In Treatment: Season One and Two
Music Composed by: Richard Marvin
Distributed by: Lakeshore Records
Reviewed by Melissa Minners
Debuting in January 2008, the HBO television series, In Treatment, stars Gabriel Byrne as Psychoanalyst Paul Weston. The series follows Dr. Weston through his week as he has numerous sessions with his various patients. The first season of the series was fairly straight forward, but the second season sees Dr. Weston going through some changes - divorce, practicing out of his home, etc. In Treatment has received critical acclaim, earning Emmy, Golden Globe and Writers’ Guild recognition. On February 15, 2011, Lakeshore Records released the In Treatment: Season One and Two Soundtrack.
The musical score of the first two seasons was created by American composer Richard Marvin. Beginning his career as a studio keyboardist for such composers as Maurice Jarre, David Newman, and Tom Newman, Richard Marvin began working with famed television music composer Mike Post in the 1980s. Given the opportunity to compose music for The A-Team and Hardcastle & McCormack, Marvin went on to create music for other television series like Wanted, The O.C. and Without A Trace. He has also composed music for such films as Surrogates, U-571, The Narrows and Breakdown.
The soundtrack of In Treatment features twenty tracks of music from the first two seasons of the show. The musical selections are rather scattered. One minute we have a track from Week 4 of Season 2, the next we have one from Week 2, Season 1. Each track focuses on a specific character. I found that to be rather confusing. If the tracks represent music featured during character’s psychoanalysis sessions, wouldn’t you want a certain flow? I mean, Gina’s tracks are all over the place and in no particular progression. How can we tell whether she is getting better or worse through the music.
As for the music itself, it’s heavy on keyboards, as is to be expected from a composer who is a well-known keyboardist. At times the music is haunting, but for the most part, it’s just there. Nothing particularly grabs the listener and makes them wonder just what might have been happening during that particular psychotherapy session. The music just trundles along with nothing special or dramatic taking place.
The music composed for In Treatment may do well when played alongside the scenes it was created for, but as a standalone album, the In Treatment: Season One and Two Soundtrack just doesn’t quite satisfy. Some soundtracks, while working well alongside the visual components of a film or television series, just aren’t meant to be made into albums. In my opinion, the In Treatment: Season One and Two Soundtrack is a prime example of that fact.