Score

The confluence of styles and thematic material that John Williams manipulates to create the wonderful score to Memoirs Of A Geisha is masterful in its simple elegance. Cellist Yo-Yo Ma worked with Williams on Seven Years In Tibet. Violinist Itzhak Perlman joined him on Schindler's List. Both are artists able to function as equal partners in any musical enterprise, and both are integral to the effectiveness of the Geisha score. Yo-Yo's initial statement of "Sayuri's Theme" opens the soundtrack CD. With a simplicity reminiscent of Ma's Silk Road Journey collection, the beauty and character of his tone gives voice to a motif which will become primary to the entire film. Perlman owns the secondary theme, which has its primary exposition in "The Chairman's Waltz." Williams uses the two soloists in double concerto form to create an extended sonata allegro on which to build the entire score.

The shakuhachi (a traditional Japanese flute) provides another apt and essential element in the musical exposition. The "Hanamachi" theme is invoked by the traditional instrument wherever it appears, supported by both the koto and William's extensive palette of romantic orchestral devices. The use of pizzicato to accompany the oboe theme for "As The Water" is particularly touching. Williams paints the entire score like a traditional Japanese watercolor: with elegant lines and muted colors. Only in a few instances, such as "The Coming Of War," does Williams' more familiar dramatic writing surface. In this case the timpani and shakuhachi both ominously foreshadow coming events. Williams seamlessly folds the Eastern into the Western with a light touch and unswerving sense of melody and dramatic purpose.

Since most of the thematic material is graceful and vaguely lilting, Williams introduces rhythmic ostinati in several cues, like "Going To School," to increase intensity and lighten effect. The bells, koto and mark tree add Eastern flavor, without overpowering the listener. The drumming and koto on "Brush On Silk" is entirely exotic, with overtones of Raga and Navaho courting music. The entire effect is transportive, and invites the listener into the world of the score and the film. What higher praise could a soundtrack merit?

John Williams clearly made a serious commitment to Arthur Golden's brilliant story. He chose this project and Munich over finishing the Harry Potter collection. In "Confluence," which provides the recapitulation of his themes and summation of the suite, the score affords its own reward. This may be William's most poetic and mature writing in a brilliant career. Memoirs Of A Geisha is one of the best film scores ever recorded.

By Dave Morgan