Toru Takemitsu's score is brillant, no surprise there.

I liked the score too, but have a question about the Purcell aria -- Dido's lament from Dido and Aeneas -- at the end of the film: specifically, WHOSE recording of the aria is used (it sounds like Janet Baker to me -- a very young Janet Baker, but she had already recorded the opera by the time the film was made), and why Shinoda chose this recording in particular, among many available. It may be that he'll answer this question himself in the course of his commentary for the Criterion edition soon to be issued, but just in case he doesn't -- any illumination (or guesses!) from anyone would be appreciated. (Just saw the film at NY Film Festival, where it was introduced by Shinoda, and found it tiresome in the extreme, though stunning to look at in a gorgeous print.)

Yeah, Takemitsu's score is mad good.
Very atmospheric and ominous, I'd like to pay more attention to his other scores now.