Includes FREE MP3
version
of this album.
or
Sign in to turn on 1-Click ordering.
More Buying Choices
Have one to sell? Sell yours here
Available to Download Now
 
Buy the MP3 album for 7.99
 
 
 
 
Sorry, this item is not available in
Image not available for
Colour:
Image not available

 

The Master: Original Motion Picture Soundtrack [Soundtrack]

Jonny Greenwood Audio CD
5.0 out of 5 stars  See all reviews (2 customer reviews)
Price: 14.23 & FREE Delivery in the UK. Details
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
 : Includes FREE MP3 version of this album.
   Does not apply to gift orders. See Terms and Conditions for important information about costs that may apply for the MP3 version in case of returns and cancellations.
Only 2 left in stock (more on the way).
Dispatched from and sold by Amazon. Gift-wrap available.
Want it Wednesday, 30 July? Choose Express delivery at checkout. Details
Complete your purchase to add the MP3 version to your Amazon music library. Provided by Amazon EU S. r.l.
Buy the MP3 album for 7.99 at the Amazon Digital Music Store.


Amazon's Jonny Greenwood Store

Visit Amazon's Jonny Greenwood Store
for all the music, discussions, and more.

Frequently Bought Together

The Master: Original Motion Picture Soundtrack + There Will Be Blood OST + Norwegian Wood OST
Price For All Three: 38.73

Buy the selected items together

Customers Who Bought This Item Also Bought


Product details

  • Audio CD (5 Nov 2012)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Nonesuch
  • ASIN: B008V0OKGG
  • Other Editions: Vinyl  |  MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 96,100 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
Listen  1. Overtones 2:190.99  Buy MP3 
Listen  2. Time Hole 1:410.99  Buy MP3 
Listen  3. Back Beyond 3:410.99  Buy MP3 
Listen  4. Get Thee Behind Me Satan (feat. Ella Fitzgerald) 3:450.99  Buy MP3 
Listen  5. Alethia 4:040.99  Buy MP3 
Listen  6. Don't Sit Under the Apple Tree (With Anyone Else but Me) [feat. Madisen Beaty] 1:360.99  Buy MP3 
Listen  7. Atomic Healer 1:230.99  Buy MP3 
Listen  8. Able-Bodied Seamen 3:540.99  Buy MP3 
Listen  9. The Split Saber 3:390.99  Buy MP3 
Listen10. Baton Sparks 2:190.99  Buy MP3 
Listen11. No Other Love (feat. Jo Stafford) 2:570.99  Buy MP3 
Listen12. His Master's Voice 3:330.99  Buy MP3 
Listen13. Application 45 Version 1 5:390.99  Buy MP3 
Listen14. Changing Partners (feat. Helen Forrest) 2:390.99  Buy MP3 
Listen15. Sweetness of Freddie 3:240.99  Buy MP3 


Customer Reviews

4 star
0
3 star
0
2 star
0
1 star
0
5.0 out of 5 stars
5.0 out of 5 stars
Most Helpful Customer Reviews
6 of 6 people found the following review helpful
5.0 out of 5 stars Eerie, haunting and sublime 15 Sep 2012
Format:MP3 Download
Propelled by the success of There Will Be Blood, director Paul Thomas Anderson has again collaborated with Radiohead guitarist and composer Jonny Greenwood producing another fantastically tense, dissonant and a times beautifully melodious and crafted tribute to the French composer, organist and ornithologist: Olivier Messiaen. Whilst Messiaen's influence plays a crucial part in the generation of the sonic soundscapes on this album of fifteen recordings, it is the presence of Polish composer Krzysztof Penderecki and French composer Claude Debussy that provide perhaps the more affecting and stirring moments in Greenwood's eleven original compositions. The inclusion of three 1950s era classics and an excerpt from the film itself allow for both a temporary respite and chance to reflect on the underlying emotions found within the score, juxtaposing absolutely brilliantly. Undoubtedly, although I have yet to see what critics and public alike are already declaring a modern masterpiece, this score will stand strongly as a companion piece and, contextualised, as a fantastic addition to Paul Thomas Anderson's sixth feature film.
Notable moments: Alethia, Able-bodied Seamen and Application 45 Version 1.
Comment | 
Was this review helpful to you?
1 of 1 people found the following review helpful
5.0 out of 5 stars The master soundtrack 2 May 2013
Format:Audio CD|Verified Purchase
It is very rare that a film and it's soundtrack shine in today's film world but i think the master film/music make a powerful duo. There is some beautiful songs that i think will appeal to anyone watching the film Ella Fitzerald's GET THEE BEHIND ME SATAN is a perfect example the way this song is used near the start of the film and the for story what lies ahead for our main man freddie quell this song is a perfect fit. Also Jo stafford's NO OTHER LOVE is another gem, the music johnny greenwood provides is stunning no other way to describe it i can see why Paul T Anderson worked with him again, the music is haunting spine tinging and rare and is fitted in so well.I have watched the film twice now there is plenty of things going though my head the amzing story, acting and the music. My only dissapointment was at the end of film Actor Philip Seymour Hoffman sings a couple of lines of a song called (I want to take on a slow boat to china) to joaquin phoenix's freddie character which is a very sad and moving moment it is not included on this soundtrack but another character sings a song in the film that is included on this soundtrack called Dont sit under the apple tree. Forgetting that blip it's a wonderful soundtrack to a 5/5 film i do hope PTA and johnny greenwood work together in the future keep making sweet music for us movie fans.
Comment | 
Was this review helpful to you?
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 3.7 out of 5 stars  11 reviews
18 of 18 people found the following review helpful
5.0 out of 5 stars Absolutely sublime and haunting film score for one of the most anticipated films of the year 15 Sep 2012
By K. Corn - Published on Amazon.com
Format:Audio CD|Verified Purchase
For those not yet in the know, The Master is director Paul Thomas Anderson's latst film, one which - at least according to quotes I've read from Anderson - tells a tale which bears similarities to Scientology and its leader L. Ron Hubbard. Not surprisingly, even before release, the movie has stirred up its share of controversy.

But on to the music.... released before the film and a joy to hear. Jonny Greenwood, of Radiohead fame, has done an impressive job creating the score.

The first piece, Overtones, is a lovely classical introduction, and weaves throughout the rest of the album, at least in bits and pieces. Another highlight is the glorious Ella Fitzgerald singing of a man she "shouldn't see" in Get Thee Behind Me Satan. The theme, desire and ambivalence, is captured in her inimitable style - for this piece it is smooth and languorous. As wonderful as this song is, I confess to a special fondness for Changing Partners, sung by Helen Forrest. It has such yearning and passion! I listen to it repeatedly.

Accurate to the timeline of the film, set in the 50s,the music is sublime - sensual, haunting, and with undercurrents of sadness and mystery. Perhaps "bittersweet" best captures the overall feeling. At times, it seems reverent. The vocal selections mix well with the instrumental compositions.

Film scores are tricky. When done well, they add depth and resonance to movies. But at their worst, they are jarring, unrelated to a film's theme, and unbalanced. I'll leave it to you to decide whether you think the music works with the movie. My take is that this is an album which stands solidly on its own, not to be missed.
8 of 8 people found the following review helpful
5.0 out of 5 stars An album to stand on its own (avoid the vinyl version, though!) 22 Oct 2012
By M. Fulkerson - Published on Amazon.com
Format:Vinyl|Verified Purchase
It's quite a rare thing for a soundtrack album to have so much resonance and power that it stands by itself as a musical experience to be witnessed separate from its accompanying film. I haven't yet seen "The Master", but Jonny Greenwood has created an album of stunning depth and emotion. How often do any of us ever listen to a soundtrack album before we see the film, anyway? I think most of us Radiohead fans would answer that question in the same way when it comes to this particular soundtrack, but Greenwood has outdone himself in showing us his massive talent with displaying an understanding of different musical genres across the board.

This soundtrack is very reminiscent of his "There Will Be Blood" score with it's slightly staggered syncopated string jabs, deep melancholic bass melodies, and an overall feeling of weirdness. His scores are just as uncomfortable as the characters that act to this music, but Greenwood always knows when to bring the heart-achingly human elements of melody and tunes-smith into the otherwise frenetic frays of his discordant classical noise.

There are some older tracks peppered in from Ella Fitzgerald, Helen Forrest, and Jo Stafford which take absolutely nothing away from Greenwood's compositions. If anything, they give the classical proceedings that much more flavor; the instrumentals are harrowing to say the least, and the voices are a welcome and fluid break.

My only complaint with this soundtrack lies with a physical manifestation of the vinyl packaging and not the music. The vinyl version only contains 12 tracks, where the CD version contains the full 15. In fact, there is a sticker on the jacket which reads "includes CD of the complete album". Uhh, what? Us vinyl collectors get stiffed three tracks? Why does the label think we're buying the stinking vinyl in the first place?? Sure, they give you a CD with all the tracks, but is there a sufficient reason why three short tracks were omitted? The tracks that are not on the vinyl are "Time Hole", Don't Sit Under The Apple Tree", and "Atomic Healer", tracks that total under five minutes in length combined. I know some may argue that "hey, it's only five minutes, what's the big deal?" I would argue that I bought the soundtrack on vinyl to have the FULL version on vinyl! Pretty simple! When you look at the dead wax on each side of the record there is more than enough space for extra tracks. We're talking about a 45 minute soundtrack here! Very disappointing.

Getting back on track, this is a beautifully rendered soundtrack by Greenwood that will merit repeated listenings on its own, and will only garner the artist more respect, as if he needed more! A performer, and an album, to be cherished.
10 of 11 people found the following review helpful
4.0 out of 5 stars The cult of personality 5 Oct 2012
By Jon Broxton - Published on Amazon.com
Format:Audio CD
Despite living in Los Angeles, and despite being a very casual acquaintance of someone who I know for a fact is one, I know very little about Scientology. You occasionally see them set up on Hollywood Boulevard, offering `stress tests' to unsuspecting tourists, and you hear odd stories about Tom Cruise in the tabloid news, but beyond that my actual knowledge of the details of the late L. Ron Hubbard's much-derided `celebrity religion' is sketchy at best - little more than lurid tales of science fiction, aliens, past lives, and the like. In Paul Thomas Anderson's film The Master, the word `scientology' is never uttered, but it's clear what is going on, and the film is a less-than-pretty expose of the origins of the religion.

Set in the 1950s, the film stars Joaquin Phoenix as Freddie Quell, a WWII navy veteran with post-traumatic stress whose assimilation back into to civilian life is less than easy. A womanizer and a drunk with a violent temper, Freddie seems to be on the path to self-destruction, until he meets Lancaster Dodd (Philip Seymour Hoffman), a charming, well-educated `self-help' guru, who travels the United States with his serious wife Peggy (Amy Adams) and a cadre of acolytes and sycophants, espousing his book - "The Cause". Finding meaning in Dodd's words and exercises, and despite his damaging and self-destructive personal issues, Freddie quickly becomes a trusted confidante, but before long his volatile personality clashes with Dodd's calm demeanor, threatening to bring down the entire organization from within. Although the core concept of the film - an unyielding examination of the cult of personality and new age religions - is an interesting one, and despite crackerjack performances from Phoenix and Hoffman especially, Anderson's pacing and direction unfortunately makes the film something of a chore to experience, burying any deeper points Anderson wanted to make underneath layers of uncomfortable silences and impenetrable stares.

The music for The Master is by British composer and rock musician Jonny Greenwood, who is still best known for his time spent as lead guitarist of the alternative rock band Radiohead, but who has been shown to have a great deal of classical compositional talent, both in his film work, and in his classical commissions for the BBC Concert Orchestra. Much like his scores for Norwegian Wood, We Need To Talk About Kevin, and his last work for this director, There Will Be Blood from 2007, The Master is a difficult work which will alienate a great deal of its audience. Written mainly for a string orchestra, it clearly bears the musical characteristics of Greenwood's classical hero, Polish composer Krzysztof Penderecki, as well as echoes of some of the most challenging composers from film music's history, including Alex North, Lenny Rosenman and Jerry Fielding.

The score veers from the tonal to the atonal, the consonant to the dissonant, the pleasantly harmonic to the virtually unlistenable, often within the same cue, mirroring the schizophrenic unpredictability of Freddie's personality, and the clash of calmness and violence between Freddie and Dodd. The opening "Overtones" is a perfect example of this, in which Greenwood has a bed of strings and a subtle pipe organ - possible to hint at a spiritual element - play a sequence of chords that are by turns warm and welcoming, and chaotically noisy.

This sense of musical displacement continues throughout almost the entire score, from the babbling woodwinds in "Time Hole" and the mesmerizing harp scales and strangely playful oboe textures in "Alethia", to the unexpected world music nuances of "Atomic Healer", the pseudo-religioso church organ and string chords of "The Split Saber", and the vicious Threnody-like dissonance of "Baton Sparks". It wants to be pious and reverent, and has all the trappings one would expect to hear in church music that has a great deal to say, but Greenwood cleverly twists his music to be a representation of Dodd's own teachings: they pick at the surface of things, fudge the details, blur the corners, and make bold statements about the world and his importance within it, but they have no emotional core, no sense of direction, and little in the way of tangible substance to grasp on to.

"Able-Bodied Seamen" is one of the score's standout cues, underpinned as it is by an insistent subtle percussion beat, and with all manner of woodwind and string-based flutterings dancing over the top. It has a vaguely Indian, perhaps Moroccan influence to it which is quite appealing. The barest hints of thematic consistency peek through the haze in `Back Beyond" and the conclusive "Sweetness of Freddie", while the penultimate cue "Application 45 Version 1" is just over five-minutes of repetitive, hypnotic build up and release, maintained by a relentless col legno beat in the strings and a grinding cello phrase. For the most part, though, this is a score about textures and feelings; shades of light and dark, good and evil, chaos and harmony. It's a clever score, which juxtaposes and often plays in jarring counterpoint to the action on screen, but nevertheless retains a compositional excellence and mastery of orchestral technique that is never anything less than impressive.

The score is rounded out by a quartet of period songs, ranging from Ella Fitzgerald singing "Get Thee Behind Me Satan" to Jo Stafford's "No Other Love", and a Madisen Beaty rendition of the classic "Don't Sit Under the Apple Tree With Anyone Else But Me", which sounds ridiculously upbeat and cheerful in these surroundings.

Having been denied a chance at gold due to a technicality with the score for There Will Be Blood in 2007, I can definitely see this score picking up an Academy Award nomination next spring. It's the type of score the Academy likes: serious music written by a composer better known for his work in other genres, for a critically acclaimed film, and which places emphasis on modernistic techniques and challenging collisions of sound. There's a reason North and Rosenman picked up so many nominations over the course of their careers. This is not a score for the easily bored, or anyone who craves thematic consistency of major key harmony in their scores; I myself don't really *enjoy* listening to The Master for musical pleasure per se, but I do know intelligent musical composition when I hear it, and Jonny Greenwood has it in spades.
6 of 6 people found the following review helpful
5.0 out of 5 stars Superb Score for an American Classic 8 Oct 2012
By Reticuli - Published on Amazon.com
Format:Audio CD|Verified Purchase
The music that Jonny Greenwood composed for "The Master" has to be one of the best scores for a film in ages. It's a gem from start to finish with impressionistic cues and lengthy passages that could hold their own on the concert stage in any hall. The songs included (which usually in a soundtrack are marketing filler) are anything but being sung by luminaries Ella Fitzgerald, Jo Stafford and Helen Forrest and could not be more apt for the narrative along with the original score delineating the characters' emotional states and interactions.

I hope Greenwood's music (unlike his equally superb and snubbed "There Will Be Blood") gets an Oscar nod deeply deserved. It doesn't hurt that "The Master" is a gem movie as well as its score and nothing beats a masterful combo, not that a good soundtrack ever rescues a bad film. Happily that is not for a moment the case.

Last of all Greenwood has also composed the score for the recently released film "We need to talk about Kevin" with the score still not available commercially. Hopefully Nonesuch or some other label will pick it up for general release.
2 of 2 people found the following review helpful
4.0 out of 5 stars A brush with classical music and some retrospective ideas 3 Mar 2013
By Grady Harp - Published on Amazon.com
Format:Audio CD
Johnny Greenwood has collaborated with writer/director Paul Thomas Anderson on some of his other films and the two seem to have found a playing ground that provides a compatible platform form which to mold a story - no matter how challenging and bizarre.

The opening images on this movie are of water as churned by the motors of a boat - a gorgeous panorama of an aqueous world disturbed by man and for this image Greenwood has created `Overtones' - music that sends the mind searching for the classical music composer who may be at the bottom of the creativity. But it is pure Greenwood and while it is dissonant and disconnecting it sets the mood for the film that is to follow.

Another bit of clever music planning for this story set in post WW II 1950 is the inclusion of songs of the time as performed by the stars who made them great. Ella Fitzgerald's recording of `Get thee behind me Satan' is particularly well placed in the storyline, as is `Changing Partners' sung by Helen Forrest, `Don't sit under the apple tree' with Madisen Beat. The one song that may through classical music lovers for a loop at first is the inclusion of Jo Stafford singing `No other love' - the1950 version of the song which is lifted from Étude in E major, Op. 10, No. 3 by Frédéric Chopin (not the Richard Rogers' tune from both Victory at Sea and `Me and Juliet' fame written in 1953).

It all works well and if the audience finds Greenwood's score dissonant and disturbing then the message of the story has indeed connected aurally! Grady Harp, March 13
Were these reviews helpful?   Let us know
Search Customer Reviews
Only search this product's reviews

Customer Discussions

This product's forum
Discussion Replies Latest Post
No discussions yet

Ask questions, Share opinions, Gain insight
Start a new discussion
Topic:
First post:
Prompts for sign-in
 

Search Customer Discussions
Search all Amazon discussions
   


What Other Items Do Customers Buy After Viewing This Item?


Look for similar items by category


Feedback