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


Ollie

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Chamber of Secrets :music:

The weakest of the Williams trilogy for sure, and the 3rd or 4th best Harry Potter score overall (Goblet of Fire has its moments despite some flaws and competes moderately with this entry). I wonder how this would have turned out had Williams been fully involved.

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Sodom and Gomorrah (Tadlow re-recording) by Miklós Rózsa: A sprawling epic score of typical Rózsa pedigree, meaning the highest quality, that remains a notch below his greatest sword and sandal works which is to say it is still pretty damn impressive. Apparently the whole poor quality of the production was a terrible realization to Rózsa who was brought in to replace Dimitri Tiomkin, another of the peerless sturm and drang composers of the era. The composer having written his most enduring works El Cid, Ben-Hur and King of Kings just prior to this last in his series of Hollywood epics and being exhausted from all the hard work of the last couple of years was still able to produce another 2 hour plus mammoth of a score with such intricacy and musical power is a testament to his inexhaustible spirit of inspiration even in less than ideal circumstances.

The unmistakable Rózsa flair is here, perhaps in generally darker and more sombre tones, he is depicting depravity, torture and evil much of the time in the score after all, but even here he finds inspiration for some of his most tender and sensual love music to stem the tide of almost film noir melodramatics, the mood ripe with fateful chord progressions and deep ominous chords spelling out the fate of the doomed cities from the Prelude onwards in no uncertain terms.

As ever there are themes and motifs abound, two gorgeous love themes, a march for the Hebrew folk of Lot, a march for the Elamites (strong shades of the composer's Roman military spectacles) and an insidious motivic base for the city and people of Sodom that are combined and juxtaposed throughout with deft hand. Intermingled are those typical faux-source music pieces for small ensembles and even choir that the composer was so fond of penning for these period films (which sounded almost always just pure Rózsa).

Even for a Rózsa fan who is not acquainted with this score it creates a familiar feeling right from the first chords, so emblematic are the maestro's musical gestures and devices, but he infuses his music with such emotion and scope it is hard not to get swept away by the sheer emotion of it all. As with all of Rózsa's epics the sheer amount of material can be overwhelming as the score runs 2 h 16 minutes in all so taking it in disc at a time is a good idea. I still have to give this one a few more spins before making a more detailed account of my impressions but it was a pretty spectacular first listen. Meanwhile I think the love theme from Answer to a Dream will keep playing in my head for a long time.

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David Arnold & Michael Price - Sherlock Season 1

David Arnold & Michael Price - Sherlock Season 2

David Arnold & Michael Price - Sherlock Season 3

There's so much nice music here, but honestly, listening to all 3 albums in a row, I realized I could take all the best pics and make one single ~60 minute album and be content. I hate using the "filler" word, but there's a lot of non-essential cues in between the ones that highlight the brilliant themes the show has.

Has anybody ever taken a crack at a "best of" playlist for these scores?

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I'm on a Star Wars kick at the moment. I have the LP arrangements of SW, ESB, and ROJ. I've gone crazy and broken them up by album side. So I actually have to change "sides" on my iPod. It's wonderful!

I took a break this morning an listened to Person of Interest season one.

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Michael Giacchino - Star Trek Into Darkness (Complete)

Great stuff, start to finish!

Michael Giacchino - Dawn of the Planet of the Apes

I've cooled off a lot on this one. I like all the themes, but the OST is so. damn. long. A 40 minute program would be ideal for this score.

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Sodom and Gomorrah (Tadlow re-recording) by Miklós Rózsa: A sprawling epic score of typical Rózsa pedigree, meaning the highest quality, that remains a notch below his greatest sword and sandal works which is to say it is still pretty damn impressive. Apparently the whole poor quality of the production was a terrible realization to Rózsa who was brought in to replace Dimitri Tiomkin, another of the peerless sturm and drang composers of the era. The composer having written his most enduring works El Cid, Ben-Hur and King of Kings just prior to this last in his series of Hollywood epics and being exhausted from all the hard work of the last couple of years was still able to produce another 2 hour plus mammoth of a score with such intricacy and musical power is a testament to his inexhaustible spirit of inspiration even in less than ideal circumstances.

The unmistakable Rózsa flair is here, perhaps in generally darker and more sombre tones, he is depicting depravity, torture and evil much of the time in the score after all, but even here he finds inspiration for some of his most tender and sensual love music to stem the tide of almost film noir melodramatics, the mood ripe with fateful chord progressions and deep ominous chords spelling out the fate of the doomed cities from the Prelude onwards in no uncertain terms.

As ever there are themes and motifs abound, two gorgeous love themes, a march for the HebreOrdew folk of Lot, a march for the Elamites (strong shades of the composer's Roman military spectacles) and an insidious motivic base for the city and people of Sodom that are combined and juxtaposed throughout with deft hand. Intermingled are those typical faux-source music pieces for small ensembles and even choir that the composer was so fond of penning for these period films (which sounded almost always just pure Rózsa).

Even for a Rózsa fan who is not acquainted with this score it creates a familiar feeling right from the first chords, so emblematic are the maestro's musical gestures and devices, but he infuses his music with such emotion and scope it is hard not to get swept away by the sheer emotion of it all. As with all of Rózsa's epics the sheer amount of material can be overwhelming as the score runs 2 h 16 minutes in all so taking it in disc at a time is a good idea. I still have to give this one a few more spins before making a more detailed account of my impressions but it was a pretty spectacular first listen. Meanwhile I think the love theme from Answer to a Dream will keep playing in my head for a long time.

Got my copy today as well. :)

Karol

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Michael Giacchino - Dawn of the Planet of the Apes

I've cooled off a lot on this one. I like all the themes, but the OST is so. damn. long. A 40 minute program would be ideal for this score.

His best sounding one, though.

Karol

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The orchestration is amazing, and the recording is fabulous. This score excels when listening on a good home speaker setup, nice and LOUD!

Listening at work was just no good. I was constantly reaching for the volume knob of my computer speakers, and only really heard the loud parts, missing out on enjoying a lot of the great orchestration. Oh well.

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Harry Potter & The Sorcerer's Stone - John Williams

It's hard to not enjoy the sheer richness of this one. Sumptuously orchestrated and impeccably recorded to my taste, and the "family theme" or whatever people have come to call it (you know, the Sibelius lift) is tenderly beautiful and nostalgic, and brings me back to my college days when these movies were first happening and all the girls in the dorm loved it... ah yes, I like this score.

2:50 - 2:59 :wub:

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Harry Potter & The Sorcerer's Stone - John Williams

It's hard to not enjoy the sheer richness of this one. Sumptuously orchestrated and impeccably recorded to my taste, and the "family theme" or whatever people have come to call it (you know, the Sibelius lift) is tenderly beautiful and nostalgic, and brings me back to my college days when these movies were first happening and all the girls in the dorm loved it... ah yes, I like this score.

2:50 - 2:59 :wub:

Yeah I guess it is alright in a sort of magnificent fairytale way. Do all your fond musical memories involve girls somehow? ;)

A Streetcar Named Desire by Alex North

Sodom and Gomorrah (Tadlow re-recording) by Miklós Rózsa

I Am Legend by James Newton Howard

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Harry Potter & The Sorcerer's Stone - John Williams

It's hard to not enjoy the sheer richness of this one. Sumptuously orchestrated and impeccably recorded to my taste, and the "family theme" or whatever people have come to call it (you know, the Sibelius lift) is tenderly beautiful and nostalgic, and brings me back to my college days when these movies were first happening and all the girls in the dorm loved it... ah yes, I like this score.

2:50 - 2:59 :wub:

The closest JW ever came to returning to his Golden Age sound.

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I hope it is written entirely with his modern sensibilities.


The closest JW ever came to returning to his Golden Age sound.

No. That would be The Force Awakens!

HPPS is closer to his Silver Age material from the 90s.

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Just with less strong themes. I know that will enrage our resident shriners but apart from the Gryffindor fanfare and the basic Voldemort theme which are perfectly shaped Williams-of-old-tunes i find the other main themes in Part 1 either a bit awkward or meh melodically (especially the family/friendship theme).

No patch on FAWKES or the CHOS theme.

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I never got the love for Harry's Wondrous World. To me it's rests heavily on the twee side and not what I associate with 'golden era Williams' at all. It's pure smaltz tbh.

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I never got the love for Harry's Wondrous World. To me it's rests heavily on the twee side and not what I associate with 'golden era Williams' at all. It's pure smaltz tbh.

I don't have a problem with the track's schmaltziness (or most schmaltziness in general) but it's a little too scatterbrained for me to consider it truly great.

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I never got the love for Harry's Wondrous World. To me it's rests heavily on the twee side and not what I associate with 'golden era Williams' at all. It's pure smaltz tbh.

I don't have a problem with the track's schmaltziness (or most schmaltziness in general) but it's a little too scatterbrained for me to consider it truly great.

Idiots!

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I never got the love for Harry's Wondrous World. To me it's rests heavily on the twee side and not what I associate with 'golden era Williams' at all. It's pure smaltz tbh.

I don't have a problem with the track's schmaltziness (or most schmaltziness in general) but it's a little too scatterbrained for me to consider it truly great.

True, the Can You Read My Mind arrangement is smalzty as hell, but the melody beats you down into submission till you end up glowing like this guy:

Jn3BQjg.jpg

Harry's Wondrous World only does that for Potter nuts. Its melody is weak.

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My name is Stiff. My world is fire and blood. Once, I was a flooder. A post warrior searching for a righteous cause. As the forum fell, each of us in our own way was broken. It was hard to know who was more crazy... me... or everyone else.

:up:

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(you know, the Sibelius lift)

Sibelius?

Just with less strong themes. I know that will enrage our resident shriners but apart from the Gryffindor fanfare and the basic Voldemort theme which are perfectly shaped Williams-of-old-tunes i find the other main themes in Part 1 either a bit awkward or meh melodically (especially the family/friendship theme).

No patch on FAWKES or the CHOS theme.

But Voldemort has two themes, and both are good.

And the Fawkes theme is fine, but I still think it's a slightly rawer smaller brother to Across the Stars.

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