Romão

Lovely track indeed. I hope Greenwood walks away with an Oscar for something this year.

If Wikipedia's wording about the score / blurbs from reviews are to be believed, there's more to this score than just this single theme that is Greenwood's entire presence on this soundtrack release. Hoping for a proper score release, because this is loverly
 
Haven't gotten around to watching this yet, but this is beguiling. Feels like a relative to Britell's Beale Street score.
 

It's a pity, I thought it was a really good film. Ridley's best in years

It's a pity, I thought it was a really good film. Ridley's best in years

I do. But this is still a great companion piece

On page 201 of the Sci-Fi Masterworks edition:
 
“M’Lord Baron.”
The man who stood outside the doorfield of the Baron’s bedchamber was low built, gross of face and body, with the Harkonnen paternal line’s narrow-set eyes and bulge of shoulders. There was yet some rigidity in his fat, but it was obvious to the eye that he’d come one day to the portable suspensors for carrying his excess weight.
A muscle-minded tank-brain, the Baron thought. No Mentat, my nephew… not a Piter de Vries, but perhaps something more precisely devised for the task at hand. If I give him freedom to do it, he’ll grind over everything in his path. Oh, how he’ll be hated here on Arrakis!
“My dear Rabban,” the Baron said. He released the doorfield, but pointedly kept his body shield at full strength, knowing that the shimmer of it would be visible above the bedside glowglobe.
“You summoned me,” Rabban said. He stepped into the room, flicked a glance past the air disturbance of the body shield, searched for a suspensor chair, found none.
 
And the scene continues for a few more pages

I am honestly baffled that people keep bringing up Rogue One as a good example of Giacchino's ability to properly integrate themes by other composers...

I am honestly baffled that people keep bringing up Rogue One as a good example of Giacchino's ability to properly integrate themes by other composers...

I am honestly baffled that people keep bringing up Rogue One as a good example of Giacchino's ability to properly integrate themes by other composers...

For some reason, it is now fashionable to bring actors from previous, unconnected iterations of the character to the more recent movies (as in The Flas with Batman), and because people have a nostalgic attachment to those previous iterarions, somewhow it seems like a good idea. Honestly, it feels very cheap, creatively speaking, and there's no way the actual scenes of the three Spiderman actors together lives up to how cool the idea might seem.
 
It's like the starting point was to have the actors all together in this and then work out a story to somehow justify it. I apologize for being so bitter, but this is lame. It's just reinforcing two of the most pervasive tendencies in blockbuster filmaking these days: superheros and nostalgia catering.
 
 

For some reason, it is now fashionable to bring actors from previous, unconnected iterations of the character to the more recent movies (as in The Flas with Batman), and because people have a nostalgic attachment to those previous iterarions, somewhow it seems like a good idea. Honestly, it feels very cheap, creatively speaking, and there's no way the actual scenes of the three Spiderman actors together lives up to how cool the idea might seem.
 
It's like the starting point was to have the actors all together in this and then work out a story to somehow justify it. I apologize for being so bitter, but this is lame. It's just reinforcing two of the most pervasive tendencies in blockbuster filmaking these days: superheros and nostalgia catering.
 
 

It's a re-recording of selected pieces done in London at the time, and it's head and shoulders above the tinny tv recording, recording wise, but also in the more measured performance. 
 
 

Three imposing war-themed scores came out in 1989 almost simultaneously, 'Glory' by James Horner,  'Born on the Fourth of July' (Williams) and 'Casualties of War' (Morricone). Back then, all were reviewed by a german magazine and their classification stuck with me: John Williams' music tends to be a declamatory commentary, Morricone's contribution recalls a broad religious passion á la modernized Bach while James Horner's 'Glory' shows clear tendencies towards the oratorio form.

It is surely Horner's best work for Edward Zwick from a purely musico-centric perspective, and the first where he truly succeeds in bundling differently musical building blocks into a homogeneous whole instead of treating them in isolation (as in 'Willow' for instance). Horner would not be Horner if he didn't plunder his conceptual ideas for later works as 'Braveheart', though to me, the only one of these as significant as 'Glory' is 'The Four Feathers', which weds eastern and western in a most brilliant fashion.
 
Now a civil war epic follows certain rules and the crystalline trumpet motif built from two major triads establishes them right at the beginning of 'A Call to Arms'. Soon after, the movie's inspirational main theme makes a muted appearance - it's brilliant, an acapella (children's) choir that only leaves a foul aftertaste when you realize it's a note-for-note rip from Prokofiev's 'Ivan The Terrible' (Ivan Employs the Boyars). Prokofiev's harmonic language is also very present throughout, as is Stravinsky's 'Symphony of Psalms' and of course, every trailer's most loved piece back then, Orff's 'Carmina Burana', which Horner tried to rewrite several times at the behest of Zwick, every time sounding a bit more like Orff.
 
Listen here to the Prokofiev melody. I usually don't like being that exacting, but with the big inspirational spell this theme has in 'Glory', it's worth pointing out that the credit 'Music COMPOSED and conducted by James Horner' just doesn't cut it.
 
 
That's not to take away the stringent, baroque aura of the Harlem Boy's Choir, which solemn contribution is seldom broken up by loud battle music (this new album introduces us to another hitherto-unreleased Prokofiev rip, though, a rhythmic piece again modeled on 'Battle on the Ice', but what else is new in Horner's oeuvre). 
 
The baroque idiom mentioned above Horner couples to success with his most flowing romantic americana style, which the director even nixed at first as being too romance-romantic, but Horner proved him wrong: in this movie exclusively focused on men in battle, the sweepy strings enrich rather than muddy. Also, Horner sparingly quotes classic fife-and-drum stuff from the period, and fuses them with his theme to great effect (in the movie) in a montage of soldiers marching the land.
 
The beginning of the end is heralded with a cluster-like effect from the bells at the end of 'Preparations for Battle' leading into the Orff-like cue that beckons the inevitable death of the black soldiers and Matthew Broderick, with a liturgical aftermath appropriately titled 'Epitaph to War'.The 'Closing Credits' offer one neat musical trick still up Horner's sleeve: only at the end the triad fanfare is set to text, '... when the trumpet calls - Glory', though now all glory is truly gone, substituted by a funeral march. It's proof that Horner could go far beyond surface mush like his other Zwick scores (sorry, LOTF) but sadly, Hollywood rarely called him up on it.

RIP Dean Stockwell
 
https://variety.com/2021/film/actors/dean-stockwell-dead-dies-quantum-leap-actor-1235107891/

There’s a weird reverent tone to these trailers that feels very unlike the irreverence of the first two movies - like the characters in the movie are fans of the film series and not like, the four schmoes the movies were about.  I’m sure that’s the intent - to push the fans’ endorphin buttons - although for the movie’s sake it doesn’t seem like it will feel much like a comedy.

This clip is doing something that tends to grate on me on these nostalgic-reliant projects: showing reverence for some aspect which was never revered in the original film. The reverence was outside the movies, it existed only among the fans of the movie. Case in point, the ghost trap. Seems like a small thing, but normally it informs what the general aproach will be like

Oh, there's a whole bunch of people who think its better; particularly other filmmakers, it seems. Off the top of my head, Peter Jackson also says that Empire hadn't "matched that first experience of seeing Star Wars."
 
Not only do I not agree, I think the leap between the two films is consistently understated. Not only do I think Empire is better, I think its an order-of-magnitude better.

I think Empire Strikes Back is pretty much a perfect filme. Every scene flows, every joke lands, nothing drags, nothing is superfulous. The score is, of course, incredible and for a movie released in 1980 it hasn't aged, at all. Even Aliens has aged more than this.
 
A timeless classic and I don't think that will ever change

I think Empire Strikes Back is pretty much a perfect filme. Every scene flows, every joke lands, nothing drags, nothing is superfulous. The score is, of course, incredible and for a movie released in 1980 it hasn't aged, at all. Even Aliens has aged more than this.
 
A timeless classic and I don't think that will ever change

I think Empire Strikes Back is pretty much a perfect filme. Every scene flows, every joke lands, nothing drags, nothing is superfulous. The score is, of course, incredible and for a movie released in 1980 it hasn't aged, at all. Even Aliens has aged more than this.
 
A timeless classic and I don't think that will ever change

Listen to the beautiful Horn statement of the Main Theme with brooding harmony in the lower strings at 1:07 in "The First Kiss". Perhaps my favourite moment in this dark majestic symphony. 

Okay, gonna have to disagree with you on that, Jay- there are so many moody, melodic short cues in that stretch! Do not ask me why, because there’s no rhyme or reason to why certain cues hit people the way they do, but I have always, ever since I got the LP way back in probably 1983 or 84, loved that little short  beginning to “Give Me Your Loyalty” (the beginning of “The Abduction of Lucy” on the original release). 

Although I agree there's still some great new film music to be found, you really have to dig for it, as others have said. I can't imagine a 10 or 12 year old falling in love with film music through the mainstream movies he or she watches and and enjoys.
 
The amount of great film music that was written for mainstream movies when I was 10 or 12 years is staggering. Just between 1992 and 1995, for example, we had stuff like:
 
Twin Peaks - Fire Walk with Me
Batman Returns
Alien 3
Basic Instinct
Sneakers
Bram Stoker's Dracula
1492: Conquest of Paradise
Jurassic Park
Schindler's List
The Nightmare Before Christmas
Stargate
Mary Shelley's Frankenstein
Interview with the Vampire
The Shadow
Legends of the Fall
The Shawshank Redemption
The Lion King
Cutthroat Island
Batman Forever
First Knight
Braveheart
Apollo 13
Waterworld
Batman Forever
 
And that's just a small sample of fairly mainstream stuff. People from my generation and earlier really had it easy to become film score fans

This clip is doing something that tends to grate on me on these nostalgic-reliant projects: showing reverence for some aspect which was never revered in the original film. The reverence was outside the movies, it existed only among the fans of the movie. Case in point, the ghost trap. Seems like a small thing, but normally it informs what the general aproach will be like

No Michael Caine?