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

[Taikomochi 1,460]

Like I said, it's effective scoring, but it's pretty bad music.

It's only 'pretty bad music' for someone whose musical horizon is presumably very limited.

I really resent that.

I loved the score to There Will Be Blood, at first. I don't think his music is bad by itself. If I were to just pretend he had only written one score ever, I might be able to appreciate them, but all Greenwood scores sound the same to me. There's no development. It's just an interesting sound, and the sound never changes, especially with the knowledge that much of TWBB is adapted from "Popcorn Superhet Receiver," which I have listened to. I like the addition of a larger palette of instruments in The Master's score, but I feel like he as a composer is just retreading the same ground. His work is bold, but it gets much less interesting after he has used the same approach 3 times. I won't include on We Need To Talk About Kevin which had almost no score. When it did, it was much of the same, but that was very sparse.

[publicist 4,650]

A) This sounds nothing like 'really bad' (which seems apt only for scores like BATTLESHIP)

B) THE MASTER sounds more like Henze with some impressionists thrown in the mix, BLOOD sounds like Stravinsky. I don't see - apart from the collage technique - how one could say the sound 'similar'. And i honestly don't know what you mean by 'development'. It's not developing 'themes' per se like film scores usually do, but isn't that part of the parcel in this case?

[Taikomochi 1,460]

THE MASTER sounds more like Henze with some impressionists thrown in the mix, BLOOD sounds like Stravinsky. I don't see - apart from the collage technique - how one could say the sound 'similar'. And i honestly don't know what you mean by 'development'. It's not developing 'themes' per se like film scores usually do, but isn't that part of the parcel in this case?

I am not musically trained and I am not familiar with most classical music. I don't mind a score not having themes or strict melodies. There are plenty of scores I like that lack both. I dislike when I hear the comment "they sound the same", a phrase I have seen attached to the likes of Star Wars and Indiana Jones. I try not to use it because when I closely listen to a score that has been accused of this, it rarely turns out to be the case. You just have to take the time to listen closely. That said, Greenwood's work all sounds the same to me. It's all function over form. It's technically sound, but lacks any inspiration. I don't like it because it is redundant and loses impact. I'm not going to overcomplicate it by comparing his works to other composers or trying to quantify into vocabulary. All I know is what I hear and what I think, and that is that Greenwood's scores are empty works that enhance the film but do little else.

I liked some of Greenwood's work in the past, and I've more than given him a fair chance, but he is a one note composer to me, as it stands.

[Rachael Foley 10,162]

Soo... you say it was a...one note stand?

Zing!

[Taikomochi 1,460]

Soo... you say it was a...one note stand?

Zing!

[publicist 4,650]

I dislike when I hear the comment "they sound the same", a phrase I have seen attached to the likes of Star Wars and Indiana Jones. I try not to use it because when I closely listen to a score that has been accused of this, it rarely turns out to be the case. You just have to take the time to listen closely. That said, Greenwood's work all sounds the same to me. It's all function over form. It's technically sound, but lacks any inspiration.

I still don't know what you actually want to say.

First, it's 'really bad music'.

Then it all sounds the same (which it clearly doesn't)

Then 'it all sounds the same' is translated as 'it's all function over form' and 'lacks any inspiration', which is really the crowning achievement in this nonsensical statement. Being the smartass i am, i claim you just dislike the music and then throw random sentences at it. Not that i begrudge you the right to do so, it just seems a duty to mention that it doesn't make a lot of sense (and i'm not a Greenwood family member).

[A24 5,156]

At least he tried to be open-minded about it. He listened to it.

Well, agree to disagree. All I hear is ambient nothingness, except performed by strings instead of the usual computer. Whatever melodies there are are just awkward and not really listenable. Like I said, it's effective scoring, but it's pretty bad music.

It's not what I hear. Yes, it's more impressionistic and abstract but that doesn't equal nothingness. The harmonies and sounds create moods and shades that are about expression and feelings. As someone who has listened a lot to 20th century music, I'm glad someone in Hollywood dares to use the sound of the modern composers in his film music.

[Quintus 6,495]

Having not been a fan of There Will Be Blood's obnoxious film SCORE (I'm not referring to it in the album sense), I'll reserve judgement on The Master's own score until I've seen the film. I realise that the "obnoxiousness" in TWBB was probably by design, but that doesn't mean I should like or appreciate it on those terms. I just found it far too OTT and even more knowingly grandiose than The Star Wars opening crawl, but with the latter I didn't ever hear the composer running around waving his arms in the air screaming "HEEEEEY LOOK AT MEEEE! LISTEN TO MY ORCHESTRAL MUSIC SKILLLLLS!"

Watched a live performance by the BBC Concert Orchestra play a Greenwood classical piece earlier this year as well actually. I rolled my eyes, obviously. Pretentious is such an overused word, but it is what it is.

[publicist 4,650]

That goes without saying (that not anybody must like or even listen to it). Doesn't mean it's devoid of artistic value, especially when it is trying to find its own voice. God knows film music produces enough cookie-cutter scores which tend to sound very same-y (and often enough are applauded for doing so).

[A24 5,156]

That goes without saying (that not anybody must like or even listen to it). Doesn't mean it's devoid of artistic value, especially when it is trying to find its own voice. God knows film music produces enough cookie-cutter scores which tend to sound very same-y (and often enough are applauded for doing so).

Somehow people are still very conservative when it comes to music. Modern visual arts (painting, drawing, scultpure, design, etc.) and architecture are much more accepted.

[Quintus 6,495]

Also, it's fair to say that I'm partly to blame - purely due to the fact that I'm patently suspicious of and cynical about pop/rock musicians dabbling in earnest classical fair. I mean, did anyone ever hear Paul McCartney's own classical 'works'? They're not exactly great.

[#SnowyVernalSpringsEternal 12,386]

I blame Yoko for those!

[Koray Savas 2,260]

Also, it's fair to say that I'm partly to blame - purely due to the fact that I'm patently suspicious of and cynical about pop/rock musicians dabbling in earnest classical fair. I mean, did anyone ever hear Paul McCartney's own classical 'works'? They're not exactly great.

So? Is there something inherently wrong with a composer branching out into other forms of music? Some may not excel at it, but what about all the ones that do?

Did you know Anthony Hopkins has a classical album?

[Quintus 6,495]

Yeah, I've heard a number of tracks. It wasn't my thing.

[Romão 2,473]

I haven't heard the Master yet, but I loved the score for There Will Be Blood. That first track (that reminds of Takemitsu somehow) conjures up so perfectly such an ambiguous mood and character's state of mind in that prologue, it's hard for me not be at least highly impressed by the music's dramatic capabilities. It is anything but wallpaper. And Prospectors Arrive is an absolutely touching piece of music, with or without the film.

Anybody a fan of Brion's score to Magnolia? Now there was a score that took me completely by surprise (and I don't mean the Aimee Mann songs)

[Koray Savas 2,260]

Yeah, I've heard a number of tracks. It wasn't my thing.

I've never listened it, but my point was that artists usually don't stick to one form of art over their careers.

[publicist 4,650]

Moby now throws a big wash of lush strings over his songs to make them more 'important' - it ended up sounding like bad Barry with a breakbeat (or McCartney, who became the laughing stock of classical snobs for his 'symphony').

This is decidedly not the same with Greenwood, who at least knows what he's doing with his instrumental groups and knows his musical history. I don't say i like all of it, but i think it's fair to give credit where credit is due - and it's always a hot button for me when your typical film music reviewer hands out 5-star reviews for predictable and redundant scores like a lot of Horner's or even DANCES WITH WOLVES etc. and then casually dismisses anything that actually tries to go beyond this very limited harmonic vocabulary...Filmtracks, i. e., did this very often but they were certainly not alone.

[crocodile 9,724]

Received the BSX edition of David Arnold's Godzilla yesterday. Completely smashed case, but still. As far as I can tell it sounds identical to the LLL/Toho box edition. The additional are nothing special (finale with no choir type of things) and the OST presentation is a nice abbreviated version, quite similar to ID4. The liner notes are kind of uninteresting, it's only 4 pages or so. Anyway, I'm glad I have this. While great art it ain't, it is my favourite David Arnold score. A bit airier and lighter and Independence Day and bit more lively than Stargate. Also, I think he handles his, quite varied, thematic material with greater grace than in the other two. Overall, more enjoyable.

Karol

[crocodile 9,724]

First Knight by Goldsmtith

It's not like I'm a massive, massive fan of this score, but I have to admit one thing: it's probably one of the most timeless he's ever done (or anyone else, for that matter). It wouldn't be out of place in the film made in the 80's, 90's, 00's and even now it would serve it just fine. Sophisticated enough for more demanding listeneres, streamlined enough to entertain the masses. Both old and new. A rare thing.

Karol

[chuck 155]

Hoosiers - Jerry Goldsmith

This one is 20 years out of time but damn if it's not mesmerizing to say the least.

[publicist 4,650]

First Knight by Goldsmtith

It's not like I'm a massive, massive fan of this score, but I have to admit one thing: it's probably one of the most timeless he's ever done (or anyone else, for that matter). It wouldn't be out of place in the film made in the 80's, 90's, 00's and even now it would serve it just fine. Sophisticated enough for more demanding listeneres, streamlined enough to entertain the masses. Both old and new. A rare thing.

Karol

I'm still high on that Lancelot theme - to my ears the best 'modern' swashbuckler theme ever written (post-RAIDERS). Sometimes i dream of a Goldsmith-score Lancelot-spinoff with lots of hot pursuits on horses.

[Jay 46,243]

Does anyone know why Goldsmith chose to not put the Lancelot Theme on the original OST anywhere?

[crocodile 9,724]

The liner notes for the LLL edition just mention the fact. No reason is given.

Karol

[publicist 4,650]

Presumably because he excised anything that was not portentous or stately, hence only action cues like NIHGT BATTLE made it. I even remember that Jeff Bond once made a remark to the effect that Epic offered to pay for a longer album and Goldsmith was like 'what's the use' and put forth his 40-minute cut.

[Ollie 1,375]

Now that I've played Barry's King Kong to death, I thought I might move on to something else.

Star Trek Generations, while my most requested cue was "Soran Kidnaps Geordi", "Soran's Plan Revealed" and "HMS Enterprise" are two welcomed cues.

And much to my embarrassment, I found an unopened package from Kritzerland buried on the end table next to my chair. I get to listen to Bernstein's The Rat Race.

[Jay 46,243]

Been listening to Lincoln again. Trying to memorize the 6 different recurring themes so when I see the film on Friday I can write up a bit about what they represent and how they are used in the film

I think Lincoln and Rise of the Guardians are the only scores I've listened to in a month or more, been listening to a lot of podcasts and rock music instead.

Gearing up for a complete listen of all the LOTR scores soon

[KK 3,313]

Radagast the Brown

I've played this track several times since I first heard it, and I'm really loving it!

I'll play Lincoln again for the 40th time and then probably start my LOTR marathon.

[Incanus 5,890]

Radagast the Brown

I've played this track several times since I first heard it, and I'm really loving it!

I'll play Lincoln again for the 40th time and then probably start my LOTR marathon.

Guess what I am listening right now.

It is not the flashiest piece by LotR music standards but there is something rather addictive about this new music from Shore's pen.

I think I'll start a LotR marathon too tonight.

[KK 3,313]

Radagast the Brown

I've played this track several times since I first heard it, and I'm really loving it!

I'll play Lincoln again for the 40th time and then probably start my LOTR marathon.

Guess what I am listening right now.

It is not the flashiest piece by LotR music standards but there is something rather addictive about this new music from Shore's pen.

Addictive is quite right! I blame the fiddle work and the cool percussion material.. But I think I keep coming back for the choral work in the last 30 sec! always sends chills down my spine.

[Incanus 5,890]

Radagast the Brown

I've played this track several times since I first heard it, and I'm really loving it!

I'll play Lincoln again for the 40th time and then probably start my LOTR marathon.

Guess what I am listening right now.

It is not the flashiest piece by LotR music standards but there is something rather addictive about this new music from Shore's pen.

Addictive is quite right! I blame the fiddle work and the cool percussion material.. But I think I keep coming back for the choir for the choral work in the last 30 sec! always sends chills down my spine.

It was playing in my head the whole day at work, that choir passage. Shore's choral writing is always like a breath of fresh air I think. He has such a unique style in comparison with most Hollywood composers.

[Marian Schedenig 11,694]

Does anyone know why Goldsmith chose to not put the Lancelot Theme on the original OST anywhere?

Perhaps because he copied it from Mahler.

[Quintus 6,495]

Dances With Wolves was a redundant score?

OK.

[publicist 4,650]

I

Does anyone know why Goldsmith chose to not put the Lancelot Theme on the original OST anywhere?

Perhaps because he copied it from Mahler.

That didn't stop him from putting up all the stuff copied from Vaughan Williams' 6th Symphony, so no.

[crocodile 9,724]

King Kong by John Barry

Skyfall by Thomas Newman

The Nativity Story by Mychael Danna

Karol

[Brónach 1,330]

Does anyone know why Goldsmith chose to not put the Lancelot Theme on the original OST anywhere?

Perhaps because he copied it from Mahler.

?

[publicist 4,650]

Lancelot's Theme has a slight resemblance to Mahler's Second Symphony, the second part of the Allegro Maestoso or the scherzo in the last movement, i think (Marian may correct me here). But don't start looking for cool Goldsmith fanfares in Mahler symphonies now.

(PS: here it is)

[Marian Schedenig 11,694]

That's the statement of the theme I was looking for (but couldn't find quickly).

What strange edits did you do in that cue, though?

[publicist 4,650]

Spotify. When i have the whole Creative Suite open, it just fails me...

[publicist 4,650]

AMAZING GRACE AND CHUCK - Elmer Bernstein

When Elmer Bernstein was in the most depressing phase of his career - he was only getting comedy assignments back then - this was one of the first breakout scores that enabled him to write human drama again. And what drama: a "little league" baseball player (the titular Chuck) in small-town America who decided he wouldn't play any more until there was complete nuclear disarmament, prompting leading sportsmen from around the country to follow suit - an everyday tale, in other words (thanks to James Southall for informing me).

Bernstein answers with his patented mixture of yearning americana (one of the main themes just soars in the high strings recalling the later THE FIELD, a similar gem), rollicking Marlboro-country rhythms, a wash of great woodwinds and the inevitable Ondes Martenot, all transparently packed in 50 minutes of an album that is a reminder why Bernstein was a seminal Hollywood composer - he just could musically tell a story without getting washed up in functional background music, every note here is in service of a greater whole and i was astounded that when i tried to prepare my iTunes suite that i hardly could choose which track to leave off. And that's not a bad sign.

THE RED PONY - Jerry Goldsmith

First Emmy win for grumpy G and as the liner notes informs us, one of those experiences he fondly remembered 30 years later ('I got up every morning and happily went to work'). While it in parts recalls similar small scale americana works (WILD ROVERS, FLIM FLAM MAN, LILIES OF THE FIELD, and of course, THE WALTONS) it is the most 'complete' of these kind of scores. Dominated by strings, piano and guitar, Goldsmith settles for 3 main thematic ideas which are gently developed over mostly longer cues. It's all very rural and sweet (only THE BUZZARDS breaks out into brutal, ferocious action frenzy like only Goldsmith in his anguished PLANET OF THE APES-phase could write), occasionally crossing over the mexican border - apart from a few frolicking WILD ROVERS-like up-tempo cues (A Day's Work, True Love) there's mainly introspection to be found here. It's easy to listen to, but some trimming should make it much more digestible. There's a musical story told here that's remarkably clear and focused, so it's a great companion piece to the Bernstein above.

[Brónach 1,330]

Lancelot's Theme has a slight resemblance to Mahler's Second Symphony, the second part of the Allegro Maestoso or the scherzo in the last movement, i think (Marian may correct me here). But don't start looking for cool Goldsmith fanfares in Mahler symphonies now.

(PS: here it is)

Thanks!

I know what Mahler symphonies are like, I was just curious. .

[Incanus 5,890]

The Star Wars Trilogy compilation with Varujan Kojian conducting the Utah Symphony Orchestra: Wow this brings back memories being one of the first Star Wars CDs I ever heard, a very well perfomed and wide selection of material from all three films although the album focuses notably on the ROTJ as the CD was originally released in 1983 and contains a few unreleased bits like the Darth Vader's Death and Fight with the Tie Fighters, which for a long time could only be heard on this album alone. Listening to this again after a good while actually brought to me how great compilation this is in terms of selection and performance, Mr. Kojian really capturing with precision the spirit of the originals, the phrasing and pacing strong, the balance between sections well achieved (unlike e.g. Gerhardt's ESB recording, where the brass is either way too shrill and pitched or the performance clunky). The recording is also top notch, the performances captured with spacious enough sound, soloists shining through in various suites from oboe to horn and flute. Curious omission from the ESB material is the Han Solo and the Princess, which I believe this ensemble could have made shine.

This would not be a bad first introduction to the original Star Wars scores.

[Quintus 6,495]

God I'd forgotten all about that recording. It was fabulous.

[Jay 46,243]

One of my first CDs as well

[Jair Crawford 1]

Right now I'm listening to Imaginaerum : The Score by Nightwish and Petri Alanko

[Matt C 605]

El Mal Ajeno - Fernando Velazquez

It's a moody, sad score but Velazquez gets mileage out of the main theme. The moody cadenzas, punctuated by the stunning cello and harp solos, really make this album shine. Your mileage may vary, but I love this. It's introspective, dreamy, and beautiful with some nice harmonies.

You guys should really check Velazquez's output out. He does drama and suspense really, really well.

[Xander Harris 9,674]

Man, just thinking of that part before Leia's theme in the SW end credits with the strings and horns playing Luke's theme...Okay, Kojian recording it is tonight!

[publicist 4,650]

[media=]http://www.youtube.com/watch?v=3BaCR5U7VIU&feature=related

RISE OF THE GUARDIAN - Alexandre Desplat

With this 68-minute stuffed musical roast for another colorful Dreamworks animation in 30-D and whatnot, Desplat should indeed rise up a notch on the list of the people who find musical subtlety and delicacy risible in principle and prefer it all laid out on a big plate. Desplat answers to what must have been Dreamworks execs cheering for another HOW TO TRAIN YOUR DRAGON-spectacle with robust orchestral onslaughts and melodic playfulness.

So we get a frenchman fighting his natural sensibilities, delivering a suitable bombastic score with two principle themes and a battery of connecting musical ideas and one-occasion-fanfares which are brilliantly orchestrated and very enjoyable to listen to (it all gets a bit much after nearly 70 minutes, though). The one drop of disagreement may come in the realization that musically Desplat harvests a field heavily plowed by composers like Silvestri, Debney, Newman (David), McNeely et al. He does it with brilliant energy and panache, but all too often, the results recall said composers and in one or two instances, come dangerously close impersonating Danny Elfman.

But minor quibbles aside, it should be indeed cause for celebration that at least in animation, traditional colourful film music still finds an outlet and we may hope this trend continues further, with Desplat supplying much more of it in the future.

[Brónach 1,330]

On a first listen I was bored and I couldn't go through the whole thing. I might try again.

[BloodBoal 8,711]

Pub saying good things about a score? Most people will probably skip this post, I guess.

[crocodile 9,724]

Well, doesn't surprise me. December 2012 is nigh.

Karol