The Baby

Music by Gerald Fried
Produced by Stephan Eicke

“Built around a disturbing theme, which recurs several times in the form of a lullaby, the score sometimes evokes a western rather than a thriller (including the theme of the guitar at the end of the program). It is very well written and orchestrated, and Caldera gives us the opportunity to discover a composer too little known. I adhere!”

“Central to the score is a single, strikingly provocative melodic main theme played on cello and on woodwinds and contrasted against a number of sonic colors in its journey through the film; set against this pleasing melody is a chiming music box motif played by a celeste and the use of percussive rattles which are both associated with the titular adult infant. Gradually, the score takes on an unsettling creepiness as the story descends into stranger and more dangerous sonic ground, while remaining a captivating listen throughout. The interaction between the cello and violin – played by renowned musicians Edgar Lustgarten and Anatole Kominsky, respectively – is especially striking here in suggesting the psychological struggles of the main characters. The 46-year old music tracks are nicely remastered, preserving a fine sound despite the inherent smallness of the performing ensemble.”

“The composer’s work is typical for the 70s; it’s a mix of symphonic music and pop melodies, warm and light. The score revolves around a main title that evokes a lullaby, bringing tenderness to the story. It also has a more sinister undercurrent which evolves throughout the film, while there is always an ambiguity between pure horror and black humor. It’s fill of powerful themes.”

“Scaring us without being scared, showering us with chimes and a dabble of bells. A car seat to baby carriage… innocence takes a backseat, when you close your eyes and hearing this piece it will be in your heart. I think that made sense, if not then just listen to this score. It’s really worth it.”

“Ah, wonderful, wonderful Caldera Records. They never disappoint. Gerald Fried’s music for The Baby represents a sublime score and an unusually sweet one, considering the movie was marketed as a horror. While it’s a monothematic score, having really only one main theme that is revisited throughout the tracks, Fried has the decency to dress it up and present it in numerous ways so that the listener never tires of it. There are plenty of other minor themes which weave in and out of the tracks too, all of which are worthy of your attention.”

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