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JAMES HORNER FILM MUSIC

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THEY TALK ABOUT LEGENDS OF THE FALL

To celebrate the 20 year anniversary of the recording of James Horner's score to Legends of the Fall that occurred from April 6 to 19, 1994, we had the chance to collect the memories of Jim Henrikson and Jay Ungar, who participated in the creation of this music. It is a great privilege to publish their thoughts.
We also wanted to open our column to our visitors and give them the floor.

Read more: http://jameshorner-filmmusic.com/they-talk-about-legends-of-the-fall/

LEGENDS OF THE FALL: AN ANALYSIS OF THE THEMES

We present an analysis of the themes of Legends Of The Fall with first their different appearances in the film and on the album, then a description of each. Indeed, one of the striking features of this essential and splendid score is its thematic richness. James Horner has created a dozen themes that each occupy their own place of importance. We assigned a letter to each theme, and each occurrence is numbered. If the musical passage is present on the album, we have indicated the name of the track and timing. If this is not the case, we clarify that this is an unedited cue with its place on the DVD, Legends of the Fall – Special Edition released in 2000.

Read more: http://jameshorner-filmmusic.com/legends-of-the-fall-an-analysis-of-the-themes/

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An interesting comment from James Horner - it sounds like he might be a JW fan.

at 20:50 or so. The whole interview is very interesting if you like Horner and can tolerate his ego centricity.

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I felt old not so long ago after having a conversation with a 21 year old about film tastes...That person was into old cinema... like Jurassic Park.

Karol

Well back in those days, some films were still being shot in black and white, even!

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EXCLUSIVE: A TITLE AND A CD FOR THE DOUBLE CONCERTO!

The charismatic violin and cello duo Mari and Hakon Samuelsen has announced us via Mercury Records that the first album of their exclusive long-term recording partnership recently entered into with the record company will be James Horner's double concerto.

Read more : http://jameshorner-filmmusic.com/title-cd-double-concerto/

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PAS DE DEUX: AN INSIDE LOOK WITH HAKON & MARI SAMUELSEN - PART 1

In addition to being charming and talented musicians, Hakon and Mari Samuelsen are also accessible and generous. Indeed they didn't hesitate an instant to share with us the genesis of Pas de Deux, the Double Concerto for violin and cello composed by James Horner whose world premieres are scheduled for 12 and 13 November 2014. We are very pleased to publish their first words on the creative process of this major musical event.

Read more: http://jameshorner-filmmusic.com/pas-de-deux-an-inside-look-with-hakon-mari-samuelsen-part-1/

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Goldsmith loves the smokes!! Yes he does, and at his age, he's long beyond "the patch". Let's just hope he lives a long life, and lives long enough to FINALLY win that second, and possibly final "Oscar" for something better than "Revenge of The Tuna Casserole Men"!!!

:lol::crymore:

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Jerry had his?

On a serious note, maybe Jerry had the desert? While some associate him with space, for me Jerry was the master of evoking the arid, blood boiling, mirage-inducing qualities of the desert. THE HOUR OF THE GUN, PLANET OF THE APES, CHINATOWN, THE WIND AND THE LION, MASADA, CAPRICORN ONE and even RAMBO 3. He was LA born and bred, a city itself which is built on the the edge of a desert. His dry/close miked acoustics of the 60s/70s along with his use of sul pont clusters, serial procedures and extended techniques fitted like a hand in glove with these landscapes.

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Jerry had his?

On a serious note, maybe Jerry had the desert? While some associate him with space, for me Jerry was the master of evoking the arid, blood boiling, mirage-inducing qualities of the desert. THE HOUR OF THE GUN, PLANET OF THE APES, CHINATOWN, THE WIND AND THE LION, MASADA, CAPRICORN ONE and even RAMBO 3. He was LA born and bred, a city itself which is built on the the edge of a desert. His dry/close miked acoustics of the 60s/70s along with his use of sul pont clusters, serial procedures and extended techniques fitted like a hand in glove with these landscapes.

Don't forget THE MUMMY, DAMNATION ALLEY, PATTON. Maybe desert would be not totally wrong, but I like the description of the wilderness more; like THE EDGE.

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BETWEEN INTELLIGENCE AND SENSITIVITY: TWO DISSECTED UNTRUTHS

According to the dictionary of the French language Le Littré, untruths are "words expressing a sense being contrary to that we want to be heard."
These words are sentences we have identified on the Internet which claim that James Horner is inspired lazily or without valid reasons by recent compositions:

A – The theme of Troy (2004) is copied from David Arnold's Stargate (1994).
B – The theme of Enemy At The Gates (2001) is copied from John Williams' Schindler's List (1993).

In the Dictionary of Pedagogy by Ferdinand Buisson (1887), Ludovic Carrau explained that there are cases where the judgment is so obvious that "it is made itself;, the reflection may not be absent, but it is limited to exactly design the terms and put them in front of each other; their suitability or unsuitability immediately appear."
Here we would like to suggest that the associations Troy/-Stargate and Enemy At The Gates/-Schindler's List are based on a judgment that was made too quickly. The combination was so obvious to some people that a prolonged reflection was not necessary. It could have been though. Here' is why.

Read more: http://jameshorner-filmmusic.com/between-intelligence-and-sensitivity-two-dissected-untruths/

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An interesting comment from James Horner - it sounds like he might be a JW fan.

at 20:50 or so. The whole interview is very interesting if you like Horner and can tolerate his ego centricity.

Just seeing this now. He may be a bit of a twat, but he's right on. Awesome interview.

41N6NZP11ZL._SX300_.jpg

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Oh man, there's a fantastic joke to be made here. Anyone?

Is it that it's not a James Horner score unless it sounds remarkably like a previous James Horner score?

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