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

[crocodile 8,020]

The Wolverine

It's a decidedly more downbeat score, but Beltrami keeps it interesting with the sprinkling of Japanese instruments and an effective harmonica motif. There's also places where he seems to be channeling parts of Kamen's first X-Men score, like in "Sword of Vengeance" and "The Hidden Fortress." Overall, it's a taut and interesting score.

It definitely makes more sense after watching the film, which is pretty far removed from superhero genre.

Karol

[publicist 4,643]

I know he's infamous for retooling and creating music on the fly when necessary, but it seems to me his best and most impressive work was always done when he had a longer schedule to work with and better creative input from the production team, especially the director. (Although I suppose that would be a formula for success with any composer, wouldn't it?)

Goldsmith's schedule on POLTERGEIST wasn't that long, a few weeks at most. But he sure was lead by Spielberg how to make the most of it. One can imagine how different that must have been compared to stuff like KING SOLOMON'S MINES or CHAIN REACTION et al.

[crocodile 8,020]

The Lord of the Rings: The Two Towers

Die Hard

For Greater Glory

Harry Potter and the Philosopher's Stone

Batman

Karol

[Incanus 5,716]

The Lord of the Rings: The Two Towers

Die Hard

For Greater Glory

Harry Potter and the Philosopher's Stone

Batman

Karol

Ooooh good stuff.

[crocodile 8,020]

I also listened to Mission Impossible - Ghost Protocol. Is it just me that finds the two lengthy Hindi/Bollywood tracks one of the most entertaining things on this album? I love the globetrotting quality of this score - it is the only one that honors the show this way.

Karol

[Marian Schedenig 8,211]

My favourite is A Man, a Plan, a Code, Dubai. It really stood out in the theatre, too.

[Jay 37,374]

I also listened to Mission Impossible - Ghost Protocol. Is it just me that finds the two lengthy Hindi/Bollywood tracks one of the most entertaining things on this album? I love the globetrotting quality of this score - it is the only one that honors the show this way.

Karol

Those are my favorite tracks too! Not to say that I don't like the rest of the CD, because I do!

[BloodBoal 7,538]

The Russian material is way better!

[crocodile 8,020]

It's too Red October!

Karol

[Jay 37,374]

It's all good!

[Incanus 5,716]

Oh my another score for me to investigate then. I have not heard a note of it but I do like the first Giacchino M:I score.

[crocodile 8,020]

It doesn't sound much like the previous one, actually.

Karol

[Jay 37,374]

I like MI4 better than MI3

The score, not the film.

[crocodile 8,020]

I think it's more assured than the third score, which leans more heavily towards standard action fare.

Conan the Barbarian and an absolutely phenomenal 2nd symphony by Jean Sibelius (which I heard played live earlier this year).

Karol

[Incanus 5,716]

I think it's more assured than the third score, which leans more heavily towards standard action fare.

Conan the Barbarian and an absolutely phenomenal 2nd symphony by Jean Sibelius (which I heard played live earlier this year).

Karol

Not bad choices those. The 2nd symphony is definitely among Sibelius' best works. I know he would have been insulted and indignant but I say he would have made a great film composer. His symphonic works and theater compositions are a proof of that.

[crocodile 8,020]

Michael Kamen stole a theme from the second movement (heard at 0:59)

for his The Dead Zone score (at 1:22):

http://www.youtube.com/watch?v=EWUTvfYtOq0

Can't be a coincidence.

It's a brilliant score, by the way.

The only two pieces of his I heard live was his brooding 4th (which is brilliant as well) and The Bard, which is a lovely piece indeed.

Karol

[Incanus 5,716]

The only two pieces of his I heard live was his brooding 4th (which is brilliant as well) and The Bard, which is a lovely piece indeed.

Karol

Oh the 4th was what Sibelius called his "psychological symphony", which he composed around the time he was diagnosed with a tumour in his throat, which luckily was operable. This I guess created the dark thoughtful tone of that work, which is actually among my favourites of his symphonies.

I recommend the Lemminkäinen Legends (especially the movement Swan of Tuonela is magnificent) and all the symphonies. Oh and Violin Concerto, which is absolutely sublime! You can really hear that it was written by a frustrated violinist (Sibelius wanted originally to be a violin virtuoso but his stage fright put a stop to that) and flows so beautifully with the lyricism and melodicism so emblematic to his works.

[crocodile 8,020]

I shall do that.

Karol

[Uni 306]

I know he's infamous for retooling and creating music on the fly when necessary, but it seems to me his best and most impressive work was always done when he had a longer schedule to work with and better creative input from the production team, especially the director. (Although I suppose that would be a formula for success with any composer, wouldn't it?)

Goldsmith's schedule on POLTERGEIST wasn't that long, a few weeks at most. But he sure was lead by Spielberg how to make the most of it. One can imagine how different that must have been compared to stuff like KING SOLOMON'S MINES or CHAIN REACTION et al.

Actually, it was abnormally long—15 weeks, which is about 10 longer than the average production schedule allows. He had the luxury of being able to play the developing themes for the directors and producers at dinner parties along the way.

And you're right: it had to be a completely different experience for him, working with that group. Very satisfying, I would think.

- Uni

[Marian Schedenig 8,211]

I think I've never heard anything by Sibelius live. I really should, because he has written tons of awesome stuff.

[Incanus 5,716]

I think I've never heard anything by Sibelius live. I really should, because he has written tons of awesome stuff.

Oh you definitely should!

Monsignor by John Williams: Hands down one of Maestro's most succesful CD listening experiences. This score boasts three distinctive memorable themes, exciting dramatic setpieces and performance by none other than the London Symphony Orchestra that plays with gusto and precision under Williams' direction. The little under 40 minute Intrada album replicating the original LP selection flies past in no time offering a varied and strong musical experience. There is the 1980's vibrancy to the writing here, the main theme taking its lead perhaps from the Godfather in the initial longing trumpet solo performance (played by the estimable late Maurice Murphy) but Williams runs the theme through a whole emotional gamut on the album ending in a sublime piano led meditation in At the Forum. The choral setpiece Gloria commands attention with a shocking choral scream before flowing into a beautiful orchestra and chorus exploration of Williams' majestic religioso theme set to the Gloria text of the Latin Mass. All in all a winner of score from the Maestro who in the same year brought us also the Return of the Jedi.

[crocodile 8,020]

Family Plot

Black Sunday

(I need to make a little break here and say the two above are absolutely superb, the first one is climbing the Karol's ladder of popularity fast.)

Far and Away

And in continuation of the Sibelius' thread - Michael Kamen's excellent The Dead Zone and Die Hard 2.

Karol - who never heard Monsignor

[publicist 4,643]

I know he's infamous for retooling and creating music on the fly when necessary, but it seems to me his best and most impressive work was always done when he had a longer schedule to work with and better creative input from the production team, especially the director. (Although I suppose that would be a formula for success with any composer, wouldn't it?)

Goldsmith's schedule on POLTERGEIST wasn't that long, a few weeks at most. But he sure was lead by Spielberg how to make the most of it. One can imagine how different that must have been compared to stuff like KING SOLOMON'S MINES or CHAIN REACTION et al.

Actually, it was abnormally long—15 weeks, which is about 10 longer than the average production schedule allows. He had the luxury of being able to play the developing themes for the directors and producers at dinner parties along the way.

And you're right: it had to be a completely different experience for him, working with that group. Very satisfying, I would think.

- Uni

In my liner noters, it mentioned something between January and February 1982.

[gkgyver 1,645]

There is probably nothing more epic than listening to Howard Shore's A Thunder Battle on full volume while driving through the eye of a crackling thunderstorm.

[Faleel 5,360]

Just curious, is it subtly quoting the Fanfare in the EE version of The Doors of Durin? or is it just musical pareidolia?

I have mixed feelings of that Cue on a whole.

FOTR - Howard Shore

My abridged Hobbit SE style edit, with as many full mixes used (no removed Choir etc.) as possible.

[gkgyver 1,645]

Can you give a time stamp? I can't hear it.

[Faleel 5,360]

at 1:00 or 0:59

[gkgyver 1,645]

I see what you mean, but I don't think one has to do with the other.

[Faleel 5,360]

Probably has more to do with them just being written in the same general Dwarven and/or Middle-Earth musical style.

[indy4 155]

I think I've never heard anything by Sibelius live. I really should, because he has written tons of awesome stuff.

Oh you definitely should!

Monsignor by John Williams: Hands down one of Maestro's most succesful CD listening experiences. This score boasts three distinctive memorable themes, exciting dramatic setpieces and performance by none other than the London Symphony Orchestra that plays with gusto and precision under Williams' direction. The little under 40 minute Intrada album replicating the original LP selection flies past in no time offering a varied and strong musical experience. There is the 1980's vibrancy to the writing here, the main theme taking its lead perhaps from the Godfather in the initial longing trumpet solo performance (played by the estimable late Maurice Murphy) but Williams runs the theme through a whole emotional gamut on the album ending in a sublime piano led meditation in At the Forum. The choral setpiece Gloria commands attention with a shocking choral scream before flowing into a beautiful orchestra and chorus exploration of Williams' majestic religioso theme set to the Gloria text of the Latin Mass. All in all a winner of score from the Maestro who in the same year brought us also the Return of the Jedi.

JW wrote Gloria? I always thought he just arranged a preexisting tune for some reason

[#SnowyVernalSpringsEternal 10,265]

Why would you think that?

[Incanus 5,716]

I think I've never heard anything by Sibelius live. I really should, because he has written tons of awesome stuff.

Oh you definitely should!

Monsignor by John Williams: Hands down one of Maestro's most succesful CD listening experiences. This score boasts three distinctive memorable themes, exciting dramatic setpieces and performance by none other than the London Symphony Orchestra that plays with gusto and precision under Williams' direction. The little under 40 minute Intrada album replicating the original LP selection flies past in no time offering a varied and strong musical experience. There is the 1980's vibrancy to the writing here, the main theme taking its lead perhaps from the Godfather in the initial longing trumpet solo performance (played by the estimable late Maurice Murphy) but Williams runs the theme through a whole emotional gamut on the album ending in a sublime piano led meditation in At the Forum. The choral setpiece Gloria commands attention with a shocking choral scream before flowing into a beautiful orchestra and chorus exploration of Williams' majestic religioso theme set to the Gloria text of the Latin Mass. All in all a winner of score from the Maestro who in the same year brought us also the Return of the Jedi.

JW wrote Gloria? I always thought he just arranged a preexisting tune for some reason

It is an all original composition set in the traditional text. It also contains one of the three central themes that play on the album.

[indy4 155]

Thanks! Good to know.

[Quintus 5,399]

I've been listening to Zimmer's MoS again. The Krypton theme is stunning. Zimmer knows as well as Williams how to drop in within a melody a precise single note and have it stand out from the rest by suddenly magnifying the harmonies all around it into a swell of sweet pay-off which sends shivers down the shoulders and arms. I didn't immediately and consciously appreciate such nuance at first, during the movie, but listening to the score back a few times reveals satisfying depths. The score isn't perfect by a long shot, but there are plenty of gems and trinkets buried in there to make it a worthy listen by the end.

[#SnowyVernalSpringsEternal 10,265]

Better!

[crocodile 8,020]

John Carter and War Horse (started playing the latter immediately after reading the news)

Karol

[crocodile 8,020]

Soul of the Ultimate Nation and Jack Reacher.

Karol

[Incanus 5,716]

Soul of the Ultimate Nation and Jack Reacher.

Karol

I really have grown to like the first one but I should explore Jack Reacher more since I have heard it only once.

Quo Vadis by Miklós Rózsa: After several listens this score has proven to be one of my favourite works from the composer. It is easier on the ears than the nearly all the time grand, epic and glorious El Cid and features such beautiful lyrical and delicate writing from the maestro. Still there is a wealth of variation in this piece and fantastic vocal and choral work to boot.

[KK 3,307]

Quo Vadis has a blend of fanfares of emotional intimacy that I appreciate more than his bombastic works. I still like Ben-Hur more, but Quo Vadis is definitely one of my favourites from the maestro.

[crocodile 8,020]

I'm thinking of buying his Sherlock Holmes re-recording sometime soon.

Alien.

Karol

[Incanus 5,716]

I'm thinking of buying his Sherlock Holmes re-recording sometime soon.

Alien.

Karol

I heartily recommend it. It is a wonderfully quirky score. Pure Rózsa of course but there is a lot of humour and the gorgeous use of his violin concerto for the love theme.

[crocodile 8,020]

As I said, I buy it. probably paired with The Salamander or something like that. Or some Tiomkin. Or all of them.

Speaking of Goldsmith, at the moment I'm listening to The Challenge. It's really great score. I do have a soft spot for his Asian-flavoured music.

Karol

[chuck 154]

Yeah unlike other composers, JG knows how to concoct ethnic Asian music that really sounds genuine.

[Hlao-roo 389]

Joe Hisaishi could learn a thing or two from him!

[chuck 154]

Yeah if he's a Western composer, but sadly...

[#SnowyVernalSpringsEternal 10,265]

Bernstein was a Western composer, so was Morricone, and Goldsmith. Not Joe though....

[chuck 154]

Way to go clearing that up Steef!!!

[#SnowyVernalSpringsEternal 10,265]

Joe Hisaishi doesnt do Western scores!

[Hlao-roo 389]

But Yoko Kanno does!

[chuck 154]

Just because John Lennon says so... Too soon?