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


Ollie

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John Williams' gorgeous "Elegy For Cello & Orchestra." A fantastic reworking of a minor melody from Seven Years in Tibet, performed masterfully by Yo-Yo Ma.

Holidays and Epiphanies: Ron Nelson sounds like a fun composer. There was a lot to like on this first listen, especially "Rocky Point Holiday" and "Aspen Jubilee."

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The Secret of the Unicorn again.

There's someting about this... the funny melodies and the orchestrations and that... I think I really connect more to this music than to War Horse. It surely must be a beautiful composition in its proper form. I think I'll edit it to make it chronological and fill a bit the blanks. It's there in my computer begging me for it. Even though I abandon halfway through all my edits out of a headache.

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The Secret of the Unicorn again.

There's someting about this... the funny melodies and the orchestrations and that... I think I really connect more to this music than to War Horse. It surely must be a beautiful composition in its proper form. I think I'll edit it to make it chronological and fill a bit the blanks. It's there in my computer begging me for it. Even though I abandon halfway through all my edits out of a headache.

I can't quite decide which I like better but both have themes and passages that have been playing in my head a lot recently. Adventures of Tintin and Escape from Karaboudjan are such earworms for me as are The Ploughing and No Man's Land from War Horse.

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The Sea Hawk:

A fairly enjoyable, optimistic work. It's my first exposure to Korngold other than the Robin Hood main theme. I love Sea Hawk's main theme and love theme. The former gets played way too much in almost the exact same variation in the first couple tracks, it makes it easy to tire of it. The underscore was decent, although I found myself getting distracted several times. I'm not sure if it'll grow on me or not. It was worth it just for the the main title, the variations of the love theme, the awesome choir version of the main theme, the finale, and a few other select tracks. Oh, and "The Slaves Liberate Themselves, Murder" is a definite inspiration for "Hook-Napped." Even the sudden pauses are the same.

I think you'll definitely enjoy Korngold's Prince and the Pauper score. Stromberg and Morgan did a great re-recording for their Tribute Film Classics label, especially the action music.

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Star Trek TOS Episode 33: Who Mourns for Adonais? ~ Fred Steiner

Very good score, I especially love the statement of Steiner's Star Trek motif in "Clash of Titans", and Apollo's Theme reminds me of a moment in Howard Shore's LOTR scores at 4:56 of Balin's Tomb (CR).

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Krull - James Horner

Just an amazing score. The early 1980s were definitely one of Horner's more productive periods. First it was Wrath of Khan, then Something Wicked This Way Comes and Krull. I just love how forceful and muscular the brass writing is, especially for "Ride of the Firemares."

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After a loooooooooooooooooooooong hiatus, Fellowship Of The Ring again.

Brilliant as ever.

The third disc is like one giant 40 minutes orgasm.

I like to leave significant breaks between LotR listens too. There are a few absolute standout tracks (such as The Breaking of the Fellowship) that I can pick out at random, but I feel the score as a whole works best as an album listen.

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Prince and the Pauper - Erich Wolfgang Korngold

I don't like the Prince's theme (too squeaky and sappy), but everything else is great. That terrific action music Korngold grew famous for in The Sea Hawk and Robin Hood pops up in "Riot" and "Duel", and a terrific motif for Errol Flynn's supporting character. The complexity of the piano playing in "Seal #1" and "Seal #2" is just amazing, and I wouldn't be surprised if pianist Irina Popova had sore wrists and fingers after the practice sessions. Bravo!

Morgan and Stromberg did a splendid job with the whole package. Just superb.

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Chitty Chitty Bang Bang:

Love it. I don't think anything's more accessible than a good old fashion musical. It's a fantastic listen.

Young Bess:

I think I'm going to love this one. It's first impression was a good one. And it includes a beautiful use of Dies Irae.

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There is a wonderful concert piece that Rózsa arranged, Fantasia on Themes from Young Bess for Brass Choir and Organ. It has a great expansion of the Dies Irae material in it as well. The score itself really is wonderful though, what version did you listen to? The Bernstein rerecording, the Rózsa box?

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Batman Forever by Elliot Goldenthal

I'm really happy with the new album. Even though, I don't quite understand Mr. Goldenthal's choices of changing the order of some tracks, it works well enough in that form (and it's not a major issue anyway since it mostly takes slight re-arranging on iTunes playlist and problem is solved). I don't mourn the absence of the missing material (45 seconds, that was?). The guys, who put together these albums, earned enough respect for me to believe that if they say there wasn't a good source to draw them from, then... there wasn't one. Case closed. The original album was an interesting listen, but didn't reveal a very coherent work. Not the case here. While at times headache inducing, the music has a logic it. It's really fun to follow all the developments of different thematic ideas. Always enjoyed the majority of this score, but never imagined it was so intricately structured and well thought-out. Sometimes feels almost like a concert piece, a post-modern ballet of sorts. Batman characters are treated as myths and absolutes, not so much as people. Which is indeed an interesting angle. Not the one this movie deserved, obviously. While listening I thought to myself: "I wish someone had balls to put a music like this into a movie these days". Fantastic stuff and worth the wait! John Takis' notes are enlightening as well (same as in the case of last years' Batman Returns).

It's a pity the set arrived in shattered case. Ah well, at least the CD's themselves are all right. ;)

Karol

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The Rocket Post - Michael Csanyi-Willis & Nigel Clarke

The score suffers from Debbie Wiseman syndrome -- an excellent theme that's repeated over and over again. Still it's quite lovely, and the Celtic Flute solos by Francesca Hanley just get me every time. The strength of the theme elevates the rather repetitive album structure, as well as the excellent performance and recording. I really, really recommend checking it out... especially since SAE has it on clearance too.

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Avatar by James Horner: What a surprisingly enjoyable bundle of Hornerisms and few new sounds. Nice choral work and pretty succesful blending of synthesizers and orchestra. I love the scope of the music and Horner not known for his subtlety can certainly use this epic canvas. With a plethora of major and minor themes this score has always something interesting happening, whether it is the ethereal sounds of the forest on synthesizers or racuous percussion, tribal chanting or plain good old orchestral material. And even though the score sounds so familiar as a whole I can forgive it because the end result is quite wonderful. Even the danger motif somehow fails to irritate me in this one. ;)

Snow Falling on Cedars by James Newton Howard: Meditative and quietly nuanced drama score. I wish Howard could compose such music more often since "less is more" works here very well, the track Tarawa with its choral majesty being perhaps the only major deviation from the mysterious, haunting atmosphere of the music.

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The Wind and the Lion. Always enjoyed it greatly. As in Lawrence of Arabia, I love the adventurous tone and the romantic melodies, and the arid yet insanely cool sound and orchestration that puts oneself right into another time and place. Could anyone namedrop some other score that sounds like these two?

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Michael Collins, Titus, and Public Enemies.

Elliot Goldenthal marathon!

Karol - who also listened to La-La Land's Batman Forever a couple time since he got it (yesterday)

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Goldenthal's Batman Forever. What a terrific score. I love the La-La-Land presentation, though I can't help but wonder why 'Chase Blanc' wasn't included in the complete score section...

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I am listening through the Goldsmith CDs that I've amassed but haven't had time to listen to.

I just finished The Blue Max.

Anyone a fan of this one? I quite liked the main theme and the older sound of the score. Parts of it allllllmost sound like Williams....or at least my wife mistook it for a Williams score at first (she is starting to pick up on his sound from my bombarding our house with John Williams pretty consistently LOL).

Anyway, its great to have more Jerry Goldsmith in life, I think he had an amazing gift for crafting memorable and often times very beautiful melodies.

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Blue Max is generally one of the highest ranked Goldsmith scores. And deservedly so. The only thing that beats it was the suite the LSO performed in 2001 with Goldsmith conducting.

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Williams: How to Steal a Million.

Both album and score releases.

I love the jazzy moments. Many parts of this score just scream "fun" to me. I always enjoy scores that sound like the composer had a lot of fun writing the music, and this is one of them to me.

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I am listening through the Goldsmith CDs that I've amassed but haven't had time to listen to.

I just finished The Blue Max.

Anyone a fan of this one? I quite liked the main theme and the older sound of the score. Parts of it allllllmost sound like Williams....or at least my wife mistook it for a Williams score at first (she is starting to pick up on his sound from my bombarding our house with John Williams pretty consistently LOL).

Anyway, its great to have more Jerry Goldsmith in life, I think he had an amazing gift for crafting memorable and often times very beautiful melodies.

I haven't seen The Blue Max but after I've watched this clip of a cue called "The Attack", I'm amazed at how Jerry goldsmith could come up with such a complex orchestration:

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A very stressful and anxious segment of my life recently resolved in a very satisfying, bittersweet (but more sweet than bitter) way, so I figured I'd listen to "A New Beginning" from Minority Report, as that's basically what happens in that cue. Gorgeous. :)

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Williams: How to Steal a Million.

Both album and score releases.

I love the jazzy moments. Many parts of this score just scream "fun" to me. I always enjoy scores that sound like the composer had a lot of fun writing the music, and this is one of them to me.

Yes it is a very fun score and has a nice 60's vibe to it but does not over do it. Definitely one of the more high profile caper/romantic comedies Williams did back then. :)

A very stressful and anxious segment of my life recently resolved in a very satisfying, bittersweet (but more sweet than bitter) way, so I figured I'd listen to "A New Beginning" from Minority Report, as that's basically what happens in that cue. Gorgeous. :)

Indeed gorgeous. A New Beginning shares a quality that is found in many JW scores. It is a soothing, cathartic, almost beatific feel of resolution, of coming full circle and finding your way back home. I guess you could say Williams usually projects so positive a feel in his music he almost instinctually (though not against grain of the film) knows how to provide a musical happy ending, be it a bit bittersweet or full of soothing resolution.

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Today, I took a thirty-minute drive to a computer store so I could try out a Wacom Cintiq tablet monitor.

The Cintiq was cool, but I had more fun listening to War Horse while driving.

OST or FYC?

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Today, I took a thirty-minute drive to a computer store so I could try out a Wacom Cintiq tablet monitor.

The Cintiq was cool, but I had more fun listening to War Horse while driving.

OST or FYC?

OST...I don't have the FYC on my iPod yet. I'm really running out of room on that thing...I think it's almost time for me to splurge and buy a new one. Finally. :P

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Wolfen by James Horner: It is rather disappointing to hear this score since it works almost like an introduction to material Horner would later regurgitate with vengeance. He uses the main musical idea (here an admittedly nice connection to a wolf call when sounded on trumpet) and other orchestral techniques found in this score most shamelessly in Aliens and having heard Aliens first I can't but feel that this score offers very little new to discover even though Horner copied Wolfen into Aliens and not the other way around. It seems like he did almost note-for-note copying here which is really blantant and irritating. The latest victim of this particular motif is Avatar where Horner assigned the 7-note call to the big Thanator creature.

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I've been listening to Doctor Who's last season on youtube because I enjoy the themes. I like how some of the music is built upon material of the previous season.

It seems the music for the run towards the TARDIS in The Girl Who Waited was originally composed for Day of the Moon, they replaced it and reused it in that episode later. Or I might be wrong. Makes me think back on some later Goldsmith score.

Also, can't we just get Murray Gold to score a James Bond film, please?

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War Horse, The Adventures of Tintin, Hugo, Iris: Cirque du Soleil, Die Hard and some bits of Batman Forever during my long trip yesterday. All very good.

Karol

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The Fury (OST): Very nice. In many ways the OST is more digestible than the complete score. This contains the original Unicorn theme from Tintin. Also cool to hear a very Jurassic Parkesque ending to "Death on the Carousel." I need to listen to this score more.

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Wolfen by James Horner: It is rather disappointing to hear this score since it works almost like an introduction to material Horner would later regurgitate with vengeance. He uses the main musical idea (here an admittedly nice connection to a wolf call when sounded on trumpet) and other orchestral techniques found in this score most shamelessly in Aliens and having heard Aliens first I can't but feel that this score offers very little new to discover even though Horner copied Wolfen into Aliens and not the other way around. It seems like he did almost note-for-note copying here which is really blantant and irritating. The latest victim of this particular motif is Avatar where Horner assigned the 7-note call to the big Thanator creature.

Wow this is really interesting to me. I don't have Wolfen and haven't heard any of it either, though I've always loved ALIENS. I used to consider it one of Horner's most original scores, but I guess in reality it was ripped off from Wolfen. So on one hand, I'm sad to discover that, but on the other hand I'm excited to listen to Wolfen since I'll probably like it if I love Aliens lol.

I recently listened to:

Jerry Goldsmith - The Boys from Brazil

- The Burbs.

Boys from Brazil is a pretty unique score filled with some cool Brazillian flavoured melodies, some cool rhythms and some pretty stand out cues, especially near the climax of the film. My first time hearing this one!

The Burbs, I've listened to many times already but it's been a while since I heard it last. I like the darkness of the main theme, and man there are some weird electronics going on in some of this lol. Weird dog barking noises or something.

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ALIENS was also partially ripped off from TREK III, which in turn was partially ripped off from TREK II, which in turn is partiall ripped off from WOLFEN and BATTLE BEYOND THE STARS.

I find WOLFEN not only fascinating but a great score on its own, haunting and vibrant, and as much as I agree on the base comment I feel it does the score a disservice to just concentrate on that factor alone.

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