I enjoy Michael Nyman's music, not just his film scores, and these are great little pieces. Listen to the plangent violin over the piano chords in Miserere Paraphrase, if you don't like it listen again till you do (you will). As film scores some lose context played as music alone (Trysting Fields) but generally the minimalist chord progressions, the melodies, the orchestration, tthe energy and the spirit win through. Delicious.
Not great. Quite irritating in fact. I've yet to be convinced by Micheal Nyman. The choice of instrumentation was interesting at first, any effort to successfully integrate the crumhorn into a piece is worth a nod. However, much of this collection was rather grating and cringeworthy. At first, wishing to keep an open mind, I found the repetitive strains of the music somewhat effective, with the gradually increasing intensity that resulted. This would have worked well if the composer had the courage of his convictions and hadn't so often led the listener down a rather dull path to nowhere. This collection perhaps highlights the limitations imposed by the requirements of a film score but, having listened to many superior film soundtracks, I don't think that is a sufficient defence. The score for 'The Piano' has some nice music in it, but it's a bit obvious. Try the sublime Claire Denis soundtracks by Tindersticks instead. Give Johnny Greenwood's 'There Will Be Blood' score a go. If you enjoy simple, beautiful, introspective melodies with accompanied repetitive arpeggios, Yann Tiersen is far superior. Einaudi is not far behind either.