Steven Spielberg's ambitious 20-hour miniseries chronicles the (mythical?) 50-year interaction of extraterrestrials with America's citizens, military and government. Given its subject matter and executive producer, some... more » John Williams musical parallels aren't unexpected, and indeed the brassy ebullience of composer Laura Karpan's main theme recalls some of the unabashed romanticism of earlier Williams/Spielberg collaborations. But as writer/producer Leslie Bohem notes, there's a metaphorical quality to the project as well, and that's where Karpan's ever-bright orchestral score comes forcefully into its own. Seamlessly intertwining heartland Americana with evocative alien strains is no easy trick; doing it without slavishly recalling genre touchstones like CE3K and ET tougher still. But that's what Karpman has done here, weaving a disparate tapestry of hopes and fears, wonder and dread, all of it rooted firmly in Hollywood scoring traditions -- and a crucial understanding of the European and Russian concert music from when they came. The result is unashamedly epic in its overall scope, yet sensitive enough to be distinctly melancholy, wistful and downright magic in its constituent pieces. Traditions die hard, and this sprawling, adventurous sci-fi score is ample testimony why. --Jerry McCulley« less
Steven Spielberg's ambitious 20-hour miniseries chronicles the (mythical?) 50-year interaction of extraterrestrials with America's citizens, military and government. Given its subject matter and executive producer, some John Williams musical parallels aren't unexpected, and indeed the brassy ebullience of composer Laura Karpan's main theme recalls some of the unabashed romanticism of earlier Williams/Spielberg collaborations. But as writer/producer Leslie Bohem notes, there's a metaphorical quality to the project as well, and that's where Karpan's ever-bright orchestral score comes forcefully into its own. Seamlessly intertwining heartland Americana with evocative alien strains is no easy trick; doing it without slavishly recalling genre touchstones like CE3K and ET tougher still. But that's what Karpman has done here, weaving a disparate tapestry of hopes and fears, wonder and dread, all of it rooted firmly in Hollywood scoring traditions -- and a crucial understanding of the European and Russian concert music from when they came. The result is unashamedly epic in its overall scope, yet sensitive enough to be distinctly melancholy, wistful and downright magic in its constituent pieces. Traditions die hard, and this sprawling, adventurous sci-fi score is ample testimony why. --Jerry McCulley
CD Reviews
Stunning
11/30/2003
(5 out of 5 stars)
"First, I was blown away by Taken, the series. Then I heard Laura Karpman's powerful soundtrack. What a stunning way to enhance the epic feel of this series. Sci-fi fan or not, those who appreciate film scoring, or indeed good music, should add this CD to their collection. It's right up there with The Magnificent Seven and Close Encounters."
Taken by Taken, and Karpman's soundtrack
Dr. Terry Halwes | New Haven, CT USA | 01/05/2004
(5 out of 5 stars)
"Those of us who loved the TV movie can be carried right back there by listening to the soundtrack. Several of the other reviewers say it's wonderful if you haven't seen the film.Here's some information about Ms Karpman, taken from the website at CD Baby, which is the only place I could find her CD from the PBS "Living Edens" series: http://www.cdbaby.com/cd/karpman"Fluent in everything "from Bird to Bach," Laura Karpman draws from jazz, classical & world music to create her scores for The Living Edens. THE LIVING EDENS, an extraordinary series of documentaries about the world's last unspoiled environments that marshaled the talents of top documentary filmmakers, earned Karpman four Emmys, and five additional nominations. Laura Karpman is one of few women scoring film and television, as well as maintaining a vibrant career in concert music. Karpman's other awards include a Charles Ives Fellowship from the American Academy of Arts and Letters, two ASCAP Foundation grants, multiple Meet the Composer grants and a Vogelstein Foundation grant, as well as residencies at Tanglewood, the McDowell Colony and the Sundance Institute. Karpman received her doctorate form Juilliard where she studied with Milton Babbitt.Karpman recently scored Steven Spielberg's and Emmy winning miniseries TAKEN for DreamWorks and the Sci-Fi Channel. She just received an Emmy nomination for the score to Showtime's series, ODYSSEY 5, produced by Manny Coot and starring Peter Weller. Based on her huge success with the score for TAKEN, Karpman was brought on to score EVERQUEST II, the second incarnation of Sony's smash hit Massive Multi-User Online Video Game, EVERQUEST. Karpman's recent film and television work includes FATHERS AND SONS, an independent ensemble drama written and directed by Rodrigo Garcia, Jarred Rapp port, and Rob Sperra.Karpman has also had a distinguished career as a composer of concert music. Her works have been performed at Carnegie Hall, Lincoln Center, and the Tangle wood Music Festival. Among her recent commissions is ABOUT JOSHUA, a trio for flute, harp, viola and mezzo - soprano for the Debussy Trio premiered at the Los Angeles County Museum of Art. Other recent concert commissions include COMMON TONE, for avant-garde electric violist Martha Mooke, an untitled bassoon concerto for Lumír Vanek, principal bassoonist for the Prague Symphony Orchestra, ROUNDS FOR VIOLA AND PIANO for Evan Wilson, principal violist of the LA Philharmonic, PLUM SUGAR for the new West Hollywood Orchestra, and a song cycle for Boulder's Sound Circle. She has had commissions by the Concordia, the American Composers Orchestra, the New York Youth Symphony and her works have also been performed by the Lydian String Quartet, The Women's Philharmonic, and the Richmond Symphony. A frequent composer for the theatre, Karpman recently completed her first opera, ESCAPE, originally commissioned for the LA Opera. Her next commission for Los Angeles' classical theatre company, A Noise Within, will be the underscore for Euripides ELECTRA, scheduled for March 2004.""
Wonderful Music- Americana to the core
L. Krogstad | Minneapolis, MN | 09/19/2004
(5 out of 5 stars)
"Laura Karpman has managed to create beautiful music here- this music just happens to be a score to "Taken." I would urge anyone who is a fan of American classical music (Copland, Berstein, Williams, etc.) to buy this soundtrack. It is very Americana and simply gorgeous, mysterious, longing and joyous all at the same time. I'll admit I'm partially biased because I really liked the mini-series "Taken," but my roommate just walked into the room and listened for a while and said, "What is that? I really like it," and he hasn't even heard of "Taken," much less seen it. My only criticism is that they did not include the 'end credits' music on the album. Either way, it's still wonderful music."
Taken Away By The Sound
P. Gotanda | San Francisco, CA United States | 12/10/2003
(5 out of 5 stars)
"Taken is exactly what occurs when you become mesmerized by the haunting music score composed by Laura Karpman. The visuals were solidly underscored by the music that eerily and brilliantly
cast shadow and light on the drama involved. The music of Taken is a neo classic and will stand the test of time for listeners who appreciate fine music."
NYC Jaded Listener
P. Gotanda | 12/03/2003
(5 out of 5 stars)
"I'm not usually the type to go in for television soundtracks, but I remember being "taken" by the music the entire time I watched the series. Buy this music, listen to it one or two times, and I swear, you'll not be able to get it out of your head. Glad to see that good music is still being made these days!"
Track Listings (15) - Disc #1![Taken [Original Television Score]](https://nationalbookswap.com/cd//l/23/8823/668823.jpg)