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


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The Adventures of Tintin and War Horse. 2011 was an excellent year for John Williams fans. Both albums are hugely enjoyable.   Karol

LOTR: The Fellowship of the Ring (CR) by Howard Shore   Damn, is this shit good. I've waxed enough poetic about these scores, but this time, I'm especially struck by how FOTR works as a mood

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John Debney, Joel McNeely, and Andrew Cottee - The Orville (Season 2 OST)

 

I love this!  My first listen since the week it came out.  I think these album might flow better and be more exciting than the Season 1 OST.  The scores to the Kaylon 2-parter in the middle are the amazing highlight

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1 hour ago, The Illustrious Jerry said:

Joined @Holko and @SteveMc for another successful Discord listening session, this time to take in a shortened program of Dimitri Tiomkin's superb score for The Fall of the Roman Empire (see playlist below). 

 

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Holko noted that it works very well as an orchestral suite in and of itself, with Tiomkin dipping into several classical territories at times, from Russian dances and Stravinsky-inspired outbursts to some lovely pastoral passages and a hint of Korngoldian wistfulness. A solid collection of super strong themes are on full display in this selection, with the Prelude, Pax Romana (ah, the time when films allowed for a single idea to be gleefully played around with for five minutes without interruption), Lucilla's Sacrifice (simply gorgeous!), The Roman Forum... (what a way to end Act I!), the Intermission (:lovethis:), Addio (lovely choral piece), Timonides' Triumph... (bunch of great themes here!), and The Fall of Rome being some clear highlights.

 

Certainly my favourite Tiomkin, and Steve and Holk were very much hooked! Thanks for joining, fellas!

 

Some wonderful passages in the score, engaging thematic material and some keen orchestrations.  Intermission reminded me of 70s JW.  Other parts exemplify a very mature, full-bodied, Golden Age sound with some espirit of Bach, Mussorgsky and other influences.  I'm impressed with how Tiomkin was able to craft his own "Roman" sound distinct from Rozsa's grave historicity and spirituality and Newman's more emotion based approach.  

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12 minutes ago, Disco Stu said:

Perhaps I'm just too close to the perfect movie, but for me Fargo is certainly in the category of Burwell's best work.

 

Certainly is.

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1 minute ago, May the Force be with You said:

Well I do find the movie perfect but I largely prefer Hail, Caesar!, True Grit or Three Billboards for exemple

 

All fine scores!  I love Miller's Crossing and Hudsucker Proxy a lot too.  Much like "Leaning on the Everlasting Arms" is the key borrowed theme that defines True Grit, Hudsucker is defined by Khatchaturian's glorious Spartacus Adagio.

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Just now, Disco Stu said:

All fine scores!  I love Miller's Crossing and Hudsucker Proxy a lot too.  Much like "Leaning on the Everlasting Arms" is the key borrowed theme that defines True Grit, Hudsucker is defined by Khatchaturian's glorious Spartacus Adagio.

I haven't listen to Miller's Crossing I have to admit as I'm still waiting to see the movie first (which I should do soon), never heard of Hudsucker Proxy but I'll definitly will check it out, giving your description it can only be good!

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7 minutes ago, May the Force be with You said:

never heard of Hudsucker Proxy but I'll definitly will check it out, giving your description it can only be good!

 

It's a seriously underrated movie, one of my personal favorite Coens movies.  The score is for sure among Burwell's best work and really it's only bookended by the Khatchaturian piece.

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25 minutes ago, Disco Stu said:

It's a seriously underrated movie, one of my personal favorite Coens movies.  The score is for sure among Burwell's best work and really it's only bookended by the Khatchaturian piece.

 

The film is one of my personal favourites and brilliant in any number of ways. I'll never understand why it's not highly regarded. It's like the feel good fairy tale twin of Gilliam's Brazil. The score fits it perfectly, although I never picked it up because so much of it is based on Khatchaturian. But I probably should, and I guess I would discover there's more to it than is apparent in the context of the film.

 

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A grandfatherly Bond score in tempo, but i still can't help but love Barry's portentous eminence and sometimes even ethereal elevation he gets out of a bad Sly 90's potboiler. Case-in-point: Ray meets May at her Funeral, with one of these, flowing wordless choruses harking back to 'The Last Valley' (one of his masterpieces).

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1 hour ago, Jurassic Shark said:

You should send him a copy!

hehe

Fences (FYC Album).jpg

Frankly not really interesting. I don't really know Zarvos to have great leitmotifs but usually the atmosphere of his score are quite okay here it was pretty sloppy, it made me want to sleep after five minutes

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Nostromo (Ennio Morricone) - is there a more gorgeous Morricone/Edda dell’Orso theme than The Silver of the Mine?! Ok so there’s Once Upon a Time in the West at the least and several others in contention. But for my money this is the most beautiful. A gorgeous melody, wonderfully arranged, those little quirky outbursts from the orchestra only enhance (through the way it contrasts with) the enchanting beauty of the main melody. The rest of the score is no slouch, the Tropical Variation is another highlight. Not sure I’ve ever seen it as a top Morricone recommendation but it really ought to be. The only slight negative is that the album is, rather unnecessarily, a

double disc set. If the (identical) reprises is the two aforementioned tracks were dropped it would easily clock in at less than 80 minutes. A strange production choice. But still worth seeking out if you love Morricone. 

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14 minutes ago, Tom Guernsey said:

Nostromo (Ennio Morricone) - is there a more gorgeous Morricone/Edda dell’Orso theme than The Silver of the Mine?! Ok so there’s Once Upon a Time in the West at the least and several others in contention. But for my money this is the most beautiful. A gorgeous melody, wonderfully arranged, those little quirky outbursts from the orchestra only enhance (through the way it contrasts with) the enchanting beauty of the main melody. The rest of the score is no slouch, the Tropical Variation is another highlight. Not sure I’ve ever seen it as a top Morricone recommendation but it really ought to be. The only slight negative is that the album is, rather unnecessarily, a

double disc set. If the (identical) reprises is the two aforementioned tracks were dropped it would easily clock in at less than 80 minutes. A strange production choice. But still worth seeking out if you love Morricone. 

Thanks for the suggestion.

This title just makes me wonder how an Alien movie scored by Morricone would have sounds like, it could have been pretty good I think

 

 

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5 minutes ago, May the Force be with You said:

Thanks for the suggestion.

This title just makes me wonder how an Alien movie scored by Morricone would have sounds like, it could have been pretty good I think

 

 

Hmm. Like The Thing perhaps? I’m sure there are lots of other scary scores that Morricone did that would give a good idea.

 

Although I’m not sure what Nostromo is close to. Kinda hints of the Mission with the panpipes but only in a general sense. It’s more closer relative to Jerry’s score to Medicine Man to be honest.

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It's a score that I need to have more time with, since I definitely was clouded by my expectations from listening to the main theme so much (which isn't greatly indicative of how much of the music sounds like). There's definitely moments and cues that I admire, but it's hard for me to listen to a score that (seemingly) isn't that thematic, and focused much more on the kind of mood it was aiming for. After Molly Maguires, I'm definitely aiming to acquaint myself with Lifeforce more soon.

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6 minutes ago, HunterTech said:

There's definitely moments and cues that I admire, but it's hard for me to listen to a score that (seemingly) wasn't that thematic, and focused much more in the kind of mood it was aiming for.

 

Fair, the theme itself doesn't get too much obvious airtime until the climax. The general timbres and harmonies are what I define as the thematic material in this one, not much in terms of motivic melodic identification. A good number of melodic moments, but not used in a motivic way.

 

But I want to pour this score into a bathtub and dunk myself in its mood and atmosphere...where's my ladle?

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One of my favourite scores last year - and a great follow-up to her equally gorgeous MARY SHELLEY. Warner is so talented and stunningly beautiful, I want to marry her. That lucky, lucky son-of-a-bitch Jamie Dorman.

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:music: Knowing (The Deluxe Edition) by Beltrami, Trumpp and Sanders. It might be bit too overlong in its complete form but there is enough new material to justify this. Plus the development of some thematic ideas is clearer as well. I hope Gods of Egypt will follow soon.

 

Karol - slowly working through a massive listening backlog

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