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

[Jay 37,353]

Yea that Epilogue piece is cool!

[crocodile 8,010]

LSO performance is a classic, but the definite highlight of the new release is the film version.

Karol

[A24 4,331]

[crocodile 8,010]

Any comments, Alex? You post in this thread so rarely.

Karol

[Uni 306]

The Avengers by Alan Silvestri

Strange thing: with each listen I'm more and more this score is nowhere near as bad as my first listen made it seem to be. Original? Heck, no. Creative or imaginative? Not really. Silvestri is going through the motions when it comes to his own oeuvre. But you have to admit it's way way above most score to these types of films (maybe except for his own Captain America).

Pretty much sums up my feelings about it. Not the greatest superhero score ever composed, but there's no question that it (and Captain America, while we're on it) is an evolutionary step for Silvestri. I don't think there's a single appearance of his usual, very identifiable sounds in the whole thing.

- Uni

[chuck 154]

[Incanus 5,714]

The Patriot by John Williams: Has aged quite well to my ears. The unabashed heroic flag waving Americana bombast and the lyrical love theme are definite highlights. The action music outside the fanfaric writing for heroic charges and epic battles is very rhythm oriented and angular at its most ferocious moments but remains very entertaining throughout.

[crocodile 8,010]

If you treat it the same way as, say, David Arnold's Independence Day then it can be a pretty fun score. You can hear a lot of other things in it (from Williams) but it's a pleasure of an album. Strangely underrated as well.

I listened to The Edge, Lincoln, Jack Reacher, Back to the Future, Escape from Tomorrow (which is really great, if criminally short), Star Trek IV, 3:10 to Yuma, Black Dahlia, Dead Zone, The Ninth Gate, Broughton's Lost in Space (love the Silverado-like theme) and a lot of Elfman as well. Especially Sleepy Hollow, a score I keep forgetting about, that has a great theme and is among the strongest in Burton/Elfman collection. Some of the action writing is insane (The Chase especially) Hope to hear some of it in London this October.

And plenty of Rachmaninoff as well.

Karol

[A24 4,331]

Any comments, Alex? You post in this thread so rarely.

Karol

About Darko's score? I like it very much. It's mostly ambient but the atmosphere and the emotion of the music is quite poignant (instead of just 'sound'). The funny thing is, when I listen to this album, I don't associate it with the film. The music becomes my soundtrack ... if that makes any sense. I can imagine it's not the sort of music many people here are looking for. Even though it might sound technically simple, I can definitely hear that the composer (I don't know any of his other work) is musically experienced.

Alex

[Brónach 1,302]

I listened to the score for 1990's Treasure Island by The Chieftains. Which is brilliant. But I just realized that at least one of the melodies is of Spanish origin (Carlos Núñez collaborated with The Chieftains), so I wonder if the other melodies are also based on other Irish or Spanish melodies. In any case it just sounds gorgeous.

Here's a live version of the Muiñeira de Freixido that was adapted into the score:

Here's some fantastic cues from the score:

[crocodile 8,010]

Any comments, Alex? You post in this thread so rarely.

Karol

About Darko's score? I like it very much. It's mostly ambient but the atmosphere and the emotion of the music is quite poignant (instead of just 'sound'). The funny thing is, when I listen to this album, I don't associate it with the film. The music becomes my soundtrack ... if that makes any sense. I can imagine it's not the sort of music many people here are looking for. Even though it might sound technically simple, I can definitely hear that the composer (I don't know any of his other work) is musically experienced.

Alex

You see, I often see the point people are making about listening to film music to be quite pointless. Very often classical composers had a sort of narrative in mind. It always follows some sort of story, it seems. The only thing I can agree with is that film music seems often very fragmented.

Never listened to Donnie Darko soundtrack. i remember it was great in the film.

Karol

[Brónach 1,302]

Sometimes I've felt that non-film music can be just as fragmented. In that it would find something really cool and then suddenly abandon it.

And then there's film music that doesn't sound fragmented, such as the complete and chronological score to Close Encounters. It all depends.

[crocodile 8,010]

Yes, of course. "Fragmented" often stands for listener's attention span. I prefer a challanging listen over an easy one.

Karol

[A24 4,331]

Any comments, Alex? You post in this thread so rarely.

Karol

About Darko's score? I like it very much. It's mostly ambient but the atmosphere and the emotion of the music is quite poignant (instead of just 'sound'). The funny thing is, when I listen to this album, I don't associate it with the film. The music becomes my soundtrack ... if that makes any sense. I can imagine it's not the sort of music many people here are looking for. Even though it might sound technically simple, I can definitely hear that the composer (I don't know any of his other work) is musically experienced.

Alex

You see, I often see the point people are making about listening to film music to be quite pointless. Very often classical composers had a sort of narrative in mind. It always follows some sort of story, it seems. The only thing I can agree with is that film music seems often very fragmented.

Never listened to Donnie Darko soundtrack. i remember it was great in the film.

Karol

Is this a reply to my post? Classical composers? Fragmented? Story?

[crocodile 8,010]

Yes, in a way. I was answering to your point about listening music apart from the film. And not associating it in the film. I might have wandered off a bit, sure.

Karol

[Incanus 5,714]

Poltergeist by Jerry Goldsmith: Took a listen after a long break. A beautiful and ferocious score full of Spielbergian spirit, where I would dare to say Goldsmith does his closest Williams homage in style and mood while still remaining true to his own voice. Despite most of the material being eerie or violent outside the appearance of Carol Anne's Theme and the quasi-religious Light Theme the score holds up very well as a listening experience as Goldsmith's aural assaults are still eminently listenable though wickedly intense.

[Jay 37,353]

I think Goldsmith's closest Williams homage was definitely the Kick The Can score from Twilight Zone The Movie

[Incanus 5,714]

Ah it is a score I am not too familiar with I am afraid. I should take a closer listen to it.

[Jay 37,353]

Oh my, you must! Twilight Zone The Movie is possibly my favorite Goldsmith score. The music for "Nightmare at 20,000 Feet" is just amazing from first second to last!

[crocodile 8,010]

Agreed and the original album suite from this mini-score is among the best Jerry Goldsmith's tracks ever!

http://www.youtube.com/watch?v=WaQVmAWgl68

Karol

[Marian Schedenig 8,193]

You see, I often see the point people are making about listening to film music to be quite pointless. Very often classical composers had a sort of narrative in mind. It always follows some sort of story, it seems. The only thing I can agree with is that film music seems often very fragmented.

Yes, of course. "Fragmented" often stands for listener's attention span. I prefer a challanging listen over an easy one.

Fully agreed. Even when "classical" music doesn't have a story, it usually has a musical narrative - which can often be much more fulfilling than your average film score because the composer doesn't have to sacrifice musical development (i.e. a narrative arc) for on screen timings. He can still be spontaneous or "fragmented" when he chooses to - the sudden appearance of that glorious theme near the end of Mendelssohn's Scottish symphony comes to my mind, or the finales of several Nyman concert works.

[crocodile 8,010]

Was listening to some Michael Kamen on a plane last night... The Dead Zone, Back to Gaya, Robin Hood: Prince of Thieves and Die Hard With A Vengeance. I have to say that while his Robin Hood score is not my favourite, I'd buy it in an expanded and remastered form. Might be a revelation, this.

Now listening to Life of Pi by Mychael Danna. It's as Oscar worthy score as any any in the category this year. To be frank all the gentlemen deserved a nod, but none of the scores nominated were really among their best. This one seems like a most logical choice. Not necessarily the most spectacular work, but of some intelligence and improves upon further visits. Great use of ethnic colours, something that many people might overlook and yet is not that obvious. But then again both Danna brothers have a long and excellent track record in this department. It's great to see this composer getting some recognition. Very relaxing.

Karol

[Incanus 5,714]

Agatha Christie's Poirot by Stephen McKeon: A selection of music is available on the composer's website and I have to say that while it does capture the dark and often melancholy mood of the Poirot stories it does not hold a candle to Christopher Gunning's vivacious and inventive music. McKeon's music is competent and crafted much in the same way as Gunning's music was for a small ensemble but there is a sparser sense of melody and clear indentity in this music. What this music lacks is a distict character for the most part and you could really take much of this material and place it in any of the stories and it would fit there without much difference. Quite a gloomy and mystery laden experience, the minimalistic patterns for celesta, violin and string often churning forth to illustrate Poirot's though process, mysteries and murderous mayhem. But this music lacks the heart and the timely humour the series had before Gunning left.

[Faleel 5,347]

Minority Report (Recording Sessions) - john williams

[Jonesy 55]

I have to admit the sessions include interesting material.

For some reason, I like Pre-Crime Commercial.

[crocodile 8,010]

Revolution by John Corigliano

Superb.

Karol

[Brónach 1,302]

[Marian Schedenig 8,193]

That sounds good. I've been wondering what to get to expand my Vangelis collection. Now I know.

[crocodile 8,010]

Thor by Patrick Doyle

I, for one, think this is a really solid score. Yes, frustration of the majority of people is somewhat understandable. I too hoped for a traditional Patrick Doyle music. Having said that, t's an interesting exercise of studying modern sound. And for what it's worth this is probably the one of the best scores in this type of style that I've ever heard. Somewhat simplistic, yes, but has a strong sense of narrative and purpose. I like how Doyle manages to merge both more Zimmerish/Djawadish/Powellish sound with his own more regal and stoic sensibilities (something that didn't quite work in Rise of the Planet of the Apes). Which is all very fitting, if you think about it. And, from what I can remember, the film benefited greatly from this music.

Not sure what happened to me, but I find myself listening to The Avengers a lot lately. I really like how Silvestri develops his Black Widow theme (even if it isn't all that original), something that wasn't that obvious from the mp3 album. The main themes is also cleverly and gradually revealed as the film progresses. In fact there are 5-6 themes in this score. At least. Oh, and Intrada disc is a better listen.

Oh and Oz the Great and Powerful is indeed the strongest Danny Elfman film work in a past couple of years (three to be exact).

Karol

[Koray Savas 2,251]

I really felt like Oz was a big letdown. Just another retread of his better Burton days.

[crocodile 8,010]

The main theme might be indeed a letdown, but devil's in the detail, yet again. I generally prefer other Danny Elfman, the one that stays away from fantasy genre. But this is a strong score, especially after a couple of listens.

The Spiderwick Chronicles - probably the most underrated fantasy score of the past decade (or should I say the most quickly forgotten?).

Karol

[Koray Savas 2,251]

Ha, I actually think the main theme is its strongest aspect.

[crocodile 8,010]

It sounds too much like one theme from Charlotte's Web (at 2:05).

Speaking of which, this score is overlooked too. I like it better than both Oz and Alice combined. Hellboy II is too a better score than either of them.

Having said that Time for Gifts/End Credits from Oz are two amazing tracks!

Karol

[Neimoidian 14]

The Spiderwick Chronicles - probably the most underrated fantasy score of the past decade (or should I say the most quickly forgotten?).

True. One of Horner's best from the 00s.

[Quintus 5,399]

Inception question: is there a better fleshed out version of "The Dream is Collapsing" available? The ost version is only a couple of minutes long. Is there a recording performed by a real orchestra?

[Brónach 1,302]

Hellboy II is too a better score than either of them.

But not as good as the original!

[Incanus 5,714]

Hitchcock by Danny Elfman

Batman Returns by Danny Elfman

[Trent B 337]

I started a Star Trek film score marathon yesterday. I got done with Star Trek VI earlier and currently listening to Star Trek Generations.

[crocodile 8,010]

Hellboy II is too a better score than either of them.

But not as good as the original!

My opinion is the they are about of the same quality. The first score has some really cool thematic material, but is also a bit clunky in terms of writing. It's exactly the opposite with the second one. Some great writing, not so many memorable themes.

Wanted by Danny Elfman

Karol

[crocodile 8,010]

Listening to Dracula by John Williams. Terrific!

Karol

[Koray Savas 2,251]

I never really liked either Hellboy scores.

[Brónach 1,302]

Baaah!!

[Koray Savas 2,251]

I haven't listened to either in years, though, so who knows if my tastes have changed. The Golden Army was out around the same time as Wanted and a couple other Elfman scores, I recall, and that was the lowest period of his career I had thought (and still do).

[crocodile 8,010]

2008 is one of the best years in his career. It had Wanted, Standard Operating Procedure, Hellboy II and Milk - four terrific scores that show different sides of this composer.

To each his own, I guess.

Speaking of which, I'm listening to Hitchcock right now for the first time in its entirety and it's really, really good.

Karol

[lonzoe 18]

I also believe 2008 was a highpoint in Elfman's career in the last decade. Each score from that year by Elfman hit a different spot for me.

[Koray Savas 2,251]

2008 is one of the best years in his career. It had Wanted, Standard Operating Procedure, Hellboy II and Milk - four terrific scores that show different sides of this composer.

To each his own, I guess.

Speaking of which, I'm listening to Hitchcock right now for the first time in its entirety and it's really, really good.

Karol

Milk I grew I accustomed to but I wasn't a fan when it was first released. It was too Gus Van Sant lalalas for me. I really love Standard Operating Procedure, though I was speaking more generally of 2007-2009 where there was just a huge influx of movies he was working on that has only ever since increased. His consistency just dropped completely.

Meet The Robinsons

The Kingdom

Wanted

Hellboy II

Notorious

Terminator Salvation

Taking Woodstock

Ugh, what a horrible streak of scores.

[crocodile 8,010]

I reckon his Terminator score is rather good. But agree on most of the others. Elfman is a hit and miss with me too. It just seems we like different things of his. Nothing wrong with that.

Karol

[Incanus 5,714]

Listening to Dracula by John Williams. Terrific!

Karol

Terrific indeed. This really begs for a complete release. I would love to hear the score in all its gothically romatic glory.

[crocodile 8,010]

Listened to John Barry's King Kong. While not a fan of this composer (or simply not really all that familiar with his output), I like this score quite a bit. Far from typical approach for this type of a film.

Karol

[crocodile 8,010]

Frozen Planet by George Fenton

After some years we finally get another album of his fine and inspired music from the BBC nature documentaries. In all honesty, I wish this guy was doing some music for major blockbusters - he scores the series almost as if it was a fantasy film. But then again big productions probably wouldn't be interested in preserving the purity of his work. His music is really well composed and has this very clear and transparent beauty that automatically makes it one of my immediate choices for a relaxing evening. Sometimes grand and big, but always clear and precise. Some nice use of synths here and there as well. If there's any gripe one might have it's that the last two albums don't have as much narrative flow as his two Blue scores (or one recorded twice, to be exact). That creates a feeling the 76-minute presentation feels more like a compilation rather than a single work. Which doesn't change the fact it is a damn fine music and a very enjoyable album. If you like the previous releases, this one is a no-brainer.

Karol