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


Ollie

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Not quite. You could basically paste it into something like Rachmaninoff's VESPERS, and nobody would know the difference. Or the random Catholic mass.

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1 hour ago, Thor said:

A bit. It has some of those same chromatic movements as in his other religioso moments. But it's by no means a cue you play to someone to let them know what "The Rozsa Sound" is.

 

Perhaps. But the canonic/phrase repetition stuff and some harmonic tricks are very Rozsa. I'm pretty sure I'd recognise it as one of his even if I didn't know and heard it for the first time.

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13 hours ago, Jurassic Shark said:

 

Then I obviously should give it another try. Which parts do you recommend in order to turn me?

 

Gosh, wouldn't really know. I just press "play" and enjoy the whole thing from start to finish.

 

It's a relatively recent love. It was after a live performance in the Oslo Cathedral some 6-7 years ago that I was absolutely floored afterwards. I eventually picked up a digital version as part of this release.

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29 minutes ago, Thor said:

 

Gosh, wouldn't really know. I just press "play" and enjoy the whole thing from start to finish.

 

It's a relatively recent love. It was after a live performance in the Oslo Cathedral some 6-7 years ago that I was absolutely floored afterwards. I eventually picked up a digital version as part of this release.

 

I've got that box, I just have to unpack it after moving my CD collection...

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This has all the makings of a good, fluffy Christmas mood album, but it's a little too action/suspense-heavy at times to work for that purpose. I tend to go for THE POLAR EXPRESS instead (with its perfect balance of score and songs). "God Bless Us Everyone" is wonderfully pompous.

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14 hours ago, Marian Schedenig said:

Perhaps. But the canonic/phrase repetition stuff and some harmonic tricks are very Rozsa. I'm pretty sure I'd recognise it as one of his even if I didn't know and heard it for the first time.

 

Whatever it was, especially his MGM historical phase brought us some of the most timeless film music themes ever, even if the Giacchino crowd today probably knows next to nothing about i. e. the psalm-turned-main theme of 'Plymouth Adventure', or the baroque romance of 'Diane' or the folksong lilt of 'Moonfleet' or 'Ivanhoe'. Probably to do with what André Previn called 'unnecessary amount of research' in historical libraries, but it pays off. 

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Out of seasonal responsibility: Goldsmith's only Joel Silver score, and the testosterone shows. Go, drum machines! (it might be Goldsmith's most Zimmer-y venture offering his own take on brash power anthems)

Just now, Jurassic Shark said:

In which context did he say that?

 

In his book, 'No Minor Chords'. Still the most funny read for Golden Age fans. The stories often revolve around a clueless management vs. dedicated artists, i. e. Rózsa, who would out of sheer musical dedication studied many historical scripts about i. e. ancient or medieval musical forms...only to become background to a wholly unbelievable Lana Turner playing a french courtesan.

 

The story behind the title remains a favourite: mogul Irving Thalberg is in the MGM recording studio, his eyes signaling displeasure. What's that i just heard?`he asks the composer. The composer, guessing, 'You mean the minor chord?' - 'Right' says Thalberg, 'from this day on, no MGM picture will have a minor chord in its music, ever.' (the verdict was placed as a plate in the music department, where Previn saw it and became delighted by it).

 

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3 minutes ago, AC1 said:

The orchestra in this recording sounds a little far away but maybe it's because they didn't want it to overpower Yo-Yo Ma's solo cello.

One of my favourite Williams, really hope they'll expand it for its 25th anniversary. Ma's solo is perfect.

 

Today I made a Transformers marathon:

 

Transformers by Steve Jablonsky

Truly epic, with lots of catchy themes, my second favourite of the saga.

 

Transformers: Revenge of the Fallen by Steve Jablonsky

Less original than the first with a bit too much of Zimmer's choir in the last part of the album, but it's still super epic and fun.

 

Transformers: Dark of the Moon by Steve Jablonsky

In the vein of the first one, with one of the most epic title ever composed: It's Our Fight (even though it's temped on Mind Heist by Zack Hemsey) is a brillant action cue.

 

Transformers: Age of Extinction by Steve Jablonsky

Perhaps the most feeble of the franchise, it's still has the magnificient Dinobot Charge cue, sadly some of the best titles aren't on the album but only on the EP

 

Transformers: The Last Knight by Steve Jablonsky

My personnal favourite Jablonsky, it's epic, fun and explosives. Love it.

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9 hours ago, Naïve Old Fart said:

Indeed.

Which THE LION IN WINTER, Bes? The O.S.T., or the rerecording?

 

 The Original, because I found the re-recording don't quite match the "medieval" taste of the original recording.

 

My last post was about three dramas that feature at least one scene at Christmas... now, here's 3 "action" choices for Christmas!

 

JH - The Amazing Spider-Man

DE - Hulk

JB - On Her Majesty's Secret Service

 

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Lake Placid (John Ottman) - A fun comedy horror score that pairs well with his effort for Eight Legged Freaks. Perhaps a bit more serious and less memorable than the latter (which channels Jerry in Joe Dante mode to some extent), but tuneful and enjoyable none the less.

 

Escape from the Dark (Ron Goodwin) - As usual with Ron Goodwin, this is led by a super memorable main theme and great performance by the Grimethorpe Colliery Band. Perhaps the only slight downside being that brass only writing can be a little heavy for moments where a little delicacy might have been preferable. Having said that, Goodwin's writing is surprisingly idiomatic and effective given the constraints of brass only. It also has the most impressively convoluted credit on the album cover... "The Grimethorpe Colliery Band conducted by Ron Goodwin play his music composed for Walt Disney Productions' Escape from the Dark". Makes Ennio's contractually agreed "composed, arranged and conducted by" credit look like a model of brevity.

 

The 33 (James Horner) - One of his final scores (released posthumously if I remember correctly); more interesting than I remembered. For some reason I thought it was only a small ensemble but it does contain some typically well wrought orchestral passages, together with a lovely theme on guitar (only marred slightly by being quite similar to the love theme from Zorro).

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15 minutes ago, Tom Guernsey said:

The 33 (James Horner) - One of his final scores (released posthumously if I remember correctly); more interesting than I remembered. For some reason I thought it was only a small ensemble but it does contain some typically well wrought orchestral passages, together with a lovely theme on guitar (only marred slightly by being quite similar to the love theme from Zorro).

 

Certainly a twilight score, like many of his later/last works. It's not just all the re-use of older ideas, it feels like he was fading away even before the tragic accident. 

30 minutes ago, Jurassic Shark said:

 

Who would've thought? I checked FSM because it seemed the only sensible choice. Rhino means it's lost to the ages, though.

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2 hours ago, publicist said:

Who would've thought? I checked FSM because it seemed the only sensible choice. Rhino means it's lost to the ages, though.

 

I hadn't heard of this expansion either before stumbling over a lone copy on Amazon. It's a limited edition numbered by hand!

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Not your average CHRISTMAS CAROL, this wonderful Alex Baranowski score from last year combines synths, vocals and orchestral elements into broad, moody pieces. As far away from the Silvestris and Waxmans as you can get, but not in a negative way. One of my favourite scores from last year, alongside Baranowski's own THE WINDERMERE CHILDREN (what a breakthrough year he had in 2020).

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Wolf Totem by James Horner

A beautiful score. Curiousy I don't recall any themes now I've finished it but listening to it was such an soothing moment...

 

Wolf by Ennio Morricone

Another wolfie score, more dark and dramatic but a really nice one still.

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Love this one, it’s gorgeous. Young in quiet drama mode is something I want to hear more of. This, Murder In The First, The Hurricane and Something The Lord Made all demonstrate his ability in this area.

 

However, I would like to know the circumstances surrounding its rejection and Deborah Lurie’s subsequent hiring. I understand the film sat on a shelf for a good while before its release but Lurie’s replacement score - competent but ultimately inferior - doesn’t exactly explore new ground. Tonally, they are both very similar… so why replace?

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