Although constrained by the requirements of the genre - harpsichords abound - Newman actually doesn't stick too rigorously to formula, which at least makes it more interesting than it might have been. One of the major motifs is a piano melody which actually wouldn't sound out of place in a Thomas Newman score. Quite often, it is mixed in with the harpsichord which makes for an interesting counterpoint, keyboard instruments not often played alongside in such a fashion. Although generally quite active, most of the music is pretty low key, but the dramatic high points are taken to operatic proportions. Rohan's Arrest is an early highlight with some none too subtle choral writing which perhaps seems out of place, but presumably as a pivotal point in the story, can get away with such an outburst. The most wildly anachronistic cue is Rohan Meets with Fake Antoinette, with synthetic percussion against harpsichords, seemingly to achieve a most effective musical nightmare, even if the synths do seem very out of place.
Despite plenty of fine moments, album doesn't quite have the dramatic and narrative drive that perhaps it might. By keeping the orchestral palette quite varied, it gives the impression of never quite being able to settle on one idea. The fact that the core melodic material isn't particularly strong doesn't help - despite a clear presentation of Jeanne's Theme in the second track, I'd be hard pushed to recall it after the event. Another strike against coherence is the brevity of many of the tracks. However, despite all that, it's still worth a listen and yet another pretty good David Newman score for a crappy film. It does make one ponder what Newman might come up with if faced with a genuinely good film, I suspect we'd all be pleasantly surprised.
Rating ~ Total Time ~ 41:09
Yet again I must lament the films that David Newman has the misfortune to be associated with. The Affair of the Necklace might have starred Oscar winner Hilary Swank, but it was a critical and financial flop. It is my estimation that nine times out of ten, period drama should be left to the BBC and the music left to Carl Davis, George Fenton or Patrick Doyle. Actually, that's a little unfair on David Newman's score, which if not great, is certainly diverse and fairly interesting.
Coronation Anthem No 1 (Handel)