ymenard

Is this the first time that Göransson aknowledges somehow any previous material?

Is this the first time that Göransson aknowledges somewhat the original themes? It's really vague but it was still there in that last episode.

Just to be sure, is there any material from the 20-track original release that I would need to keep for a complete score?

Feels like half-Tan Dun, half late-Horner.

Well you can start by hearing what happens during recording sessions, here are some "leaks" from Horner's Troy. Like most other score recordings, you will repeat and adjust for a certain time (depending on a lot of stuff, from budget to rewriting to adjusting to the current film cut), then record the final cut:

There could also be an instrumental version of "If We Hold On Together"! But seriously, I have never turned a volume knob up and down as much as listening to that score!

Hasn't the WOTW recordings leaked a couple of years back, no? I see a couple of alternate, some suites, a lot of variations from "Reunion in Boston". All in all, around 150min of music.

The Unknown Known is the last good score I've heard from him.

Not a big fan of BOOM... BOOM.... BOOOOM.. BRRRRRRBBBBBBBOOOM! each couple of bars. Or the VVVVVOOOM double-bass underscore that's everywhere. It's very tiring to the ears and those frequencies *do* make it harder to understand the subtlety of this nice remaster.

I always felt that the Last Crusade orchestration make it feel a little too artificial, mostly with all the doublings that feel electronic (eve if they are just dry and sharp higher notes from instruments). The same type of recording appears on The Phantom Menace, but he had the large orchestra to not hide all of this.

He's been dead for 5 years! Time goes fast...

15 years and no mention of Mahler's 8th? It's moot to even post about this anymore. I'm guilty, it's too simple to find dozens of them everywhere. He did great things, but also copied himself by changing a note or two throughout his career, and especially copied existing material by other composers hundreds if not thousands of times. Those composers, they were the ones who were the true artists. Oh Hi little theme: Oh hello again: Countless re-orchestrated versions found in Enemy at the Gates (Oh hey it's Schube

Holy Bump, Thor! The thing is, his music has changed a lot. Nowadays it's much more classical and sorry to say, boring. Let's be real, pretty much all his originak work in the 2010's isn't that great, perhaps even before since The Hours or Symphony No.8. He got... old. But since the Hours, there has been almost 50 albums released of previous material, it's never ending! You can have very interesting orchestration, like Harp variations of piano music or choral orchestration, etc..). Orange Mountain Music is an awesome label. It's impossible to say PG aways does the same thing

Is this the first time we hear a rejected Horner score? (The New World cues are partially in the movie, and Streets of Fire Suite seems fake) Also, does he again quote Prokofiev' ballet for Romeo and Juliet?

Well it sounds fantastic so I don't care about the process. It's a little hot and bass heavy, but the seperation is cleaner, like the old audiophile bootleg version that is less brightened. What wizardy is all of this? Why was this updated on SW day?