-lee Doo-da-lee Doo-da-lee Doo-da-lee, Doo-duh-lee Doo-duh-lee Doo-duh-lee” thing going on it? Not that having it will deter me from enjoying it…but it will be what I am expecting.
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Hehe I believe it does. Take a listen using my fancy flash thingy at the bottom of the post. I think Mr. Glass is really talented, but he frustrates me… a lot. Still, this was one of his better ones I thought.
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I am impressed with this score…and think it’s quite powerful actually….I like it.
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I posted this as a comment on BC, but am still waiting.
“It’s weird…I think Phillip Glass scores are pretty great - they stand out from most, keep/push along your interest and all that, but I usually think they all sound exactly the same. Now, there’s a movie going on, so I can’t pick up on subtleties and such, but doesn’t this come across to you as well, or does the experience of listening sans the film differentiate them enough?”
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