Sometimes, once in a while, it is bound to happen – something just happens to change your opinion. (This whole blog of mine most probably serves as a perfect example, just by the way.) Well, I don’t like cross-over, or so I thought.
Actually, this would be an understatement in most cases. It is just so not my thing, the same way that musicals just persistently fail to strike a chord with me. But then, along come “The Piano Guys” and change my stance on the topic. Their mashup of Vivaldi’s Cello Concerto RV 531 and the “Bourne” Theme is just perfect, I have to admit. Actually, my first thought when I heard it was: “They should do something with PJ.” Well, here it is:
And this is the original concerto, for your leisure, here played by Kateryna Bragina and Stéphane Tétreault; the conductor is Yuli Turovsky.
Here’s the Bourne OST:
I’m not an expert on the topic of John Powell, the composer, so I’ll gladly hand over to a great review on Amazon to introduce him.
Updated as a contemporary thriller/vehicle for Matt Damon, this second take on Robert Ludlum’s classic spy thriller (previously a Richard Chamberlain-starring TV miniseries) may be more interested in action set pieces than faithfulness to its literary roots. But composer John Powell’s skillful score goes a long way toward steeping the well-orchestrated stunts and car chases with an aura of mystery and unease. With a résumé heavy in animation (Shrek, Chicken Run, Antz) and spoofs (Evolution, Rat Race, Just Visiting), Powell is obviously adept at parodying the tired McAction score. Here he deftly sidesteps such clichés, delivering up a remarkable, subtle score of restlessly shifting moods and color. The plaintive oboe figure of the “Main Title” segues to vaguely East Asian orchestral motifs, then increasingly prominent use of wily, ever-shifting electronic rhythms and effects. The effect is compelling and almost hypnotic, music that perfectly underscores the lead character’s identity crisis and the web of intrigue he’s caught up in. Powell spares us the typical bombast and shrewdly lets the visual action speak for itself. This wise composer understands that less can be infinitely more. –Jerry McCulley
Fun fact: The original Bourne theme is c minor. This is what the CBC’s “Signature Series” has to say about this key:
Whether the Vivaldi concerto is in G minor. Mainly out of practical reasons, I think, they adjusted the Bourne theme to Vivaldi’s key, and not vice versa. (A cello concerto is just designed to be perfect to play on a Cello without transposing it.) However, I find that g minor is more fitting for the character of Bourne as well.