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Do you mean his Percussion Quartet? That's being released this May. The Percussion Concerto premiered last night in London. I was there and it was a blast.

Probably Abel Korzeniowski. I took notice when everyone was going nuts for Romeo and Juliet and worked backwards from there. Penny Dreadful quickly became my favourite TV show score when it came out shortly after.

Elfman and Burton had a (non-public) falling out during Big Eyes. The music is completely non-descript and I can't help but think if that's partly the reason why.

I can't imagine Elfman or his team would want that information out there if it did happen. But Young does say this was the case in this interview. He starts talking about Spider-Man 2/3 at 1 hour 48 mins -ish. Christopher Young Interviewed by Jon Burlingame from Film Music Foundation on Vimeo

Sony was very nervious about Elfman not being involved in Spider-Man 3 (the issues with Spider-Man 2's music were primarily down to Raimi, and he himself admitted this in an interview around the release of Oz). Elfman has/had a very strong relationship with Sony/Amy Pascal. They wanted Elfman involved in some capacity. Not wanting to ruin his relationship with Sony, Elfman was hired to write new themes for Young to adapt (Young signed on believing this would be the case and producer Grant Curtis even said in an interview that this was happening). Ultimately, Raimi rejected Elfman's ideas and Young was allowed to write new material. While Raimi loved this new material, Amy Pascal intervened and demanded more use of Elfman's themes - many of these were composed by Deborah Lurie who didn't actually work with Young at all. Much of this was discussed in a Young interview with Jon Burlingame. Ironically, on the first movie, Sony wasn't convinced by Elfman's love theme at all and Raimi was the one who had Elfman's back. Raimi would later apologise to Elfman and he signed on to score Spider-Man 4 weeks before it fell apart.

Completely agree. Poirot goes through a lot in this movie and there was real opportunity to play with that theme. A definite shame. I thought that Doyle had a lot less to do with this one in general. The music during pivotal scenes is often quite restrained. I'm sure it'll reveal itself a lot on repeated viewings/listenings, but my immediate impression is that this is a step down from MotOE. The movie, however, is considerably stronger.

There's a digital release coming with 25 tracks.

Yeah, it was on Scala Radio. They premiered the track one week and then interviewed Doyle the week after.

The Poirot theme will return. Perhaps the 'travelling' theme, too. Doyle premiered a track on a British radio station two weeks ago and it was essentially the same new theme repeated over and over - a dark, passionate love theme, which I guess will form the heart of the score in the same way that the Armstrong theme did for the previous film.

It's not quite that simple though. Those credits can mean really different things. For example, Paul Mounsey is given credit on 'Forbidden Friendship' and that cue is mostly Powell. Zimmer gives cue sheet credit sometimes to someone for helping to orchestrate. Elfman gives cue sheet credit if someone gives him a sound that he then played with. What gets you 'additional music' and cue sheet credit for these guys wouldn't even get you a 'music programmer' credit from some other big composers. It's all relative.

I don't doubt Sener does a fair bit of heavy lifting. He joins Powell projects on day one; he doesn't just come in when deadlines are looming. Having said that, I imagine that Sener landed this job on the exact condition that he sound as much like Powell as possible.

Yeah, Raimi was completely happy with Young's new material, which is a bit odd considering he was so obsessed with Elfman's love theme that he put it in scenes it really didn't belong - like Aunt May's hero speech.

I saw the movie today. There aren't many at all.

The score was disappointing. It was always there but I never really felt like it added anything. Horner's theme is completely lost in the mix and Elfman's, though there, really doesn't land the way it should. It reminded me of Endgame and Justice League in that you have all these themes cameoing but the way they're buried in the mix/orchestration makes it seem like the filmmakers are almost embarrassed by them. I even felt like this was the case with Strange's theme. A let down after I really enjoyed FFH - mostly for Mysterio's super fun theme.

Seems a bit early. Wasn't he just refamiliarising himself with the themes like two months ago? He was on the first two for way longer than that. Incidentally, I hope the recording is better than for CoG. There's lots of music there I think I'd love if it didnt sound like it was recorded underwater.

Burwell was sacked from The Dark World. Taylor was quite open about how annoyed he was by this. Giacchino on Doctor Strange has always seemed like a Marvel decision to me, but I might be wrong on that. Not sure why Debney wasn't on the first Iron Man.

Apparently post production on this was a real nightmare (including the recording of the score), so hopefully the liner notes will get into it Martin Landau once commented that Elfman was writing the score for the opening scene (a reshoot) behind the monitor as it was being shot

The first Fifty Shades score is miles better than the other two

I love Spider-Man 3 as Young wrote it, but the score in the movie is an utter mess Young's original themes for MJ and May are completely replaced with music by Deborah Lurie and some of Elfman's music from the first two (including music that was rejected from Spider-Man 2) Some of the Spider-Man material was written by Lurie, too, who worked directly with Raimi In any one scene, you might go between three composers' work Apparently it was Amy Pascal's decision to go back more to Elfman's material Spider-Man 2's music drama is very well known, but the situation in the third was just as bad - though at least the love theme wasn't tracked over an Aunt May scene like it was in that movie

Here's the Deborah Lurie interview, though you have to subscribe to FSM to access it. https://www.filmscoremonthly.com/fsmonline/story.cfm?maID=879 Elfman spoke about how Raimi said that he missed him on Spider-Man 3 in an Oz interview (he had signed on to score Spider-Man 4), so I really don't think he had anything to do with 3 at all.

There was an interview with Lurie for (I think) FilmScoreMonthly, and she spoke about writing that cue. She also said she didn't work with Young and worked directly with Raimi.

That cue was written by Lurie.

Tyler was on AoU until the very end. He and Elfman were recording music at the same time in London. In a recent interview, Tyler was talking about how he takes great care to make sure that the music is manageable for the orchestra, but at the scoring sessions Elfman seemed to delight in making players really have to push themselves. Regardless, it was a mess all around, and all for the music to be inaudible in the movie anyway.

That's his percussion quartet. His percussion concerto is now due to premiere in 2022 (along with his cello concerto and another piece for the National Youth Orchestra).

Elfman plans on using Giacchino's theme. https://composer.spitfireaudio.com/en/articles/danny-elfman-on-the-evolution-of-midi-composing-ideas-on-voice-notes-tim-burton