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

[crocodile 8,017]

 Young Sherlock Holmes by Bruce Broughton

 

Karol

[Sir Hilary Bray 235]

Guns of Navarone- Tiomkin

Around the World in 80 Days, Victor Young -enchanting score

The Wind and the Lion (2CD Intrada release). Listened to both the expanded and original release, something about this score that blows the doors off. I like the film but the score seems worlds above.

 

[Bespin 8,483]

On 29 avril 2017 at 6:23 PM, Strangways said:

Guns of Navarone- Tiomkin

 

Excellent choice.

 

The Guns of Navarone (1961)

ÉDIT: The title song has been arranged by John Williams.

[#SnowyVernalSpringsEternal 10,265]

Titanic 

Wouldnt be the same without the synth voices. It needs them.

 

Great score.

[Quintus 5,399]

I'll still always be curious as to what the score might have sounded like with real voices, particularly in the Southampton/Leaving Port material. I think it would have been better with them. 

[Naïve Old Fart 9,534]

Aren't there some rerecordings of TITANIC that feature choirs? "Best Of"s, COP, etc?

[#SnowyVernalSpringsEternal 10,265]

19 minutes ago, Quintus said:

I'll still always be curious as to what the score might have sounded like with real voices, particularly in the Southampton/Leaving Port material. I think it would have been better with them. 

 

Horner purposely retained the synth choir when his rerecorded suite with the LSO for the Southampton part. My guess is it retains the "Enya" feel better that using a real choir. 

[Quintus 5,399]

Yeah, depending on my mood I can take or leave Enya. It can be a bit airy fairy. 

[Unlucky Bastard 7,782]

It's too feminine. To qualify as a man, you must listen to manly music.

[#SnowyVernalSpringsEternal 10,265]

30 minutes ago, Quintus said:

Yeah, depending on my mood I can take or leave Enya. It can be a bit airy fairy. 

 

Oh absolutely. But I think that's what Horner/Cameron were going for. Avatar also has a high kitsch level musically at times.

[crocodile 8,017]

 Lost in Space by Bruce Broughton. I have really hard time believing this was a last minute rush job.

 

Karol

[Incanus 5,715]

Flesh + Blood by Basil Poledouris: This score is an awesome package of both lyricism and rambunctious swashbuckling with a quasi-Medieval twist.

[publicist 4,643]

 

ALIEN 3 - Elliot Goldenthal

 

After Goldsmith's gloomy modernistic poem and Horner's solid-if-eclectic space battle, Goldenthal bestows the series an abstract/tonal symphonic painting, so far the only score in the series that made good on the promise of Goldsmith's work.

 

The melding of avant garde and romanticism is the key point here: take the exemplary 'Agnus Dei', the requiem historically marking redemption and resurrection which Goldenthal employs as main title. The electronic verfremdung playing underneath the angelic voices (manipulated gongs, basses, deep horns etc., a speciality of Chris Young, too) displays an intelligent progression of Goldsmith's original though the Wagnerian might of the last minute couldn't be further removed from Goldsmith's sensibilities.

 

As one of the first composers working for mainstream film, Goldenthal extends the palette of modernism beyond the academic realm. The second half of, i. e. , 'Wreckage and Rape' is wild improvised atonal rock that puts a distance between old-style avant garde and modern experimentation. The wafting spheres are never far away (i. e. 'Lullaby Elegy'), though, so the unsettling mood lies really in the successful combination of all these elements. Goldenthal so almost completely bypasses the typical horror music problem, sudden musical attacks, inconsequential red herrings for creating suspense - the musically perky flirring minimalist string figures that mark the last half of 'The Entrapment'or the finale adagio, for instance, were pretty bold moves for a movie of this type, even in 1992. 

 

Also the cue names betray Goldenthal's urge for musical form - atypical for Hollywood film music - and without  checking i guess 'Alien 3's soundtrack album is musical sound transfer form one medium to another. In other words: no hackneyed complete album with lots of shorter and transitional cues needed. The sound also is top-notch. One of the masterpieces of the 90's, for sure (and yes, JWFan.com, it's head and shoulders above 'Jurassic Park').

 

 

 

 

[Incanus 5,715]

11 minutes ago, publicist said:

(and yes, JWFan.com, it's head and shoulders above 'Jurassic Park').

Ooooh the burn! Aaarrgghhh!

 

The Departed by Howard Shore

[publicist 4,643]

[Naïve Old Fart 9,534]

1 hour ago, publicist said:

 

One of the masterpieces of the 90's, for sure (and yes, JWFan.com, it's head and shoulders above 'Jurassic Park').

 

 

 

 

 

Well, of course it is...in both respects!

It's even more claustrophobic in 5.1.

[Disco Stu 15,495]

3 hours ago, publicist said:

As one of the first composers working for mainstream film

 

What's the missing word here?

[nightscape94 965]

Poledouris - Quigley Down Under (2006 Prometheus)

 

 

Goldsmith - King Solomon’s Mines (Prometheus 2006)

 

[#SnowyVernalSpringsEternal 10,265]

5 hours ago, publicist said:

 

ALIEN 3 - Elliot Goldenthal

 

After Goldsmith's gloomy modernistic poem and Horner's solid-if-eclectic space battle, Goldenthal bestows the series an abstract/tonal symphonic painting, so far the only score in the series that made good on the promise of Goldsmith's work.

 

The melding of avant garde and romanticism is the key point here: take the exemplary 'Agnus Dei', the requiem historically marking redemption and resurrection which Goldenthal employs as main title. The electronic verfremdung playing underneath the angelic voices (manipulated gongs, basses, deep horns etc., a speciality of Chris Young, too) displays an intelligent progression of Goldsmith's original though the Wagnerian might of the last minute couldn't be further removed from Goldsmith's sensibilities.

 

As one of the first composers working for mainstream film, Goldenthal extends the palette of modernism beyond the academic realm. The second half of, i. e. , 'Wreckage and Rape' is wild improvised atonal rock that puts a distance between old-style avant garde and modern experimentation. The wafting spheres are never far away (i. e. 'Lullaby Elegy'), though, so the unsettling mood lies really in the successful combination of all these elements. Goldenthal so almost completely bypasses the typical horror music problem, sudden musical attacks, inconsequential red herrings for creating suspense - the musically perky flirring minimalist string figures that mark the last half of 'The Entrapment'or the finale adagio, for instance, were pretty bold moves for a movie of this type, even in 1992. 

 

Also the cue names betray Goldenthal's urge for musical form - atypical for Hollywood film music - and without  checking i guess 'Alien 3's soundtrack album is musical sound transfer form one medium to another. In other words: no hackneyed complete album with lots of shorter and transitional cues needed. The sound also is top-notch. One of the masterpieces of the 90's, for sure (and yes, JWFan.com, it's head and shoulders above 'Jurassic Park').

 

 

Very good score, though I would not put it on the level of Jerry's. Mainly because it lacks it's subtlety. 

Goldenthal curiously lacks restraint here, possibly because of Fincher. 

Also, the liturgical choral stuff is haunting, but slightly pretentious. (Agnus dei in an Alien film?)

[Disco Stu 15,495]

Right or wrong, I don't generally associate Goldenthal with restraint.  I mean, it doesn't get much more bombastic than this, his Batman scores, and Titus

[Marian Schedenig 8,200]

3 hours ago, Stefancos said:

Very good score, though I would not put it on the level of Jerry's. Mainly because it lacks it's subtlety. 

Goldenthal curiously lacks restraint here, possibly because of Fincher.

 

I'd say regardless of how the film turned out (I like it, most hate it), the overall concept doesn't need subtlety or restraint in the music.

 

3 hours ago, Disco Stu said:

Right or wrong, I don't generally associate Goldenthal with restraint.  I mean, it doesn't get much more bombastic than this, his Batman scores, and Titus

 

While Alien³ may lack restraint, Batman Forever happily cranks everything up to 11 and beyond. That's the point of it, and Goldenthal obviously had fun overdoing everything as much as possible while still writing solid music.

 

But I wouldn't say he's fundamentally opposed to subtlety. Sphere, between its outbursts, has wonderful subdued passages, for example.

[Disco Stu 15,495]

4 minutes ago, Marian Schedenig said:

But I wouldn't say he's fundamentally opposed to subtlety. Sphere, between its outbursts, has wonderful subdued passages, for example.

 

Oh of course, he's an immensely talented composer who can write music with any emotional color.  Just in terms of stereotyping, I associate Goldenthal with big, bombastic scores.

[Sharkissimo 1,973]

Goldenthal like his partner/kindred spirit Julie Taylmor are both drawn to the outlandish, garish and camp--Grand Guignol-style theatre with a post-modern spin (they'd do wonderful job with one of the Jacobean tragedies, like Webster's Duchess of Malfi or The White Devil). It's why his sensibilities were so well matched with Joel Schumacher's vision of Batman. Goldenthal and Taymor's both also have backgrounds in performance (rock, mime, Indonese masked drama and Javanese shadow puppetry) which strongly inform their work.

[Kasey Kockroach 2,344]

Came across this at Half Price Books and have been loving it. I'm only a casual fan of Star Wars music (Jaws and Jurassic Park make me the happiest when it comes to the Williams classics), so this album of compiled highlights is ideal for me. 

[Disco Stu 15,495]

It's a classic album, for me.

[Koray Savas 2,251]

9 hours ago, Stefancos said:

 

Very good score, though I would not put it on the level of Jerry's. Mainly because it lacks it's subtlety. 

Goldenthal curiously lacks restraint here, possibly because of Fincher.

Was Fincher involved with the score at all? My understanding is that he had nothing to do with post-production and quit the project after filming wrapped. 

[Incanus 5,715]

Air Force One by Jerry Goldsmith: The Hijacking is still one badass action track.

[#SnowyVernalSpringsEternal 10,265]

Damn right!

[publicist 4,643]

16 hours ago, Disco Stu said:

What's the missing word here?

 

Corigliano?

[Incanus 5,715]

6 minutes ago, publicist said:

 

Corigliano?

 

20 hours ago, publicist said:

As one of the first composers working for mainstream film, Goldenthal extends the palette of modernism beyond the academic realm.

As one of the first Corigliano composers working for mainstream film?

[publicist 4,643]

As creator of 'Altered States'.

[Dixon Hill 4,234]

Nothing but brainy nonsense, from either of them!  Stick to the concert hall, snobs!

[publicist 4,643]

Learn real film music!

 

 

[#SnowyVernalSpringsEternal 10,265]

Really Pub, I figured you had higher standards than that!

[publicist 4,643]

If commercial cross-franchises beyond expiration date are involved i can't help it.

[Unlucky Bastard 7,782]

That was a Kloser score I thought was okay.

[#SnowyVernalSpringsEternal 10,265]

Better than ID4: Resurgence?

[Unlucky Bastard 7,782]

What's that?

[#SnowyVernalSpringsEternal 10,265]

Last years highly anticipated sequel 

[crocodile 8,017]

Oh has that come out yet?

 

Karol

[BloodBoal 7,538]

[Incanus 5,715]

I shall give this a listen tonight BB. Hisaishi is a cool guy.

[#SnowyVernalSpringsEternal 10,265]

Why wasn't my name linked?

[BloodBoal 7,538]

[#SnowyVernalSpringsEternal 10,265]

It's Stiff! Don't you know your Stiff?

[BloodBoal 7,538]

[#SnowyVernalSpringsEternal 10,265]

[Disco Stu 15,495]

2 hours ago, BloodBoal said:

Just listened to this absolutely stunning suite from Hisaishi's The Tale Of The Princess Kaguya.

 

 

Thanks BB!  I must admit this score got lost in the shuffle for me a few years back, especially coming hot on the heels of The Wind Rises, which I think remains one of Hisaishi's most stunningly beautiful works.  This suite should be a good entry point to the score for me.

 

I really enjoyed it on first listen!  It's not an immediate crowd-pleaser like The Wind Rises, but certainly is rewarding.  His orchestral arrangements are always so bright, almost painterly, but never overly simplistic like some animated scores; very reflective of the Ghibli films he scores.  I just love his style so much, even when the melodies haven't taken hold of me.

[crocodile 8,017]

 Michael Collins by Elliot Goldenthal. Yummy.

 

Karol

[KK 3,307]

8 hours ago, BloodBoal said:

Just listened to this absolutely stunning suite from Hisaishi's The Tale Of The Princess Kaguya.

 

 

Would recommend people like @Disco Stu, @crocodile, @Marian Schedenig, @mrbellamy, @nightscape94 and @Incanus to check that one out. Heck, even @KK (who I know isn't a huge fan of the guy) should still give it a listen.

 

I like it! I'm usually not the biggest fan of Hisaishi (he's usually more schmaltzy than I like), despite the fact that I know he's quite talented. But I enjoyed that suite.