The soundtrack used in the 1969 film “Medea” by Pier Paolo Pasolini is a unique blend of classical and contemporary music. The film’s score was composed by Greek composer and conductor Mario Nascimbene.
Nascimbene’s score for “Medea” is a mix of traditional orchestral music, choral arrangements, and avant-garde sounds. The soundtrack’s most distinctive feature is its use of a Greek choir, which sings ancient hymns and melodies that evoke the classical world of the film’s setting. The choir’s voices are accompanied by orchestral instruments, including strings, woodwinds, and percussion, which create a rich, otherworldly atmosphere.
In addition to the choir, the soundtrack also features contemporary sounds, such as electronic music and experimental sound effects. These elements help to create a sense of unease and disorientation, which is in keeping with Pasolini’s unconventional approach to filmmaking.
The use of a choir and classical music in the soundtrack of “Medea” serves several purposes. First, it provides a historical context for the film’s setting, reminding the audience of the ancient roots of the story. Second, it adds a sense of grandeur and timelessness to the film, which helps to reinforce the idea that the events depicted in the film are part of a larger, universal narrative.
Finally, the soundtrack also functions as a comment on the themes of the film. The use of classical music, for example, can be seen as a nod to the idea of the eternal return, which is a central theme in the play by Euripides upon which the film is based. Similarly, the use of experimental sounds and electronic music can be seen as a commentary on the modern world, suggesting that the ancient world depicted in the film is not so far removed from our own.
In conclusion, the soundtrack used in Pier Paolo Pasolini’s “Medea” is an essential component of the film’s overall aesthetic. Through its use of classical and contemporary music, the soundtrack creates a rich and atmospheric world that complements the film’s themes and visual style.
Source: “Pier Paolo Pasolini: Film and Literature” by Tim Woody (2015).
