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Grand Piano OST Soundtrack


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Includes FREE MP3 version of this album.
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£15.46 & FREE Delivery in the UK on orders over £20. Details Only 2 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.


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30
2:41
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2
30
11:44
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30
10:50
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4
30
3:38
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30
3:28
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Amazon.com: 4.7 out of 5 stars 12 reviews
4 of 5 people found the following review helpful
5.0 out of 5 stars An inspired, inventive score from an emerging talent! 13 April 2014
By Movie Music Mania - Published on Amazon.com
Director Eugenio Mira seems to be writing a love letter to Hitchcock himself with the inventive thriller Grand Piano. Starring Elijah Wood as anxious piano prodigy Tom Selznick, the film takes place almost exclusively in a Chicago symphony hall during the pianist's return to the stage after a five year absence. His last performance became infamous for his failed attempt at playing his deceased mentor's notorious "La Cinquette", a reputably "unplayable" piece. Now, on his mentor's own piano (hauled out of storage just for this occasion), Selznick embarks on his hopefully redemptive performance. He quickly is confronted, however, by a series of ominous messages in his sheet music, a sniper rifle trained on him and a terrifying ultimatum: play one wrong note, and he will be shot dead. Like Speed on a customized Bösendorfer, Grand Piano is a preposterous, inventive, and extremely engaging bit of B-Movie fun.

Few films in recent memory have managed to play with music as inventively as Grand Piano does. The customized Bösendorfer that Selznick plays throughout the film is as much a living, breathing character as the smugly threatening voice of John Cusack, directing the pianist's every move at gunpoint. As such, the piano is the soul and center of the film's score, featuring prominently in every piece. What's inspired about this particular score is that it does double duty, acting both as the music played in film by the Chicago Symphony Orchestra and also the film's underscore, adapting to the momentum and tension of the film while keeping the fluidity and standalone strength of a classical composition. Attributed to a fictional classical composer in the film, the music is actually the work of Spanish composer Victor Reyes, best known for his score to the claustrophobic Ryan Reynolds thriller Buried. Combined with that score, Grand Piano solidifies why Reyes could soon be the new name in horror/thriller scoring!

The heart of his score is the Grand Piano concerto, a piece comprised of three orchestral movements played by Selznick and the orchestra during the film. With two movements ("Grand Piano Concerto - 1st Movement" and "Grand Piano Concerto - 2nd Movement") lasting over ten minutes each, this is a sizable chunk of Reyes' score and a beautifully structured one at that. Anchored by the nuanced piano work of John Lenehen, the movements run the gambit of emotions, with grandiose moments of awe and quieter moments of anxiety perfectly accentuating the momentum of the narrative. Reyes seems to take cues from some of the great classical composers, like Schubert and Rachmaninov (I'm sure listeners more fluent in classical music will be able to pick out further references), making for a trio as impressive as standalone listens as they are when integrated into the film's fast-paced narrative. With only five tracks total on the album, there is not a moment here I'd recommend passing over; Reyes' gorgeously enthralling work will have you rapt from beginning to end! Bookending the three movements of the Grand Piano concerto are "Grand Piano Main Titles" and "La Cinquette". The former, an off-kilter, tension-inducing piece, is guided (as expected) by sharp piano notes and some truly creative percussion work, calling to mind the gear-like inner workings of some formidable machine. It's a clear homage to Ennio Morricone's memorable main title piece from The Untouchables, down to its jaunty progressions and sinister infectiousness. The final piece on the album, "La Cinquette", described in the film as "unplayable" and representing quite literally everything Tom Selznick fears about his return to the stage, is a jaw-droppingly complex piece. Written for a solo pianist, it starts off reserved and contemplative and swiftly reveals itself to be something wild and formidable. The composer himself describes it as the "Octopus Concerto", for the reason that a pianist would need eight hands to play it!

Perhaps more than any other score you'll hear this year, Victor Reyes' Grand Piano absolutely commands its film. Rarely do you get the chance to hear music and narrative interacting in such a creative, inspired, and downright fun way. Even if the film is little more than a glorified B-Movie, it's evident that it's been constructed with great heart and care. And to boot, Victor Reyes has composed something that's really quite special to tie it all together - a score not to be missed, particularly if you're fond of Bernard Herrmann, classical music, or an irresistible blending of the two.

A Few Recommended Tracks: At only five tracks, you should just go for the whole album!
3 of 4 people found the following review helpful
5.0 out of 5 stars Too good to be overlooked 18 Mar. 2014
By Jon Broxton - Published on Amazon.com
Grand Piano is an ingenious thriller directed by Eugenio Mira, starring Elijah Wood as Tom Selznick, a brilliant but reclusive concert pianist whose career was shattered by terrible stage fright. After finally agreeing to return to the concert hall for the first time in years, Selznick begins to play a brand new piano concerto, but discovers a terrifying note on the sheet music: there is a sniper with his gun trained on him, and if he stops playing, or if he plays a wrong note, he will be killed. The film, which also stars John Cusack, has an astonishing original score by composer Víctor Reyes, who wrote a brand new piano concerto for the film, which pulls double duty both as the piece performed on-screen, AND acts as the film’s score – the ultimate diegetic cinematic experience.

The technical achievement that Reyes accomplishes here is nothing short of astonishing. Firstly, the piece is a fully functioning piano concerto which would not be out of place if heard in one of the premier concert halls of the world. Bold, passionate, lyrical, dramatic, and magnificently orchestrated, it is split into three movements of 12, 11 and 4 minutes respectively. Reyes structures his work like a classical concerto should be structured, and is performed with all the gusto and vitality one would expect from one of the world’s great ensembles. Although the piano is clearly the cornerstone of the score, Reyes allows his orchestra to swoop and dance around the central instrument, with several sparkling solos for violins and cellos taking center stage.

The “First Movement” begins passionately, building from its initial piano solo into a vigorous, vibrant suite for the full orchestra, before dialing down a notch towards its finale. The “Second Movement” contains a little more solo piano performance than the first, and a touch more classical elegance too, with more elaborate scales and runs. The pace really picks up around the three minute mark, with frantic fingering and hefty brass countermelodies, and becomes downright dissonant around 6:30, before reaching quite astonishing heights of action, drama and chaos towards its finale. The ”Third Movement” begins pensively, with con legno hits and hesitant flourishes shimmering around the piano performance, but concludes with a sense of relief and catharsis.

However, not only is the score a fully functioning classical work in its own right, but as it progresses the music actually matches the dynamic and dramatic arc of the film; it becomes more tense, more introspective, more angry, more dangerous, as the film dictates, meaning that Reyes and lead actor Elijah Wood had to match the mood of the film exactly as the concerto is played-on screen – no mean feat.

The concerto is bookended by two further cues: the “Main Title” is clearly an homage to Ennio Morricone, with staccato low-end prepared piano chords and grinding basses straight out of The Untouchables, although the orchestration is much more contemporary, with a subtle synth effect and even ghostly voices lending a moody air to the mix, while “La Cinquette” is an staggeringly difficult encore for solo piano touted in the film’s screenplay as being ‘unplayable’ – but, it clearly is, as this performance attests! However, as good as these two pieces are, the real meat of the score is in the concerto itself. It’s a masterful work, too good to be overlooked.
1 of 1 people found the following review helpful
5.0 out of 5 stars Awesome! 27 Jun. 2014
By Ytse - Published on Amazon.com
Verified Purchase
Even though it's short, Each song is masterfully pieced together and exciting! I also recommend watching the movie as well. Elija Wood and John Cusak are wonderful and the story is so intense and exciting. Great story line mixed with great actors and great music make for a pretty dang great movie and soundtrack!
1 of 1 people found the following review helpful
4.0 out of 5 stars Accessible modern piano concerto and more 10 Jun. 2014
By Truth to tell... - Published on Amazon.com
Verified Purchase
I would love to see the music from the soundtrack live on stage. It is a perfect blend of modern sensibility and lush romanticism. An excellent effort from Victor Reyes.
1 of 1 people found the following review helpful
3.0 out of 5 stars OK Movie, Great Soundtrack 20 Nov. 2014
By Erik V. - Published on Amazon.com
Verified Purchase
The movie was OK, but the soundtrack is great.
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