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

[Koray Savas 2,251]

The Proposition by Nick Cave and Warren Ellis

Anyone who hasn't listened to these guys yet is missing out on the greatest composer duo to grace the silver screen.

The Road almost put me to sleep and I never even finished the album. Perhaps The Proposition might be better.

While I like the score, it is their weakest one to date. Or perhaps Lawless is, but that barely had any orchestral score.

The Proposition and The Assassination Of Jesse James By The Coward Robert Ford are both breathtaking works. You probably won't like the former much, but the latter has some more traditional tendencies that you might enjoy. Minimalist western scores, a rare combo.

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[Matt C 452]

I'm listening to the main titles of Beetle Juice. Such an infectiously zany piece... I wish Elfman would revisit that side more often.

[publicist 4,643]

Horner, FOR GREATER GLORY

As the soundclips promised already, Horner is again sucking the last drips of musical fluid from the lifeless body that was once a promising career - at this point, with his reputation down the drain since 20 years it goes without saying that FOR GREATER GLORY is not to be taken seriously, but for fans of BIG operatic filmmusic in heavy adagio style with lots of elegiac Lisbeth Scott laments and musical bible-thumping it will be worth the few bucks.

It's basically the angelic voices of GLORY marching along the TITANIC deck given alternating rousing speeches by William Wallace and Zorro, being chased by greek armies and russian revolutionaries, the pink bioluminescence of AVATAR softly illuminating the moonlit backgrounds - all served with a wash of 100 lush strings we all can sing along with at this point.

If you, like me, still fancy Horner's ability to construct 10-minute musical pieces to a point, this album has plenty (5 tracks are between 8 and 11 minutes long). So it's strictly a score for people who love this kind of massive tableaus without an ounce of restraint, heavy on kitsch, pathos and last judgment gloom and doom. I must confess that i like it somehow - but it takes more and more energy to block out the multiple-minute stretches taken verbatim from other scores and also, Horner's simple way of building drama by melodramatic string ostinati and 4/4-meter drumbeats has gotten stale 10 years before (the dynamic Horner from the 80's never was more far away).

Mixed bag, but still worth a listen - a recommendation in the inimitable Horner way.

[Jay 37,323]

Sounds about right

[JoeinAR 1,949]

Listening to the 5 disc Ben Hur set, especially the last two cd's. some amazing stuff,

music few composers alive today (not including JW here) could even begin to duplicate.

[Wojo 2,453]

I'm pretty sure KM will invoke Anakin's Dark Deeds and The Flag parade and something from Two Tins and His Little Dog, Too in order to wholeheartedly disagree with you.

[crocodile 7,990]

Listening to the 5 disc Ben Hur set, especially the last two cd's. some amazing stuff,

music few composers alive today (not including JW here) could even begin to duplicate.

I love the LP album on disc 5.

Karol

[Wojo 2,453]

I had to heavily resequence the tracks to make the set iPod friendly. One album for the complete score, one for the alternates, and then three more albums, one for each LP. But the LPs are really the most fascinating part of the set, and I'm glad they were included to beef this up and really distance it from the Rhino set.

[Faleel 5,342]

I put the "long versions" in place of the "film cut" versions in disc 1 and 2 plus the original entr'acte.

disc 3 and 4 has all of the alternates in film order, one after the other.

I mixed the two LP's into one album, the album that has the faster version of "Naval Battle", and the disc 5 Album.

I added "Hail Galba (Pre-recording)" at the end of disc 4, with my stereo edit of Quo Vadis Prelude (here)

[crocodile 7,990]

Yeah, it seems every single one of us needs to come up with his own way of listening to this gargantuan album.

Taras Bulba

Conan the Barbarian

Star Trek VI

First Knight

Die Hard

Dragonslayer

and some bits from The Return of the King - Complete Recordings

Karol

[JoeinAR 1,949]

Listening to the 5 disc Ben Hur set, especially the last two cd's. some amazing stuff,

music few composers alive today (not including JW here) could even begin to duplicate.

I love the LP album on disc 5.

Karol

that's the one, it's heavenly.

[Marian Schedenig 8,179]

I love the original entr'acte.

[Faleel 5,342]

Yes!

[crocodile 7,990]

There is something almost.... Williamsy about those fanfares. You know, in his olympic themes kind of mode.

Karol

[Incanus 5,713]

Gods and Generals by John Frizzell & Randy Edelman: A quite entertaining and pleasant listen of hymn styled and Celtic tinged themes and some rousing Americana from the duo of composers. Nothing ground breaking but a solid effort all-round.

[chuck 154]

Gods and Generals by John Frizzell & Randy Newman: A quite entertaining and pleasant listen of hymn styled and Celtic tinged themes and some rousing Americana from the duo of composers. Nothing ground breaking but a solid effort all-round.

That's Randy Edelman.

[Incanus 5,713]

Yes, sorry so it is. Fixed! I get those two mixed up sometimes. If it had been Randy Newman we would have gotten a funny song about the Civil War on top of the score.

[alicebrallice 134]

hp and the half-blood prince - nicholas hooper

it's actually very good. probably the non-jw hp score I enjoy the most!

In Noctem

[Incanus 5,713]

Frankenweenie by Danny Elfman: You could say this is a score, where Elfman/Burton collaboration stylistics are rolled into one. You have a Batman-esque main motif monster music, which really sounds like inverted opening of the Batman theme, the Edward Scissorhands style family/love theme and lots of organ and cooing choirs, and scary and busy action music, which in the end sounds all familiar from several of the collaborations between these two men but lacks the striking quality of many of them. Only at times the sense of macabre wonder Elfman evokes at best of times shines through, the slightly dark yet beautiful lyricism that is quite magical but those moments are far and between.

[Matt C 452]

Robin Hood (BBC) - Andy Price

Price's underscore for the series really boosts the overall quality of the show. Plenty of thematic motifs sprinkled throughout, anchored by that brassy Korngold-meets-Zimmer theme. It tends to get repetitive within the episodes, but whenever that action heats up, I don't get tired of it. The score is best enjoyed as a suite.

I don't think a TV show since this or the short-lived The Cape had this many orchestra players on a weekly basis. 70 players, that's a testament for the producers willing to stand by the composer's vision.

[Incanus 5,713]

It is a terrific score and Price does a good job in bringing up the class of the show. Shame that there was only 1 album of this music ever released and only from the 1st season. I could certainly listen to more.

[BloodBoal 7,538]

[Marian Schedenig 8,179]

Yes, sorry so it is. Fixed! I get those two mixed up sometimes. If it had been Randy Newman we would have gotten a funny song about the Civil War on top of the score.

And I'd buy it just for that.

[chuck 154]

The General With A Cockeyed Id - Jerry Goldsmith

A zany and zesty march from the maestro comparable to Stripes or even 1941. It even has the Carl Stalling flavor in some parts of the score. I listened to it a few times and it keeps growing on me!!!

The Reincarnation of Peter Proud - Jerry Goldsmith

[Incanus 5,713]

Les Misérables by Basil Poledouris

One of the most beautiful later scores by Poledouris full of both dramatic and delicate melodies, a firm sense of drama and pathos and strong dramatic arc. Sligthly minimalistic use of flowing and swaying repeating progressions bring a sense of fateful inevitability to the music and the main theme is a suitably memorable and striking and Poledouris spins numerous interesting variations on it. The suite format of the album works well in places and not so much in others and you have to wade through a lot of music to reach for that favourite cue if you want to listen only that particular passage and surprisingly most cues have a pause both before and after them so it was not necessary to join most of them together in the first place. But this separates the score into four different sections and paces the musical story arc well so it can be forgiven. Of particular note is the beautiful and delicate harp writing in the 3rd suite Paris, which features superb and gossamer delicate Marius and Cosette love theme.

[KK 3,307]

My favourite Poledouris score. Simply beautiful.

[crocodile 7,990]

Can't wait I'm familiar at all with this music. Sounds good from the description, though,

As for me, today I'm listening to Max Steiner's and James Newton Howard's takes on King Kong. That's my preparation for the next week's arrival of John Barry's version (courtesy of FSM/SAE). Max Steiner's is obviously one of those seminal works that influenced film music forever. It is also very different from his other, more romantic, works. Very moody and dark. I really like those early tracks, especially the Jungle Dance. JNH sometimes hints at that more nostalgic feel (especially in his Kong's theme), but is mostly a modern score, full of emotion. Stylistically eclectic and technically not quite up there, but still lovely.

Karol

[Marian Schedenig 8,179]

My favourite Poledouris score. Simply beautiful.

Certaintly one of his best. I want to see the film again, too.

[Incanus 5,713]

For Greater Glory by James Horner: Same old, same old. Horner in ultra melodramatic orchestral mode with Hispanic colourings and countless classic Horner thematic ideas and progressions from numerous old scores returning like old if tired friends. It is like he treats some of his themes at this point like archetypes of emotions that he walks onto the stage like old character actors, who he wants to play the same role yet again. And yes the Danger motif is played to death. And no holds are barred as Horner writes in the most melodramatic way only he can. This film if judged by the music sounds like an epic without equal with every feeling magnified times 100.

Despite the above caveat the album is very listenable as Horner knows his business and writes long colorful and dramatic tracks. But you have to get over the over familiarity of the material presented if you are going to enjoy it. Horner sure can regurgitate his music like no other. As publicist said on the last page, worth a listen in the inimitable Horner way.

Jane Eyre by John Williams: Gorgeous as ever and contains one of the most beautiful love themes ever written. The Restoration has to be mentioned as a definite highlight, so brilliantly dramatic is the build-up of that religioso melody to that spine tingling finale, where Williams wrings enormous intesity and emotion from the orchestra. Simply brilliant. Makes very you sad that the master tapes are lost to time as I would welcome more music from this score, so beautiful and lyrical it is.

Williams on Williams - The Classic Spielberg Scores by John Williams and BPO: Along with its companion album Spielberg/Williams Collaboration one of the best of JWs Sony re-recordings. Highlights are the selections from Hook and Jurassic Park and Schindler's List. Some odd slow tempo choices for the Lost Boys Chase from Hook and Jim's New Life from Empire of the Sun mar the otherwise precise and well made recording.

[Faleel 5,342]

I liked the Battle for Hollywood arrangment...

[Incanus 5,713]

Yes it is a pretty fun suite of diverse material from the score. I think Williams has a special affinity for the the Rakes of Mallow as he included the lengthy passage of it in there. Of course the film has the riot brawl and what would be better for it than some Irish music.

[Faleel 5,342]

I love how he expanded it with Jawsish music, and BTW what is "Hooray for Hollywood"? apparently its also in the Concert arrangement..

[Matt C 452]

The Journey of Natty Gann - James Horner

The 1980s was very, very good to Horner and ideally his most creative and fruitful era. He neatly captured the era of the period but anchoring it with a timeless yet innocent approach. The scenes with Natty and her father, especially their reunion, couldn't be scored better and work just fine as part of a listening experience. And yes, Elmer Bernstein's original score isn't nearly as good as this.

Now onto more of Bear McCreary's The Cape. You can tell Bear McCreary loved and respected not only Shirley Walker's work but also Elfman and Williams as well. If you haven't heard it yet, you really owe it to yourselves to check it out. This is what a good young composer is truly capable of, and it's time he gets a chance to score a big blockbuster film soon. Just great stuff.

[Incanus 5,713]

I love how he expanded it with Jawsish music, and BTW what is "Hooray for Hollywood"? apparently its also in the Concert arrangement..

It is this tune from a film called Hollywood Hotel, which I think has become rather representation of Hollywood itself. You hear it always at the Oscars at some point, especially in the red carpet section. Williams quotes it briefly in the brass at 4:40 in the suite just before the nod to Jaws.

[publicist 4,643]

BOY ON A DOLPHIN - Hugo Friedhofer, 1957

Best underwater score south of BENEATH THE 12 MILE REEF and JAWS 2. A strong exotic somewhat melancholic greek tune is the thematic basis - and it's got lyrics, too but don't ask (There's a tale that they tell of a dolphin/And a boy made of gold/With the shells and the pearls in the deep/He has lain many years fast asleep). Friedhofer anchors the impressionistic underwater writing which dominate the longest tracks (lots of alluring harps and woodwinds) with greek folklore instruments for the land scenes (with a touch of jewish klezmer music). There's a sacral chorus humming in the background in some tracks and some relaxed street café interpretations of the main theme. There's enough craft packed into even the most fleeting cues underscoring conversations and such that most recent score acquisitions may lower their heads in shame and humbleness.

THE ILLUSTRATED MAN - Jerry Goldsmith, 1968

Goldsmith knee-deep in his lyrical serialism phase for a strange Rod Steiger movie based on a Bradbury short about a drifter which skin illustrations tell unsettling stories; if you have seen the movie, it opens on a bucolic lake in a sunbathed country side where Steiger and Michael Sarrazin go for a swim unbeknownst to each other. Goldsmith adds a siren-like woman's voice singing a dirge-like folk tune and it works like gangbusters in setting a otherworldly tone. This theme reappears in the most surprising guises throughout the score, which ventures into crass experimentation with early electronics (think LOGAN'S RUN) and dissonant or introverted cues for a small ensemble (woodwinds, some strings, whatever fancy strange kitchen utensil came Goldsmith's way that year), built on tiny motivic fragments which are transformed endlessly. It's a hard sell since it's 180° from the robust and traditional writing Goldsmith would adopt in the early 80's, and best enjoyed in the movie, but as showcase for Goldsmith as the only longstanding successful film composer next to Morricone with an unsusual appetite for experimentation and border-tearing, you couldn't do better.

ANGELS IN AMERICA - Thomas Newman, 2003

Again, a showcase score. For grandstanding tv miniseries, Newman goes for the heartstrings as well as for his usual repertoire of inventive and eclectic sounds making this a wonderful introduction to both worlds. The choral grandstanding of some cues points to a religious spectacle, while a rather sweet, folksy theme acts as attractive main theme in the wonderful major/minor way of Newman writing, full of optimistic strings and reflective woodwinds. It gets its big moment in the sun in a brilliant seven-minute finale. Dissonant outburst remind of the serious nature of the play, so all in all, the 73-minute album is THE TN album to have.

[Admiral Holdo 16]

Quantum of Solace

Some badass action licks and great low-key music. I very much like the direction Arnold took here, the orchestrations are less overcooked and the music's more introspective. I also like the Jack White/Alicia Keys song, though I understand why many don't.

[lonzoe 18]

Arnold's score for QOS is underrated, imo.

[Admiral Holdo 16]

This might be premature, since I still have to revisit it, but the whole film's underrated. The action scenes were edited horribly, but otherwise I couldn't see what all the griping was about.

[A24 4,327]

I heard some film music this morning on classical radio and they don't often do this. They played William's E.T. (some terrible Prague-ish cover version) and the wonderful Skies from Desplat's The Tree Of Life.

Alexandre

[Wojo 2,453]

The last time I heard film music on classical radio -- and my city has a very eclectic classical radio station -- was the day Elmer Bernstein died, and they played the theme to The Magnificent Seven before the announcement came. I found the selection of music so surprising that I immediately suspected he had died, and it turned out to be the case.

I was overjoyed last week to happen up on Holst's Chaconne when I was flipping through the radio stations, and they played the remaining movements of his First Suite in Eb for Military Band. Anyone who's ever played a wind instrument in an American high school band should remember how glorious it is to play (along with 2nd in F also).

If it had been Randy Newman we would have gotten a funny song about the Civil War on top of the score.

Axl Rose already gave us that.

[KK 3,307]

I was overjoyed last week to happen up on Holst's Chaconne when I was flipping through the radio stations, and they played the remaining movements of his First Suite in Eb for Military Band. Anyone who's ever played a wind instrument in an American high school band should remember how glorious it is to play (along with 2nd in F also).

Love the Chaconne, makes me smile every time I hear it. Any Holst piece played in high school is tremendous fun to perform. I remember when we first played Jupiter. It was awesome.

[Incanus 5,713]

Anna Karenina by Dario Marianelli: Classy and very coloful score tinged in Slavonic melancholy and period feel.

The Mists of the Avalon by Lee Holdridge: Beautiful Celtic flavoured fantasy score from Holdridge.

The Ghost Writer by Alexandre Desplat: One of Desplat's most intelligent and entertaining scores in the recent years.

[Joe Brausam 214]

Yes it is a pretty fun suite of diverse material from the score. I think Williams has a special affinity for the the Rakes of Mallow as he included the lengthy passage of it in there. Of course the film has the riot brawl and what would be better for it than some Irish music.

It's almost certainly a throwback to the big fight scene in John Ford's film The Quiet Man, where Victor Young used The Rakes of Mallow to score the fight and the build up to it.

[Incanus 5,713]

Indeed it is. I remember JW saying that he likes that particular film very much.

[JoeinAR 1,949]

JAWS

[Joe Brausam 214]

It really is a great film!

[Jay 37,323]

James Horner - Avatar

I listened to the OST, since I recently picked it up for cheap and I like to listen to all my CDs in an actual CD player at least once. I dunno what it is about this score but I just like it alot. Horner is going through all his usual tricks yet for some reason I don't get bored or annoyed with them. Everything comes together nicely in this score.

Danny Elfman - Alice In Wonderland

Like Avatar I recently got the OST for cheap and wanted to listen to the physical disc. I dunno what it is about this score but I just cannot get into it. I enjoy the theme tracks just fine but absolutely nothing else stands out to me at all. This is probably my 3rd or 4th listen and just nothing grabs me. I won't be listening again until I finally see the film.

David Arnold - Casino Royale

Boy has my opinion of this score changed in recent years! I never really got into it for years, then recently I think when reading Stefan's reviews of the film I started listening again and now I think it is one of Arnold's best. I recently rewatched the film too so with this listen (of the OST) I really knew what scenes everything was going for. When watching the film I also really noticed how effectively Vesper's Theme is used. Looking forward to listening to QOS OST again once I re-watch the film next week

[Koray Savas 2,251]

Alpha & Omega by Chris Bacon

Your generic orchestral score. Maybe those that really hate on modern scoring would enjoy this, but there was nothing interesting going on melodically or thematically for me to be engaged.

LOST by Michael Giacchino

All the talk in the TV thread got me into the mood. Now I want to write about it, but it's not yet time on my Top 10 Composers list.

[Matt C 452]

The Duchess - Rachel Portman

It's short, beautiful, and doesn't wear out its welcome. Portman's string layering of the theme to capture the period flavor and repression works quite beautifully in "Mistake of Your Life" and "Gee and Grey Make Love", even if Portman goes for the more melodramatic option than something more solemn. She does tend to repeat the main theme over and over, but it is quite a bouncy and tuneful one.

[BloodBoal 7,538]