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


Ollie

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1 hour ago, crocodile said:

:music: Harry Potter and the Philosopher's Stone (plus Children Suite for Orchestra)

 

Karol

I just listened to the Childrens' Suite for Orchestra as well. Fantastic that they were finally able to release it. It is a gem! :) 

 

Schindler's List 25th Anniversary Edition by John Williams

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I re-watched "Là-haut" (Up) yesterday, because Charles Aznavour dubbed Carl Fredricksen in French.

 

The main musical theme of the movie is good. The treatment is not good in the whole score. It lacks some experience.

 

Well, that's "old" Giacchino already...

 

Résultats de recherche d'images pour « Là-haut Charles aZnavour »

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Well, I wrote that this Giacchino 2009 score lacked some experience.

 

That's it.

 

I will not elaborate on such an obvious thing!

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Thunderball by John Barry

My favourite Bond score that I've listened to yet. Underwater Ballet is splendid. And the themes are so good! Any recommendations as to which Bond score I tackle next?

Fantastic Mr. Fox by Alexandre Desplat

It's alright. The OST is comprised mostly of songs used in the film, but of Desplat's score I quite like Boggis, Bunce, and Bean's theme.

The Aristocats (Walt Disney Legacy Collection) by Geogre Bruns

I have now listened to six of the legacy collection score. Of these expansions, The Aristocats is second to only The Lion King. Very good!

Star Wars: The Force Awakens by John Williams

March of the Resistance, Rey's Theme, the Jedi Steps, Luke's theme on celeste in the finale, the Falcon, Kylo Ren's theme, The Starkiller, The Ways of the Force, Poe's theme. So many highlights!!!

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1 minute ago, The Illustrious Jerry said:

Thunderball by John Barry

My favourite Bond score that I've listened to yet. Underwater Ballet is splendid. And the themes are so good! Any recommendations as to which Bond score I tackle next?

 

I wanted to listen to Live and Let Die OST, but it seems it's not on Spotify.

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We love you, Bes.

 

Star Wars: The Last Jedi by John Williams

The only mistake I can think of with this OST is the Desperation theme's only statement in the Finale. Thankfully, the FYC and ISO gave us more. Otherwise, a great album. Highlights include: Rose's theme, Exile theme, The Fathiers, the Jedi Steps return, Leia's theme while she floats, the way The Battle of Crait combines the originals (Here They Come), to the sequels (all the new themes), and even the Prequels (the part that sounds like The Immolation Scene), the tender reprise of Luke and Leia in the Spark, followed by an unforgettable and powerful upwelling, The Last Jedi, and the Kylo Ren March-style in Peace and Purpose.

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35 minutes ago, The Illustrious Jerry said:

The only mistake I can think of with this OST is the Desperation theme's only statement in the Finale.

 

It's also in Chrome Dome.

 

I hope this movie isn't too controversial to be added to the Live to Projection series, I really want to hear this score and The Force Awakens performed without the album mixing and see if the weird Sphagettios, bland taste of the score  is just a fluke, or if Williams strangely decided to pull back his sensibilities for just these Star Wars scores and none of the other contemporary scores he's done. 

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1 hour ago, Nick Parker said:

It's also in Chrome Dome.

Right. That one's played on strings at the beginning of the track and later with brass. I guess I was more referring to the FYC track entitled Holdo's Resolve, where the theme is really on full display.

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4 minutes ago, crocodile said:

:music: Harry Potter and the Prisoner of Azkaban

 

Karol

 

Sorry, that's What I wanted to say!

 

It's an Harry Potter day for me!

 

HP3... now HP2!

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1 minute ago, Bespin said:

 

Sorry, that's What I wanted to say!

 

It's an Harry Potter day for me!

 

HP3... now HP2!

I have listened to the entire box this weekend. Quite an undertaking!

 

Karol

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Have had a John Powell marathon lately. Didn't set out to partake in such, I just apparently couldn't get in the mood to listen to much of anything else (with exceptions)! 

Listened to all three Ice Age scores in one go. I always loved the character themes (Sid's especially. The tune that's often played on solo clarinet), and Meltdown's theme is super catchy. It's a shame it doesn't show up in the other two scores as far as my ears can tell, but I guess Powell got all the mileage he could from that ditty in his first outing.

Then heard both Rio scores in one go. I arranged a songs-with-score playlist with these awhile ago, as the scores feel 'naked' without them. 

And now listening to Bolt!

 

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X-men: The Last Stand by John Powell

Haven't listened to this one in forever. Even as a Powell fanatic, superhero scores are never really my fried chicken (I don't drink tea, so saying 'cup of tea' wouldn't work here). But as someone who's so used to him in 'joyful exuberant cartoon' mode, it's fascinating hearing a dark brooding atmospheric score from him. At points, it sounds more like a horror score than a superhero score (especially captivating to hear knowing it's unlikely Powell will ever delve into a full-fledged horror film). I've read the movie's crap, but it at least did well to bring out Powell's 'dark side' that I forgot he had. Shame the album doesn't have the film version of the main titles, even if I do prefer the album version anyhow. 

 

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Dracula (Deluxe Edition) by John Williams: I love this from start to finish. So wonderful that Varese finally released this in complete form.

 

Harry Potter and the Prisoner of Azkaban (Expanded Archival Edition) by John Williams: Awesome, just awesome. The programme on the HP box is excellent but I reconfigured it (and edited some tracks a bit) into a near-chronological playlist which works wonderfully as well.

 

 

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4 hours ago, SteveMc said:

Revenge Of The Sith by John Williams

A classic score.  Dark, rather broody at times, quite operatic.  John put a lot of skill on the table.  The orchestrations are remarkable, love some of the little surprising details and turns the music takes.  The best of the Prequel scores for my money.

Yes!

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Saving Private Ryan by John Williams

One of Williams' more solemn and reflective scores, most notable in the horn solos for me.

 

Raiders of the Lost Ark by John Williams

Still as fun as the first time. Aside from the obvious Raiders March, I really enjoy tracks like In the Jungle and The Map Room: Dawn, as well as the chills that the awesomely creepy The Miracle of the Ark gives you. Good fun!

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Solo: A Star Wars Story by John Powell with a theme by John Williams

"I'm gonna be a pilot. The best in the galaxy."

This quote from the film itself could easily be edited and the wonderful John Powell. "I'm gonna be a composer," he said. "The best in the galaxy!". I enjoyed Solo: A Star Wars Story's score very much, and revisiting it for the first time in a small while has been great fun. The sheer Powell Star Wars idea is so exciting; it was the film score highlight of the year for me. His style perfectly blended with Williams pre-existing SW material, not to mention a new JW concert suite, was so intriguingly fun! The brilliance of Corellia Chase and Meet Han, exploding with charisma and adventure, as well as the gravity of Spaceport and The Good Guy are all so wonderful. The bold and interesting new ideas for Enfys Nest, most notable in Marauders Arrive, is one of the highlights of the score. The love theme also is a splendidly romantic idea that swiftly sweeps through the orchestra. The gang theme has a certain honour and experience to it, adding a nice layer to that idea of the story. Chewie's theme is another wonderful addition. Powell scored with the themes, which was essential to making this score work. Not only did Powell nail his themes, he also uses Williams' to the fullest. Reminiscence Therapy is such a beautiful combination of each of their work. Such a great score! 

 

P.S. Screw Disney for their lousy laziness on the FYC scenario. 

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Mission Impossible: Rogue Nation by Joe Kraemer

This was a very alive score. Kraemer does wonderful things with the pre-existing themes, and, as mentioned in the liner notes, the music was written in a way that an orchestra in the 60s would be able to perform. Therefore, there is no electronic effects, and it’s just pure musical scoring. This gives the score a very “real” sound and feel, and I was distracted from my work while listening to this a few times, as I’d wander off into the music. It’s a nice style, and was an neat listen in the wake of the latest Mission Impossible news.

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Out of Africa by John Barry

A beautiful score. John Barry continues to amaze me the more and more I listen to his work. The main theme and Karen's theme drive this concise but perfect 30 minute album forward. It's a splendid listen. For a good one track sampler suggestion, give a quick listen to the Main Title or End Credits.

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:music: The Egyptian by Bernard Herrmann and Alfred Newman. Now I have both the La-La Land edition (itself an upgrade over the Varese) as well as the Stromberg/Naxos re-recording. The latter arrived in the post today. It's quite a wonderful album and probably the best one for casual listener. Shame it's not the complete score but the 72-minute selection is more than a healthy dose. But, then I do have the other album which sounds just fine (and looks gorgeous too!). Thanks @Romão for the recommendation! The score itself is great. It's especially interesting to hear Herrmann adapt his own distinctive style to the requirements of the genre and Newman's material (as the latter set the tone for the score and developed main thematic material). It's probably some of the lushest and most lyrical music in Benny's his career. It's also amazing how cohesive the entire work feels. It's really odd because it's sometimes hard to tell who did what... the two composers with distinctive styles decided to share certain elements and the results are quite impressive --- that sweet spot somewhere between the lushness and romanticism of Newman's Golden Age splendour and Herrmann's hypnotising moods and textures that penetrate deep into the fabric of the story. :)

 

It's hard to believe that Herrmann wrote this:

 

 

Karol

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