Why Mike Oldfield doesn't have several successful film scores under his belt is a question yet to be answered, especially when you experience the cinematic and emotive quality of Music of the Spheres.
Many cynics will enjoy labelling this album as "Tubular Bells 4" – but that couldn't be further from the truth. However, there's no denying the similarity to Tubular Bells during the introduction to "Harbinger", and that's surely something that will divide opinion between fans, over Music of the Spheres.
Having said that, I never tire of that famous chord structure, and in recent years it has become more of a recurring trademark in Mike's music – which is fair enough, given that he owes everything to that debut album. However I personally heard far more similarities to Ommadawn, beyond the opening notes on Music of the Spheres. Given that this is his first classical album, perhaps Mike felt the need to test the water with a bit of familiarity here and there, and there certainly are plenty of "Now, which album is that bit from?" type moments, which for me, simply adds to the album's charm.
After reading Mike's moving and personal autobiography, Changeling, a return to his classical roots was inevitable, and if anything, long overdue. There has been a classical side to his music aching to get out, ever since that breakthrough album back in 1973 – and he's finally unleashed it with Music of the Spheres, and rather beautiful it is too.
A classical suite is something that Oldfield has yearned to do for many years, and I feel that Music of the Spheres is really a celebration of his musical achievements over the last three decades or so. While he has never fully ventured into classical territory before, this album is much more "Oldfield" than I was initially expecting. He may not be playing all the instruments here (though it would be an amusing thought), but his personality is clearly evident. And "What no electric guitar?!" I hear you cry - yes, that's right. Only Mike's acoustic guitar makes a couple of brief appearances throughout this album, although he just couldn't resist the use of tubular bells in the epic finalé of "Musica Universalis".
Music of the Spheres may take me a few listens to really appreciate, probably given that I'm not a regular listener of classical music – and without a synthesiser in sight, my ears are still tuning in to the beauty of brass, woodwind and strings. Returning to an album of two halves, each made up of flowing pieces, is a joy to behold, and I feel that this album may be the first of many more classical pieces from Mike, as he matures into the very style that originally influenced him.
Mike Oldfield started making music as a place to escape, mentally, though that soundscape has gradually evolved over the years – and if Music of the Spheres is any indication of Mike's current state of mind, then it's surely a calm and tranquil place to be. Encore!
