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Everything posted by Score

  1. You mean that, if they were not limited, you would consider them "less special"? So, for you the value of a work of art does not reside in the product itself, but in its rarity? This is a consideration that, although realistic, has nothing to do with what we "prefer". I cannot see how it can raise their value, unless you mean their economic value once they are sold out. I would never think that the HP scores are more special, nor would I enjoy them more, just because I am one of the 5000 (or whatever) people in the world who could buy the box. They are great because the music is great.
  2. He exists. He wears turtlenecks and goes by the name of John. And he wrote Yub Nub.
  3. Well, it's a matter of definitions. The word "masterpieces" is sometimes used to denote an author's best works within his oeuvre, or in other cases to denote the best works in a certain medium, independently of the author. In this second case, I would maybe say that his most recent masterpieces are "War Horse" and "The BFG".
  4. I share the opinion that most of JW's scores are masterful. To answer the thread question, I choose to define his "masterpieces" as those scores which belong to my top 10 of his works, then I select those which were composed last. According to this criterion, my answers are HP3 (2004), and whatever was composed last between A.I. and HP1 (both released in 2001). If I had chosen to look at his top 20, my answers would have been different, as the scores written after 2004 definitely include some top 20 material.
  5. Well, the OP is asking about thematic/leitmotiv handling, so I don't think he is looking just for examples of the academic definition of leitmotiv. In Alien, there are definitely some recurring themes which can be associated either with the Alien itself, or with the desolation of the alien planet, or with the loneliness and mistery of space travel (that woodwind figuration appearing mostly in the initial cues that was also reprised by Horner in his score for Aliens), so I think the score fits the request.
  6. Well, excluding a large part of JW's output and LOTR, and some Powell scores that were already mentioned, Korngold (e.g., Adventures of Robin Hood) and Goldsmith (e.g., The Mummy and, to a certain extent, Alien) come to my mind.
  7. In no particular order, I would go with the following. Places 1-10: A.I. Artificial Intelligence Harry Potter and the Sorcerer's Stone Harry Potter and the Prisoner of Azkaban Star Wars The Empire Strikes Back The Phantom Menace Return of the Jedi Schindler's List Close Encounters of the Third Kind E. T. Places 11-20: Dracula Jaws Hook Angela's Ashes Raiders of the Lost Ark Indiana Jones and the Temple of Doom Jurassic Park The Lost World Saving Private Ryan Seven Years in Tibet
  8. From the Williams-Goldsmith generation, I'd say that Morricone is comparable or even superior to Herrmann in terms of innovative ideas. They both were keen on using unusual orchestrations to give each movie its own "color", and I think it can be said that Morricone experimented with a broader variety of compositional techniques. In Morricone's output, you find anything from the lush Romantic melody (e.g. Deborah's theme and other analogue pieces) to minimalism, to 12-tone, to avant-garde. Herrmann was more repetitive with respect to this aspect (to be fair, he also died much younger).
  9. "Man with a harmonica" from "Once Upon a Time in the West", by Morricone: Man with a harmonica It features a distorted electric guitar starting around 1:05 .
  10. I'm a big Beatles fan and Sgt. Pepper is my favourite album. Literally every song in it is great, in large part due to the imaginative and immediately recognizable arrangements (mostly done by George Martin, who was as relevant as any of the Fab Four to their success).
  11. That cue was not intended to be in the movie, in the initial stage. Herrmann's manuscript score does not include it: after "The Road", there is "Finale", and there is a clear indication on how to connect the two pieces into a single one (probably this was added later as an instruction to assemble the suite). "First Snows of Winter" is tracked from the second part of the cue "The Monorail", also included in the Tribute recording, so it was probably a request by Truffaut which took place after Herrmann had finished the composition of the score, and not planned to be there initially. Moreover, the cue "The Monorail" was originally orchestrated in a slightly different way: the glockenspiel line (which gives the piece its "snowy" feeling when attached to the final scene) was supposed to be played by violins and violas - I'm not aware of any recording of this version. So, the existence of that piece must have been a happy consequence of post-production changes. From a strictly musical point of view, I like "The Road" to continue into "Finale", although I am also happy to have the piece in the Tribute recording.
  12. I have a similar top 5, but with Mysterious Island in the place of The Kentuckian (although I don't know the latter yet; just received the Stromberg CD and planning to listen to it in the weekend). Fahrenheit 451 is truly gorgeous, comparable to Psycho under many aspects. Some cues got a bit butchered in the final cut of the movie, but fortunately we have an almost perfect re-recording.
  13. I'm not at all surprised that JW is protective about his themes and wants them presented in his own way. We should never, ever forget THIS: https://www.youtube.com/watch?v=YRrm59Z_0w4
  14. My personal priority list would be: Universal > Sequels > Prequels > Oliver Stone > Indiana Jones > Original SW trilogy
  15. In principle, it is possible. If the same question had been asked in a poll in 1971, about the 1970s, I doubt many people would have answered affirmatively, and even less would have anticipated who, among the working composers of the time, would have been able to deliver a score worthy of that title (*). Surprises are always around the corner! (*) I'm thinking of "The Man Who Loved Cat Dancing" (1973), of course.
  16. This poll made me reflect on the fact that I went to see several of these movies only because I knew in advance that they had been scored by JW, and probably I would have overlooked them otherwise. In some cases (Empire of the Sun, Angela's Ashes) the movies turned out to be really good, in some others (The Terminal) not at all!
  17. To be fair, every chord is the I or the VI degree of some key, and since he did not specify...
  18. This is just not true. The cue is definitely in the original manuscript.
  19. Indeed, in The Godfather Rota reused a theme from a 1958 movie called "Fortunella". It's worth to listen to this early version (the theme used in The Godfather starts at 0:56): https://www.youtube.com/watch?v=kej-oavI94w Notice that the trumpets at the beginning quote a theme that Rota had used in 1954 for "La Strada".
  20. The most joyful and optimistic? Superman's Theme!
  21. I entered to say "Gattaca" and "The Departed"! To which I add: The Fellowship of the Ring A. I. Artificial Intelligence Pulp Fiction The Book Thief Alien
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