Mr. Holland's Opus - Original Motion Picture Soundtrack

Soundtrack music score does not marched.:
I purchased both CD's hoping to find the song "Someone to watch over me". One of the CD's had the song, BUT did NOT have the same person who sang the song on the movie. Thevoice was completely different.

Slightly Satisfying:
I expected much more from the Mr. Holland's Opus Score. While it was enjoyable, I would have preferred a mix of the Soundtrack and the Score. The only song that I could truly appreciate was the last one (Mr. Hollands Opus). If you like classical music, get it, if you just happen to enjoy Mr. Hollands Opus, opt for the Original Soundtrack instead.

Happy With Opus:
While watching this movie, I also pay attention to the music in the back ground. I LOVE the difference in the classical type and even Mr. Holland's Opus. Nice CD to listen and relax to.

AMAZING composing!!:
This CD is a music-lovers delight! If you are into the actual score that goes along with the soundtrack, this is the CD for you. I can't tell you how many times I've listened to the entire CD. It is beautiful music and it will speak to the music lover in all of you!

"Mr. Holland's Opus" may be Kamen's magnum opus:
It truly is a shame that Michael Kamen, was not, at least in my view, adequately recognized for his film work before his untimely death from multiple sclorosis in 2003. Were he still living now, I believe he would have been able to take on higher profile projects and become at least as well known as Horner, Goldsmith, and Zimmer among the general populace. Having said that, however, it is certainly a blessing that Kamen was able to have scored "Mr. Holland's Opus" before his passing. When trying to find words to describe the music in this film, the word that first comes to mind is "restrained." This is not used in a negative sense, however, but rather an appropriate description of Kamen's approach to his score. A period film such as this does not require the bombast and pomp-and-circumstance of "Star Wars". Considering the extensive use of period pop songs in the final print of the film, Kamen's role in the few cues he has is to subtly heighten the emotion already expressed by the actors. In analyzing the score from a thematic standpoint, a motif and two principal themes can be discerned. First, there is the three-note sequence of pitches that can be found near the beginning of track 1; this motif is repeated throughout the score in various contexts, typically in subtle reference to the changes that occur throughout Mr. Holland's life. The first true theme is also first heard in track 1; this is the main theme of Holland's "American Symphony" and can be heard in all its bombast in track 1 once the full orchestra enters. This theme serves as the "Holland" theme, as well as the "composition" theme, and is used primarily to signify the evolution of Holland's career from reluctant teacher to passionate educator. The final theme that is used consistently in the score is "Cole's Theme" which, obviously, is used and developed as the relationship between father and son splits and then is reconciled. All of these themes can be found in the penultimate track, "An American Symphony," which, technically, is more of a suite than a symphony, but who's counting? This track is truly a moving one and, as it is the culmination of the film and Holland's life work, represents various stages of his life via the various permutations Kamen's themes undergo in this track. In regard to the score as a whole, Kamen's music is subdued yet truly touching. Beautiful string and woodwind work can be heard throughout; the Seattle Symphony is to be commended for their performances. "Rowena" is one of the most haunting themes ever to grace the screen, and it is a highlight of the album. The album does take a couple of left turns when listening from beginning to end when the Beethoven 7th and the Bach concerto are heard. Kamen was a talented man; however, his style and abilities are in no way compatible with these two giants of western music. One wonders if these tracks were added to "pad" the album for length. Julian Lennon's performance of "Cole's Song" is adequate, though the instrumental version heard earlier in the album is, in this reviewer's opinion at least, far superior. In closing, this is an album that belongs in every film score collector's collection. Considering the time Kamen had to put into this score in order to have music that could be used during shooting, it is obvious that he passed with flying colors. It would be interesting to see how Kamen would be writing if he were still alive today; one wonders how much more mature would his already capable orchestrational talents be?