Search the Community

Hello, people...I'm back! Anyway, way back in the year 1977 (the same year that George Lucas' original Star Wars movie came out on 32 to 40 movie theaters and unexpectedly became the most gigantic hit of the land during the summer of 1977 and the following years), while working on the classic science fiction movie "Close Encounters of the Third Kind"... Filmmaker Steven Spielberg and his music composer John Williams had this Disney song in mind: The very sounds of Cliff "Ukulele Ike" Edwards as Jiminy Cricket singing the song "When You Wish Upon a Star" from 1940's Pinocchio and written by Ned Washington and Leigh Harline. Here's more info about that song as well as the lyrics and the linked video: https://www.songfacts.com/facts/cliff-edwards/when-you-wish-upon-a-star Classic, isn't it, folks? Anyway, I don't know about you guys, but as for me... Just as both Steven Spielberg and John Williams had the Disney song "When You Wish Upon a Star" from 1940's Pinocchio in mind while working on Close Encounters of the Third Kind way back in 1977... As for myself, in more modern times like this, and I hate to be off-topic here, but while I was working on a rather whimsical idea involving three young men or brothers who flew themselves through outer space in a flying white Chevrolet Equinox car to escape the turmoil into which the planet Earth has fallen... I was looking for a song that could help connect any or all of my ideas and concepts and elements that I was trying to assemble for 14 years and counting and help meld any or all of them into a unified whole, and what I always have in mind could well be one of my favorite songs from my own childhood. And that song I'm talking about in question could be "Dreams to Dream (Tanya's Version)" as sung by The Powerpuff Girls' Blossom's original voice actress Cathy Cavadini and written by the late James Horner and Will Jennings for the rather obscure and forgotten 1991 Steven Spielberg-produced animated movie An American Tail: Fievel Goes West. You see, every time I hear Fievel's sister Tanya's version of the song "Dreams to Dream" from the movie "An American Tail: Fievel Goes West", as sung by Cathy Cavadini, I hope that everything will fall into place very soon as far as my dream epic movie project, the title of which I have yet to finalize, and especially as far as giving the epic movie or story of my dreams the hook I'm looking for. . But in addition to Tanya's version of Dreams to Dream as sung by Cathy Cavadini in the actual An American Tail: Fievel Goes West movie itself... There is also the version as sung in the end credits of that movie by Linda Ronstadt... As well as the rendition of that song as heard in the An American Tail: A Musical Adventure with Fievel and Friends companion soundtrack album that they put out around the time of Fievel Goes West's 1991 theatrical release. Beautiful song, isn't it, folks? Anyway, and I hate to be off-topic once again, but I was thinking... Not only I wanted to pretty much hang the epic film or story of my dreams on the mood that song "Dreams to Dream (Tanya's Version)" from An American Tail: Fievel Goes West created, and especially the way it affected me personally and emotionally, but if I do, say, use the actual vintage Cathy Cavadini recording of Tanya's version of the song "Dreams to Dream" from Fievel Goes West on the soundtrack during one sequence for my dream epic movie when the Chevrolet Equinox car magically flies away from Earth's atmosphere to ride towards outer space -- then in effect, [almost] similar to how John Williams' music score for Steven Spielberg's 1977 Close Encounters of the Third Kind quoted Disney's Pinocchio's When You Wish Upon A Star, my possible usage of "Dreams to Dream (Tanya's Version)" by Cathy Cavadini from An American Tail: Fievel Goes West in my dream epic film -- especially on the soundtrack during one such sequence for such a thing where the Chevrolet Equinox car (with the aforementioned three young men or brothers inside) magically flies away from Earth towards outer space -- well, all that could hopefully turn an already beautiful piece of music from some obscure and forgotten animated movie produced by Steven Spielberg at the beginning of the 1990s, ( in my case, "Dreams to Dream (Tanya's Version)" from 1991's An American Tail: Fievel Goes West) into something even more breathtakingly beautiful than what it already is, especially through a different environment like outer space. But even so, then, I will always have the song "Dreams to Dream" (especially the version sung by Cathy Cavadini as Fievel's sister Tanya Mousekewtiz) from An American Tail: Fievel Goes West in my mind not only for my dream epic film production, but also for that flying Chevrolet Equinox car space travel scene that I hope to include in my dream epic movie idea, similar to the way that Steven Spielberg and John Williams always had the Disney song "When You Wish Upon a Star" from 1940's Pinocchio in their minds while they were working on the 1977 classic sci-fi movie, Close Encounters of the Third Kind. Anyway, apologies for the long post, but the question is: What would you really think if you happen to hear the song "Dreams to Dream (Tanya's Version)" from An American Tail: Fievel Goes West playing on the soundtrack during a scene in my dream epic movie where the Chevrolet Equinox car (with three young men or brothers inside the vehicle) flies or rides through outer space on the big movie theater screen and especially with the likes of Disney/Lucasfilm's Industrial Light & Magic (or ILM for short) or someplace contributing some breathtakingly beautiful effects movie magic to such a scene as the Chevrolet Equinox car magically flying through space set to Cathy Cavadini's rendition of Tanya's version of the song Dreams to Dream from An American Tail: Fievel Goes West playing on the soundtrack? Well, wouldn't all that be breathtakingly beautiful or something else entirely if such a movie scene ever do come true? Just wondering...

His fourth of five 2015 scores, after One Day In Auschwitz, Living In The Age of Airplanes, and Wolf Totem, and to be followed by The 33. OST CD coming Monday July 27th in the UK - probably Tuesday July 28 in the US, but its not on Amazon US yet. http://www.amazon.co.uk/dp/B00X0WIU2A http://www.amazon.co.jp/dp/B00X0WIU2A

Trailer is out for this new James Horner scored IMAX documentary

I'm referring to the score as experienced on the OST.

Opinions?

Samples & Direct Order from Label: http://store.intrada.com/s.nl/it.A/id.10318/.f Other places to order: http://www1.screenarchives.com/title_detail.cfm/ID/31923/ http://www.moviemusic.com/soundtrack/M10531/rocketeer-complete/ Original main post: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ This is Roger's clue for the title that Intrada is putting up for sale on Monday evening (around 4-5pm PST) http://www.intrada.net/phpBB2/viewtopic.php?f=12&t=7124 Could it be???

Does ~8:00 and then again at ~8:45 and on, but most especially at ~9:15 on in "The Train" (Horner, The Legend of Zorro) sound like music for the Resistance in Star Wars: The Force Awakens? For me, I now hear those strings at ~1:00 in "Scherzo for X-Wings" as castanets!

FOR IMMEDIATE RELEASE BUYSOUNDTRAX RECORDS REMEMBERS THE TITANIC WITH AN EPIC MUSICAL VOYAGE Featuring Music from Titanic (Film), Raise the Titanic, Titanic (Musical) and S.O.S. Titanic http://buysoundtrax....epmuvomuby.html SRP: $15.95 LISTEN TO A SOUNDCLIPS FROM the score for TITANIC: AN EPIC MUSICAL VOYAGE My Heart Will Go On (Vocal Version) - Titanic (1997) http://buysound.webjedi.net/Titanic_BSX/1%20My%20Heart%20Will%20Go%20On%20-%20Vocal.mp3 Theme from SOS TITANIC - S.O.S. Titanic (1979) http://buysound.webjedi.net/Titanic_BSX/10_SOS_Titanic.mp3 Third Class Steerage - Titanic (1997) http://buysound.webjedi.net/Titanic_BSX/4_Third_Class_Steerage.mp3 BUYSOUNDTRAX Records is proud to announce the release of TITANIC: AN EPIC MUSICAL VOYAGE, performed by the White Star Chamber Orchestra and Chorus Conducted by Dan Redfeld. In the 100 years since the famed RMS Titanic hit an iceberg and plunged into the ocean, it has been celebrated on stage, television and in film. This collection of new recordings, which features extensive liner notes by Randall Larson, celebrates the music from these productions. TITANIC: AN EPIC MUSICAL VOYAGE will be available digitally on April 3rd, and CDs begin shipping on April 10, 2012, the 100th anniversary of the maiden voyage of the RMS Titanic. The heart of this musical voyage is the music composed by James Horner for the Academy Award winning film TITANIC. In addition to a number of tracks of the score from the film, singer c performs “My Heart Will Go On.” Also featured on this album are tracks from S.O.S. TITANIC (Howard Blake), RAISE THE TITANIC (John Barry), “The Titanic Trot” from TV’s THE TIME TUNNEL (John Williams), and selections from Maury Yeston’s Tony winning musical TITANIC. Rounding out this recording are two historical tracks, an arrangement of traditional Irish Music (by Joohyun Park) and “Nearer, My God, To Thee”, the hymn reportedly performed by the Titanic’s dance band as the ship went down. “We’ve taken these film scores and reimagined them into a different kind of compilation album,” said the album’s producer, Ford A. Thaxton. “This is a very different take on it. We wanted to do something that would have a timeless quality to it.” The label turned to Dan Redfeld to launch this musical voyage. Redfeld has had a lifelong interest in the Titanic. “I’m not sure I know what the attraction was,” he said. “It’s the fact that it was the grandest ship in the world and it hits an iceberg and sinks and 1500 people go down. It's the whole series of little events that lead to this massive catastrophe. It’s the people who stayed at their posts, particularly the stokers under the ship who kept the ship lit and the band playing on until the last moments. I don't know if that kind of character exists anymore. There is just such incredible drama about it and I think it's what gets to people about it. The epic-ness of the disaster, for a composer, evokes passionate music.” Dan Redfeld is a classically trained concert pianist and composer/conductor who studied at Boston’s New England Conservatory. While many of his fellow students were embracing modernistic, atonal music, Redfeld was more interested in tonal, neo-romantic music. He has written music for stage, concert performance and screen. The premiere of his latest opus, Travels for Piano Quartet, was performed by Central4, a chamber group that named him Composer-In-Residence. Redfeld is currently musical directing and conducting Eli Villanueva’s opera, The White Bird of Poston, for the Los Angeles Opera. TITANIC: AN EPIC MUSICAL VOYAGE will be available digitally on April 3rd, and CDs begin shipping on April 10, 2012, the 100th anniversary of the maiden voyage of the RMS Titanic. SPECIAL NOTE: The first 100 copies purchased through BUYSOUNDTRAX.COM website will be autographed by Music Director Dan Redfeld and vocalist Zoë Poledouris Roché. 1. My Heart Will Go On (Vocal Version) - Titanic (1997) (5:06) Music by James Horner / Lyrics by WIll Jennings / vocals by Zoë Poledouris Roché 2. Never An Absolution/Unable to Stay, Unwilling to Leave - Titanic (1997) (5:33) Music by James Horner / vocals by Kristi Holden 3. Southampton/Take Her to Sea, Mr. Murdoch - Titanic (1997) (5:07) Music by James Horner / vocals by Kristi Holden 4. Third Class Steerage - Titanic (1997) (3:47) Traditional (arranged by Joohyun Park) 5. Rose - Titanic (1997) (2:56) Music By James Horner / vocals by Kristi Holden 6. Titanic Trot - Time Tunnel Pilot (1966) (Rendezvous with Yesterday) (3:47) Music by John Williams 7. The Portrait (Piano Sketch) - Titanic (1997) (4:45) Music By James Horner / solo piano by Dan Redfeld 8. Doing the Latest Rag - Titanic: A New Musical (1997) (3:24) Music and Lyrics by Maury Yeston vocals by Tom Schmid, Eric Bradley, Scott Dicken, Fletcher Sheridan, Chorus 9. No Moon - Titanic: A New Musical (1997) (3:02) Music and Lyrics by Maury Yeston / vocals by Michael Lichtenauer 10. Theme from SOS TITANIC - S.O.S. Titanic (1979) (2:33) Music By Howard Blake 11. We'll Meet Tomorrow - Titanic: A New Musical (1997) (2:45) Music and Lyrics by Maury Yeston / vocals by Greg Whipple, Christina Harding. Fletcher Sheridan, Michael Lichtenauer, Chorus 12. Nearer, My God, to Thee (5:46) Traditional (arranged by Steven Ganci) 13. Suite from Raise the Titanic - Raise The Titanic (1980) (6:18) Music By John Barry 14. Hymn to the Sea - Titanic (1997) (6:25) Music by James Horner / vocals by Kristi Holden 15. My Heart Will Go On (Vocalise) Titanic (1997) (5:51) Music by James Horner / Vocals by Kristi Holden Total Time: 67:00

James Horner Tribute Last Post Posted: Sep 19, 2020 - 6:56 PM By: bearwks (Member) In case anyone is interested, ASMAC is offering a webinar on James Horner and his career. We'll be looking at several scores at the compositional level. The panel includes: Sara Horner, Jim Henrikson, Joe E. Rand, Simon Franglen and Jean-Baptiste Martin. Moderated by Dan Redfeld and Tim Rodier. And it's free! Saturday Sept. 26 beginning at 12 pm PST. https://www.asmac.org/index.php/calendar/parties/hornertrib

NEW EPISODE A TRIBUTE TO JAMES HORNER: END CREDIT SUITES https://bit.ly/2Vyx2uO Sorry for the delay in getting this brand new episode out to you. We had some technical difficulties last Friday, which were resolved over the weekend. Enjoy the show. ----- In today’s program, we’ll be paying tribute once again to two-time Academy Award-winning composer James Horner. It has been five years since his tragic death and CINEMATIC SOUND RADIO once again is paying tribute to the composer by playing more of his music. Back in the 1970s, James Horner dreamt of a career as a concert composer, but it was film scoring that was to be his true calling, and it would take him 30 years to finally return to the concert hall with Pas De Deux. One can argue that Horner was always writing concert works as he broke convention by producing extended cues that retained the long-form structures observed in classical music. End Credits similarly offered Horner the opportunity to write pure music which could be enjoyed without visuals; stand-alone compositions that developed the thematic and motivic material introduced in the score, but free of any narrative, dramatic tone or tempo obligations from their cinematic counterpart. On today’s program we will be playing end credit cues composed by James Horner from such films as A BEAUTIFUL MIND, CLEAR AND PRESENT DANGERS, GLORY, WHERE THE RIVER RUNS BLACK, RANSOM, ONCE UPON A FOREST, LIVING IN THE AGE OF AIRPLANES and many more. APPLE: https://apple.co/2YMYnMN SPOTIFY: https://spoti.fi/3bG9MQT MERCH STORE: https://www.teepublic.com/stores/cinematic-sound-radio Other programs you might have missed ANIME SPECTACULAR WITH RANDY ANDREWS EPISODE TEN – LUCAS CANTOR http://www.cinematicsound.net/anime-spectacular-episode-ten/ INTERVIEW WITH ATLI ÖRVARSSON http://www.cinematicsound.net/interview-with-atli-orvarsson/ THE 1UPBEAT WITH ERIC SILVER: EPISODE NINE – THE MUSIC OF GRANT KIRKHOPE http://www.cinematicsound.net/the-1upbeat-with-eric-silver-episode-9-grant-kirkhope/ INTERVIEW WITH VIVEK MADDALA http://www.cinematicsound.net/interview-with-vivek-maddala/ INTERVIEW WITH FLORENCIA DI CONCILIO http://www.cinematicsound.net/interview-with-florencia-di-concilio/ COMPOSER CONVERSATIONS WITH DAVID COSCINA – EPISODE 2: DAVID WILLIAM HEARN http://www.cinematicsound.net/composer-conversations-with-david-coscina-episode-2-david-william-hearn/ Enjoy! -Erik-

Tell the Shark.

I just found my long lost Titanic OST. What should I do with it?

I love the great re-recordings of classic swing music featured in Swing Kids and The Rocketeer. Has Horner recorded more swing music for use in other films?

Let's settle this once and for all.

I recently listened to this score, after being absent from it for more than 15 years. I listened to it very much when it was fresh, and it was one of my favorite soundtracks. Now I think parts of it sound horribly dated, to the point of being cringe-worthy - I'm of course referring to some of the electronic elements. What do you think?

Talking about James Horner, THAT is the music I love to hear from him: http://www.asb.tv/videos/view.php?v=6a0572b7&a=feature Really nice video. Let's hope he will release the piece somewhere.

Sony in conjunction with its Sony Masterworks brand will be releasing very soon a new James Horner Tribute album possibly featuring many solo artists. Here is the NEWS FLASH and some behind the scene samples featuring (Cocoon & Avatar) from Solo artist Tina Guo: http://jameshorner-filmmusic.com/sony-prepares-album-tribute-james-horner/

http://buysoundtrax.stores.yahoo.net/hyorsobydond.html SRP: $17.95 HYPERSPACE is a limited edition release of 1000 units. FIRST 50 Copies will be autographed by composer Don Davis LISTEN TO A SOUND CLIP FROM the score for HYPERSPACE https://tinyurl.com/ybzl7437 Dragon’s Domain Records, distributed through buysoundtrax.com, presents the long out-of-print orchestral score to HYPERSPACE, composed by Don Davis. One of the first feature length STAR WARS parodies, HYPERSPACE came out in 1984. Known in England as GREMLOIDS and as GREMLORDS in France and Germany, HYPERSPACE was writer/director Todd Durham’s second and last film as director, working with ambitiously cost-conscious low-budget producer Earl Owensby. The movie was released in September 1984, but it wasn’t until 1988 that the film received a wider release on home video. Starring comedians Chris Elliott and Paula Poundstone and filmed in North Carolina, HYPERSPACE imitates STAR WARS in context and execution from its opening text crawl into infinity to its inscrutable helmeted monarch of menace, Lord Buckethead (played by Robert Bloodworth, but voiced by Barry Cooper). Lord Buckethead is hot on the trail of vital radio transmissions stolen from the corrupt Galactic Alliance by members of an allied resistance force. Buckethead intends to get them back, aided by diminutive, Jawa-robed minions known as gremloids. However, unbeknownst to him, he has made a serious navigational error, and rather than reaching his intended destination he lands instead upon the Earth, where he and his gremloid faction march into the closest small town and proceed with their mission. A purposefully STAR WARS-esque orchestral score was provided by newly-minted composer Don Davis, in his first feature film score. Performed by a live, 56-piece orchestra, Davis’s music provided the film with its missing gravitas; and it made enough of an impression among Hollywood film music folk that it led to a lasting and respectful career scoring films and television, including TV’s BEAUTY AND THE BEAST and SEAQUEST DSV and blockbuster films like THE MATRIX series and JURASSIC PARK III. “Obviously the movie was a parody of STAR WARS, so the only approach to music I could logically take was similarly a parody of John Williams’s work,” said Davis in an exclusive new interview for the album notes. “I got as close to STAR WARS as I could get without it being STAR WARS.” Davis provided the right kind of feeling to the music which gave the score a suitably grandiose dynamic and aided in the film’s parodist nature. The composer’s approach to supporting the film’s inherent humor was based on “not writing funny music,” but scoring the movie with absolute seriousness, thereby allowing the parody to exist within the film and among its characters in a world where even the most farcical of circumstances are treated with genuine integrity. “The concept of playing it straight, as if the show were not a comedy, was what we wanted to do with our movie,” said Davis. “We treated it as if it really was STAR WARS and everything was completely serious.” The film came and went without much ado or remembrance, but the music was noticed and that gave Davis an auspicious debut in this, his first opportunity to make the jump into… HYPERSPACE. The score was first released on an 11-track CD in 1993, paired with another Davis score. This expanded reissue from Dragon’s Domain Records includes eight previously-unreleased tracks. HYPERSPACE is a limited edition release of 1000 units and can be ordered at www.buysoundtrax.com. The first 50 units sold through the Buy Soundtrax website will include a booklet autographed by the composer. Ships the week of January 3rd. 01 HYPERSPACE Main Title/Pin Head 2:22 02 Meet The Mutants/Real Live Munchkins/ Dad’s Gland/ Basement Snoids 4:23 03 Alien Enzyme 2:00 04 Buckethead’s Promenade 2:01 05 Swamp Dog/Mister Ugly/ March of the Carrot People/Wild Bill Schwartz/Avoid the Droid/My Favorite Mutant 5:11 06 One Step Forward 0:56 07 Tree Trek 1:21 08 Old MacDonald Had a Farm Dirge 2:26 09 Neurotic Karen/Mutants in Bondage/Terminate The Princess/Zapping Aliens 2:01 10 Ship Witch/Life in Gland Land/Laser Trail 3:04 11 Just Browsing/After the Brain Drain 4:55 12 Max’s Coronary/Let’s Zap Ed/See You Laser 1:09 13 There She Is 0:45 14 Ding Dong Daddy 1:16 15 Max Incognito/Humanoids From Pacoima 4:27 16 Rugburn/Boiled Snoids 1:49 17 Imbeciles From Uranus 1:06 18 Droid McNoid/Buckethead’s Remorse 4:00 19 HYPERSPACE End Credits 3:24 Total Time: 48:31

I was thinking about the famous "I'm flying" scene from Titanic and, in particular, the precise moment where the music reaches its emotional climax. On paper, you might expect the score to swell at the moment Jack and Rose kiss, but it actually reaches its emotional peak a few seconds later when Rose reaches up her hand to hold Jack's head closer. The moment becomes a lot more sensual and somehow more romantic as a result. I realise this is just intelligent, intuitive film scoring, but the timing of these things always fascinates me. (2:09) Another example off the top of my head is the final scene in Home Alone when Kevin and Old Man Marley share their moment through the window. One could score it so the music swells when Marley raises his hand in greeting, but Williams holds it for that little moment longer until Kevin returns the gesture, when both characters have completed their arcs with regards to each other. This video below actually has the alternate “O Holy Night” version of the cue too, and you can see the emotional journey is exactly the same in both pieces of music. (00:47) I’m curious to know if you can think of any other examples like this. Moments where the music could reach an emotional peak at one moment, but actually climaxes at another for a stronger emotional impact.

Hello, Im looking for the full orchestral score notation for the cue The River Crossing to Stalingrad from the film Enemy at the Gates by James Horner. Does anybody have a copy of this that they can send me or know where i may find a copy? Thanks Adam

Oh my god oh my god oh my god oh my god. Royal Albert Hall Festival of Film Tickets go on sale tomorrow.

According to Film Score Monthly, Simon Franglen is recording his score for Antoine Fuqua's The Magnificent Seven, based on themes by the late James Horner. Franglen worked with Horner on several films as arranger, score producer and synth programmer for The Amazing Spider-Man, Avatar, The Karate Kid, Wolf Totem and The 33. http://filmmusicreporter.com/2016/03/11/simon-franglen-scoring-antoine-fuquas-the-magnificent-seven/ This should be an interesting score to watch when it comes out fall 2016.

Amazon has the cover art now Amazon UK (Release date October 7th): http://www.amazon.co.uk/dp/B00CZ1TMWE/ Amazon US (release date October 18th): http://www.amazon.com/dp/B00CZ1TMWE/

Hey James Cameron, how about making a James Horner Biopic? What do you think? Still miss him...