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

[Matt C 423]

Titus by Goldenthal. Which I bought last week. Finally.

I don't get the love for Titus. The pure orchestral stuff is magnificent, but the varying styles Goldenthal uses just doesn't cut it on CD. It works fine in the film, as it does represent the varying eras and styles used in the film. But on CD, nah.

[Roll the Bones 2,967]

HHHHHook - John Williams

[crocodile 6,294]

Titus by Goldenthal. Which I bought last week. Finally.

I don't get the love for Titus. The pure orchestral stuff is magnificent, but the varying styles Goldenthal uses just doesn't cut it on CD. It works fine in the film, as it does represent the varying eras and styles used in the film. But on CD, nah.

I got to love Goldenthal's mannerisms with time and surprisingly his scores seem much more coherent for me now.

Karol

[Roll the Bones 2,967]

Jaws (AE) - John Williams

Geez, you can hear alot of the players moving etc. cant you?

[Joe Brausam 203]

I like that, actually. It helps keep the human aspect in the recording.

[crocodile 6,294]

Hook. I kind of like this score, even though you can smell quite a few classical music influences (not literal quotes). And while I was never a huge fan of it, the only way you should listen to this is in the complete form. Too many thematic elements to do it justice on such a short album (70+ minutes!). And it needs remastering.

Karol

[Hlao-roo 388]

Hook. I kind of like this score, even though you can smell quite a few classical music influences (not literal quotes).

One of Williams' smelliest scores, for sure.

[Incanus 5,519]

Medal of Honor European Assault by Christopher Lennertz: The OST and the bonus music arranged into a musical story arc works wonders. It is definitely the best of Lennertz' three MOH scores with strongest thematic material, most rounded action pieces and excellent orchestrations. The Russian material with its folk song and Red Army choir style is both emotional and gives a certain sense of local colour. Brass writing excellent throughout.

Medal of Honor Rising Sun by Christopher Lennertz: Another score that improved with lining the music into a musical narrative based roughly on the story of the game. The music suffers a bit from rather brief tracks but to Lennertz' merit it has to be mentioned that he usually gets his musical point across quickly and so there is very little filler or redundant short tracks where the composer would just noodle with atmospherics without presenting a melody or action motif to keep things moving.

It Got Dark by Thomas Newman: A Newman concert work scored originally for Kronos Quartet but later adapted for an orchestra and a quartet. An interesting nostalgic sounding piece with typical Newman stylings, gift for melody and processed sounds like bird calls and even short snippets of dialogue. The 25 minute piece is divided into several section but the common element is a certain yearning and nostalgia, a soft and warm feel that is as much part of the melodies as it is Newman styled atmospheres. Rhythmic string writing very much evoking the kinds of Michael Torke is evident in the later passages, mixing the modern sounds with elements of almost folksy fiddling. Newman's passion for the heritage of LA is one of the inspirations to the piece and you can easily picture yourself in the city during different time periods and moods in the varying movements. You could say that the music has a very melancholy tone, even noirish colouring at times. Highly harmonic, accessible but contains the composer's unmistakable finger prints and occasional indulgence to atmospheric sound design the piece is an interesting entry to Newman's catalogue of works.

His writing for a larger ensemble in this scale is a joy to hear and I would love to hear him take on a big symphonic score in the future.

I Would Plant a Tree by James Newton Howard: This is another concert piece, Howard's first, that blends impressionistic flair and freedom of writing with highly accessible writing. The music is not far from Howard's film music even though you can hear that he likes to let the material breathe and grow more organically and at its own pace when he is writing freely and without time constraints. The minimalistically built orchestrationally continually growing and intensifying impressionistic opening blooms into a beautiful crescendo at 5 minute mark. An agitated full ensemble section with fanfares and cyclical string motifs follows. This quiets down into a bluesy string interlude. Interestingly Howard incorporates material from his score for Happening into the piece as a part of the End Credits appears in another building orchestral dash where the music robustly leaps to a frenzied climax that settles into the dreamy, serene finale movement.

Highly accesible, melodic and varied, the piece keeps your interest throughout with different moods and its exciting rhythmic character. I wish Howard would write in this vein more for the movies, even though it may sound like music from his scores at time, but alas the current climate does not let him flex his symphonic muscles. But this piece does.

[Jay 27,216]

1941

[Incanus 5,519]

1941

I bet it gets better with each listen.

How is the listening experience? Does the score on Disc 1 flow well?

[Jay 27,216]

The sad part is that I haven't had time yet to truly just sit down and LISTEN without distractions. I was working on the interview during most of my listens, and forgot to bring it with me to the car today for my commute. That will be rectified tomorrow

[crocodile 6,294]

I just realized it's going to be released tomorrow. In my head it was still like 2 weeks. Wow, time flies!

And, better yet, Tintin comes out in 4 weeks.

Karol

[Jay 27,216]

I still can't believe we have no track list or samples for a CD so close to being released!

Wouldn't it be funny if the score leaks before the track list or the samples do!

[crocodile 6,294]

It is possible. Especially these days.

Karol

[Romão 1,931]

I happened with COS. I still remember everyone trying to guess what each track represented

[QMM 4]

It Got Dark by Thomas Newman: A Newman concert work scored originally for Kronos Quartet but later adapted for an orchestra and a quartet. An interesting nostalgic sounding piece with typical Newman stylings, gift for melody and processed sounds like bird calls and even short snippets of dialogue. The 25 minute piece is divided into several section but the common element is a certain yearning and nostalgia, a soft and warm feel that is as much part of the melodies as it is Newman styled atmospheres. Rhythmic string writing very much evoking the kinds of Michael Torke is evident in the later passages, mixing the modern sounds with elements of almost folksy fiddling. Newman's passion for the heritage of LA is one of the inspirations to the piece and you can easily picture yourself in the city during different time periods and moods in the varying movements. You could say that the music has a very melancholy tone, even noirish colouring at times. Highly harmonic, accessible but contains the composer's unmistakable finger prints and occasional indulgence to atmospheric sound design the piece is an interesting entry to Newman's catalogue of works.

His writing for a larger ensemble in this scale is a joy to hear and I would love to hear him take on a big symphonic score in the future.

I Would Plant a Tree by James Newton Howard: This is another concert piece, Howard's first, that blends impressionistic flair and freedom of writing with highly accessible writing. The music is not far from Howard's film music even though you can hear that he likes to let the material breathe and grow more organically and at its own pace when he is writing freely and without time constraints. The minimalistically built orchestrationally continually growing and intensifying impressionistic opening blooms into a beautiful crescendo at 5 minute mark. An agitated full ensemble section with fanfares and cyclical string motifs follows. This quiets down into a bluesy string interlude. Interestingly Howard incorporates material from his score for Happening into the piece as a part of the End Credits appears in another building orchestral dash where the music robustly leaps to a frenzied climax that settles into the dreamy, serene finale movement.

Highly accesible, melodic and varied, the piece keeps your interest throughout with different moods and its exciting rhythmic character. I wish Howard would write in this vein more for the movies, even though it may sound like music from his scores at time, but alas the current climate does not let him flex his symphonic muscles. But this piece does.

Are there recordings of these?

[Matt C 423]

Robin Hood - Marc Streitenfeld

I'm enjoying it, and even though it has significant RC/MV stylings all over it, it's much better orchestrated and there are two nice themes. It can't hold a candle to Korngold's brilliant score or even Andy Price's 2006 TV series scores, but it's a lot better than some score critics are criticizing it for.

[BloodBoal 7,532]

[#SnowyVernalSpringsEternal 10,251]

Robin Hood begins and ends with Michael Kamen's immortal score!

[BloodBoal 7,532]

[Koray Savas 2,095]

I hear nothing RCP in Streitenfeld's score.

[BloodBoal 7,532]

[Koray Savas 2,095]

That's because no one takes the time to actually listen to a composer's filmography, so when Klaus Badelt's name gets slapped on The Curse Of The Black Pearl, he's a shit RCP hack!

I can hear clear differences between all the composers. There are rare occasions where something sounds exactly like someone else. James Dooley's SOCOM 3 is pure 90s Hans Zimmer.

[BloodBoal 7,532]

[Koray Savas 2,095]

I knew you were joking, but it's also kinda true

[crocodile 6,294]

Actually, Robin Hood is more Harry Gregson-Williams than something like Jablonsky and the bunch. It reminds me more of Kingdom of Heaven than Transformers.

Karol

[Matt C 423]

That's because no one takes the time to actually listen to a composer's filmography, so when Klaus Badelt's name gets slapped on The Curse Of The Black Pearl, he's a shit RCP hack!

Badelt has etched out his own niche and sound the past few years. Quite unique and compelling.

[Jay 27,216]

Wow, that was a joke! Don't you dare talk to me like that! Next time, I won't play nice. Careful, KoKo, careful...

KoKo!!!!!!!

BloodBoal, so glad you found our corner of the internet

Big gold star for you!

[Koray Savas 2,095]

It's not the first time. A girl I used to work with nicknamed me that as well as Ko-Ray Of Sunshine.

[Roll the Bones 2,967]

Star Wars Episode IV: The Phantom Menace (Complete 4CD Score) - John Williams

[Incanus 5,519]

Star Wars Episode IV: The Phantom Menace (Complete 4CD Score) - John Williams

Don't you mean Episode I?

And 4 CDs? Isn't that somewhat an overkill? I usually settle for a succint 2 Disc version for a nice musical story arc. With 4 discs all the extra alternate material and what-not makes it a too long and not too coherent listening experience.

The Witches of Eastwick by John Williams

Catch Me If You Can by John Williams

Jaws The Collector's Edition by John Williams

La Ligne Droite by Patrick Doyle

[BloodBoal 7,532]

[Brónach 490]

For me, 4 CDs is like 4 different listenings! Love that, specially if it's John Williams'.

[crocodile 6,294]

You Thor! Is it a scandinavian thing or what?

Don't be rude. It's not their fault that they all suffer from this Memento-like condition and can only remember the last 45 minutes.

Karol

[Incanus 5,519]

Obviously we are also befuddled in general because now I can't even understand your insults anymore.

I listen to TPM usually all the way through which is about 2 hour score. It takes 2 CDs. To listen to 2 CDs more after that for miscellaneous material does not round things up very well.

[fommes 126]

You need to make it work - my Return of the Jedi edit is 3 CDs, but the 'extras' disc forms a separate album, an alternate soundtrack as it were. And hey, it's even better than JW's original

[crocodile 6,294]

Obviously we are also befuddled in general because now I can't even understand your insults anymore.

That makes two of us.

Seriously though, I think I might be showing an early signs of dementia and something's not right. That might be just tiredness,

Karol

[Incanus 5,519]

E.g. E.T. works very well on 2 discs, with the film score on disc 1 and the alternates and OST album concert arrangements on the second disc. They do form a very strong album on their own.

[BloodBoal 7,532]

[Jay 27,216]

How appropriate. You fight like a cow.

[crocodile 6,294]

That's sexism!

Karol

[Marian Schedenig 5,520]

La Ligne Droite by Patrick Doyle

Thoughts? I love it.

[BloodBoal 7,532]

[Incanus 5,519]

La Ligne Droite by Patrick Doyle

Thoughts? I love it.

I like this score very much. Doyle is using minimalistic techniques with a small ensemble and it works wonders. I liked this score more than Thor. It is intimate and strong with fine performances and solos. Despite writing some rip roaring big orchestral scores I honestly think Doyle is at his best when doing something small and intimate relying more on the soloists and smaller thematic and instrumental gestures to make an emotional impact than blasting away with enormous brass and percussion.

Indiana Jones the Kingdom of the Crystal Skull (Sufficiently fitting on 2 CDs Edition) by John Williams

Oxley's Cell

[crocodile 6,294]

Yes, it's one of the scores of the year.

Which is a praise actually. Even though it's no difficult task.

The Next Three Days by Elfman

Karol

[crocodile 6,294]

Star Wars: Return of the Jedi by John Williams. Now this the score I haven't listened to in a long time... a long time (it might have been years actually).

Star Wars: The Empire Strikes Back by Williams (another not-listened-in-a-long-time score)

Naturally, Star Wars will follow. Or maybe A New Hope. We'll see.

Karol

[Roll the Bones 2,967]

Indiana Jones the Kingdom of the Crystal Skull (Sufficiently fitting on 2 CDs Edition) by John Williams

Oxley's Cell

hmmmmm what version are you listening to?

and what are your thoughts?

Star Wars: The Phantom Menace (ggctuk 4CD edition) - John Williams

[crocodile 6,294]

Captain America: The First Avenger (Silvestri) and Super 8 (Giapoopoo). Yup, it is the very best 2011 has to offer (until next month, at least).

The Basket Game from Raiders of the Lost Ark

Karol

[Brónach 490]

Nightmare Before Christmas

[crocodile 6,294]

Jane Eyre (Williams) vs. Jane Eyre (Herrmann) vs. Jan Eyre (Marianelli)

Three good to excellent scores. All so different from each other.

Karol