Coinciding with the 500th anniversary of Christopher Columbus' discovery of America in 1492, the year 1992 saw the appearance of two Columbus related movies, Christopher Columbus: The Discovery and 1492: Conquest of Paradise. Both were epic in nature, ambitious in execution and both were miserable failures. The latter in particular sticks out because it was directed by Ridley Scott, the director of Alien, Blade Runner and Thelma & Louise. Despite a strong cast that included Gérard Depardieu, Sigourney Weaver, Frank Langella and Alfred Molina and beautiful cinematography, the movie was a long and boring dud. It is barely ever seen today and is probably a film Scott would rather forget. However, despite the poor performance of the film there was one aspect that has kept the film's memory alive: the music of Vangelis.
Vangelis' previous collaboration with Scott had been the futuristic Blade Runner of 1982. Ten years later we can hear distinct improvement and sophistication in the style of Vangelis. Whereas Blade Runner was a mismash of different cues made specifically to fit a certain scene in the film with very little that kept the score intact as a whole, 1492 distinctly adds cohesion by keeping the musical styles more uniform. Vangelis has never been one that uses themes to any great extent in his music and therefore relies more on the atmosphere of each cue to hold the integrity of the music intact. But the big problem is that Vangelis is not a film composer first and foremost. He is a composer whose music is much closer to concert music. Therefore it comes as no surprise that the music in 1492 is one of the worst fits of music and pictures in cinematic history. Vangelis just doesn't care about the sudden changes between scenes and moods when they don't fit with his preconceived rhythms. The end result is the complete opposite of what the music should do: that is to support the action on screen. On album however it is a soundtrack like no other. This is one of those rare occasions that a soundtrack actually works better outside of the film's context than in the film for which it was originally written.
As mentioned before, Vangelis' use of synthesizers had greatly improved since Blade Runner. The defining aspect that makes 1492 sound much fuller and impressive is the use of a rich adult chorus throughout in the score. To this he also adds mandolins and guitars to create that Spanish sound, although there really is very little that actually suggests the period and setting of the film. But then again we are not supposed to be listening a traditional soundtrack from a movie but a lyrical new age Vangelis composition that is a listening experience. All the tracks segue one into the other in order to provide a flowing listening experience. The only real feel of actual thematic material comes in the tracks "Conquest of Paradise" (the most famous choral track here) and "Twenty Eighth Parallel" where the same melody is transferred for piano to a stunningly beautiful effect. Other brilliant highlights are "Light and Shadow" with its pounding rhythms, chorus, and powerful strokes of harpsichord, "Deliverance" which concludes with words from the Dies irae, "West Across the Ocean Sea" with its sad and lyrical melody and the final "Pinta, Nina, Santa Maria", an extended finale that continuously adds new elements to its simple melody. The only real tracks that are less than enjoyable are "Hispanola" and "Moxica and the Horse" where we have the music turning perhaps a little too modern or adding a little too much of an annoying ethnic male vocal that becomes a little ridiculous.
This is an album that works best when you forget that you're listening to a soundtrack album and treat it as a free-flowing new age album instead. The album for 1492 has been selling well ever since its appearance in 1992 and is still holding up quite well. It is an immensely satisfying listen and provides excellent background listening on a beautiful summer's day. The main title track in itself could already warrant purchase and with so much beautiful music can appeal to almost everyone's tastes. A classic Vangelis score that raises above almost everything he has composed before or since and a safe recommendation for anyone appreciating music of sublime beauty and elegance.
1. Opening (1:23) 2. Conquest of Paradise (4:48) 3. Monastery of La Rabida (3:38) 4. City of Isabel (2:17) 5. Light and Shadow (3:47) 6. Deliverance (3:29) 7. West Across the Ocean Sea (2:53) 8. Eternity (2:00) 9. Hispanola (4:57) 10. Moxica and the Horse (7:07) 11. Twenty Eighth Parallel (5:14) 12. Pinta, Nina, Santa Maria (Into Eternity) (13:20)
Music Composed, Arranged and Performed by Vangelis Recorded and Mixed by Philippe Colonna at Epsilon Laboratory, Paris Spanish Guitar and Voices: Bruno Manjarres and Pepe Martinez Mandolin and Violin: Francis Darizcuren Flutes: Didier Malherbe Vocals: Guy Protheroe English Chamber Orchestra Recorded at CTS Studios, Wembley Conducted by Guy Protheroe
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