Nhạc phim beauty and the beast 2017 mp3

1. The Green Knight 2. Jungle Cruise 3. Blachồng Widow 4. monster Baby: Family Business5. The Tomorrow War6. Luca
1. John Williams in Vienmãng cầu 2. Space Battleship Yamalớn 3. The Legend of Zorro 4. Star Wars: Empire Strikes Baông chồng 5. The Forbidden Kingdom 6. Wonder Woman 19847. Robin Hood: Prince of Thieves8. The call of the Wild
1. Alice in Wonderlvà 2. Star Wars: Rise of Skywalker 3. LOTR: Fellowship of the Ring 4. Solo: A Star Wars Story 5. Justice League 6. Gladiator 7. Harry Potter: Sorcerer"s Stone 8. Spider-Man9. How to lớn Train Your Dragon10. Alice Through the Looking Glass





Walt Disney Records (Original)(December, 1991)Walt Disney Records (Special Edition)(December 18th, 2001)Walt Disney Records (Legacy Collection)(February 9th, 2018)
The original album was a regular U.S. release in 1991, but it fell badly out of print in the late 1990"s. Duplicate re-pressings solved that problem & it was widely available once again by 2000. The "Special Edition" release of 2001 is not limited in its pressing và was priced at the same rateas the original album. The 2018 "Legacy Collection" phối is also a regular commercial release, retailing for under $15.

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The song "Beauty & the Beast" và the score both won Academy Awards, Grammy Awards, và Golden Globes. The songs "Belle" and "Be Our Guest" were also nominated for Academy Awards. The tuy vậy "Be Our Guest" was nominated for a Golden Globe as well. The score was nominated for a BAFTA Award.
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Beauty và the Beast (2017)
•	The Little Mermaid
•	Aladdin
•	Pocahontas
•	The Hunchback of Notre Dame

Buy it... on the definitive 2018 expanded set if you want only thebest that the animated musical genre has lớn offer, for Beauty và theBeast is arguably the top such film of all time.Avoid it...

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on the 1991 or 2001 albums if you seek a decentlymastered or satisfyingly complete presentation of Alan Menken"smelodically rich score for the film.

Menken

Beauty and the Beast: (Alan Menken/Howard Ashman) Afair number of critics have sầu speculated that Disney"s 1991 Christmasrelease of Beauty & the Beast is the best animated film of alltime. How the film measures up to lớn the studio"s classics of the GoldenAge remains under debate, though few would argue that it doesn"t shineabove the rest of Disney"s often impressive output during therenaissance of its musicals in the 1990"s. The trilogy of The LittleMermaid, this film, và Aladdin is unquestionable in itscumulative quality, và while these films may not have blown away boxoffice records, they have sầu remained critical and favorites through theyears, especially compared to lớn the substandard musical entries to lớn follow.Composer Alan Menken, aided early in his journey by lyricist HowardAshman, won multiple Academy Awards for all three entries, dominatingthe Oscars in music awards for several years. But it is Beauty andthe Beast that endures as his (and the studio"s) crowningachievement. Its high sense of class và style make it one of theeasiest of the Disney soundtracks to lớn enjoy repeatedly, and its knaông xã forcapturing the enchantment of the film is devoid of the silliness thatusually plagued other entries of the era. Most importantly, it provedthat The Little Mermaid wasn"t a fluke và opened the financialdoors for a new era of animated films & their music. There arecountless highlights khổng lồ the music for Beauty và the Beast; amongthem are an outstanding array of songs weeded out from a largercollection that would eventually khung the Broadway production of theconcept in 1994, crisp & emotionally powerful performances by theorchestra for most of their non-song contributions, & an intelligentselection of vocal talent led by the resounding voice of Paige O"Hara inthe role of Belle. Even in its darkest moments, the score and songs ofBeauty and the Beast retain a convincing atmosphere of fairy talemagic (mostly owing lớn tingling percussion and an uncanny resemblance inwriting lớn Rachel Portman"s 1990"s style) that was slowly lost inMenken"s later scores, conveying its ever-positive sầu tone from start tofinish. It also helps that the spoken voices also perkhung their ownsinging, an aspect partially lacking in later Menken musicals.The 1990"s and 2000"s witnessed several musicals receivethree Academy Award nominations for a single film"s songs, & Beautyand the Beast largely started this trkết thúc. (AMPAS would eventuallycreate a rule abolishing such domination of the category by one film.)In this case, "Belle," "Be Our Guest," & "Beauty and the Beast" wereall recognized (the last of which, obviously, winning the award), andMenken earned another, better-earned Osoto for "Best Score." Thesnare-tapping tuy nhiên of introduction, "Belle," is among mỏi the mostsatisfying and clever cast pieces in history, with a secondary phrase at2:30 (the fountain sequence) that alone might have earned the song"sOscar nomination. The reprise of this tuy vậy allows O"Hara to persize theprimary phrase of the tuy nhiên at a slower tempo & with full orchestralbacking, assisting the scene in mirroring the scope of The Sound ofMusic. The French setting of the story really takes hold in thevillain"s tuy vậy, "Gaston," a surprisingly romantic waltz-like piece thatrelies on its vocal inflection and humorous lyrics to lớn produce itscomedy. The reprise of this tuy nhiên is more of a narrative bridge than asvào extension of the tuy vậy, but it serves its purpose. The nextmusical number is the ever popular "Be Our Guest," choreographed lượt thích ascene right out of a Busby Berkeley film and flourishing due lớn aspirited lead performance by Jerry Orbach. Comparatively a lightweight,"Something There" is a fluffy entry that shares many instrumentaldevices with "Belle" (as well as a reprise of the secondary phrase fromthat song) and is equally affable. Images of Frankenstein inspirethe scenery of "The Mob Song," a gọi to arms piece with plenty ofraucous high brass accompaniment. (It"s hard not khổng lồ recall theincompetent American president George W. Bush when Gaston pronounces"You"re either with us or against us.") The final tuy vậy is the populartitle ballad, performed surprisingly well by Angela Lansbury andtranslating inkhổng lồ the pop tuy nhiên heard over the kết thúc credits. Lansburyremarkably continued to perkhung this tuy nhiên in concert more than twodecades after the film"s release. For the 2001 "Special Edition" releaseof the film, almost all the original cast was reassembled khổng lồ persize theFrench-styled "Human Again," a tuy nhiên for the castle servants originallystruông chồng from the film but popular in the Broadway adaptation; it containsthe lovely "Romeo & Juliet" scene as an interlude.On the whole, the songs are all remarkably upbeat, andnone of them uses intentionally stupid comedic performances khổng lồ appeal tochildren, unlike those that would come later in Menken"s career. Thisseriousness, without compromising the children"s aspect of the film,enhanced the soundtrack"s appeal khổng lồ adults as well. Theconservatively-rendered pop tuy nhiên was a glimpse at a forthcomingmega-movie tuy nhiên presence for Celine Dion, whose performance of "Beautyand the Beast" made many fans wish that she had been provided it as asolo. The instrumental score is a vast improvement over The LittleMermaid in the unique of writing, performance, và recording. It"snot as robust as Menken"s own adaptation for the 2017 live-actionversion of the same score, but many of the symphonic seeds of greatnessin that later, fuller work are evident in the 1991 original. Many of themelodies of the songs are used throughout the score tracks, but some aresingular to just the score. Others were either inspired by songsultimately cut from the film or adapted into lớn phrases of the Broadwayproduction"s numbers. Rising above sầu several minor motifs, the two majorthemes restricted lớn just the score are the "curse theme" & "Beasttheme," and both are heard prominently in the famous "Prologue" cue.Easily the best cue in the entire score, the mystique of "Prologue" isaided by David Ogden Stiers, whose serves as narrator as well as withaccent in the role of Cogsworth. While the vocal mix is extremely bassheavy & assists the score in its resounding power during the film"sopening sequence, a score-only version of this cue has long been desiredby fans. (The only way to lớn obtain it is through bootlegs, because noofficial album has ever offered this instrumental recording). The cursetheme is prevalent throughout the cue, though the descending Beast thememakes a pronounced appearance at 1:35. Menken appropriately hints at thetitle theme at the end of the cue. Also a highlight is "West Wing,"which features some of the most dynamic performances of the orchestra inthe entire film. It opens with fragments of the "Be Our Guest" melodybefore turning dark at 1:45 with the Beast theme & following with abrass action motif that smartly works in hints of the title theme. Thecue "The Beast Lets Belle Go" also features a brief burst of this actionmotif, but this portion of the cue is part of 1:30 in length that is cutoff the end of the album presentation. A hint of even Gaston"s theme isheard upon Belle"s saving of her father & return trang chính.Of the other score cues heard on the original two albumreleases for Beauty and the Beast, "To the Fair" is theflightiest, a pleasant extension of the themes from "Belle." The "Battleon the Tower" cue offers several dueling themes, but the mixing of thiscue is unfortunately far less dynamic than every other in the score, acuriosity that extends across both earlier commercial albums. Pieces ofthe themes for Gaston, Belle, và "Be Our Guest" lead to lớn the whimsicalfinale performance of the Belle theme with a final last burst of theBeast"s motif. In "Transformation," the curse theme resolves at 2:35 andthe Beast theme follows suit at 3:00, turning from the minor key intothe major with predictably heroic results. The curse theme becomes anoble fanfare at 3:45 &, following Disney tradition, Menken once againoffers a choral reprise of the title theme lớn cthua kém out the film. Analternate version of the first part of this cue was recorded andincluded on the 2001 "Special Edition" album under the title "Death ofthe Beast." A lovely viola rendition of the title theme & major keyhints of the Beast"s theme are presented in the tone of Rachel Portman"slater melancholy orchestral techniques. Several significant cues weremissing from these early album releases, including "Belle"s New Home,"an almost two-minute piece with tragic versions of the Belle and cursethemes culminating in an important crescenbởi vì as the camera pulls backfrom Belle crying in her new room and the scene concludes with a shot ofthe castle during a snowstorm. More disappointing an omission is"Gaston"s Plan" at about 1:45 in length, the scene directly before the"Mob Song" when Belle"s father is being taken away to lớn the asylum. Thiscue is a very robust instrumental reprise of Gaston"s theme và offers afrantic interpretation of Belle"s melody as well. Other miscellaneousnotes about the score include Menken"s nebulous employment of asecondary love theme that, along with the curse theme, eventually becamean interlude in the tuy vậy "Home" on Broadway; parts of this idea alsoinform "Something There." One of the score"s persistent detriments isMenken"s liberal use of consecutive cymbal hits to create a sense ofwonder, a technique that becomes a tad obnoxious in "West Wing"particularly, especially as the Beast"s theme is conveyed. Theorchestrations are generally lighter than in Menken"s 2017 adaptation,of course, but the 2018 album for the original film contains a betterbalancing of treble và bass elements than prior offerings, negatingsome perceptions of sparse orchestrations that linger about the 1991recording.