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What Is The Last Score You Listened To? (older scores)


Ollie

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Superman II, Matrix Rebloated, Conan, and Beauty and the Beast.

 

Now listening to Spartacus again

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1 minute ago, Fennel Ka said:

Matrix Rebloated

 

Out of all three Matrix scores, I'd say that's the one with the least bloat!

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27 minutes ago, Jay said:

 

Out of all three Matrix scores, I'd say that's the one with the least bloat!

I was not referring to the scores actually.

All The Brothers Were Valiant - Miklos Rozsa

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Star Trek II: The Wrath of Khan complete score

Batman Returns complete score

Batman (1989) complete score and Prince album

Pee-Wee's Big Adventure (Elfman/Burton box set version)

Godzilla (1998) complete score

 

Now: Return of the Jedi OST

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2 hours ago, Disco Stu said:

Weird as it sounds,  I find that Elfman's Pee-wee's Big Adventure score makes a fantastic soundtrack for mowing the lawn. 

 

It's my first Burton film and Elfman score. It just predates Batman. I think that one was the catalyst for all of this. Who knows. Had I not watched Pee-Wee's Big Adventure as a child, I might be listening to Taylor Swift and Beyonce and watching Game of Thrones. Fuck that shit!

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I've had a chat with Charlie Brigden about Ghostbusters (Shapiro), The Neon Demon (Martinez), Ice Age: Collision Course (Debney), The Secret Life of Pets (Desplat) as well as Captain Fantastic (Somers). As well as some other bits.

 

And I apologise for the sound. Something went strangely wrong in the final stages. I've lost the backup files it was impossible to go back and redo that. Annoying.

 

 

Karol

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The Lord of the Rings: Return of the King (Shore) - the 2003 OST, not the CR edition.  Still an amazing album that is perfect for revisiting that score (and film) when you don't have 3.5-4 hours.

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The BFG. Not even mildly impressed. Kept six tracks and especially liked Meeting The Queen. The main theme badly needs proper treatment and as usual, I really like the others, but the dissonance throughout the entire score is so off-putting.

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Technically not a score but it is the birthplace of the leitmotif right?

 

The Symphonic Ring - Richard Wagner/Dressler

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2 hours ago, Fennel Ka said:

Technically not a score but it is the birthplace of the leitmotif right?

 

The Symphonic Ring - Richard Wagner/Dressler

 

Nah, that's Berlioz, or possibly even earlier!

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48 minutes ago, Koray Savas said:

Not familiar with Cirpriani outside his superb western scores. Any other recommendations?

 

 

Yeah, check this one out

 

 

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2 hours ago, Fennel Ka said:

Technically not a score but it is the birthplace of the leitmotif right?

 

The Symphonic Ring - Richard Wagner/Dressler

 

You're a braver than me. I really can't stomach Wagner.

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31 minutes ago, Sharkus Malarkus said:

 

You're a braver than me. I really can't stomach Wagner.

 

I like Parsifal and moments from Lohengrin and Tristan.  And I can usually make it through The Ring Without Words.  Otherwise, it ain't a cakewalk, is it?

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I'm only truly familiar with Das Rheingold, which I enjoyed, plus bits and pieces of the rest of the Ring, as well as a miniscule portion of Tannhäuser.  I'm not a gigantic opera fanatic to begin with and Wagner is basically the apotheosis of that art form, so I'm having to take opera in small doses.  I've been spooning up to it over the last few years, but I'm still very selective. 

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Yeah I am pretty light on opera as well.  Strange, since it's obviously an ancestor of what we're all here for.

 

Apart from those Wagners I mentioned, some classic Italian arias and choruses, Debussy's Pelléas and Gonoud's Faust, and Adams' Nixon/Doctor Atomic, it's not something I explore often.

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I don't really disagree.  Film music is an evolution, and it has all the benefits that come with that.  Chief among them being that film music knows better than to take on the entirety of the drama by itself.  That's what's so tiring and dampens operatic appeal for me, I think.

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Mussorgsky's Boris Godunov and Khovantchina, plus Bartok's Bluebeard's Castle are stunning works in the opera repertoire that I also find are quite easy to get into.

 

Wagner needed an editor. There are stunning quarters of an hour buried amongst each hour of his operas. But that's probably due to my lack of sophistication as listener and not Wagner's fault. 

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I'd just like to add that the original Star Wars trilogy albums are perfect and better than just about everything. Jedi might actually be my favorite Williams OST album ever, but I realize only Drax and I love it and everyone thinks we're just saying that to be ironic.

Sony did a good job with the albums, but the Jedi remaster is pointless unless you don't have the original CD. You can't improve on perfection. Still, the lack of physical CD releases is a huge bummer. Fucking Sony can't do anything right. First. the Ultimate Edition, then the Attack of the Clones bonus track, then all the reissues of the RCA Victor versions of the trilogy with screensavers and that retarded Corellian Edition (?), the 3D TPM OST with "Duel of the Fates" dialogue track and the Ghostbusters reboot.

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1 hour ago, TheWhiteRider said:

I don't really disagree.  Film music is an evolution, and it has all the benefits that come with that.  Chief among them being that film music knows better than to take on the entirety of the drama by itself.  That's what's so tiring and dampens operatic appeal for me, I think.

 

Partly why I find ballet scores more familiar and accessible as a film score fan. I feel like there's more leeway with the theatrics...you get a little breather of some mild accompaniment for every moment of wild or dark expressivity, and greater variety in style, technique, orchestration, phrasing, since the music isn't obliged to the human voice.

 

I don't know, I'm not an expert on either but in my limited listening experience I've never found opera reminded me much of film music, even apart from the singing. It's like opera is always the go-to comparison there but in terms of modern film scoring sensibilities, ballet music feels more like home to me.

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You know, I was going to mention how ballet, being the other direct ancestor in the musical family tree, is the more typically approachable one. 

 

I'm not certain that it's the closer comparison, though.  I think film music of any type, of any complexity or style, when done well, is intensely operatic in its nature.  The sung libretto is traded out for spoken dialogue, cinematography, editing, etc., and the score itself represents the remnant - accompaniment.  Getting out of the way musically when people are speaking, orchestrating to avoid clashing with actors' vocal ranges or sound effects, these aren't merely technicalities of scoring.  They have exact analogues in how opera is composed.  I was thinking recently how the Sept of Baelor sequence from the GOT season finale is so satisfyingly operatic.  Not what many people would think, perhaps, but it's undeniable to me in how closely the score observes cuts and dialogue.

 

Ballet, with its more symbolic and impressionistic nature (no dialogue) is obviously closely linked to musical setpieces in modern scores.  But I think it shares less overall from a dramatic standpoint and is more distant from typical dramatic underscore, precisely because it isn't obliged to the human voice: how often does the equivalent of that really happen in scores?

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The sheer youthful ardor and romance of the score is magnificent.

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11 hours ago, TheWhiteRider said:

 

I like Parsifal and moments from Lohengrin and Tristan.  And I can usually make it through The Ring Without Words.  Otherwise, it ain't a cakewalk, is it?

 

I just find it hard to separate the man from the music. Plus I find there's something messaeinic and humourless about his language. A parallel for me is Stockhausen, who I've never warmed for those same reasons. 

 

I'm not a huge opera buff, but I do like a few. Purcell and Montiverdi's 17thC operas, Mozart's Cosi Fan Tutte and Don Giovanni, Puccini's Tosca and Madame Butterfly. Milhaud's L'Orestie d'Eschyle, Bartok's Bluebeard's Castle, Shosty's Lady Macbeth of Mtensk, Stravinsky's Rake's Progress, Britten's Turn of the Screw, and Adam's Nixon in China. More of an oratio guy, though. 

 

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I bought this recording of The Abduction from the Seraglio last year and it's quickly my favorite opera recording I've ever heard.  I guess this means I like operas best when they're "fun".

 

DG-479-4064-2-CDs-.jpg

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1 hour ago, Sharkus Malarkus said:

 

 A parallel for me is Stockhausen, who I've never warmed for those same reasons. 

 

 

So one can assume you don't hail from the Sirius system?

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Ron Jones and Walter Murphy - Family Guy: Movement 1

 

Eh.  The music can be a lot of fun on the show but this album didn't do too much for me

 

 

John Williams - The BFG

I like this album more with each listen

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18 minutes ago, Jay said:

Ron Jones and Walter Murphy - Family Guy: Movement 1

 

Eh.  The music can be a lot of fun on the show but this album didn't do too much for me

 

Yeah, this is why I decided to pass on the album. It's fun stuff, but it's pastiche and parody that I wouldn't think would hold up to close listening.

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:music: Vertigo by Bernard Herrmann. Undoubtedly, one of the best scores ever written. Never tired of it. And this is one of my favourite albums ever:

 


Karol

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24 minutes ago, crocodile said:

:music: Vertigo by Bernard Herrmann. Undoubtedly, one of the best scores ever written. Never tired of it. And this is one of my favourite albums ever:

 


Karol

 

Indeed!  My absolute favorite non-Williams score of all time.

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