Human - OST Armand Amar

• 1 Amar: Mongolia 03:44
• 2 Amar: Faces 04:13
• 3 Amar: Dam in China 03:43
• 4 Amar: Castells 02:45
• 5 Amar: Nepal 02:46
• 6 Amar: Paddy Fields 03:42
• 7 Amar: The Storm 03:59
• 8 Amar: Shakuhachi 03:58
• 9 Amar: Ploughing 03:07
• 10 Amar: Toil 03:34
• 11 Amar: Immigration 04:18
• 12 Amar: Haiti 02:26
• 13 Amar: Pepe Mujica 03:46
• 14 Amar: The Hidden Church 02:07
• 15 Amar: Childhood 02:17
• 16 Amar: Human Life 01:57
• 17 Amar: Forgiveness 02:04
• 18 Amar: Swimming in China 02:53
• 19 Amar: Crowds 03:01
• 20 Amar: Human I 05:03
• 21 Amar: Jerusalem 02:56
• 22 Amar: Human II 04:20
• 23 Amar: Ghada's Dream 02:13
• Total Runtime 01:14:52

Info for Human - OST

„Human“ is a film the world needs: the Koyaanisqatsi of our generation. The highly-anticipated follow-up to Yann Arthus-Bertrand’s HOME (viewed by more than 600 million people), this new documentary – with its stunning aerial landscapes and images of people from all walks of life – explores the harsh and beautiful truths of humanity on this planet. It is a hymn to human connections and the fragility of life on Earth as well as a cri de coeur for tolerance and compassion throughout the world, narrated through testimony from poverty-stricken peasants, refugees, death-row inmates and more – by turns thought-provoking, shocking, heart-breaking and inspiring. Such a powerful subject needs a score that expresses the emotional core of the film. Director and cinematographer Arthus-Bertrand chose longtime collaborator Armand Amar, composer of the HOME soundtrack, to voice the vast ideas of HUMAN in the truly universal language of music. The epic, minimalist orchestral strings, exotic percussion and singers and instrumentalists drawn together from diverse ethnic and musical backgrounds are inseparable from the film’s unforgettable images. The original soundtrack features no fewer than 47 soloists including Senegalese singer Youssou N’Dour, Divna and Ravid Kahalani.

„The universal language of music goes beyond our feelings, adds beauty to images and brings rhythm to a story. It can hardly be dissociated from image and has certainly always had an important place in Yann Arthus-Bertrand?s work. Armand Amar?s compositions seemed the obvious choice for music that would highlight the diversity and richness of all that HUMAN recounts. The composer glorifies the voice of men and this earth through his musical creations. Here, thanks to this remarkable eclecticism, singers and world musicians have come together to create an overwhelmingly moving musical landscape that taps deep into the heart of humanity itself. Armand Amar and Yann Arthus-Bertrand are both self-taught. They love setting off with the express aim of encountering that special place, ?elsewhere?, where they can improvise exactly how they want. Together they decided to make this composition an artistic entity that would grow and develop as they went along, entering into symbiosis with the images of the film. ?Many different types of traditional music have caught my full attention; they move me, they?re in direct contact with our emotions. For HUMAN, my idea was to gradually build up some kind of resonance between the interviews and singing or chanting that would create the same emotion. I wanted to instigate an opening process where hearts would open, sadness, too, nothing would be held back. HUMAN has been one of the rare moments in my life as a composer of film music where I?ve been able to give expression to all these different cultures; it meant being equally at home in minimalist music as well as in my encounters with all these musicians and singers from elsewhere. How did I pick my first note? It was more a global vision of things, a whole universe in osmosis with the film where my starting point was about sharing and meeting. And indeed, the composition I did for the images filmed in Mongolia is a particularly good example of this, it sums up the universe I wanted for this film. With Yann, I have a very special place as composer, quite different from what other film directors give me. We?re close friends and that deep bond between us makes conversation flow with ease and grace. Yann is a generous person with a rather fantastic flair for things so that you can always follow him, and I?m able to give my opinion about how the film should be put together, because in the end, I‘m his first audience.“ (Armand Amar)

Asif Ali Khan, vocals
Divna, vocals
Ghada Shbeir, vocals
Gombodorj Byambajargal, vocals
Gülay Hacer Toruk, vocals
Isabel Sörling, vocals
Lisa Flandi, vocals
Nuria Rovira Salat, vocals
Ravid Kahalani, vocals
Salar Aghili, vocals
Sara-Marielle Gaup, vocals
Vahid Taj, vocals
Youssou N’Dour, vocals
Sarah Nemtanu, violin
Lise Berthaud, viola
Gregoire Korniluk, cello
Philippe Noharet, double-bass
Ibrahim Maalouf, trumpet
Jean Bollinger, trumpet
Vladimir Dubois, horn
Guillaume Begni, horn
David Defiez, horn
Gregory Sarrazin, horn
Guillaume Varupenne, bass trombone
Laurent Peziere, tuba
Catherine Cantin, flute
Morenn Nedellec, clarinet
Henri Tournier, flutes, hulusi
Suizan Lagrost, shakuhatchi
Jean-Paul Minali-Bella, Arpegina
Quang Hai Tran, jar harp
Axel Lecourt, jar harp
Anja Lindner, harp
Didier François, nickelharpa
John Boswell, percussions, direction
Joël Grare, percussions
Victor Hanna, percussions
Antoine Hefti, percussions
Nicolas Lamothe, percussions
Maël Guëzel, percussions
Marc-Antoine Perrio, guitar
Julien Carton, piano, celesta
Vincent Joinville, bass synthesizer
The City Of Prague Philharmonic
The Children’s Choir of the Maîtrise des Hauts-de-Seine
Adam Klemens, conductor
Armand Amar, conductor, pianos, percussions

Recorded by Vincent Joinville at Smecky Music Studios, Prague
Engineered and recorded by Vincent Joinville at Babel Studios, Montreuil-sous-Bois
Edited by Guillaume Le Henaff
Mastered by Pierre Luzy, Music Unit

Armand Amar
French of Moroccan origin (born in Jerusalem), Armand Amar spent his childhood in Morocco. Imbued with the sounds of instruments considered exotic at the time, the pull of that “world apart” exercised by extra-European music soon fascinated him. Autodidact, he was constantly searching for physical experiences in the early years of his musical apprenticeship, whereas in the following years his search became a commitment; he learned to play tablas, discovered the zarb and congas, and studied under various masters of traditional and classical music.

Armand’s discovery of dance in 1976, following an invitation from South African choreographer and trained anthropologist Peter Goss was another decisive moment. Suddenly what he’d been looking for was right there in front of him – a direct relationship to music, the power to improvise freely, the advantages of authentic, on-the-spot exchanges. Two challenging ventures broadened his scope even further: his involvement in Patrice Chéreau’s actors’ school and his teaching at the Conservatoire National Supérieur [Higher National Music School] focussed on the relationship between music and dance. Since then he has worked with various choreographers from the different branches of contemporary dance (Marie-Claude Pietragalla, Carolyn Carlsson, Francesca Lattuada, Russell Maliphant etc.).

The musical and spiritual influences at play show through in his film scores, such as in the following selection: Eyewitness (2000), The Axe (2005), Eden is East (2009) all by Costa-Gavras. The Concert (winner of the César /Best Soundtrack of the Year Award 2009), Live and Become (2006), The Source (2011) all by Radu Mihaileanu, Days of Glory (2006), by Rachid Bouchareb, Blame it on Fidel (2006) by Julie Gavras, The First Cry by Gilles de Maistre (2007), The Maiden and the Wolves (2008) and You will be my Son (2011) by Gilles Legrand, Sagan by Diane Kurys (2008), Like Five Fingers by Alexandre Arcady, HOME by Yann Arthus-Bertrand (2009), Free Men by Ismaël Ferroukhi (2010). In 2012 Armand Amar composed the original scores of two Brazilian films: My Sweet Orange Tree by Marcos Bernstein and Amazonia Eterna by Belisario Franca, as well as of the films Planet Ocean by Yann Arthus-Bertrand, What the day owes to the Night by Alexandre Arcady, and The Capital by Costa-Gavras. He wrote the music for Nicolas Vanier’s Belle and Sebastien, and Philip Muyl’s new film Le Promeneur d’oiseau. In August 2014, he received the Amanda Award/ Best soundtrack of the Year for the music of the Norwegian director Erik Poppe’s movie A Thousand Times Goodnight. He recently composed the music for Belle et Sébastien, l’aventure continu by Christian Dugay, L’Odeur de la Mandarine by Gilles Legrand and HUMAN by Yann Arthus-Bertrand.

In 1994 in partnership with his friend Alain Weber, he founded the record label Long Distance for traditional, world and classical music; it now boasts more than 60 titles. His own work is released through naïve, Long Distance, Universal, Sony and Warner.

In addition, the composer has created in June 2011, at the Fes Festival of World Sacred Music, Morocco, his first "oratorio mundi" named Leyla & Majnun, after the legend with the same name, which uses a cast of forty singers and musicians from all over the world. The performance was scheduled at Salle Pleyel, Paris, in April 2014.

Booklet for Human - OST