"Elegy" Soundtrack Lyrics

"Elegy (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

Can an elegant, pre-existing library of classical and jazz do the heavy lifting of a modern romance? Elegy answers yes. Its album on Lakeshore Records (2008) assembles Bach (after Marcello), Beethoven, Satie, Pärt, Vivaldi, Chet Baker, and contemporary cuts (Colleen, Gecko Turner), giving Isabel Coixet’s film a cultivated, melancholy pulse. Trusted sources: Apple Music, AllMusic, Lakeshore Records.

The curation favors restraint: solo piano (David Troy Francis) and chamber textures frame intimate spaces; Madeleine Peyroux and Chet Baker supply lived-in torchlight; Arvo Pärt’s “Spiegel im Spiegel” drapes late scenes in hush. There’s no separate, credited orchestral score release; instead, the film leans on licensed works shaped by in-house music supervision.

Questions & Answers

Is there an official soundtrack album?

Yes. Elegy (Original Motion Picture Soundtrack) — Lakeshore Records, released August 5, 2008, 17 tracks (~65 minutes).

Who handled music supervision?

Isabel Coixet is credited as Music Supervisor; additional music roles include consultants and editing support.

Which classical pieces are featured?

Bach’s BWV 974: Adagio (after Marcello), Beethoven’s Diabelli Variations excerpts, Satie’s Gnossiennes, Pärt’s “Spiegel im Spiegel,” and Vivaldi’s “Vedrò con mio diletto.”

What jazz appears on the album?

Chet Baker’s “Early Morning Mood” and Madeleine Peyroux’s take on Leonard Cohen’s “Dance Me to the End of Love.”

Is “Dance Me to the End of Love” used onscreen, not just on the album?

Yes — Peyroux’s version plays in a courtship-at-home scene (diegetic stereo).

Where can I stream the album?

Apple Music and Spotify carry the 17-track compilation; AllMusic lists the CD release (2008).

Notes & Trivia

• Label of record: Lakeshore Records; physical CD dropped the same week as several other Lakeshore titles in August 2008.
• The album runs ~64:48 and contains 17 cuts; streaming listings mirror the CD.
• Isabel Coixet is officially credited as Music Supervisor; the credits also list music consultants and a music editor.
• Arvo Pärt’s “Spiegel im Spiegel” is documented as appearing in the film and widely cited for reflective scenes.
• Vivaldi’s aria “Vedrò con mio diletto” is performed by countertenor Philippe Jaroussky on the album.

Genres & Themes

Baroque & Classical — Vivaldi and Bach/Beethoven cues signal culture, control, and aging intellect; they also underline Consuela’s poise and David’s cultivated armor.

Minimalism — Pärt’s “Spiegel im Spiegel” = stillness; it marks acceptance and loss rather than melodrama.

Vocal jazz — Peyroux’s Cohen cover softens seduction into melancholy — intimacy with an expiration date.

Ambient/indie textures — Colleen’s pieces and contemporary selections tint city spaces without stealing the moment.

Tracks & Scenes

Notes: placements reflect documented usage; exact timestamps vary by edition.

“Dance Me to the End of Love” — Madeleine Peyroux
Where it plays: Diegetic on David’s apartment stereo during a courtship-at-home scene (first act).
Why it matters: Seduction with a conscience — a cultured surface that hides asymmetry in power and age.

“Adagio” from Concerto in D Minor (BWV 974, after Marcello) — J. S. Bach; performed by David Troy Francis
Where it plays: Reflective solo-piano bed in early sequences (non-diegetic).
Why it matters: The piece’s suspended lines mirror David’s careful, composed persona.

“Early Morning Mood” — Chet Baker
Where it plays: A quiet, transitional city cue (non-diegetic).
Why it matters: Smoky brass makes the apartment feel lived-in rather than merely curated.

“Vedrò con mio diletto” — Antonio Vivaldi; performed by Philippe Jaroussky
Where it plays: Romantic passage underscoring longing (non-diegetic).
Why it matters: A countertenor’s ache fits a story about devotion and distance.

“Spiegel im Spiegel” — Arvo Pärt; performed by David Troy Francis
Where it plays: Late-film reflective sequence (non-diegetic).
Why it matters: Radical simplicity slows time; the cue lets grief breathe.

“Gnossienne No. 4” — Erik Satie; performed by David Troy Francis
Where it plays: Interior, late-night ambience (non-diegetic).
Why it matters: Spare, modal drift underscores private reckoning.

“Les ondes silencieuses” — Colleen
Where it plays: Transitional montage (non-diegetic).
Why it matters: A modern, hushed texture against the film’s gallery of classics.

“45,000$ (Guapa Pasea)” — Gecko Turner
Where it plays: Social setting in the city (source/needle-drop feel).
Why it matters: Injects warmth and street-level ease into otherwise rarefied rooms.

Music–Story Links

Peyroux’s Cohen cover says it plainly: romance as limit case. Baroque poise (Vedrò con mio diletto) elevates desire into vow; Bach and Beethoven suggest control that fails under pressure. Pärt closes the loop — when eloquence runs out, one bell-pure line survives.

How It Was Made

Supervision & editorial. Music Supervisor: Isabel Coixet; Music Editor: Angie Rubin; music consultants credited alongside — a small, tightly run music team.

Album release. Lakeshore Records issued a 17-track compilation (CD and digital) clocking ~65 minutes; streaming editions carry identical programming.

Reception & Quotes

Critical response marked the score’s restraint — sometimes praised for taste, sometimes dinged as familiar arthouse melancholy.

“Penélope Cruz has slipped away with it.” Roger Ebert

“Unimaginative music selections (the same old Erik Satie and Arvo Pärt…).” Time Out

“Peyroux croons a swing-jazz version of ‘Dance Me to the End of Love’ on his stereo.” Maclean’s

Additional Info

• Physical release date: August 5, 2008 (Lakeshore Records); digital/streaming mirrors content.
• Compilation, not an original score album.
• Classical selections are album performances by named artists (e.g., David Troy Francis on Satie/Bach; Kirill Bolshakov on Beethoven).
• “Spiegel im Spiegel” is explicitly documented among the film’s cues.
• Vivaldi aria on album features Philippe Jaroussky (countertenor).
• Running time listed around 64–65 minutes across databases.
• Retail metadata shows Lakeshore’s 2008 cluster of releases the same week (contextual label slate).
• Streaming pages show ©/℗ Lakeshore Records (2008); some platforms display a 2016 digital date for catalog ingestion.

Technical Info

• Title: Elegy (Original Motion Picture Soundtrack)
• Year: 2008 (album); film released 2008
• Type: Various-artists compilation (licensed recordings)
• Key Composers/Works: J. S. Bach BWV 974 (after Marcello); Beethoven Diabelli Variations excerpts; Erik Satie Gnossiennes; Arvo Pärt “Spiegel im Spiegel”; Antonio Vivaldi “Vedrò con mio diletto”
• Featured Artists: David Troy Francis; Madeleine Peyroux; Chet Baker; Kirill Bolshakov; Philippe Jaroussky; Colleen; Gecko Turner; Margaret Whiting & Al Lerner
• Music Supervision (film): Isabel Coixet
• Label: Lakeshore Records (CD & digital)
• Length: ~64:48 (17 tracks)
• Availability: Apple Music; Spotify; CD listings on major retailers

Canonical Entities & Relations

Sources: Apple Music; AllMusic; Metacritic (credits); Lakeshore Records listings; Maclean’s review; Time Out (London); Wikipedia.

November, 09th 2025