The Nativity Story: Original Motion Picture Score
In the beginning, soundtracks to Biblical movies adhered to a Hollywood template with more fidelity than most people attend to the Ten Commandments. The first commandment of Biblical film scores was: "Thou shalt render orchestral grandeur unto the epic as did Elmer Bernstein onThe Ten Commandmentsand Miklos Rozsa onBen-Hur." Peter Gabriel's score toThe Last Temptation of Christ, released asPassion, changed all that like the Second Coming. His mix of world-music elements, wailing singers, and otherworldly electronics prevailed, influencing countless film scores and emulated to almost plagiaristic perfection by John Debney's soundtrack forThe Passion of the Christ. Mychael Danna departs from that path onThe Nativity Story, the 2006 film interpretation of Mary's journey. His sound is more medieval and classical than Middle Eastern. Rather than blowing Turkish duduks à la Gabriel and Debney, he uses recorders and wood flutes. He likes building from simple folk themes to extravagant expanses where a lone flute segues into a sweeping string arrangement that morphs into slowly cascading voices. He taps into Gregorian chant and plainsong, and even when he uses Persian vocalist Azam Ali (from Vas and Niyaz), he has her singing an Abbess Hildegard-style hymn called "Nazareth."  But this is a Hollywood Biblical epic and Danna bends to another commandment of the genre: "Thou shalt wring tears and awe-inspired wonder." You don't need to see the film to know that the heavens must be opening--as they only do in Hollywood--on "And Thou Bethlehem."  Danna'sThe Nativity Storyisn't a sea change like Gabriel, but it is a new tributary.--John Diliberto