Robotech: The Shadow Chronicles Soundtrack
导演Tommy Yune和作曲家Scott Glasgow对专辑的寄语
- Tommy Yune
- Scott Glasgow
A note from the director
This project began as a dream borne of the unresolved finale of the original 1985 ROBOTECH television series.
As fans ourselves, we refused to believe that the epic saga could just abruptly end with Scott Bernard's bittersweet departure to the stars.
Ulpio Minucci and Arlon Ober had set the bar very high with their unforgettable score for the classic ROBOTECH series. With notable anime composers such as Yoko Kanno continuing to break new ground, we were certain that audiences would harbor even more sophisticated expectations today.
We were very fortunate to have the privilege of working with Scott Glasgow. He is a true renaissance man of music with a wide range of experience with live musicians, exotic instruments, trained vocalists, and the latest digital technologies in music. We started with a relatively modest budget and pulled every last trick in the book to end up with a big feature film sound to match the epic scale of the ROBOTECH story. Scott's music truly became half of the picture. What you are hearing is the culmination of many months of hard work by many talented individuals.
A note from the composer
The music to ROBOTECH: THE SHADOW CHRONICLES presented many challenges (88 minutes of wall-to-wall, large, dramatic space-opera style music), but it also presented an incredible musical opportunity to explore my imagination in ways I never dreamed of. Science Fiction, by its very nature, is such a fertile ground for a composer to work with. This is why it is my favorite genre, both to create music in and to listen to the music of other composer who have written sci-fi scores.
Early on, the director (Tommy Yune) and I set out to create a fresh NEW score in a modern "Hollywood style" to this new Robotech film, but we also wanted to incorporate the original themes written by Ulpio Minucci from the original '80s television series. My first reaction to the script was to create a "leitmotiv" type score (with distinct musical themes representing people, places or objects) which I felt supported itself very well to the deep story line and characters. There are many music themes in this score. The "Ariel" (love) theme, the "locket" theme, the "heroes" theme (both old and new), the "Grant" theme, the "Ark Angel" theme. "JANICE" theme, and many others all woven into the tapestry of the music. Some characters ended up with more than one theme. The main antagonist (the Haydonites) ended up with a march, a "mystery" motive, an "enigma" chord, a fanfare and a low choir motive. However, this score is not strictly made up of just musical themes.
There are also "textures" for certain characters. The Invid, for example, is made up of ethnic instruments with a focus on percussion and used mixed meters like 7/8 (odd. rhythmic pulses) for beats. The Regess, the warp tunnel, the armata, the fighter-pilots, and many other areas get a similar treatment of "texture" in place of thematic development. Using both the thematic "lietmotivs" and musical "textures" the score has a greater cohesion in telling the large sweeping story of Robotech.
I should also make a note of the vast diversity of instruments used in this score. Besides the standard orchestra of strings, winds, brass and percussion. I utilized other unorthodox instruments from different countries and different time periods. In this score, you will find a serpent (medieval), coronetto (medieval), zurna (ancient oboe), didgeridoo (aboriginal). Tuvan throat singing (monk drones), bamboo flutes, conch shells, wine glasses, an electric cello, various synths. a plethora of percussion from Hawaii to Native American to Japanese to Chinese, and all over the world. On top of this, I had the magical singing of Melissa R. Kaplan.
I feel very honored to have had the opportunity to work on this tremendous sci-fi story and add to the legend that is Robotech.
I hope you enjoy the music.