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Your favorite Williams score of the 2010s and why


Jay

What's your favorite Williams score of the 2010s?  

45 members have voted

  1. 1. What's your favorite Williams score of the 2010s?

    • The Adventures of Tintin: The Secret of the Unicorn
      14
    • War Horse
      21
    • Lincoln
      7
    • The Book Thief
      3


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Tintin is better in the film, but War Horse is a stronger album. One of those, though.

Karol

Both are rather enjoyable albums actually. War Horse a tiny teeny bit better as a whole in my opinion.

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Tintin. I cannot understand what is so special about War Horse. There are some interesting tracks, but others are rather boring. I don't like the feeling of too much sound from Vaughan Williams. I think Vaughan Williams did a better job on his symphonies than Williams did for War Horse.

Tintin reminds me what Haydn did in a lot of his works. Musical jokes and gimmicks with the instrumentation of the orchestra. Really good and powerful. And classical. Swashbuckling music is excellent. And some passages are Beethoven stylistically.

And sentences like:

Definitely not "Prisoner of the Crystal Catch Me if You Tintin."

Well, if you call it so, then I would call Harry Potter 1 + 2 sounds like "Witches of Hook alone Potter". It is not abnormal. Every composer contributes a few scores, which has a sound from earlier music. It is not wrong with it. Sometimes there is a continuation and it is stilistically better than the old ones. Besides, I cannot remember hearing Prisoner of Azkaban in Tintin.

Just my two cents.

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Tintin is better in the film, but War Horse is a stronger album. One of those, though.

Karol

Both are rather enjoyable albums actually. War Horse a tiny teeny bit better as a whole in my opinion.

War Horse is one of the best Williams albums in quite some time. The score as written translates beautifully to disc programme.

Karol

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Tintin and War Horse absolutely blew me away when I first heard them. The movie Tintin was actually released in Ireland on the same day that I flew to New York to see JW in concert at the Lincoln Center in New York; and I was lucky to be able to catch a morning screening before my afternoon flight. I had the soundtrack on a constant loop throughout the flight. Tintin's heroic theme is one of the best hero/action themes he has written and therefore the lack of a proper concert arrangement is disappointing. This score is definitely one of my most sought after scores for a complete release and I still can't forgive Williams for leaving 15 minutes of empty space on the OST when it could have been filled with great music.

War Horse as a body of work proves that WIlliams is not just the greatest living film composer, but the greatest living composer period.

Within the first 5 seconds of listening to Lincoln, I knew we were in familiar territory but the themes for that score are absolutely perfect. JW's love of Americana is apparent in this score and he was therefore was the best possible composer for this movie. The concert arrangement of Getting The Vote Out as performed by Williams at the Pops last year is really great fun.

The Book Thief is likely to become a rather inconsequential entry into his canon, and I simply can't see past the similarities to Angela's Ashes. It is an album that I'm unlikely to revisit often in its entirely unlike the other three, but a personal suite of about 15-20 minutes does yield a nice listen.

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I think I'm the only one voted for The Book Thief here, I think there is something magical in it's beauty.

I love all of these four scores and really don't understand the bashing of them. There are some scores in the 00's

that I do not care much, The Terminal, WOW and Indy 4(they are all nice and serviceable) but these 4 last ones proves

that Johnny hasn't lose anything. On the contrary there is something more.

Warhorse is perfect with the movie, very big role there and I understand it's popularity here. Beautiful scenery and

great emotions, good base for an epic score.

Tintin's adventurous moves offers a nice platform for a Shostakovic/Prokofiev like fireworks and this is where Johnny is a master. Just love it.

I love everything in Lincoln, the orchestra and the soloist. What I do not like is that why didn't those assholes used all of this brilliant music. Cause this

is still film music, I can't vote it as the best.

The best is The Book Thief simple because it's so breathtaking. (I haven't seen the film yet but I'm sure it won't change anything)

Edit, I just saw there's another vote for The Book Thief. This is how it starts, the classic status. Little by little.

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TIntin for me, altough like Hornist I adore them all together.

There's something so fun and energetic about Tintin. It got dismissed by a lot of people for feeling within familiar Harry Potter-CMIYC-Indy territory and that may be so, but there's so much beneath the surface. The orchestrations are so complex and all the playing-around the instruments get is mind-blowing. The first track by itself is a lesson in counterpoint, and it's so much damn fun! Everything about this score is so simple and complex at the same time that there's something new to discover with each listen. An instrument, a melody, a rythm... And it never feels like too much, it's complex in the perfect dose.

Tintin is an album in particular that when I start listening to it, I can't stop till the end. That's how much I love it.

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Edit, I just saw there's another vote for The Book Thief. This is how it starts, the classic status. Little by little.

Yeah, I do wonder how much of the results of this poll are due to Book Thief and Lincoln being too new to have really sunk in. I don't remember War Horse and Tintin getting such universal acclaim in 2011 (although I may be misremembering).

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Edit, I just saw there's another vote for The Book Thief. This is how it starts, the classic status. Little by little.

Yeah, I do wonder how much of the results of this poll are due to Book Thief and Lincoln being too new to have really sunk in. I don't remember War Horse and Tintin getting such universal acclaim in 2011 (although I may be misremembering).

I don't think any score here gets universal acclaim and praise. ;)

But yes the last 4 scores have been very strong in my opinion. No they do not reinvent the wheel but are magnificent and entertaining none the less.

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And why should they reinvent the wheel? Lets take Anton Bruckner for example and his three last symphonies, 7-9.

There is nothing new there, all the same guaranteed Bruckner style but how brilliant they are and still, each one of them,has it's own individual voice.

When someone is good enough, he's able to do this.

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And why should they reinvent the wheel? Lets take Anton Bruckner for example and his three last symphonies, 7-9.

There is nothing new there, all the same guaranteed Bruckner style but how brilliant they are and still, each one of them,has it's own individual voice.

When someone is good enough, he's able to do this.

I was rather citing the detractors of Williams' recent output on that reinvention issue than expressing my own opinion on the matter. I more than concur with you on the subject.

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Warhorse

THEN

Tin tin.

I don't know Lincoln or Book Thief as intimately yet. In 2020 ask this question again!

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I don't know how you do that, but I really can't assimilate such amount of music in so little time... can I answer in 2024... and after seeing The Book Thief? :rolleyes:

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  • 1 year later...

We've had some new members since the last time this was discussed.

Vote and discuss now!

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My ranking:

1. War Horse

2. Tintin

3. The Book Thief

4. Lincoln

Pretty close call for me between Lincoln and The Book Thief though, i'd rate both scores 4 out of 5. The same thing can be said about the 5 out of 5 scores War Horse and Tintin, but I feel that War Horse edges Tintin a bit easier even if they are close.

Memoirs of a Geisha is his best score in the last decade though and it is easily among his all time top 10. One of the best scores of the new millennium and it is a crime that he didn't win the Oscar for that masterpiece.

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War Horse, and I'll tell you why. The last bars of that score, with those pentatonic flute figures, approach divinity. There is a similar moment in The Peterson House and Finale on solo trumpet but it's slightly less striking. It's the sound of "passing into history" to me, if that makes any sense to you.

As morbid as it may seem (and to me it seems far more poetic and beautiful than morbid), it feels like John is ending most of his scores now in a way that would be fitting as an... overall end as well. War Horse was the first one that made me feel like that.

2015 update: I still interpret it that way, but Lincoln is a far better score.

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One aspect of Williams's recent scores I admire is the sophisticated orchestration. There's such a richness of colour and texture, and such a wealth of different orchestral layers, so to speak, all perfectly fitting together. It's very interesting to see how he has evolved from the straightforward, plain (though absolutely in a refined way) orchestration of scores like Jaws and Star Wars to the intricate orchestration of a score like The Adventures of Tintin.

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