Under their pensive and reserved aspect, characteristic of that compassionate intellectual that Shore takes inside, we find one of the most calculating and lucid minds in the American musical panorama; to him we owe the nihilist's lewd phyisicism of Crash (1996) or the staffs of the brutally tragic Dead Ringers (1980), as well the lyrical sensibility of Nobody´s Fool (1994) or that of that beautiful concert for harp and wind that it is MButterfly (1993). Following step by step the outlines that define the creepy neatness of his concrete narrative, the Canadian develops the simple main theme until their last consequences, including occasional fragments for electronic instruments, as the theremin, here meetly functional (and that they give faith of Shore's maturity, taken completely away from the radicality of Videodrome (1983). This instrumental harmony, supported in a symphonic group (the London Philharmonic Orchestra) and exalted by the moderate use of the electronic color is the test that Shore understands the history that outlines Cronenberg like a history of human beings in which the technology mediates, here of semi-organic characteristics that substitutes the vital pleasures snatching the human being its proper condition. Therefore, the composer creates a languid, dramatic and iterative music, kind of an ode to the existential disintegration that therefore is connected with the speech of Dead Ringers and that responds eloquently to the necessities of the movie. This way, the basic postulates of their philosophy are exposed with meridian clarity: in front of the foregone development of their elementary speech, on which develops that false minimalism that had cultivating in his last works, Shore's enthomologic look lights a coherent and concise work, where we appreciate that likeness almost pathological of their author for the use of a heterodox orchestratrion, but necessary for the definition of that organic sonority gotten through atypical sound juxtapositions and of expansible and recast textures, with dense passages for strings and metals. And it is here where is discovered the only one, but capital failure of the work: the absence of a new sound, what becomes a something uneventful work in Shore's career, on which we find certain similarities with his last scores, especially with CopLand (1997), something that fancied unthinkable before. D.R.C.

/ RCA VICTOR 09026 63478-2 / 47'

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