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

[crocodile 8,020]

Batman

Jane Eyre (Marianelli)

The Chronicles of Narnia: The Voyage of the Dawn Treader

Karol

I'm listening the second score on your list as we speak. Haven't heard it for a while. Pure bliss, and great study music too!

I like how the main idea is never a theme as most people understand it, but more of a ever changing and developing line, repressed and desperately trying to break free. Marianelli went for a different route than Williams, who composed a different score Herrmann's. And as such you can't really compare the three. A stellar and intelligent piece of work. I want more Marianelli around. his career never soared the way I wanted it to (in the mainstream, that is).

Karol

[Incanus 5,716]

Yes! More Marianelli would definitely not be a bad thing!

Have you heard he Agora Karol? I highly recommend it. Another winner from Marianelli.

[filmmusic 1,843]

Rambo II (Jerry Goldsmith)

I miss such scores for action movies.

[Incanus 5,716]

Batman

Jane Eyre (Marianelli)

The Chronicles of Narnia: The Voyage of the Dawn Treader

Karol

I'm listening the second score on your list as we speak. Haven't heard it for a while. Pure bliss, and great study music too!

I like how the main idea is never a theme as most people understand it, but more of a ever changing and developing line, repressed and desperately trying to break free. Marianelli went for a different route than Williams, who composed a different score Herrmann's. And as such you can't really compare the three. A stellar and intelligent piece of work. I want more Marianelli around. his career never soared the way I wanted it to (in the mainstream, that is).

Karol

Jane Eyre by Dario Marianelli: My first proper listen of this score and I found it absolutely mesmerizing. Marianelli captures such poignant, bittersweet and mist shrouded fragility in his music, especially in the violin solos. There is a beautiful dichotomy of passion, love and anguish here. The music contains certain emotional restraint in the form of the size of the ensemble and the instrumental choices further enchance this feeling but when the music soars, it soars all the more beautifully, be it the whole orchestra or the violin alone. I love how much emotion the composer and the musicians can bring to a simple solo and make it speak volumes. Absolutely my kind of music.

[BloodBoal 7,538]

[Incanus 5,716]

Absolutely my kind of music.

Yeah. I call that "music for pussies". Lots of violins, pianos... Where are the drums, the synths?

Thank god Jane Eyre is a fully orchestral score. No drums, synths or otherwise BB. Instead of trying to beat your brain into submission by percussion, why not try this score, close your eyes and relax.

[BloodBoal 7,538]

[Incanus 5,716]

Film music isn't meant to be relaxin. It's meant to hit you on the head over and over again until you don't even remember what your name is. I think Zimmer made it clear with Man Of Steel.

That Marianelli dude did try with that typewriter thing, but it wasn't loud enough. He should have made a typewriters circle of doom.

"Find me the 12 meanest most skilled typerwritists in the world for my typerwriter circle! We'll knock their socks off with some badass typewriting in this score!"

[Koray Savas 2,251]

Djawadi already did!

[crocodile 8,020]

Have you heard he Agora Karol? I highly recommend it. Another winner from Marianelli.

I've heard bits of it, but not the whole album. I'll give it a try in the next couple of days.

Karol

[Marian Schedenig 8,211]

Nice. Another Vangelis for my list.

[KK 3,307]

Have you heard he Agora Karol? I highly recommend it. Another winner from Marianelli.

I've heard bits of it, but not the whole album. I'll give it a try in the next couple of days.

Karol

Agora is a brilliant score. It's the finest yet of Marianelli's career. Once again, Marianelli's favours the intellectual approach. Instead of big bold themes, Marianelli's creates a beautiful textural work comprised of constantly developing motivic ideas. There's a lot of depth to it, but I can see why some don't into it immediately. Powerful work. You must listen to it soon!

[crocodile 8,020]

That seems to be his thematic writing in general - same with V for Vendetta which has dozen of intersecting small ideas.

Karol

[Matt C 455]

When Nietsche Wept - Sharon Farber

Farber blends traditional dramatic score and classical writing into something really irresistible. Her love for the source material really shines, and her passion shines through the writing and orchestration. Writing and performance-wise, this isn't a big score, and the chamber-sized orchestra in Bulgaria fits it to a T. The structure and length of cues remind me of Varese Sarabande's current tradition, but as a listening experience it is sumptuous from start to finish. The sum is greater than the parts with this album.

Highly recommended.

[Incanus 5,716]

That seems to be his thematic writing in general - same with V for Vendetta which has dozen of intersecting small ideas.

Karol

Brothers Grimm seems to be an exception. It has very strong thematic writing throughout. I love how the composer also quotes the classics in that score, like the Brahms lullaby tune and hints at the Bizet's Carmen. And great inventive percussion sounds are an interesting detail throughout.

[crocodile 8,020]

Oh yes, that is an impressive, and oppressive, score.

Karol

[Incanus 5,716]

Oh yes, that is an impressive, and oppressive, score.

Karol

Yes and it seems to have Terry Gilliam written all over it, doesn't it. Strange, at times elegant yet little rough around the edges.

E.T. - The Extra-Terrestrial (the original album) by John Williams

Catch Me If You Can by John Williams

Jane Eyre by John Williams

Heidi by John Williams

[Matt C 455]

So no one else likes When Nietsche Wept?

[Incanus 5,716]

I reckon no one else here besides you has heard it (yet).

[Jay 37,374]

Never heard of it

[Koray Savas 2,251]

Full review of Adore for those interested. Gordon should get more projects.

[Datameister 2,044]

Not a film score, but I just listened to "Neptune", the last movement of "The Planets", for the first time in years. God, it's like listening to the death of the universe. And I mean that in a good way. I know Holst's interest in the planets was purportedly more astrological than astronomical - and it shows in the other movements - but he really captured the essence of outer space in this particular movement. It's so stark and austere and cold, with sparkles of light that are beautiful but distant beyond comprehension. This is truly haunting music.

[Matt C 455]

I reckon no one else here besides you has heard it (yet).

Never heard of it

It's exquisite.

http://moviescoremedia.com/when-nietzsche-wept-sharon-farber/

[Bilbo 3,709]

Not a film score, but I just listened to "Neptune", the last movement of "The Planets", for the first time in years. God, it's like listening to the death of the universe. And I mean that in a good way. I know Holst's interest in the planets was purportedly more astrological than astronomical - and it shows in the other movements - but he really captured the essence of outer space in this particular movement. It's so stark and austere and cold, with sparkles of light that are beautiful but distant beyond comprehension. This is truly haunting music.

I really love The Planets.

[Dixon Hill 4,234]

Not a film score, but I just listened to "Neptune", the last movement of "The Planets", for the first time in years. God, it's like listening to the death of the universe. And I mean that in a good way. I know Holst's interest in the planets was purportedly more astrological than astronomical - and it shows in the other movements - but he really captured the essence of outer space in this particular movement. It's so stark and austere and cold, with sparkles of light that are beautiful but distant beyond comprehension. This is truly haunting music.

It's one of the most genuinely "transporting" pieces of music I know

[Matt C 455]

Journey From the Fall - Christopher Wong

Another MovieScore Media release, and it's just another gem. It's a more quieter, introspective score than When Nietzche Wept but it's no less beautiful. Some of the solo piano work reminds me of the sublime work Christophe Beck did on "Buffy", just beautiful and haunting. Wong doesn't pour on the Vietnamese instruments either, but uses them sparingly for maximum effect.

And it's a score where the orchestra is small, but Wong arranges it so that it feels twice or thrice its actual size (only around 20 pieces).

[filmmusic 1,843]

One of Elfman's masterpieces, not very typical of his style in most cues, and I think a bit underrated score.

I wish he would write more scores like this, for romantic dramas that is.

[Incanus 5,716]

One of Elfman's masterpieces, not very typical of his style in most cues, and I think a bit underrated score.

I wish he would write more scores like this, for romantic dramas that is.

It is definitely on my top 10 Elfman list along with the Black Beauty, which is another scoring sporting a rather different sound world compared to his most famous fare.

[filmmusic 1,843]

haven't listened to it at all. Maybe I should.

Is the movie good?

[Incanus 5,716]

haven't listened to it at all. Maybe I should.

Is the movie good?

I have not seen the film but Elfman's score is absolutely charming. Here take a listen to this sample:

[KK 3,307]

Black Beauty is lovely stuff, but Sommersby is on another level, among Elfman's very best. You can still hear his familiar stylistic devices in Sommersby, just presented quite differently.

[Jay 37,374]

Mark Mancina - Planes

Still great! I gotta pick up the CD

Henry Jackman - Turbo

Ramin Djawadi - Game Of Thrones Season 3

I'm converted, there's a lot of good stuff here. I have a feeling Season 4 will be the best scoring yet.

[A24 4,346]

Empire Of The Sun: Rarely talked about at JWfan but this score probably represents the height of Willams' career. A completely interesting musical journey from A to Z. 10/10

Alex

[#SnowyVernalSpringsEternal 10,265]

Never heard of it.

[Jay 37,374]

I hope it gets a complete, chronological, and remastered CD by one of the specialty labels some day.

[A24 4,346]

Never heard of it.

That's what I'm talking about. It's always The Empire Strikes Back, The Indiana Jones soundtracks, The friggin' Lost World ... Sigh!

Why remastered?

[Jay 37,374]

Why not?

[A24 4,346]

What's there to remaster? Why fiddle with something that doesn't need to be fiddled with?

[Jay 37,374]

Who said anything fiddling?

I'm talking about using 2013 technology to transfer the analog recording to the digital world and onto CDs, rather than 1987 technology.

[filmmusic 1,843]

Empire Of The Sun: Rarely talked about at JWfan but this score probably represents the height of Willams' career. A completely interesting musical journey from A to Z. 10/10

Alex

The film is very good too and probably one of the most underestimated Spielberg films.

Which reminds me: I should get that digibook!

[Incanus 5,716]

Empire Of The Sun: Rarely talked about at JWfan but this score probably represents the height of Willams' career. A completely interesting musical journey from A to Z. 10/10

Alex

It is a very varied journey, one of the most eclectic among Spielberg/Williams collaborations and it still works. Williams can't of course abandon themes, which are so ingrained in his writing but this score has more of a setpiece nature, with these larger individual moments of varying moods and development of a central idea. And still it all plays out brilliantly. One of his most haunting scores as well with strong sense of spiritual depth, the music becoming the main character's very essence. I only wish for a complete release of this (I assume Jason meant this by remastering) as for me there can't be enough of this music. A few highlights still remain unreleased from this one.

I still remember when I first heard The Cadillac of the Skies (Concert Version), the first piece of music I listened from this score. A soul stirring moment. Such exultation of spirit in that piece. The film version is as tragic as it is uplifting.

[Hlao-roo 389]

As with E.T., we get to pretend Williams's shameless bombast is artistically apropos because the film is shot from a child's perspective. Show us, don't tell us, Mr. Williams.

[Incanus 5,716]

As with E.T., we get to pretend Williams's shameless bombast is artistically apropos because the film is shot from a child's perspective. Show us, don't tell us, Mr. Williams.

It can be thought that way as well. I completely bought the child's perspective though, being the JW sucker I am. Williams' 1980's bombast sounds like excercise in subtlety when compared to the ear drum ripping thunder of most modern film scores though.

[Wojo 2,453]

I want this film updated to reflect Chris Bale's improved tone of voice.

[publicist 4,643]

GRAVITY - Steven Price

Mixture of Cliff Martinez and RCP-pathos anthems. Some of the sound shenanigans are interesting as cosmic spheres, but the whole thing is musically depressingly thin on content and - in its worst moments - an obedient soldier saluting the most mundane beer commercial clichés common in current blockbuster movies (especially towards the end). We must presume that some genius Hollywood producer demanded at least some familiar element for Joe Schmoe - why this gruesome fate always must befall the music is a question that may be of less concern to people on a special effects messageboard, but that one of the most interesting films from the fall season again disappoints in the music department is certainly a cause for grief for our little community here.

[Hlao-roo 389]

As with E.T., we get to pretend Williams's shameless bombast is artistically apropos because the film is shot from a child's perspective. Show us, don't tell us, Mr. Williams.

It can be thought that way as well. I completely bought the child's perspective though, being the JW sucker I am. Williams' 1980's bombast sounds like excercise in subtlety when compared to the ear drum ripping thunder of most modern film scores though.

You have a point. Although frankly the modern-day bombast is so one-note (in some cases, literally) that I've practically stopped noticing. It's almost because Williams's writing is at an altogether qualitatively different level that his tendency toward overegging the pudding is more grating.

--

Honest question: what was the last (non-Williams) score written for a major Hollywood blockbuster to largely eschew or otherwise not feature much in the way of MV/RCP elements?

[BloodBoal 7,538]

[Faleel 5,360]

Depends on what you consider MV/RC (RV!) elements as well, both TH and STID have ostinatos, STID has synth, does that make them RV?

[Jay 37,374]

The Hobbit films and Indiana Jones 4 are the only Hollywood Blockbusters that come to mind from the past 5 years or so.... but it depends on what you mean by MV/RCP elements, because I would say Star Trek and Mission Impossible 4, as well as Super 8 (if that counts as a blockbuster) qualify as well

I haven't seen / heard Voyage of the Dawn Treader, does that have synth beats?

How about Avatar?

Alice in Wonderland?

Do Pixar films count?

Even Skyfall, Amazing Spider-man, and I think Men In Black III (I haven't heard that one yet either) have rcp elements....

[Incanus 5,716]

The Hobbit films and Indiana Jones 4 are the only Hollywood Blockbusters that come to mind from the past 5 years or so

Shore has succeeded quite effectively to stay away from the RCP stylings in the Hobbit.