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


Ollie

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The Hobbit: The Desolation of Smaug - Howard Shore

I've discovered that I can finally listen to and appreciate these scores in pleasant isolation.

What changed then?

As an eulogy to Marianelli's PAN score (RIP) i put on a bright, sunny and occasionally impressionistic score of his that i happen to like quite a bit.

It is a truly lovely one.

Karol

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As an eulogy to Marianelli's PAN score (RIP) i put on a bright, sunny and occasionally impressionistic score of his that i happen to like quite a bit.

It is a truly lovely one.

Karol

Still need to check this one out. Maybe tonight.

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Thin Red Line (Recording Sessions) by Hans Zimmer

In the second half of this beauty. Currently playing through some beautifully serene passages that remind me of Shore's Grey Havens music.

I would actually love to do a TGP-style analysis of this score.

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Yeah. A lot of repeating material, but plenty of good stuff on there that's missing from the OST.

I can't get enough of this stuff, plus it helps to play that while studying for exams.

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I had it lying around too. This is actually my first time sitting through all of it. Thought I might as well.

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I don't know. But there is a nice 1.5-2 hour presentation that can be assembled from the sessions.

Maybe something I can try after my exams...

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THE LAST AIRBENDER - JNH

Really rather good score, powerful moments, and it works a treat when I rearrange the cues in the order of their appearance in the film (which I haven't seen and don't need to).

7 - 4 - 2 - 3 - 6 - 8 - 5 - 9 - 10 - 11 - 12 - 1

The score now flows like water... :D

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Wasn;'t the choir synth on the OST?

I was listening to Silvestri's Avengers, then I got bored and switched to Goldsmith's Mulan.

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Wasn;'t the choir synth on the OST?

Yeah it was, due to the reuse cost of the choral material if I remember correctly. JNH uses the choral sounds so they rather complement the orchestra rather than rise above it on their own (apart from few instances) but the choir does add a nice layer that is missing on the OST.

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Wasn;'t the choir synth on the OST?

I was listening to Silvestri's Avengers, then I got bored and switched to Goldsmith's Mulan.

Impossible to get bored by Mulan. Album and promo. :up:

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Desert Dancer by Benjamin Wallfisch: A very calming, serene and meditative score combining subtly ethnic vocals (not your usual ethnic wailing) and steady development of a very simple yet poignant theme. Cello and occasionally piano are the featured solo instruments and in places the score reminded me of Austin Wintory's Journey in its ethereally meditative and atmospheric style and in the same way it finds a way of combining electronics and the orchestra into a very evocative way. The album apparently features the music form three dance sequences from the film and Wallfisch responds not with highly energetic or balletic pieces but rather with ruminative tracks that seem to have an undercurrent of tragedy. The composer achieves his effects with small gestures of the solo instruments and slow burning development of the material rather than huge orchestral forces and big sound but manages to create quite a compelling work in the process. There is strong poignancy in the simplicity at display here.

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An Unfinished Life by Christopher Young: Quite brilliant introspective folksy score in the spirit of The Shipping News but with a definite Americana style. Atmosphere-wise reminds in places Thomas Newman's Americana ala Horse Whisperer but this score definitely has Young's own personal stamp to it. Especially the 14-part piano suite at the end of the album is a beautiful creation.

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Desert Dancer by Benjamin Wallfisch: A very calming, serene and meditative score combining subtly ethnic vocals (not your usual ethnic wailing) and steady development of a very simple yet poignant theme. Cello and occasionally piano are the featured solo instruments and in places the score reminded me of Austin Wintory's Journey in its ethereally meditative and atmospheric style and in the same way it finds a way of combining electronics and the orchestra into a very evocative way. The album apparently features the music form three dance sequences from the film and Wallfisch responds not with highly energetic or balletic pieces but rather with ruminative tracks that seem to have an undercurrent of tragedy. The composer achieves his effects with small gestures of the solo instruments and slow burning development of the material rather than huge orchestral forces and big sound but manages to create quite a compelling work in the process. There is strong poignancy in the simplicity at display here.

Interesting. Do you recommend other scores by Wallfisch?

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Alas this is my first experience of Mr. Wallfisch's music. I think relatively few scores of his have been released thusfar. If I remember correctly Summer in February and Fetih/Conquest 1453 have gotten some good reviews.

2005 Dear Wendy

2008 Escapist, The

2012 Fetih 1453

2013 Hammer Of The Gods

Summer In February

2014 Bhopal: A Prayer For Rain

Desert Dancer

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Wallfisch is a talented fellow who takes a lot after his mentor, Dario Marianelli. Though I find his material kind of watered down when compared to the master, he's still someone to keep an eye out for. I haven't heard Desert Dancer yet, but I look forward to it.

Some clips, if you're interested Hlao-roo:

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Wallfisch is a talented fellow who takes a lot after his mentor, Dario Marianelli. Though I find his material kind of watered down when compared to the master, he's still someone to keep an eye out for. I haven't heard Desert Dancer yet, but I look forward to it.

Some clips, if you're interested Hlao-roo:

Thanks, KK!

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Alas this is my first experience of Mr. Wallfisch's music. I think relatively few scores of his have been released thusfar. If I remember correctly Summer in February and Fetih/Conquest 1453 have gotten some good reviews.

Meh. Conquest 1453 is alright...but caters too much to RC tradition for my tastes. Definitely has some solid writing though.

Summer in February is good stuff though.

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Alas this is my first experience of Mr. Wallfisch's music. I think relatively few scores of his have been released thusfar. If I remember correctly Summer in February and Fetih/Conquest 1453 have gotten some good reviews.

Meh. Conquest 1453 is alright...but caters too much to RC tradition. Definitely has some solid writing though.

Summer in February is good stuff though.

I have to check it out ASAP. :)

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STAR TREK V (DISC 2 - JERRY G.)

Back in the day this sort of music was considered to be quite good... Now it's effin' brilliant. Actually a long time ago since I listened to the album with its slightly altered track sequencing.

Interestingly, putting some of the climactic music at the beginning clearly works, and it's a clear sign of Jerry putting together the most wonderful listening experiences packed with highlights.

The expanded score is also a treat, but I wanted to listen the more condensed Trek V soundtrack, like I did when I was much younger than now. :D

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ST V has its share of great themes and splendid action cues... But there are also much less interesting tracks in between (the expanded score).

TMP has a consistently brilliant atmosphere and thematic flow. And TSFS is awesome because I love that particular Horner sound.


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THE MASK OF ZORRO - HORNER

And this particular Horner sound is to die for as well. It's one the most fun, exciting adventure scores he has done.

Of the two Zorro's this is my preferred without question. I even adore the song so the album gets 5 gold stars !

Yet it doesn't appear in my top 5, but it should be in my top 10 (which I haven't even thought about).

The film is great fun as well. With a score like that it couldn't possibly go wrong.

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CALVARY - Patrick Cassidy

 

Anyone longing to listen to the main theme from BATMAN BEGINS arranged as irish dirge: your day has come. If depression got a theme song, it surely would sound like this. Oppressive and tragical, even fatalistic, in tone with a few more placative sprinkles throughout, Cassidy mainly employs string orchestra, soprano and a small choir for this Ireland-set Brendon Gleeson drama about catholic long-runners like clerical child abuse. The whole thing is not unpleasant but so slow-moving and monochrome it's hard to imagine that it doesn't suck the movie down with it. As such it is part of this peculiar recent trend to drown drama in almost comically rendered gloom-and-doom music that in practice often often weakens the drama by pushily overstating the obvious (a trend halfway started by BRAVEHEART and in-between served by preposterous firecrackers like TEARS OF THE SUN with its latest stone-on-my-heart incarnation in Arronofsky's NOAH). 

 

 


Of the two Zorro's this is my preferred without question.

Why? Most of the cues re-appear in the sequel anyway, which sounds exactly like this and adds some new cool tracks on top. I re-listened the first ZORRO recently and found the second half rather disappointing, especially this long 13-minute whopper finale cue that hops from place to place lacking musical structure. Give me TRAIN over this any minute!

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