Michael Giacchino's LOST (2004-2010) - live concert tour in 2024

[Jay 37,512]

Yup, I was thinking that this afternoon. The Last Episodes set should have been the "normal" release, sold in stores and on amazon.com, etc etc. And the one with music from 6.1-6.13 shoulda been the "limited edition" release for the die hards to track down

Well, honestly, they both should have been normal unlimited releases - I'm sure they woulda sold enough copies to warrant it! But perhaps there are reasons we don't know about why its not that way

[Taikomochi 1,145]

I would have rather they sold it as a 4 disc set, not limited. I think it still would have sold a decent amount.

[Koray Savas 2,251]

People, like myself, like to spend sporadically. If you have to plop down $40 at once, you're probably less likely to buy.

[Jacob 0]

*cough*$500ElfmanBurtonBox*cough*

[TownerFan 4,991]

Just finished my first listen. It's strange that he can achieve such an epic feeling with only half the number of musicians than on something like, say, Star Trek. I didn't notice half of this stuff while watching the show itself. The orchestrations are more intricate and there is even more filmic filmic to everything than usual. If you need to buy a Lost album - get this one. Great from start to finish, which is a strange for something with 150 minutes long running time. Honestly, I think this is the best work Giacchino has ever done. I like his work, but this recent works lacked this... something. This album is an exception.

Agree wholeheartadly. The End is a very emotional listen, it's almost impossible for me not to be moved and get misty-eyed when listening to cues like "Our Lady of Perpetual Labour", "Closure" and "Moving On". It also reminds me how much I feel attached to this great series.

[Incanus 5,733]

Just finished my first listen. It's strange that he can achieve such an epic feeling with only half the number of musicians than on something like, say, Star Trek. I didn't notice half of this stuff while watching the show itself. The orchestrations are more intricate and there is even more filmic filmic to everything than usual. If you need to buy a Lost album - get this one. Great from start to finish, which is a strange for something with 150 minutes long running time. Honestly, I think this is the best work Giacchino has ever done. I like his work, but this recent works lacked this... something. This album is an exception.

Agree wholeheartadly. The End is a very emotional listen, it's almost impossible for me not to be moved and get misty-eyed when listening to cues like "Our Lady of Perpetual Labour", "Closure" and "Moving On". It also reminds me how much I feel attached to this great series.

I got both sets of the last season music today and I just listened to the Last Episodes CDs. I agree with both of your sentiments. While listening to this music I was wondering why it took so long for the music of Lost to win me over. I remember warming up to it sometime in the 4th season. Before that I had thought it to be effective but not particularly noteworthy TV scoring with a few great moments. But of course that was before it really clicked and I really started to listen to it and found it to be very complex in its apparent simplicity, very emotional and superbly dramatic. After that it has simply gone higher and higher in my eyes, these four last CDs raising it to the level of some of the best music Giacchino has composed thusfar and some of the best music for a TV-series ever.

The self imposed restrictions of limited orchestral palette have given Lost such a unique voice and it is just as the producers say, you can instantly recognize the sound of the series, all the Lostian devices from trombone glissandi, plucked lowest possible single note on a harp and ponticello string effects to the eerie metallic moan of a rubbed gong or a waterphone. But at the heart of the music are the themes, the whole multitude of them. It is very surprising how many there are and how Giacchino constantly juggles them with such perfect finesse that comments the action on screen and provides emotional connections and subtext. For me the music has been very much attached to the show as the connection always gets a heightened emotional response from me but I can't deny that it works so well on its own, especially the marvellous music of the last season. And as you said Maurizio, those last tracks on the Last Episodes disc still affect me very deeply as well which of course is a testament to the emotional pull of the show itself and how beautifully Giacchino has captured this emotion in his music.

And it came to me as a small but welcome surprise that despite of these restrictions in the orchestral forces Giacchino handles the finale in such a way that it sounds just as dramatic and big as any normal film score. And it is such a wonderful finale as it delivers in all departments, suspence, action, emotional, dramatic and finally poignantly closing the journey in a sense of fulfilment and peace.

[Ollie 1,069]

There are many times I wish I could express my thoughts on music as eloquently as you do.

[Jay 37,512]

There are many times I wish I could express my thoughts on music as eloquently as you do.

+1

[BloodBoal 7,538]

[TownerFan 4,991]

Clips from the very emotional last scoring session of LOST:

[BloodBoal 7,538]

[Incanus 5,733]

Thanks for sharing! Great videos!

[BLUMENKOHL 1,070]

As a composer it must be superb to watch your executive producer break down into a puddle at your beautiful music.

You can tell Giacchino is going "hehehehehehehe, whew! It worked!"

[Kendal_Ozzel 36]

There are many times I wish I could express my thoughts on music as eloquently as you do.

+1

+ 2

Ditto.

[Taikomochi 1,145]

I gotta say, listening to all four discs of Season 6 makes a lovely listening experience. I feel like I am experiencing the entire season. It takes a while to get through, but it was very enjoyable.

[Red 75]

Listening to The Last Episodes, particularly "The End" has probably made me appreciate those episodes more, particularly the finale. Giacchino just brings so much to it it's unbelievable, and a lot of it I'd had actually forgotten about or just plain didn't notice until I listened to the CD(s).

[Taikomochi 1,145]

The harp on part two of the above video at precisely 5:00 is different from what is on the album, for those that are interested. It sounds like a variation of "There's No Place Like Home" to close out "Moving On". Actually, it's definitely not on the album.

[Richard Penna 3,770]

Yeah I noticed that. TV version works better.

[Taikomochi 1,145]

I don't know if I prefer the album or not. It's certainly less risky. It's not such a dramatic change anyways.

[Incanus 5,733]

These albums seem to present the music as Giacchino first wrote it and that is why there are some cues that differ from the ones used in the series. For example A Brother's Quarrel is missing a statement of the Man in Black's theme heard in the film, which was either rescored or edited there. Instead it has those Lostian foreboding, expectant, deep harp notes (0:50->).

SS-Lost-anic is apparently different from the episode counterpart, having the Main Theme to finish the piece instead of the Life and Death theme.

There are sections not used in the episodes as well like the section of the 1st traveling theme (first heard on disc: S3 D1:Track 26 Juliette is Lost) that is not in the finale as the group is approaching the Source in the bamboo forest (Down the Hobbit Hole 0;50->).

Also I remember from the 5th season disc that Locke's Excellent Adventure's latter half was entirely different from what it is in the episode.

Of course it is different from what we have in the show but it is nice to hear what Giacchino originally intended. For me there are no pieces that are so significantly changed that they would ruin my enjoyment of the music.

[Koray Savas 2,251]

I would love to have the TV Version of "A Sunken Feeling."

[Alan 689]

Is it possible that the episode version of SS Lost-tanic was created editorially rather than being a re-score? Since it's solo piano, I can't imagine it being difficult to re-create if there has been another solo performance of it on any of the other 6 albums. I can't remember if there has been but I'll try and find one

Saying that, I do like the album version. We still get Life and Death on piano with gentle string accompaniment followed by the main Lost theme in a way we've never quite heard it before. Very emotional and one of the many highlights on the Last Episodes set.

[Jacob 0]

We Can Go Dutch might be my favorite cue on the album.

[Richard Penna 3,770]

It's arrived

Their shipping is actually very fast (6 days). Just takes them forever to pop the envelope in the post.

[Datameister 2,095]

Wow, there is a LOT of clipping in the final episodes album. That's disappointing.

[Jay 37,512]

I haven't posted my thoughts yet, but I did listen to the whole album, in my car.

First disc was good, I enjoyed the Desmond sideways motif variations, the fast paced music, and the emotional music. The Across The Sea stuff actually did surprisingly little for me.... i know its gotten praised here and on FSM so much.... but it just didn't impact me. Perhaps because I only saw the episode once, and was so engrossed on what was going on that I didn't really focus on the music... and I hear the music and have no idea what scenes any of it goes with or what themes I'm hearing... I dunno

I thought it was odd that jacob's Theme wasn't on disc 1 at all.... didn't it play when he was born?

Disc 2 is a freaking emotional disc of music, holy cow. What is the 5 note theme prevalent throughout most tracks (I think it shows up halfway through disc 1?) The final 3-4 tracks, especially Moving On, are just so emotional.... I dunno how many times I can listen to them! I think I might reserve them for the right times, and not casual listening!

[ChrisAfonso 188]

I thought it was odd that Richard's Theme wasn't on disc 1 at all.... didn't it play when he was born?

When did we see Richard being born? o_O Do you mean Jacob?

[Jay 37,512]

Yes typo, sorry - I meant Jacob's theme!

[crocodile 8,061]

Yes, his theme played during that scene, but the cue is not on the disc. But it appears in the "What They Died For" portion of the album.

Karol

[Jay 37,512]

OK i musta just missed it. So many themes on these final 4 CDs of LOST music, I feel like it will take so many listens for all the music to really sink in!

[Red 75]

Yes, his theme played during that scene, but the cue is not on the disc. But it appears in the "What They Died For" portion of the album.

Karol

It also appears on the second disc in "Hurley's Coronation".

[crocodile 8,061]

Yes, I know. It was in the scene where Jacob talks to the candidates.

Karol

[Jay 37,512]

yea I heard it on the second disc, just didn't notice it on the first time my first time through

[Taikomochi 1,145]

I actually found "What They Died For" to be a much more uninteresting listen. I only listen to "Get Out Of Jail Free Card" and nothing else, while I find myself listening all the way through "Across The Sea".

[Koray Savas 2,251]

I find myself listening to every damn cue!

[Jacob 0]

I was having a bad day, so I went for a jog in an on/off again light rain while listening to The End.

What atmosphere!

The rain picked up during The Hole Shabang.

Closure ended as I arrived home.

And Moving On finished as I was lying on my back just after completing my final set of crunches.

'Twas glorious.

[Docteur Qui 1,544]

I had a similar experience while on the bus home from uni. "Moving On" played for most of the trip, while the Drive Shaft "Parting Words" came on as I realised I locked my keys inside and had to break in through a window. Not so appropriate.

[Incanus 5,733]

The most singularly focused music in the final season is in the mythology episodes, namely Ab Aeterno and Across the Sea.

Those two episodes highlight a singular musical idea while also providing other important new themes.

Ab Aeterno is all about Richard and thus Richard's theme, which represents his love for his wife but also his faith, gains prominence in this episode. It is heard in nearly every cue in the episode in some form or another. This musical idea is balanced by the two other themes associated with the Island mythology, the new Man in Black's theme (his 2nd theme) and the already established Jacob's theme.

Richard's theme is openly emotional, perhaps one of the most instantly emotional of Lost's themes. It is from the first appearance presented in a singing register and its lyrical qualities are highlighted with apt orchestrations by Giacchino in its every appearance. It gives this mysterious character we have seen so often a new found emotional depth just as his backstory does and the theme drives the story forward and suggests motivations behind this man's actions. The music is very strongly tied to the memory of Richard's wife and his faith and the theme was composed by specific request from the producers. It was to appear every time we see the cross Isabel gives to Richard (this info is from the DVD commentary of the episode). The music at once suggests both love and faith that are also highlighted as central themes for this episode in general. Thus it is apt that Richard's melody belongs to his wife and his past. It is tied to Richard's guilt, his beliefs and finally to the moment he is given an absolution by the ghost of Isabel and his purpose is renewed after Jacob's death. After this the theme does not resurface until the final episode when Richard finds out he has just gotten his first grey hair, Giacchino reprising the material more as a near nostalgic nod to the character's emotional state than to a memory of either his wife or his faith.

On a sidenote a few observations on the Man in Black's 1st theme, the FLocke theme:

The Man in Black has had a theme for the first episodes of the 6th season for his Locke form that is derived musically from Locke's emotional themes but darkened considerably. It can be heard already once on the 5th Season soundtrack album on the track Follow the Leader. There it is more of a warning and a hint that something is very wrong with this new Locke but it gains a whole new meaning in the 6th season when we realize that he is not Locke at all. After that is comes to represent FLocke's darkest and most villainous deeds when the Man in Black comes through in Locke's actions: After Jacob has been killed and MiB is talking to Ben, when MiB is showing Sawyer the numbers in the cave to manipulate him, after the massacre at the Temple just to mention a few.

What is as interesting is that most of the time the Man in Black is musically depicted to the Losties with Locke's themes as if to show us how they can't quite wrap their heads around the fact that he is not the same John Locke as before and how the Man in Black uses Locke's form to manipulate them, appealing to them through his appearance when the actual man is dead. And thus it becomes natural that Locke's themes are used throughout the last season for MiB as his delicate game with the Losties continues.

The Man in Black's second theme, his real theme is quite short and to the point ominous melody presented first with harp and tremolo strings when he saves Richard and gives him food but it turns to the low register strings almost as soon as he demands him to kill the "devil". Giacchino captures effectively MiB's patient, heavy lidded, frighteningly persuasive and sinister nature in very few notes implying similarly supernatural qualities in the character as he did with his theme for Jacob. There is a dark and tragic edge to this theme and when we finally see his origin the theme becomes even more fitting for a character that has gone through a horrible tragedy and punishment and finally a long imprisonment that has most likely over the centuries driven him mad with obsession to escape.

This theme along with Jacob's theme are almost unchanging and nearly always presented deliberately slow as if to imply the detached almost stately supernatural calm and patient nature of these characters who are locked in a long game against each other. The orchestration ranges from delicate but dark harp renditions to the deep trombone and strings readings of the theme to suggest the whole array of emotions and moods of the character and to dramatically highlight his larger than human presence.

Across the Sea brings another new theme to the mythological catalogue: The Heart/Light/Mother theme. This musical theme that travels through the episode and the following episodes as well and becomes very important in the finale as Giacchino derives the final Source theme from it. In Across the Sea the music becomes directly linked to the character of Mother who sets in motion the events of the whole history of the Island that come after. Here Giacchino perfectly captures the many different tones of the episode and the character itself. The Heart/Mother theme is sorrowful, beautiful, melodically somewhere between Richard's theme's emotional directness and Jacob's theme's religious undertones. It has a luminous warmth and no small measure of awe and wonder in the moments we see the Heart itself and tenderness and moving care when used to depict Mother and her interaction with her adopted sons. But tragedy is clearly woven into this music, almost preordained and bittersweet.

In the episode the MiB's theme 2nd theme and the Heart/Mother theme are very prominent, Jacob offered a scant few musical depictions as he is in the sidelines as the good guy and not the mover of this tale at this point. When the MiB's plans become clear his music takes on a deep dark edge, suggesting danger in his work to get off the Island and his frightfully manipulative nature to gain his ends. In the episode his theme is also offered active development, more so than in Ab Aeterno. It is almost like Giacchino is now treating him more as a person here than as a mythological ominous figure. His music goes from the early harp renditions as we see him as a young boy to the dark string variations as he explains his plans to Jacob to the tragic string and piano renditions depicting his disbelieving anger, horror and frustration when he sees his work and village destroyed and finally to the sorrowful and heartrending as he kills his mother and Jacob confronts him the music mirroring Jacob's sorrow and anger as much as the tragedy of the whole situation.

The MiB's 2nd theme also has a motivic offshoot, a small fragment derived from the first four notes that play as a shorter motif in some scenes to reference MiB. In Make Like a Tree this motif works under the Heart theme as the MiB is explaining his plan to leave, growing in prominence towards the end of the track. Another example of its usage is in the Locke v. Jack (0;51-0;59 and again 1;08-1:29).

The music is very integral part of Across the Sea (and of the whole show of course) as it adds a layer of meaning to the episode that is nearly impossible to achieve so effectively any other way. Not only emotion but suggestion of the importance of these character and their nature and the mythological actions they take. A good example is the scene where Mother reliquishes her guardingship of the Island to reluctant Jacob. If there was no music the scene would be considerably less effective and powerful despite the actors performing quite emotionally. With Giacchino's suggestions of Jacob's theme when he voices his objections, to underline his coming responsibility and character and then the slow purposeful near religious renditions of the Heart/Mother theme give such pull and power to the scene it becomes something of significance. It is not a mere cup of wine exchanging hands, it is something larger and more intangible and spiritual but it is clearly articulated there in the form of music. And of course these two episodes are just one example of the great thematic interaction and musical storytelling but to me they are alongside the finale some of the best music in Lost.

[Docteur Qui 1,544]

Thank you for that Incanus, I love reading your incredibly insightful comments.

I just rewatched the finale since finally receiving my copy of "The Final Episodes". I already liked The End a lot, but my appreciation was compounded enormously having become more familiar with the music. It's a truly moving piece of work.

[fommes 154]

Whose theme or what theme opens track 3 of disc 1 of Lost: The Last Episodes?

[BloodBoal 7,538]

[Mr. Breathmask 555]

Makes sense. It plays under the scene where Jack invites Claire to stay at his place.

[fommes 154]

Ah yeah I just remembered, that played a lot during the Jack and his son scenes, right? That one's one of my favourites of the last season, definitely. Hope to see it pop up on the Lost: The Final Season soundtrack too; which should be in the mail soon.

[Mr. Breathmask 555]

It's on there, in the track Peculiar Parenting (see BloodBoal's link).

[Taikomochi 1,145]

Ah yeah I just remembered, that played a lot during the Jack and his son scenes, right? That one's one of my favourites of the last season, definitely. Hope to see it pop up on the Lost: The Final Season soundtrack too; which should be in the mail soon.

It's only on once in Peculiar Parenting, as mentioned above. I was pretty disappointed that it was only one the set once as it is also one of my favorites.

[Koray Savas 2,251]

Makes sense. It plays under the scene where Jack invites Claire to stay at his place.

Damn your avatar. I keep thinking you're indy4, and I was like "When did you start watching LOST?!"

[Mr. Breathmask 555]

? Indy4 has Jack Skellington for his avatar. I'm sticking with good old Tintin!

[Incanus 5,733]

? Indy4 has Jack Skellington for his avatar. I'm sticking with good old Tintin!

Well I get Charlie Bridgen and Stefan mixed these days as they both have the shark in their avatars. It is not the same picture but at a glance they look the same. And I was getting you and Indy4 mixed up as well for a while Marc.

[BloodBoal 7,538]

[Jacob 0]

? Indy4 has Jack Skellington for his avatar. I'm sticking with good old Tintin!

indy4 had Tintin for a good while before your recent resurgence.