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The Illustrious Jerry

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  1. This is probably one of my favourite cues from the score, and written for one of the few scenes I actually liked no less! Every note, every little nuance feels so precise here: the haunting, almost ethereal string counterpoint that you mention (similar yet different compared to, say, Torn Apart from TFA, which it kind of mirrors), a very brief Anthem of Evil quote, and then the brass come to the front at the end and it is HEAVY. Reminds me of something out Revenge of the Sith, perhaps Padme's Funeral or Lament. That deep brass sound really hit when I first I heard this, it's hard to describe what it does for me exactly. It's a short cue that may fly under the radar for most folks, but it's indeed quite effective and, as you say, it restrains itself from using Kylo Ren's theme, which was the right call. Excellent analysis once again @Falstaft! I'd be curious to read what you have to say about a cue like Fleeing from Kijimi in the future as I think that has a bunch of neat stuff going in. Thumbs up! EDIT: Is there any connection between the horn section that I mentioned and the brief horn line at 3:19 of Farewell?
  2. The only update we've gotten on the score for season 2 was in his Vanity Fair interview from a weeks ago, where he simply stated that he had begun working after finishing with Christopher Nolan's Tenet (which I understand will be largely if not entirely electronic as it is). The good thing is that he can do quite a bit from his studio: he performs most of the solo parts (bass recorder, drums, guitar, piano) and does the synth and electronic work himself. I think Göransson's the most likely to come up with creative solutions to the current restrictions, but I expect season 2 to sound different all the same. I'd expect a more pared down approach, but it's impossible to tell.
  3. I agree with you there, yes. In fact, Göransson has said that he created five or so "songs" based on what he knew about the show, and I assume the credits piece is essentially a polished version of some if not most of his work from the early stages of his creative process. For example, the Mando Gallery episode clarified that the first two things he wrote were the recorder and the piano sections, and the rest followed soon after. It certainly works as one main theme (albeit with many parts) and I concur with that interpretation as I'm almost certain that's what he had in mind (and that's indeed how he wrote them, yes). Of course, for the sake of referencing specific parts I have notated them as individuals of course, but that is the only extent to which I really consider them to be separate. It's quite ingenious actually because each part of the suite can be used to convey many different things, so it's something of a toolbox upon which Ludwig can draw upon whenever he needs to. I refer to the suite as a "culmination" because as far as the listening experience goes that is its purpose (as is the case with almost all credits music), even though it's technically the building block for the whole series and essentially the first thing written. As for the write-up, thanks for the feedback and I hope to get to the rest soon!
  4. Loved the hell out of this one- easily one of the best of last year! So vibrant and unique, a rich story told with a lot of heart. Fails and Majors give great performances, and Mosseri's score is so complimentary to the images Talbot provides. Hard to believe it's a directorial debut because it's delivered with the talent and charisma of a longtime great, although I suppose there is a sense of freshness that permeates through it all which I found to be remarkably refreshing. From what I understand Talbot is developing a trilogy of San Fransisco stories, which could bear some interesting results, and while I would like to see him branch out, I will still keep my eye on his work in the years to come. Hopefully Mosseri will be a frequent partner.
  5. It's a Holiday Monday here, so I decided to finish off my makeshift "homemade Mandalorian CD collection". Final step was to place the back covers in (and fit them to size, spines and al). Here's a few pics of the finished product for anyone interested in the progression. I believe the front covers were posted on the previous page of this thread. Not the most flattering angle or lighting but it's hard to take a photo without glare/reflection coming through. Mind you my spare cases have seen better days, and now bear no shortage of small cracks and markings (may help to dust them off though). Nonetheless, I'm quite pleased with how this turned out and now have a greater sense of confidence when it comes to this sort of thing, which may come in handy given that few scores will get CD releases in the years to come.
  6. The Great Alaskan Race by John Koustelinis Star Trek V: The Final Frontier by Jerry Goldsmith (Complete) L'umanoide by Ennio Morricone First Man by Justin Hurwitz Little Women by Alexandre Desplat
  7. This time a year ago I had next to no expectations for Disney+'s headlining show or its score. I had certainly decided to keep an eye out for Ludwig Goransson after thoroughly enjoying his work on Black Panther and the Creed films. Nonetheless, I had no discernible hopes going in. Given just how well I took to the score (and the show) upon release, I can now be sure that no matter what I could have anticipated, my hopes would have easily been fulfilled and surpassed. Goransson kicks off Chapter 1 most appropriately, the first cue beginning within the opening minute of the show. And what better way to set the stage than with what has essentially become the main theme, one that captures the fresh and unique musical aura that seeps through every aspect of the show to create a new and exciting environment based in a familiar universe. This is, as we have so dubbed it, the Recorder Riff. Over the course of eight episodes it gets put through the ringer, featuring permutations that range anywhere from heroic and triumphant to reflective and soulful. The distinct sound of the bass recorder is such a masterstroke to carry the series with, as there are few instruments that quite compare to its natural, almost earthy sound. Furthermore, its many solo performances play into the lone warrior mythology that the show is very much grounded in. The opening track, Hey Mando!, gives us two statements, the first being the full theme presented in standard form, the second increasing in distortion and slowly being overtaken by electronics. As the action ramps up and the Mandalorian finds himself in a bar fight, the electronics take over with sharp and sudden ferocity while percussion pounds away underneath. As the set-piece fizzles out, we move on to what I had called initially called the Western motif, mostly because I felt it had a simplistic yet useful purpose comparable to a small figure in one of Morricone's classic spaghetti western scores. As we trace it throughout the rest of the series, its mostly serves as a title theme, with a new variation in almost every chapter (i.e. Ch. 2 major key, Ch. 6 hip-hop, Ch. 7 brass, etc.). I get the feeling that come season two some sense of nostalgia for the wonderful weeks of November and December of 2019 will set in when that now iconic (for me, at least) da-dun syncs up with the words on screen. This motif also contains something of an interlude, often taken up by piano or guitar (see the credits piece), although Goransson often opts to drop it altogether. According to the SABAM repertoire, two unreleased cues follow. Open the Hatch begins with some synth action before orchestra (primarily brass and strings) takes over as Mando and his bounty escape the ice creature in the Razor Crest. Secondly, Have to Use the Vacutube, which mostly features the travelling/Mando & child motif in menacing mode, similar to the statement in Chapter 3's A New Day, when Mando flies to Navarro. These are the only two unreleased cues from Chapter 1, each being relatively short (less than 2 minutes total between the two). Face to Face underscores the Mandalorian's walk to the client's hideout, and displays many Western sounds blended in a modern context, such as a near-constant twang (or is it boing?) sound throughout much of the cue. Eventually we hear what we had originally called the travelling motif, but it has since become a theme for Mando & child. Its use here lines up with this theory, considering that Mando and the client are discussing the asset as it plays, foreshadowing the relationship born out of this particular mission. Another theme we hear is a small brooding figure for Werner Herzog's client. As far as I can recall, it only appears next in Chapter 3, and possibly in an unreleased Chapter 7 cue. The atmosphere created in this five minute cue further sets the stage for what is to come, slowly building towards the musical climax(es) later in the episode. It's essentially "preparation" music; we're not quite there, but we're getting ready. Back for Beskar provides an opportunity to revisit the Western motif, intermixed with industrial sounding electronics, creating a clanging and whirring soundscape similar to machinery in a foundry, which makes sense here. This is also the first time that a pair of utility motifs appear, partially connected to the Mandalorian culture but more broadly used as a dramatic anchor later on. The first is normally presented on high strings and plays counterpoint to the second part on guitar. Goransson often splits up these two ideas, and uses the first part in several other cues completely separate. On the other hand, we do not often hear the latter portion on its own. HammerTime is one of this episode's highlights, and is the first of three fantastic flashback cues in the show, all of which share similar DNA but develop further and further with each iteration. The drums open the track and give way to the Forge motif, a theme that can be traced easily in connection with the underground Mandalorians. In this instance, it comes across as chant-like, growing in size with each repetition, as if to create an image of Mandalorians emerging from the shadows one by one. The Recorder Riff is taken up by high syncopated strings with an integral horn counterpoint, and the Forge motif replays at its most powerful. A fluttering synth figure underscores a space cutaway and synthetic effects play out to the end. With a change of scenery comes a change in mood, as a noisy Blurg Attack begins with synths and frenetic percussion. What follows is a skeletal outline of the main theme, at first filtered with electronics and later pared down to just strings and timpani hits. A small chiming idea accompanies the walk to Kuill's hut. Around 1:05 we got our first Creed-esque hints of the fanfare, foreshadowing the full statement in the next cue. You Are a Mandalorian is without a doubt the highlight of Chapter 1, with a series of frankly relaxing percussion lines and soulful synth-woodwind whirls (I'm not really sure what else to call them, but it's a sound that wouldn't have felt out of place in, say, Black Panther) leading to the climactic full statement of the fanfare. Around 3:25 the woodwinds take the Recorder Riff's outline and turn it into the beginnings of a Great Escape-esque march before the cue winds down. What follows in Bounty Droid is an opportunity for Goransson to flex his electronic/pop backgrounds more heavily, even shooting for a pounding drum machine (an effective sound which will come back later on). There's a lot more tension in this one than I had initially realized, what with a few small Dies Irae quotes, wild brass outbursts (2:09) and a brief victorious fanfare backed by a rising/falling string idea (2:37) to round it out. The tonal shift into The Asset is quite significant, but hardly jarring. Somber horns and woodwinds quietly play into the Child's guitar theme, which does a remarkable job of capturing that sense of awe and mystery manifest in this moment, with the occasional question mark. The recorder riff bookends this episode, and the credits begin. The Mandalorian suite is self-explanatory in that it covers all the major themes of the show (including the Razor Crest, which isn't actually in the first episode proper). The track makes for a spectacular culmination of coherent and undeniably perfect musical ideas blended together with Goransson's signature stamp. Case in point, it's a real ear worm and cannot be overplayed (I'll let you all know if I get to that point, but I seriously doubt it). Thanks all for helping the discussion to reach this point and for putting up with my unrelenting enthusiasm for the show and its music. As I type these last few words I realize that brief may not have been the most appropriate title, but I'll try and keep the length of these down to a few short paragraphs, which should be easier after the first few episodes because they'll take care of most of what I have to say regarding the main themes. Hopefully I'll have recapped each chapter of the first season by the time the second begins in October. Cheers, and bring home that Emmy, Ludwig!
  8. You're partially correct. There's the main and end theme from season one and two new themes from season two. These make up roughly 95% of the show's music. That being said, the variations on these three are absolutely delightful, as each gets put through the ringer of Baroque-style ensemble combinations. The compositional level is certainly high despite there being some repetition. It's never boring, that much is certain. I am still partial to The Mandalorian, but am very excited to see two bright rising stars in Britell and Goransson all the same. Why so negative again? Two great scores have been recognized, and both are well above average. The quality bar of current television scores is low to begin with, as is budget in most cases, so I'm not sure what you were expecting. I can't speak for the other three, but if your outlook on the future of film scores is based on the type of music that gets awarded, your view is much, much too narrow. There will always be good music if you're willing to branch out from the "popular" choices.
  9. I mean, you guys don't actually get a laugh out of this, do you? I'd appreciate if the mods were so kind as to reprimand troll-like behavior such as this. And who the heck is this bruce marshall fellow, with 400 something posts in the last month and all of them read something like this:
  10. Yeah, this had been rumored for a while. Not unexpected, just baffling to me that vinyl has become the most likely option for physical releases nowadays. And isn't 8 LPs a bit much? Criminy, you'd think they'd find a way to fit them onto four. Albeit, I'm not familiar with how much records hold nowadays, but do they not still do double-sided? Will certainly be upper case E Expensive any way you split it. I must say, I'm curious to see the rest of the artwork for this Mando Mondo set, even though I kind of like the format that was released digitally because it a) integrated the concept art and b) it was uniform. Gosh, I'd love to see that spine on my shelf for a CD boxset though. Thankfully I'm still working on my personal edition, but even that's just not the same (I was able to fit it on four CDs so what gives, Mondo?). Also, instead of recording a podcast analysis for the score, which would be much too much considering how strapped for time I already am (and have no intention of having to listen to my own voice to edit myself), I've decided I'll just do brief write ups on each chapter's mini-OST every 9-10 days which should bring us right up to Season 2's release. And yes, I will very happily be continuing to update the catalogue for the upcoming season, and can hopefully arrange it nicely into .pdf form to place in my signature. Thanks!
  11. Wow, I hadn't listened to this cue for a while and I must say that reading your notes along side it is most enlightening, many thanks @Falstaft. I think it's a solid piece overall, but for me it really picks up to a level of pure gold starting with that big Sith Wayfinder statement at 2:00 right on through to the choral outburst at the end. Also agree with you on those two great Battle theme statements- the transition from the strings to the woodwinds is sooo good. Great catch there with those ANH-worthy chords, and agree once again that that is probably one of the best March of the Resistance statements, especially how it kind of drags that duh-da-duh part to build tension. Fantastic!
  12. Sorry for the bump, but I'd rather post here than in the "I Can't Believe It's Not Politics" edition of the Coronavirus thread. To say that this pandemic has been difficult is certainly an understatement, but I'm very fortunate that I am in an area where the threat is fairly low and our cases are down (apparently western Canada is on the uptick though, still far better fare than our friends to the south). Fortunately, I have had no trouble keeping very busy in quarantine with a number of projects, including work on a new deck and various indoor renos. Unfortunately, the job I had lined up has, of course, fallen through for the time being. I decided to tick off some of the Hitchcock films on my watchlist, and in doing so switched lanes into a "Watch every Cary Grant movie I can get my hands on" challenge. Considering how I highly dislike the selection available on streaming services (Netflix sucks!), and how I could only find three eligible films on Kanopy (blessed be), I've been borrowing from my library's much larger repertoire. The system they have set up has been working really well. Plus, they have loads of Criterion releases to check out! Having also been to the dentist and the store a few more times than I had earlier on, I can confirm that folks in my area are very good-natured about the regulations and the current circumstances in general, and there's quite an abundance of our clichéd kindness going around (the notion that all Canadians are super nice is crap, but it's heartwarming when one can indeed see a 'team effort' on an every day basis). I have been able to play tennis, golf, and go on a day trip to the beach. The smaller independent cinemas are now open, which is a big win for them considering that Cineplex would run on a deficit if they tried to open up under the conditions, so seeing as I had gotten a membership in January (which was...a long time ago) I'm hoping to catch some classics on the big screen. Essentially, my life is kind of back to normal, at least recreationally. Here's hoping that wherever you may be, you are safe and in good health! I'm very grateful for how my situation has been turning up and if nothing more may this little update be a reminder to you that it will get better (eventually)! Be well and stay positive, my friends!
  13. I think you misinterpret the current (and future) musical landscape of movies. Sure, names like Levi, Guonadottir, and a plethora of RC composers may get the most attention from the public eye in the future, but if we're talking about a generation of young composers that are taking up the helm for film score fans, especially in the next few years, look no further than the likes of Göransson, Britell, Willis and Hurwitz. They're still in the early years of their career, and have already proven highly reliable. Besides, you seem to forget that not all of today's great film composers are nearing the end of their careers; Marianelli, Desplat, McCreary, Pemberton and Powell, just to name a few, aren't going anywhere! The great thing about all the composers I've listed is that they're all developing (or already have) a distinct musical fingerprint, and in most cases are quite open to not just orchestral music, but a unique convergence of traditional and contemporary sounds. And besides, art house cinema, indie films and international films often present opportunities for orchestral scores, or at least musically interesting scores. Unfortunately most folks don't care to look hard enough for these, and instead only focus on blockbuster scores for big movies (see Zimmer and Giacchino). If you adjust where you look in the industry, you will always find good music somewhere. As a closer, I think it's highly unreasonable to say that unless we get another John Williams then the future of film scores looks grey. Perhaps you need a more open mindset?
  14. Agreed, and this recording is fantastic, as Holko had mentioned. Tadlow is able to get the best out of the City of Prague I think, based on both this album and other re-recordings I've skimmed through recently. On this listen, my first of the score in full form, I was really paying attention to the careful approach with the many themes, notably the main Desert theme. The complete score presentation is a testament to just how well spaced out each statement is. As Holko noted at the time, there is a brief period in the first few tracks where we almost -almost- go overboard on the Desert, but by the time we hear it again we've been through enough, say, atmospheric-based music that it's return feels completely warranted and all the more grand. And the athematic mood-setting cues had far more substance than my memory serves, aptly portraying that feeling on an unrelenting sun beating down, of sand blowing in ones face, etc. At one point I even said to Holko, "This is the musical equivalent of riding a camel", during one of the travel cues (can't recall which exactly). Furthermore, the precise masterful weaving of the supporting motifs (i.e. for the Arabs, Brits, etc.) is similarly well-done. Thanks for another listening session, Holk!
  15. Pasolini - un delitto italiano by Ennio Morricone A much more appropriate score to honor by than my earlier choices, bearing a more somber and pensive approach spearheaded by lush string writing and poignant lyricism. Othello Symphony by Elliot Goldenthal This is the stuff! Greyhound by Blake Neely Skip! Star Trek IV: The Voyage Home by Leonard Rosenman I'd be curious to hear the general opinion on this score, as I thought it was quite fun, certainly different than it's three predecessors and obviously more accommodating of the "new direction" the series went with a feet-up ensemble comedy approach that, still, had a lot heart. The score reflects that to a fault really, it's lighthearted but still grounded and dramatic when it needs to be. Aces as far as I'm concerned, adequate listening for this past Sunday (I rarely go for anything too heavy on the weekends unless it's something big). EDIT: I see there's a thread discussing this score already. Appears as though a few folks have a strong opposition to it, but most generally enjoy it or at least find it harmless. Star Trek II: The Wrath of Khan by James Horner Star Trek III: The Search for Spock by James Horner
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