School seems like a long time ago now, but I remember disliking Science terribly.  I’m not sure why really, I just never felt as though it was something that meant anything to me.  Biology of course was a bit more interesting, given that it was the science of living things – though as soon as we got onto plants, my eyes glazed over once more.  Science has a lot to answer for though, and still has many answers to find and – in my more mature years – I would probably find the subject a bit more relevant and interesting were I to return to school.  One thing I often recall from one particular science lesson though was the day my Year 8 Science teacher slipped into her lesson the fact that she didn’t believe in Evolution…  A science teacher who doesn’t believe in Evolution?! Even then, at the age of 12 I thought that was a little odd, preposterous even; I mean surely Evolution is a given?  Not so, it appears…

In 1859 it certainly wasn’t so cut and dried and as Jon Amiel’s film Creation dissects, it was an altogether explosive idea, as published that year in Charles Darwin’s book ‘On The Origin Of Species…’  The film, which stars Paul Bettany as Darwin, is less about the theory of Evolution itself (or indeed the journey to that theory) but more the impact of Darwin’s notions on his marriage, and his relationships with those closest to him.  Indeed something tantamount to revolution was begun and the battle between science and religion commenced… in a small village in 19^th Century England.

Amiel turned to regular composer of choice Christopher Young to score Creation and what Young has himself created is a blossoming symphonic score filled with fine waltzes, gorgeous melody and stand out performances on violin.  Though the performer isn’t credited (which is a shame) their mark on the score is very strong, ranging from beautifully languid and effervescent turns in the likes of the title track, ‘Pleasure Perfect’ and ‘Knowing Everything I Know Now’, joined by distinctly more pastoral, fiddlesome ones in the likes of ‘Fuegian Children’ and ‘To Emma’.  The latter has a rather English flavour indeed and is very pretty, laced with rolling, frolicsome piano.

Piano and glockenspiel are paired up often, as noted in ‘Unity in Form’, ‘Pleasure Perfect’ and the headily-titled ‘You’ve Killed God, Sir’.  Glockenspiel always brings about a childlike quality in music and its dances with the piano and occasional strings, here work to illustrate something of the innocence and wonder of Darwin’s discoveries.

Light dissonance is found here and there, as the innocence, wonder and beauty finds conflict.  A simple repeated one note throughout a large portion of ‘Unity in Form’ plays against the grain of the melody, before uniting once more, while strings clash in the upper registers within the cue ‘Partly Part’.  The two sides of the immense argument are certainly given voice and much of the music, while beautiful is certainly at odds with itself, reflecting the disquiet within and without.

That said, it’s all very gorgeous music and in particular ‘The Ghost Pavane’ – a solo piano waltz – is an early highlight, with the melody itself returned to throughout the score.  The final cue, ‘Humility and Love’ finds an embellished rendering and a final glistening performance from the solo violin.  Echoes of James Newton Howard’s The Village aside, it’s a lovely sound, pastoral, wistful and kaleidoscopic in places.

Christopher Young remains at the very top of his game right now and time and again he proves just how adept he is in all kinds of genres.  This music is very strong indeed, beautifully considered and deftly delivered; another triumph for one of Hollywood’s most unsung heroes.