Music by Zbigniew Preisner
Produced by Stephan Eicke
“The History of Eternity… sweeping with a gliding gentleness and another superb masterpiece by legendary composer Zbigniew Preisner released on Caldera Records. Finding it’s way into your heart, every track brings a moving whisper into the light and we are drawn to see it from the darkness. This album plays heavy on the guitar and the theme that keeps you moving from start to finish and holds my attention.”
“There’s not a wasted second of music here. The composer expertly weaves his themes (although you have to give Caldera credit for sorting them into in a naturally fluid order that ensures that they build as the album progresses) to become an integral part of the movie experience, yet being strong enough to stand on their own two feet outside of the film.
Another beautiful release from a record label that cares about soundtracks as much as the fans. This is yet another score I’ll be revisiting for years to come.”
“It has a beautiful main theme and motifs of similar approaches in their economy, their beautiful nakedness and emotional sense of love for life.”
“A História Da Eternidade is a typically excellent Preisner score, even if the film itself has some issues. Not quite on the level of Skyggenes Dal, but with much of the same DNA – heartbreaking, high-pitched melody lines, slow and beautiful chord modulations and ‘spacey’ use of a relatively small musical ensemble. Hopefully, this premiere release, and Caldera’s “Preisner project” in general, will allow more people to re-appreciate the composer’s film work, post-Kieslowski.”
“Two of the three characters in the story play musicians, so music is also an integral part of the film story, but its use as score remains reserved. Midway through a few tracks such as “The Hunt,” “Re-Discover,” “Rain 1,” “Rain 2,” “Arrival Song,” “The Sea,” and “Main Titles Version 2,” the music grows a little livelier and poised, allowing the piano, violin, and guitar to imbue a heartier tone, and by the “End Credits” the melody, if not fully impassioned, emerges confidently in its most enriched resolve. It’s a very interesting score, harboring intimate beauty in its austerity.”