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 MARIA DI NAZARET
(2012)
Lux Vide / Tellux Film; Giacomo
Campiotti, director
Music composed and conducted
by Guy Farley
Performed by The
Chamber Orchestra of London
Recorded at
Abbey Road Studios London in March
2012
Recorded by Jonathan
Allen
Mixed at Sphere Studios
by Josh Blair
Music
contractors COOL
Music
Orchestrator Andy
Pearce
Orchestra Leader Pieter
Schoeman
Score Mastered by Paul
Bailey
Featured Soloists:
Solo
Piano Huw Watkins
Ethnic
Percussion Paul Clarvis
Ethnic
Vocalist Tanja Tzarovska
Vocalist
Lucy Johnson
Ethnic Flutes Tony
Hinnegan
Oud Stuart
Hall
Shawm Bill
Lyons
Duduk Dirk Campbell
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Maria di Nazaret
1. Maria's Theme (1:29)
2.
Maria - Titles (2:11)
3. The Serpent (1:39)
4. Mary's
Journey (1:40)
5. Shepherds (2:04)
6. The Game
(2:19)
7. Elizabeth's Dance (2:12)
8. Maria at Prayer
(2:40)
9. Anger and Apparition (2:11)
10. A Place to
Stay (2:12)
11. Israel (1:19)
12. Birth (2:56)
13.
The Census (2:08)
14. Magi (1:39)
15. Premonition
(1:44)
16. My Son (2:03)
17. Lost and Found
(2:13)
18. Denial (2:26)
19. 39 Lashes (4:19)
20. The
Cross (2:36)
21. Calvary (4:11) |
22. He Will Live (1:21)
23. Memories (2:02)
24. End Titles
– Maria's Theme (1:42)
Wake of Death
25.
Reunited (2:27)
L'uomo che sognava con
l'aquile
26. Titles (2:33)
27. To the Mountains
(1:10)
28. Roberto Explores (1:10)
29. Rocco and Roberto
(2:08)
30. At Home (1:15)
31. Roberto's Theme
(2:01)
32. Return (2:19)
33. To the Mayor (1:34)
34.
Animals Away (1:51)
35. Money Rolling in (1:12)
36.
Celebrations (1:50)
Bonus Track:
37. Audio Commentary by Guy Farley
(3:17)
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Right from the beginning,
we are introduced to Mary, daughter of Joachim and Anne. Soon
after, we meet Mary Magdalene, her close friend. In a unique
twist, the story follows their two journeys, one into the
heart of God, and the other into the heart of darkness. The
more Mary sings her Magnificat, the more Magdalene throws
herself at the world seeking love, power and validation. The
two threads finally come full circle with Magdalene’s
conversion at the feet of Christ, and her ultimate reward at
seeing Christ the first at the Resurrection. Caught in between
these opposites, Magdalene vacillates as the flighty-headed,
desperate and world-loving protégé of Herodias. After
witnessing her mother’s stoning at the beginning of the film,
the punishment for adultery, Magdalene throws all caution and
morality to the winds, nurturing a hatred for men, and at the
same time, cultivating seduction to fill her heart’s need for
a true man. It isn’t long before she has two deaths on her
conscience, and unable to stand the crushing weight of life at
court, she flees to a brothel and ends up repeating her
mother’s last scene, a public stoning. It is then that Christ
appears, invites the non-sinners to throw first, and forgives
her.
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