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What Is The Last Score You Listened To? (older scores)


Ollie

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In light of a last-minute road trip to Vegas with some friends, which may last dangerously long into the coming week, I'm listening to the underappreciated coolness of David Holmes' Ocean's Eleven.

I love Holmes' work on the Ocean's films, but give Pemberton's Man From UNCLE a spin. He does much more with the same sound, in my opinion.
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A Streetcar Named Desire by Alex North: A historical landmark score that still holds up brilliantly today. It takes you to the setting of New Orleans with the orchestral blues, jazz and big band evocations of time and place (strikingly modern gesture for the time the film came out to use this music as dramatic underscore) and then plunges into mental state vignettes of the main characters through the score. Main Title, New Orleans Street, part of Belle Reve Reflections, Stan Meets Blanche Blanche and Mitch and Stan and Stella all favour the near-source music approach as North first introduces some of his musical ideas and then peels away layers and exposes connection between the character themes and slowly the jazz and source music elements give way to the revealing dramatic orchestral writing where the established musical personas come together, clash and slowly descend to tragedy.

North writes vibrant yet well balanced music for dialogue which enhances it in the movie but works effortlessly outside the filmic context. Birthday Party is the first true setpiece which begins to show the psychological states clashing musically but the Revelation is even more impressive with its slow burning anguish, the writing affecting and potent. Mania paints a nervous agitated mood with the sage use of pizzicati strings and skittishly restless woodwinds. The composer never forgets the empathy for the fragile Blanche Dubois, whose music proves the most important element in the score, even at her most weakest but he also captures the descend to delusion by chillingly combining suggestions of the theme for her lost home Belle Reve with the darker shades. This development culminates in the Seduction which ominously slithers towards the inevitable horrific conclusion that comes in the shrill panicky violent burst of brass that suddenly trails off.

Much like Franz Waxman did with The Sunset Boulevard, North wraps the final pieces of the score in a part sympathetic part cruelly delusional musical meditation suggesting lost sanity, loss of strength and ultimately tragedy of Blanche (and perhaps of all the main characters). Della Robia Blue gives a cast of all being well, the lyrical score trying to overcome the underlying tensions that creep into the music midway through the piece and finally succeed but there is impending tragedy in the air. Doctor/Affirmation finally slowly turns this mood from elation of serene strings and horns to angst as the truth is revealed, the writing particularly expressive as the orchestra perform the Belle Reve theme and the empathetic denouement, North actually allowing the score a grand exit as the orchestra swells to a bittersweet crescendo.

Dramatically masterful and thoughtful A Street Car Named Desire is a classic and among my favourite Alex North scores, perhaps tame in comparison with his more sizzling modernistic output yet the potency of the combination the energizing jazz and the deeply insightful orchestral writing cannot be denied.

:music:Who's Afraid of Virginia Woolf?

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Harry Potter and the Prisoner of Askaban :music:

It's Tintin not Askaban!.... I mean Azkaban not Askaban!

Fantastic score of which we should get a complete release. This one needs it so badly.

Taras Bulba by Franz Waxman: Big, sweeping, energetic, emotional and alas has a main theme I simply do not like. This is made up by the other musical ideas, especially the lovely Slavic folk song like love theme but when the Zaporozhtzi theme usually leads the action sequences it becomes rather annoying in its oompha-oompha rhythm and all kinds of strange interjections from xylophones and whatnot which might be lively depiction of cossacks but to my mind turns into something akin to circus music. Thus something like the famous The Ride to Dubno (The Ride of the Cossacks) piece feels almost comical deprived of any serious dramatic drive no matter how energetic or colorful it might be. Rodwy horse raiders they perhaps are but this kind of music makes them feel like buffoons. I hope this score worked well with the images but now I am scared of what kind of images inspired Waxman to write music like this.

Luckily there is a lot of great music without the main theme (Waxman wrote 5 major themes for the film) and there are some wonderfully strong setpieces and moments throughout. Curiously the score is on the other hand extremely timeless and well crafted but on the other the composer goes for full-on Mickey Mousing mode at the drop of a hat. The incorporation of the Slavic sound is impeccable and always well done and the pseudo-folk song styled themes work brilliantly from lullabyes to the rousing Cossack Anthem.

All in all despite the circus music of the cossacks, Taras Bulba is a fine score and heard in all its dynamic glory on the Tadlow re-recording.

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Harry Potter and the Prisoner of Askaban :music:

It's Tintin not Askaban!.... I mean Azkaban not Askaban!

Fantastic score of which we should get a complete release. This one needs it so badly.

Agreed. I hope they get to this one first. HPSS (or HPPS depending on your country) has already been leaked in full with near-perfect sound quality and COS isn't really missing anything important (to my knowledge at least).

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Taras Bulba by Franz Waxman: Big, sweeping, energetic, emotional and alas has a main theme I simply do not like. This is made up by the other musical ideas, especially the lovely Slavic folk song like love theme but when the Zaporozhtzi theme usually leads the action sequences it becomes rather annoying in its oompha-oompha rhythm and all kinds of strange interjections from xylophones and whatnot which might be lively depiction of cossacks but to my mind turns into something akin to circus music.

It was inspired by Aram Khachaturian:

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Damn you Khachaturian! That piece of circus music has a lot to answer for!

That's the piece that unfortunately found its way to inspire a cue in Goldsmith's Final Conflict as well, to the detriment of the score.

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There is one cue in Final Conflict (A T.V. First if I remember correctly) that contains that awful xylophone figure that reminds me of the Sabre Dance, much to its detriment.

If there is any positive aspect to the Taras Bulba "inspiration" then it is that Waxman didn't take it quite to that level of obnoxiousness as Khachaturian.

The good thing is that the rest of Taras Bulba is filled with engaging gorgeous melodies. Old Waxie knew his stuff.

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Well if you hate this stuff so much you now know how i feel when i listen to droll Williams such as the Ewok parade or the Fitzwilly march.. :puh:

The Goldsmith cue in question seems more indebted to one of Igor S.'s primitive pagan dances, though. The cue never found its way onto my harddisc anyway.

The ace theme from TARAS BULBA for me is the Andreij theme, the slavic lullaby first heard in 'Birth of Andreij', It's just a great melody. For the seasoned Williams fan, cues as like 'Young Andrei* / The Priest* / Arrival at Kiev* / Students Fight' and 'Chase at Night' are eerily similar to the maestro's more boisterous stuff in tone and orchestration.

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Well if you hate this stuff so much you now know how i feel when i listen to droll Williams such as the Ewok parade or the Fitzwilly march.. :puh:

The Goldsmith cue in question seems more indebted to one of Igor S.'s primitive pagan dances, though. The cue never found its way onto my harddisc anyway.

The ace theme from TARAS BULBA for me is the Andreij theme, the slavic lullaby first heard in 'Birth of Andreij', It's just a great melody. For the seasoned Williams fan, cues as like 'Young Andrei* / The Priest* / Arrival at Kiev* / Students Fight' and 'Chase at Night' are eerily similar to the maestro's more boisterous stuff in tone and orchestration.

Yes there is a definite stylistic connection between Waxman and Williams and some moments in Taras Bulba sound very Goldsmithian to my ears too, especially in some of the action material. To my surprise the more gentle parts are really what I most like about the music, not the big barnstorming action.

Fire, Paper, Water - A Vietnam Oratorio by Elliot Goldenthal: My first listen of the piece. As with much of Goldenthal the work is striking and visceral with his customary electrifying style and theatrics, which are further enhanced by the choruses. I was blown away I must say. I need to relisten to this for further thoughts.

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Yes there is a definite stylistic connection between Waxman and Williams and some moments in Taras Bulba sound very Goldsmithian to my ears too, especially in some of the action material. To my surprise the more gentle parts are really what I most like about the music, not the big barnstorming action.

Goldsmith cited Waxman as influence several times (also often programmed THE SPIRIT OF ST. LOUIS' in his concerts). Curiously enough, i never realized just how close Horner and Rózsa are in their romantic string writing...

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John Carter - Michael Giacchino

I started to peruse the conductor's score and thought it might be time to give this a serious listen/reading. I like it. There's a lot of clever stuff happening which is unfortunately... almost totally inaudible. The recording quality here is utterly atrocious. I know we all hate the Giacchino sound but ye gods, this is truly, truly fucking awful. I am shocked that this ever got out into the open and all parties involved should be scratching their heads just as vigorously as I am. Horns sound like they're in mono, there's awful mixing of stuff that was all in the same room and shouldn't have to be mixed in the first place, the strings are anemic, some elements are just not even there, somehow... damn.

Then there's the main theme which as I've mentioned before I find oddly constructed, with one half fitting the film perfectly and the other half a stock Giacchino emotionalism as if he wrote a few appropriate notes and then said, ah what the hell, here's a second phrase that means nothing. And the "big orchestral hits" with too many drums and low instruments all muddying things up together... yeah this is a taste thing, but it's also kind of actually lazy and grating orchestration.

But as I said, I like it. And if these quips weren't necessary, especially about the recording situation, this would probably be more widely recognized as a special score. For all the greater sonic quality and compositional self-assuredness that Jupiter Ascending showed, this remains a more characteristic effort.

Agreed. It's a fun romp but that B-section (or whatever the proper musical term is) of the main theme really bothers me. In fact, I can't recall a theme that starts so promisingly and disappoints quite as much as that one.

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The Matrix by Don Davis. Actually not through listening to any of the albums (or bootlegs) but by watching the film with isolated music track and composer's commentary. I haven't seen it like this before. This is probably the best way to enjoy and appreciate this score as it's so closely tied to framing/editing and acting. It's interesting how the seeds of love theme are sprinkled all throughout the score (it appears at least four times). Davis is very concise in his comments and he only rarely overlaps with musical score. That means he doesn't get to talk all that much. But, still, it's great stuff and I actually learned some new stuff. It's terrific that this score is well "available" to fans -- live to projections concerts, quite comprehensive albums (well, almost), printed score book and this.

Karol

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Wolf Hall by Debbie Wiseman: A chamber-sized and subtly emotional score which echoes the tone of the television series with at times stark sparse beauty. While it doesn't set my world on fire it is very classy TV scoring.

:music:Her Majesty Mrs. Brown by Stephen Warbeck

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Judge Dredd. I'm not quite sure if I share the unconditional love for this score. It is, however, a very strong one. Silvestri has an undeniable gift musically displaying masculinity in his action score and this one would be among the finer examples. The complete does give it a few more shades and, as such, was worth a purchase.

The Last Starfighter. Delightful old school fun, I especially love this cue (starting at 2:14). Feels definitely most fresh among other big scores from that era.


Karol

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The Matrix by Don Davis. Actually not through listening to any of the albums (or bootlegs) but by watching the film with isolated music track and composer's commentary. I haven't seen it like this before. This is probably the best way to enjoy and appreciate this score as it's so closely tied to framing/editing and acting. It's interesting how the seeds of love theme are sprinkled all throughout the score (it appears at least four times). Davis is very concise in his comments and he only rarely overlaps with musical score. That means he doesn't get to talk all that much. But, still, it's great stuff and I actually learned some new stuff. It's terrific that this score is well "available" to fans -- live to projections concerts, quite comprehensive albums (well, almost), printed score book and this.

Karol

Fantastic score, one of the best of the 20th century.

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It's interesting how the seeds of love theme are sprinkled all throughout the score (it appears at least four times). Davis is very concise in his comments and he only rarely overlaps with musical score.

It's interesting how Davis mentions that it's a theme-less score, when the love theme is already in there, and some of the material for the sentinels is pretty motivic as well.

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Yeah, he kind of contradicts himself in there a bit. I noticed that.

With the DE and OST now both out of print, one hopes for a proper expanded release. Varese, LLL, whoever! :)

Karol

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The Matrix by Don Davis. Actually not through listening to any of the albums (or bootlegs) but by watching the film with isolated music track and composer's commentary. I haven't seen it like this before. This is probably the best way to enjoy and appreciate this score as it's so closely tied to framing/editing and acting. It's interesting how the seeds of love theme are sprinkled all throughout the score (it appears at least four times). Davis is very concise in his comments and he only rarely overlaps with musical score. That means he doesn't get to talk all that much. But, still, it's great stuff and I actually learned some new stuff. It's terrific that this score is well "available" to fans -- live to projections concerts, quite comprehensive albums (well, almost), printed score book and this.

Karol

Oh, I need to do this too... I have the blu-ray and all this time I wasn't aware it had the isolated score track. Kudos for making me aware, I'll be listening soon... :D

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Does the Blu-ray have the iso? I thought that was a DVD only thing?


With the DE and OST now both out of print, one hopes for a proper expanded release. Varese, LLL, whoever! :)

An unabridged Trinity Infinity would certainly be welcome.

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All the Blu-ray versions I've seen have Don Davis' commentary with isolated music track, yeah. Or should I say "isolated music track with sparse Don Davis commentary".

Karol

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Batman by Danny Elfman (the film version on the Danny Elfman Batman Collection set): Well it is just an Elfman blast from beginning to end and the sound quality is very good. While the original soundtrack album was a great listening experience I can't find fault in adding more material to that structure and the complete score still flows incredibly well with nary a boring moment in sight. Full of gothic splendour of the Batman theme and with tinges of carnivalesque macabre in the form of Joker's unpredictable music the score entertains and gives you the needed superhero thrills with exciting pounding action music setpieces and tender romance in the form of sweet yet a bit elusive love music. The final 25 minutes are a spectacular tour-de-force from Elfman where the main theme is put through its paces and lead into a conflict with Joker's circus waltz only to emerge triumphantly at the end, broadcasting in no uncertain terms the victory of the Dark Knight. Elfman's music strikes a perfect balance between the darker gothic tones and the sheer cartoon fun element of the movie.

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Korngold's Robin Hood>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>Michael Kamen's Robin Hood>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>Price's Robin Hood

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The Kamen's Robin Hood: Prince Of Thieves

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Everything else

Kamen's love theme sucks!

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You have not been given the authority to deny the ultimate truth BB. I am sorry.

:music:The Ghost and the Darkness by Jerry Goldsmith

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The Kamen's Robin Hood: Prince Of Thieves

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Everything else

Kamen's love theme sucks!

You must be joking!

Look into your heart, Inky...

Oh, you can't tell me it's not worth tryin' for.

I can't help it, there's nothin' I want more.

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All the Blu-ray versions I've seen have Don Davis' commentary with isolated music track, yeah. Or should I say "isolated music track with sparse Don Davis commentary".

Karol

True, even the UK release has it. On the DVD it was a US-only feature I think. Or perhaps I'm wrong there too and just misremember everything about these releases.

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Fleetingly before eBay load-off:

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Still wickedly ambiguous and proof that Hollywood composers need more Oliver Stone movies to spread their wings.

HarrypotterPoAsountrack.jpg

Great score, awful album.

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One of Horner's best but expect a new release soon and the old album cut never did do much for me, also hate the pop versions.

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Probably Horner's most ambitious and accomplished fantasy score - seamlessly blending Mozart's requiem with bulgarian folk tunes, aleatoric Penderecki and german romantics seasoned with russian dressing. Expect a complete release soon.

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VALLEY is marginal Goldsmith, RAGGEDY MAN (also on this album) one of his forgotten treasures (1981, of course).

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Maybe JNH's best (imho, anyway), it's so refined and elegant, hippety hoppety beats don't bother me, awfully processed audio (Shawn Murphy AI'ing another production).

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Wonderful adventure score, very luxurious and fleetingly reaching the heights of a good late Goldsmith entry - a wonder it got through at the time (the awful POTC score reached charts just a year earlier).

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If I were to make a list of best JNH scores six first slots would go to his first six collaborations with Shyamalan, then Snow Falling on Cedars. And then... long nothing. Perhaps something like Atlantis?

Karol

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