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


Ollie

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John Williams is not Lincoln's best score, but it's still an enjoyable listen.

How many of Lincoln's scores survived to the present?

I prefer John Adams.

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Some selections from the World of Warcraft scores. I just don't get why they hired Ramin Djawadi for the film when their team of composers did a great job on the game scores, disgusting imo.

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What an enriching, beautiful, honest score. Far better than the sugary illusion of E.T. and nostalgia's warm embrace.

Isn't it possible to have both E.T. and A.I. at the top spot of Williams' filmography? In my mind it does.

It's also a lot easier, I don't have to disagree with anyone which one is better.

Some selections from the World of Warcraft scores. I just don't get why they hired Ramin Djawadi for the film when their team of composers did a great job on the game scores, disgusting imo.

Definitely... This whole band of composers (from Blizzard) have done spectacular stuff for Warcraft, Starcraft, Diablo.

But wait Hollywood doesn't want big epic and memorable music to become prioritized in the audio mix, so they go for a generic score.

It's been like that for years now, why would it change now?

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What an enriching, beautiful, honest score. Far better than the sugary illusion of E.T. and nostalgia's warm embrace.

Isn't it possible to have both E.T. and A.I. at the top spot of Williams' filmography?

No.

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It's impossible to like Star Wars and Star Trek at the same time!

Star Trek is clearly superior. The sheer number of hours of entertainment to be had from all those episodes, films and their symphonic scores is unparalleled. Star Wars is also great, though. If you don't love both, you have bad taste.

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The Film and Television Music of Christopher Gunning: A 70+ minute compilation of the Gunning's works for cinema and TV, which of course leaves out a good deal but presents some of the highlights of this British composer's career. The fantastic part of this album is that Gunning himself has dusted off these scores from his archives and given each suite new polish and self-contained feel that further enhances the effect of the music.

Opening with the 9-minute Poirot Variants he weaves together a set of variation of the famous theme tune for the Belgian sleuth with inestimable Martin Robertson performing the hugely enjoyable and deft alto saxophone solos that turn from plaintive and smokily moody to rapid chases as conductor Rumon Gamba leads the BBC orchestra through a musical mystery of its own only to arrive to a full version of the theme at the end. A fantastic reimagining of the theme and shows how the composer really has such beautiful mastery of the orchestration and melody.

La Mome Piaf and Under Suspicion present portraits of tragic lyricism and slowly churning dread and showcase the dramatic width of the composer's skills well. Cold Lazarus is one of Gunning's few big forays into the sci-fi genre and receives a generous 10 minute piece of contrastic movements where portentous and highly enjoyable dramatic and action writing alternates with gentler passages and really made me want to hear the whole thing.

Polyanna is a suite from a children's film which is deliriously happy and peppy (as the composer acknowledges in the liner note) but also contains such innocent warmth it is difficult not to be affected and features a gorgeous flute solo to boot. Firelight is one of Gunning's best, a thoroughly romantic piece of music with solo violin in the lead, a haunting melody rising from sorrow to almost rapturous heights during the running time of the piece. Sadly the original album is out of print and fetching high prices in the collector's market as this music should be heard by a wider audience. Luckily on this album you can.

When the Whales Came is another rather obscure piece of cinema from the 1980s but the music is memorable and worth hearing. Gunning creates tremendously alluring sirene-like evocations of the sea and whales through the orchestra, solo soprano and incorporates even subtly real whale song into the score (and this suite). The end result is a piece full of mystery and gentle wonder and the melody was left ringing in my head for days.

Agatha Christie's Poirot is probably one of Gunning's well known themes but the series featured brilliant music outside its main titles tune and Five Little Pigs and The Hollow feature examples of this, a slow stately memory waltz full of regret and elegance and secondly a sweeping theme full of heartbreakingly romance and wistfulness, giving further evidence of the composer's skill at creating memorable melodies.

I can safely recommend this album to just about anyone interested in colorful and varied orchestral music as this CD offers not only a glance through the career of a composer but also a very entertaining musical experience in its own right, done with panache by the BBC orchestra and conductor Rumon Gamba. A great way to get to know this often unsung and inventive British composer.

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Family Plot by John Williams: One of Williams' most mischievous efforts, which captures well the suspense, wit and charm Hitchcock was aiming for with his last picture. The music contains a number allusions to different musical styles for desired effect, harpsichord giving the music both elegance referencing the opulent surroundings of Mrs. Rainbird and rather tongue-in-cheek playfulness as the faux-psychic Blanche sets out to find the heir of the old lady's fortune. Not only that but Williams employs it almost percussive as it trails the villains throughout, the instrument gaining almost a sinister edge in the process, always ready with a knowing little flourish to colour the moment.

The female chorus adds a dab of impressionistic colour to the proceedings and hints at the imagined or real presence of spirits as the séance theme for Blanche's powers is used, a lovely composition surely full of the most benevolent of ghosts. The use of timpani is suprisingly pronounced with several extended sequences of excitement and danger and Williams employs a rather different orchestral setup from his usual full complement of symphonic forces, which actually helps in attaining a rather unique light and sprightly sound for this score.

As per usual themes are abound and the ones for the heroes and villians mingle frequently. The main theme for the protagonists is a fun invention, playful and upbeat while the baddies receive a combination of a long ominous melody and a repeating menacing ostinato figure. The synthesizer also makes an appearance to spike the tension and eeriness of the moment now and again, droning ghostly in the background, again hinting at almost supernatural powers at work but speaking more for the villanous inclinations of the diamond thieves.

Also very typically for a Hitchcock film, the score features a lot of suspenseful writing aside from the obvious underscoring of frantic chases and near-deaths and Williams answers with his typical 1970s combination of sinister yet subtle underscore and his established themes, which makes it for this listener an engaging listen even outside the movie. Although the composer did solicit an approval from his dear colleague and friend Bernard Herrmann before taking the job, the score doesn't overtly try to be Herrmann-esque or homage the composer and e.g. DePalma's The Fury is much more of a love letter to Benny (at the director's behest) than this bubbly and suspenseful outing from the ever chameleon-like Maestro. Murder can indeed be fun.

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What an enriching, beautiful, honest score. Far better than the sugary illusion of E.T. and nostalgia's warm embrace.

Isn't it possible to have both E.T. and A.I. at the top spot of Williams' filmography?

No.

Well OK then, be like that, see if I care. :pfft:

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And I was wondering if filmmusic would like to tell us what he thought of it. Otherwise why mention it in this thread?

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Meh, sounds like some half-assed ideas/rhythms/bits thrown together coherently. Is this what qualifies as a superhero theme these days?

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Mouse Hunt by Alan Silvestri

Infectious and fun. Silvestri did a lot of great work with Verbinski. Even though Hans did great work too, I would like to hear what his Pirates Of The Caribbean would have sounded like.

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I just got chastised for letting the children watch films that are probably out of their age range and I'm pretty sure this started to play as I tried to formulate a response.

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Listening to Darkman by Dannie Eilffmann. It's one of his early scores in that distinctive gothic Batman/Dick Tracy style that's wonderful to hear.

It gets blasted by reviewers for being a second-rate Batman retread, but I rate it more highly than most of his recent output.

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I just got chastised for letting the children watch films that are probably out of their age range and I'm pretty sure this started to play as I tried to formulate a response.

What were you showing them?

Hmmm....chastised you say.

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Robin Hood - Andy Price

It's a shame only Series 1 had a soundtrack release. There's a nice pastoral quality to "Locksley", Marian's theme is always pleasant to hear and Price manages to channel Korngold and Debney here. Zimmer's influence is mildly felt in the action cues like "Rescue", but even then it's very faint. It makes for a very enjoyable listen, even though large sections were tracked in later episodes.

I wish the soundtrack rights were with a company that was willing to release it. I know LaLaLand Records' MV Gerald would love to do it.

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They don't make em like this anymore.

Absolutely stellar performance and recording... it's just mind-blowing every time I put on this CD. Such detail and power. :eek:

Everytime you hear some shit music, you should put on Vertigo, for the ears to be healed instantly.

And the musical composition remains riveting and stunning. This is film music, ladies and gents. :worship::worship::worship:

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It's a great score, but I have to add a specially edited "No Time for Caution (very close to film version)" in there.


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This is my top spot Goldsmith.

It has everything I want in a score: themes, terror, action, suspense, wonder, awe, beauty, and creepy giggling girls.

Not one weak track, stunningly played by the orchestra and choir, even the star spangled banner is performed to perfection.

The film is fantastic too. I have no interest in the remake and the horrid score can go where the sun doesn't shine. Poltergeist 1982 is the winner and always will be.

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Poltergeist is amazing and one of Jerry's masterpieces along with Star Trek TMP, Alien, Twilight Zone The Movie, Basic Instinct and Total Recall

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Poltergeist is amazing and one of Jerry's masterpieces along with Star Trek TMP, Alien, Twilight Zone The Movie, Basic Instinct and Total Recall

And several you haven't heard yet.

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