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

[crocodile 8,020]

I was listening to some bits of the latest The Twilight score. And I realised Carter Burwell used Desplat's and Shore's material. The interplay between New Moon theme and his own lullaby is a particularly nice touch. Really cool, Mr. Burwell.

Here, take a listen.

Karol

[KK 3,307]

I believe this was shared in the last page or so. But yes, Burwell does a great job of playing between the franchise's pre-established themes.

[Marc 771]

James Newton Howard - Grand Canyon

[Matt C 455]

Just Buried - Darren Fung

It's light, quirky, and flies by quickly. The size of the score isn't big, but the clever instrumentation and quality of the writing really make the score shine. Considering the movie it underscores is a morbid comedy, it doesn't tell us when to laugh, but it sets the mood to help make the viewer laugh at it. Usage of the harpischord and cimbal, Thomas Newman-style, is a wonderful touch. The cues aren't that long, but the album structure is solid.

Considering SAE only has the CD listed for $1.95, it's practically a steal. Definitely worth a blind buy.

[crocodile 8,020]

A Christmas Carol by Alan Silvestri

What seemed as a unremarkable and forgettable work at the time of its release, became a particularly strong Silvestri score in my collection. I find myself listening to it very often actually, especially at this time of the year. Conservative to a fault, but hugely enjoyable. And the main theme joined many film music Christmas classic. It's really memorable. What, I think, makes it so good is the fact that, while you can find a plenty of stereotype Christmas scoring, it never quite degrades into aimless mickey mousing. I kind of hoped Intrada would release a CD version of this, but it doesn't seem likely to happen.

Which reminds me: I never heard The Polar Express.

Karol - who likes the film as well

[Romão 2,274]

Les Misérables, original London Cast Recording

This was the first time I ever listened to this musical. And after one listen, I must say: it isn't very good, is it? It just sounds like an compilation of all the clichés and corniness that most musicals are often accused of having. It's not Sondheim, that's for sure. Perhaps subsequent listens will open this up for me

[indy4 155]

Les Misérables, original London Cast Recording

This was the first time I ever listened to this musical. And after one listen, I must say: it isn't very good, is it? It just sounds like an compilation of all the clichés and corniness that most musicals are often accused of having. It's not Sondheim, that's for sure. Perhaps subsequent listens will open this up for me

I also just got this score. I like it, but while the synths work sometimes, other times they are horribly cheesy. But overall I thought it is good.

[Incanus 5,716]

In the honor of our Independence Day I have been going through some of beautiful music of Jean Sibelius among other things Finlandia, his Karelia Music and Press Celebration Music (Tampere Filharmonia conducted by Tuomas Ollila) and Violin Concerto. You can't get more patriotic than this!

[publicist 4,643]

TWILIGHT: BREAKING DAWN Part II - Carter Burwell

The Overture sold me on this and indeed, apart from a few ugly head-rearings of taiko-cum-electronics trailer stuff, Burwell delivers a fine coda...as fine as could be expected for a series of movies sporting covers like this

Heavy chorus work joins Burwell's characteristic melodic writing (which i had an eye on since Part I but this one is much better) and while it is all securely anchored in the expected du jour mainstream stylings (lots of electronics, rock guitars, percussion galore), Burwell snuggles in interesting harmonic tidbits to keep it moving without getting boring.

It's on youtube, so decide yourself, for me, selected parts belong in one of those dreaded BEST OF 2012 lists....

[Taikomochi 1,136]

I am slowly coming to love Breaking Dawn Part 2's score, with only two complaints: the choppiness of the tracks(36 tracks split over an hour makes it hard to attach to any one track) and the fact that Burwell never came back to the thematic material introduced in the original Twilight's "How Would I DIe", the two note motif, in any significant way. I believe it is quoted briefly during the climax action cues of BD2, but I would have liked a little development the way Bella's Lullaby received(and what development it was!) I would have liked subtle references to the guitar rift somehow underlying in the action cues. I dunno, but I love that material - it's what attracted me to Burwell's score to Twilight in the first place.

[Koray Savas 2,251]

I just listened to both parts a couple days ago. They were pleasant enough, but someone hailed Part 2 as Burwell's best score. I vastly prefer his Coen brothers and Jonze scores.

[Taikomochi 1,136]

I definitely like it better than his work for Jonze's films. I guess, functionally speaking, Burwell's work for the Coen brother films is probably better. His work on No Country, is functionally great. But at the end of the day, it's 10 minutes of score, and it's not very listenable. I don't follow Burwell closely, but, of what I've heard, these are definitely my favorite works of his, on album at least. "Bella Reborn" is a stunning piece of music and features some of the best thematic development I can think of.

[alicebrallice 134]

In the honor of our Independence Day I have been going through some of beautiful music of Jean Sibelius among other things Finlandia, his Karelia Music and Press Celebration Music (Tampere Filharmonia conducted by Tuomas Ollila) and Violin Concerto. You can't get more patriotic than this!

kippis and congratulations my dear neighbor! I actually celebrated you guys tonight... check the what are you eating thread.

tuomas kantelinen - arn

[Marc 771]

Ahh this score....

[Koray Savas 2,251]

I definitely like it better than his work for Jonze's films. I guess, functionally speaking, Burwell's work for the Coen brother films is probably better. His work on No Country, is functionally great. But at the end of the day, it's 10 minutes of score, and it's not very listenable. I don't follow Burwell closely, but, of what I've heard, these are definitely my favorite works of his, on album at least. "Bella Reborn" is a stunning piece of music and features some of the best thematic development I can think of.

As brilliant as No Country For Old Men is musically, stuff like A Serious Man, Burn After Reading, and Fargo are all great listening experiences to me. I also really love In Bruges and the little bit of music he did for Seven Psychopaths along with Being John Malkovich and Where The Wild Things Are.

The Twilight stuff doesn't sound like Burwell to me. I don't know, I guess he's just been doing black comedies for too long.

[crocodile 8,020]

Turbulence by Shirley Walker

What a fun action score. A clear Die Hard descendant, in a way it plays around with Christmas music. I love Walker's ominous use of Carol of the Bells. Listen to this amazing cue right here:

http://www.youtube.c...STe7Auc4#t=786s

Funnily enough, as a kind of parallel to Williams' own Home Alone, Walker also uses Dies Irae in this score later on (in the landing cue).

I was hoping this would be among LLL releases this year (as they are clearly Shirley Walker fans), but maybe next time.

Karol

[crocodile 8,020]

For Greater Glory (James Horner): Great masterpiece it ain't (I can only imagine how silly it must be in the film), but somehow it's one of the most enjoyable film scores released this year. If tad too long...

Rise of the Guardians (Alexandre Desplat): As with The Golden Compass, the score starts to open up after few more listens. The theme from the score is really nice. It's definitely growing on me?

The Fellowship of the Ring (Howard Shore): Unlike the other two scores, Fellowship flows extremely in its complete form. There's definitely a sense of geographical movement, you move from one realm to another.

Karol

[Marian Schedenig 8,211]

In the honor of our Independence Day I have been going through some of beautiful music of Jean Sibelius among other things Finlandia, his Karelia Music and Press Celebration Music (Tampere Filharmonia conducted by Tuomas Ollila)

That's a great disc. I believe Hornist played on this?

[Joni Wiljami 1,206]

Yes I did. Sibelius is our national treasure.

As is Johnny for the Americans.

[Matt C 455]

The Twilight stuff doesn't sound like Burwell to me. I don't know, I guess he's just been doing black comedies for too long.

Burwell's scoring for the most part, feels like he doesn't want to musically push buttons. Instead, he lets the on-screen action support the music... if that makes any sense. I think he does better when the director(s) tell him not to do that and go for a traditional route. I think that's why I prefer Burwell's 'mainstream' scores like True Grit and the last two Twilight scores more.

Batman Begins - Hans Zimmer and James Newton Howard

Compared to The Dark Knight and The Dark Knight Rises, this score feels more original. "Corynorhinus" is just gorgeous JNH string and piano writing at its finest for the first 3:30 minutes, while "Lasiurus" has that wonderful brooding quality. It's not perfect, and some of the cues left out of the album would've made a better listening experience.

But it feels fresh, whereas Zimmer was just on autopilot for the next two scores for the most part. Not to mention I miss that theme present in the film... I can't believe he dumped it in the sequels.

[Koray Savas 2,251]

The Dark Knight Trilogy is anything but autopilot.

[Incanus 5,716]

The Dark Knight Trilogy is anything but autopilot.

Yes I have always thought it more of a hands off the wheel down hill slide and free fall.

[Matt C 455]

The Dark Knight Trilogy is anything but autopilot.

I have to disagree on that. Batman Begins wasn't on autopilot, but the sequel scores were. Save for the new material for Harvey, Joker, Bane, and Selina/Catwoman... most of the material in those scores is rearranged cues from BB. I actually rolled my eyes when a rearranged version of "Molossus" was re-used in the motorcycle pursuit in TDKR.

Seriously, would've it have killed Zimmer to write new material?

[KK 3,307]

The Dark Knight Trilogy is anything but autopilot.

In all seriousness, the first 2, maybe. But aside from maybe Bane's Theme, the last one is most certainly Zimmer on autopilot.

[Taikomochi 1,136]

The Dark Knight Trilogy is anything but autopilot.

In all seriousness, the first 2, maybe. But aside from maybe Bane's Theme, the last one is most certainly Zimmer on autopilot.

Yeah, especially the film mix which blatantly just replays cues over and over, poorly edited together. It's awful.

[publicist 4,643]

The Dark Knight Trilogy is anything but autopilot.

Whatever it is, we don't need more of it.

[Incanus 5,716]

Angela's Ashes by John Williams

Schindler's List by John Williams

Captain America The First Avenger by Alan Silvestri

[Taikomochi 1,136]

The Twilight stuff doesn't sound like Burwell to me. I don't know, I guess he's just been doing black comedies for too long.

I'd say he is more experimental with his musical palette than with most scores of his, but I can clearly hear his mannerisms all over the place, almost to a fault at times.

[gkgyver 1,645]

The Dark Knight Trilogy is anything but autopilot.

I have to disagree on that. Batman Begins wasn't on autopilot, but the sequel scores were. Save for the new material for Harvey, Joker, Bane, and Selina/Catwoman... most of the material in those scores is rearranged cues from BB. I actually rolled my eyes when a rearranged version of "Molossus" was re-used in the motorcycle pursuit in TDKR.

After Batman Begins, Zimmer wrote exactly three new tracks: the Joker suite, the Bane suite and the Selina Kyle suite. The rest is either direct regurgitations of Batman Begins (mostly), or slightly altered regurgiations from Dark Knight. Dark Knight Rises is the worst offender, with HUGE chunks of score simply lifted and plastered over footage.

Seriously, would've it have killed Zimmer to write new material?

We don't know that. It could destroy his world completely once he finds out the law of California actually allows him to use keys above and below D minor.

The Dark Knight Trilogy is anything but autopilot.

Yes I have always thought it more of a hands off the wheel down hill slide and free fall.

[Gruesome Son of a Bitch 6,488]

Jumanji. It's pretty good.

[publicist 4,643]

Jumanji. It's pretty good.

No, it isn't.

[Gruesome Son of a Bitch 6,488]

Oh, my bad. I've been craving some 90s Horner, like the horns at the beginning of The Monsoon and that fanfare in New Courage from The Pagemaster. He knows how to make my hairs stand.

[crocodile 8,020]

The Hobbit: An Unexpected Journey by Howard Shore

I would call this a first proper listen, because the previous one was this web stream thing. This time I'm having it in good sound, good pair of headphones, nice warm drink and stuff like that. I don't know what people find disappointing about this score. It's a literal extension of the vocabulary we know, with some new additions and developments (or, should we say, foreshadowing). And a better recording certainly helps. Maybe it doesn't quite surprise you the way LOTR did, but I didn't expect it to. Having said that, devil's in the detail yet again and there is a lot to discover. One listen just won't do here. Shore has come such a long way as a composer of big blockbusters in the past decade and nowhere it is more apparent than in this work. I don't how about the film, but the score is absolutely delicious. Not a dull note on this 127-minute album. If there's anything I would add is a strong principal theme penned by Howard Shore. There's nothing wrong with Plan 9 melody (and its usage throughout the score), but I just hope we'll get one next year. Clearly among the best of 2012 (maybe even the best).

Karol

[publicist 4,643]

The Hobbit: An Unexpected Journey by Howard Shore

I would call this a first proper listen, because the previous one was this web stream thing. This time I'm having it in good sound, good pair of headphones, nice warm drink and stuff like that. I don't know what people find disappointing about this score.

I wasn't disappointed because my expectations were not that high to begin with, but i find it deeply disturbing and a clear sign that the Maya calendar is right that people listen to THIS and honestly claim that it's the kind of music they crave for their colorful adventure yarns. Works in the picture, dull and mostly mediocre on cd.

If i had to name a Howard Shore score i really liked this year, COSMOPOLIS would win, hands down.

[crocodile 8,020]

Oh I really like the OTHER Howard Shore myself as well. Never heard Cosmopolis. But I will give it a try if you recommend it.

Why the appreciation of The Hobbit, of all things, is such a bad sign? It is a well composed, well thought-out music. I didn't expect you to go over-the-moon, but you're clearly exaggerating here, aren't you?

Karol

[publicist 4,643]

Not really, i find it actually irritating that so many people listen to something i consider so lala at best (that thing was written for a huge and sprawling adventure movie, for god's sake!) and proclaiming it 'best of 2012 by a country mile' etc. I didn't even dare to look into the other HOBBIT-score-thread for all the inaneness awaiting me.

[crocodile 8,020]

If that is any comfort, I found The Master to be another exceptional score of 2012.

I try to appreciate film music in all of its forms. In this case, yeah, the score to a big epic is a good (or even great) one.

Karo,l

[gkgyver 1,645]

Not really, i find it actually irritating that so many people listen to something i consider so lala at best

Now you know how I feel reading your posts.

The Hobbit: An Unexpected Journey by Howard Shore

I would call this a first proper listen, because the previous one was this web stream thing. This time I'm having it in good sound, good pair of headphones, nice warm drink and stuff like that. I don't know what people find disappointing about this score. It's a literal extension of the vocabulary we know, with some new additions and developments (or, should we say, foreshadowing). And a better recording certainly helps. Maybe it doesn't quite surprise you the way LOTR did, but I didn't expect it to.

I think people who expected this to be very different should probably check their expectations.

Not a dull note on this 127-minute album.

As far as the ratio significant material : filler material is concerned, I would say this has less filler than Fellowship.

[publicist 4,643]

Not really, i find it actually irritating that so many people listen to something i consider so lala at best

Now you know how I feel reading your posts.

Given your precious fanboy antics, i'm certainly not alone.

I try to appreciate film music in all of its forms. In this case, yeah, the score to a big epic is a good (or even great) one.

Karo,l

Shore not exactly has fucked it up, it's just somewhat meager in musical content and development - the old Shore problem of not being able to truly form his thematic material in his underscore or effectively counterpoint it, which wasn't as apparent in FOTR because so many themes and places were introduced.

All this may not matter as much in a 50-minute presentation, but here at roughly 2 hours, the principle of 'start theme A, interrupt it by some static filler or hollow big chorus gesture, start theme B, then start theme A again in a very similar fashion to the last time it played' just leaves me breathless for some kinky development, be it in the harmony or counterpoint department.

In the end, it doesn't matter much, i enjoyed a few cues like RADAGAST, A WORLD AHEAD or EDGE OF THE WILD (essentially the big travelogue stuff) and indeed the Plan 9 song all of which i dutifully bought from amazon, so i'm allowed a few posts of discontent here.

[crocodile 8,020]

I think I can understand where you're coming from. I had a similar problem with LOTR scores at some point. While most people marvelled how many motives there are in there and that means the music is good, I thought there was something over-cluttered about all this construct, that he seems so absorbed with adressing every single detail he loses sight of the bigger picture, by which I mean the flow of the music and its emotional impact (for me at least).

But then I heard The Two Towers live to projection and realised how this scores literally makes the film (which is not all that good in itself). It's a great way to experience these works, if you haven't tried it. And, also, it struck me that the thematically dense scores don't necessarily try to follow and adress what's happening on screen, but rather describe larger world and try to expand it, in a same way Tolkien's writing did in books. So when places, different characters get different themes means there is a larger sense of history and heritage going on. So, in a sense, it leaves the canvas of the film itself and does more than your usual film music.

I'm not exactly a big Tolkien or Peter Jackson fan and I can't say I entirely understand the absolutely exaggerated fan following Howard Shore's works get. It is really overblown: symphony, live projections, CR recordings, books... But I've found my own way into them, if that even makes sense...

Karol

[Incanus 5,716]

I would say "more of the same" with Hobbit is pretty a terrific thing if you are fan of his LotR scores.

I found the score highly engaging although there are some moments of suspence and comedic material where the music stalls a bit, probably due to the nature of the film itself but on the whole I really loved the score.

What people may think as a detriment or asset is that Shore is following the guide lines he has set to his music in LotR. This means that he doesn't reinvent the Dwarven music as much as he expands it and again this happens to the Shire music and all the other musico-cultural constructs inherited from the trilogy. With these ideas he is somewhat bound to the "rules" he set before, for good or for ill. This means he won't do something uncharacteristic with the terse and moody Dwarf music just because it would be cool and catchy and it stays loyal to its roots.

[crocodile 8,020]

Yeah, it's not like John Williams' Star Wars scores where every single chapter is a diffrerent beast entirely.

Which is good or bad, depeneding on how you look at it.

Karol

[Brónach 1,302]

Was there Dwarf music in LOTR?

[Incanus 5,716]

Was there Dwarf music in LOTR?

Moria Chaac? Moria? Remember that little fracas in FotR? Full of Dwarven music.

[Brónach 1,302]

Yes, yes.

[Incanus 5,716]

In the end, it doesn't matter much, i enjoyed a few cues like RADAGAST, A WORLD AHEAD or EDGE OF THE WILD (essentially the big travelogue stuff) and indeed the Plan 9 song all of which i dutifully bought from amazon, so i'm allowed a few posts of discontent here.

This place wouldn't feel like home without your comments of discontent.

[publicist 4,643]

Yeah, i keep tryin'.

At least when i feel the is a disproportionate amount of undue lovemaking going on.

I think I can understand where you're coming from. I had a similar problem with LOTR scores at some point. While most people marvelled how many motives there are in there and that means the music is good, I thought there was something over-cluttered about all this construct, that he seems so absorbed with adressing every single detail he loses sight of the bigger picture, by which I mean the flow of the music and its emotional impact (for me at least).

I think the basic problem is that Shore's abilities as composer lie elsewhere, actually they lie diametrically opposed to the kind of big, operatic Wagnerian leitmotif-writing he was required to do for LOTR. His best scores are kind of experimental, dense and harmonically adventurous (NAKED LUNCH and the other Cronenbergs, THE CELL, the best parts of THE FLY etc.) so while he largely succeded in writing a big operatic score for LOTR, it doesn't sound as if it 'flew from his pen' so to speak.

Translated, i think it's BS that some of the musical shortcomings of the LOTR scores AS PURE MUSIC are simply a question of choice on Shore's part, he just couldn't go further, just like Kilar couldn't if he got the gig. It's really a movie for someone like Horner or Williams on their most inspired days, because it's a playground for the kind of Strauss-ian tone poem they're so adapt at.

On the other hand

LIFE OF PI - Mychael Danna

While not exactly thrilling for fans of big epics, Danna cooks up quite a nice quiet exotic score here, delicately weaving in and out indian music and crossing it with the appropriate GOD chorales and minimalistic gestures for this rather special tale. I need to digest it a bit more, but it sure holds the attention and invites for repeated listening sessions.

[Brónach 1,302]

Life of Pi is an enjoyable score.

[BloodBoal 7,538]

Don't do that. If publicist sees too many people enjoy this score, he'll start trashing it!

[Brónach 1,302]

I actually thought he wouldn't like it, for some reason

At least when i feel the is a disproportionate amount of undue lovemaking going on.

I still have to see this disproportionate amount of undue lovemaking going on where The Hobbit is concerned.