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


Ollie

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Over long stretches it's a soothing, vaguely medieval affair for this 17th century drama about a guy who marries the beautiful young Annabella, but unbeknownst to him, she is pregnant as a result of an incestuous relationship with her brother. His scheming servant resorts to murder (and worse) to ensure that the whole affair ends in a heart rending tragedy. In 'Frate Bonaventura', Morricone even sets the Dies irae in a relaxing mood. It's a great example of an unknown movie where the composer is fully invested, with the full knowledge that only 20 people will ever see it. 

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36 minutes ago, Disco Stu said:

Saving Private Ryan - chronological playlist using the LLL release

 

This is very much a score for the hottest part of the Summer for me, it gets a lot of play every July.  I guess because that's when the film originally came out.

It took a while for me to start appreciating this particular Williams score but now I love it. While Hymn to the Fallen might be the standout track at first glance, the long flowing main theme first heard Omaha Beach is simply gorgeous. The soloists all add immensely to this score as well.

 

Seven Years in Tibet by John Williams: I actually edited a chronological version of the album recently but went back to the OST arrangement as it really works wonderfully as a listening experience. Another 90's Williams score I find myself going back to more and more. 

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1 hour ago, Incanus said:

 

 

Seven Years in Tibet by John Williams: I actually edited a chronological version of the album recently but went back to the OST arrangement as it really works wonderfully as a listening experience. Another 90's Williams score I find myself going back to more and more. 

 

 

It's also one of my favorites. I too vastly favor the OST arrangement. The score is so badly treated in the movie anyway that it's probably best just to ignore what it was written for

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1 hour ago, Incanus said:

It took a while for me to start appreciating this particular Williams score but now I love it. While Hymn to the Fallen might be the standout track at first glance, the long flowing main theme first heard Omaha Beach is simply gorgeous. The soloists all add immensely to this score as well.

 

My favorite track is "Revisiting Normandy".  The gorgeous mournful nobility giving way to the uncertain dissonance.  I think I actually prefer the theme of that cue to Hymn to the Fallen, I was so happy when David Newman performed it at Tanglewood last year.

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Star Wars and Conan the Barbarian. Both excellent scores that function perfectly as standalone symphonic works that not only support the films but also seem to tap into our collective unconscious and evoke archetypes buried deeply within our culture.

 

Karol - who was also listening to Sibelius' first last night

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5 hours ago, Disco Stu said:

Saving Private Ryan - chronological playlist using the LLL release

 

This is very much a score for the hottest part of the Summer for me, it gets a lot of play every July.  I guess because that's when the film originally came out.

Agreed, though I can also watch it around December too

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I have yet to delve into pub's reccomendation list (an adventure for the coming week, most certainly), but I was sure to honor the passing of a true legend these past days with a couple new discoveries and a pair of old favourites. Rest in peace, Ennio. :crymore:

 

Citta violenta by Ennio Morricone

Il clan de siciliani by Ennio Morricone

The Mission by Ennio Morricone

Two Mules for Sister Sara by Ennio Morricone

 

Jane Eyre by Dario Marianelli

This might just be one of my favourites of the decade, Marianelli being one of my favourite film composers too!

Suite for Cello & Orchestra from Memoirs of a Geisha by John Williams

Oboe Concerto by John Williams

The Eiger Sanction by John Williams

Paddington 2 by Dario Marianelli

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I've listened to Williams' Cello Concerto and Bassoon Concerto. Since we're probably only getting concertos from him from now on, then I need to listen to and study his classical works. Any recommendations?

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5 hours ago, SteveMc said:

Any specific thoughts on that one?

I find it one of his loveliest concert works. Especially the second movemement Pastorale is simply gorgeous with long lyrical passages for oboe. 

 

4 hours ago, Edmilson said:

I've listened to Williams' Cello Concerto and Bassoon Concerto. Since we're probably only getting concertos from him from now on, then I need to listen to and study his classical works. Any recommendations?

His violin concerto, Treesong (for violin and orchestra), trumpet concerto, the above mentioned oboe concerto and horn concerto first come to mind.

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The Black Dahlia by Mark Isham: While wearing its film noir influences on its sleeve (especially Goldsmith's Chinatown and L.A. Confidential) this is a wonderful throwback score in style and substance with a combination of those swooning romantic 1950's yearning love themes with a jazzy tinge, hard nervously angled rhythms to depict both suspense and violence and darkly smoky cues for the necessary film noir thriller mystery feel. At the director De Palma's insistence Isham used trumpet (which the composer plays himself here) as the central instrument to denote both the lone hero (in this case two) and as the major voice of the whole film that adds a touch of jazzy panache to the whole thing that feels just pitch perfect, whether the instrument is singing love tunes or sounding regret, tragedy or lonely grim heroism. Highly recommended. 

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49 minutes ago, Incanus said:

The Black Dahlia by Mark Isham: While wearing its film noir influences on its sleeve (especially Goldsmith's Chinatown and L.A. Confidential) this is a wonderful throwback score in style and substance with a combination of those swooning romantic 1950's yearning love themes with a jazzy tinge, hard nervously angled rhythms to depict both suspense and violence and darkly smoky cues for the necessary film noir thriller mystery feel. At the director De Palma's insistence Isham used trumpet (which the composer plays himself here) as the central instrument to denote both the lone hero (in this case two) and as the major voice of the whole film that adds a touch of jazzy panache to the whole thing that feels just pitch perfect, whether the instrument is singing love tunes or sounding regret, tragedy or lonely grim heroism. Highly recommended. 

This score is so good that I almost forgive Isham his Scientology lunacy. 😉

 

:music: Cutthroat Island

 

Karol

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4 hours ago, Jurassic Shark said:

 

Which release?

LLL. Although I do like the OST too.

 

:music: Star Wars: The Rise of Skywalker 

 

Karol

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7 hours ago, crocodile said:

This score is so good that I almost forgive Isham his Scientology lunacy. 😉

 

 

Really? I didn't know about this aspect of his life. So, is he a crazy Scientologist John Travolta style?

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Pasolini - un delitto italiano by Ennio Morricone

A much more appropriate score to honor by than my earlier choices, bearing a more somber and pensive approach spearheaded by lush string writing and poignant lyricism. 

 

Othello Symphony by Elliot Goldenthal 

This is the stuff!

 

Greyhound by Blake Neely

Skip! 

 

Star Trek IV: The Voyage Home by Leonard Rosenman

I'd be curious to hear the general opinion on this score, as I thought it was quite fun, certainly different than it's three predecessors and obviously more accommodating of the "new direction" the series went with a feet-up ensemble comedy approach that, still, had a lot heart. The score reflects that to a fault really, it's lighthearted but still grounded and dramatic when it needs to be. Aces as far as I'm concerned, adequate listening for this past Sunday (I rarely go for anything too heavy on the weekends unless it's something big). 

 

EDIT: I see there's a thread discussing this score already. Appears as though a few folks have a strong opposition to it, but most generally enjoy it or at least find it harmless. 

 

Star Trek II: The Wrath of Khan by James Horner

Star Trek III: The Search for Spock by James Horner

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1 hour ago, The Illustrious Jerry said:

Star Trek IV: The Voyage Home by Leonard Rosenman

I'd be curious to hear the general opinion on this score,

 

As long as I can remember, the general opinion on the score has been considerably less good than the score itself.

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Superman III (1983) Ken Thorne

 

I still find this a fairly underrated entry in the Supes music canon. The more lighthearted focus gives it a much more distinct character than II, since Thorne was allowed to do his own thing this time around. Its a nice and breezy listen, never overstaying its welcome. The villain material is admittedly pretty uninspired, but there are moments where it gets to work in a more aggressive form. My only real gripe is that the love theme ought to have been used more, since I do find it quite lovely. I suppose that's more the fault of the film on those last two points. It probably continues to pale compared to the likes of IV and Returns, but it is an rather admirable sequel score at the end of the day.

 

Also, does anyone find the mix leans a bit to the left channel? It's something I noticed with the 2 Thorne scores. I guess that's the nature of how the three channel mix was preserved.

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Agora by Dario Marianelli

 

Thirteen Days by Trevor Jones

 

Legends of the Fall (Intrada) by James Horner

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Ghost of Tsushima by Ilan Eshkeri and Shigeru Umebeyashi

 

Skip the Eshkeri stuff and go straight to the Umebeyashi suites. The former is just noisy ostinati with some token ethnic accents. Umebeyashi's suites at least have some more craft and character to them, even if it's missing a strong thematic or musical stamp to it. A lot of the elegiac material will bring to mind the old Zimmer anthems of The Last Samurai days, but without the same rousing effect. Pleasant enough, but disappointing given the hype and budget around this game.

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What was it lately?

Bram Stoker's Dracula

Ben-Hur (Tadlow)

Far and Away

Ori and the Blind Forest

Schindler's List

Conquest of the Planet of the Apes

Two Mules for Sister Sara (OST)

The Fellowship of the Ring

The BFG

Book Thief

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Yeah. Any Rosenman is an acquired taste, to say the least. Scott's score is a little unsure of itself, at times, and the use of THE SEARCH CONTINUES, at the end of the film, is a little jarring in its abrupt change of tone. Still, it's a decent enough score. It doesn't have the "out thereness" of Rosenman, the whimsy of ESCAPE..., or the jaw-dropping complexity of PLANET..., but its a nifty piece of work.

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Soul of the Ultimate Nation by Howard Shore: While this video game score is nowhere near as impactful as the Lord of the Rings scores as a listening experience because of the lack of any prominent themes, Shore manages to write some very interesting and even at times catchy music for a large symphony orchestra and chorus. As with quite a few of such video game scores, it is rather more episodic than leitmotific in nature, with each piece more of a standalone musical statement with some subtle traces of what you could call "main theme" running through the whole work. But despite this the writing itself is fine and the individual melodies and moods vary in a satisfying way throughout the album and Shore even manages to integrate an unusual solo instrument, the theremin, into the whole without it feeling too forced and adding a unique colour into the mix.

 

The music never quite rises to the Lord of the Rings level (which is the obvious comparison since the game developers clearly wanted the composer to model his music after that specific sound) but there are many impressive tracks here, with the usual accomplished writing for the choruses from low end brooding male chorus chanting (Empire Geist) to the serenely soothing female ensembles (Sanctuary of the Ether, An Epitaph). One thing I felt that the album lacks is a clear dramatic arc but in this day and age this can be quickly fixed by a personal playlist. In such a form this score is in a steady rotation on my playlists these days alongside Shore's more famous works.

 

The Five Sacred Trees by John Williams: Still one of my favourite Williams concertos. Williams really employs the bassoon's capabilities from its high to low register in interesting ways but  my favourite passages have that lilting quite Celtic singing quality to them. It is difficult to choose a favourite movement but the 3rd one Eó Rossa with its delicate bassoon and harp duet has always been close to my heart, the music evoking to me a lone bard reciting his story from the ancient times with harp in hand, the bassoon becoming the soliloquizing voice of the storyteller leading the listener into the times past. Also the 5th and final movement, Dathi has perhaps the loveliest lyrical "singing" passages of the whole work and I adore the misty mysterious ending of the work. I remember that this is one of the works that really made me appreciate the colours and capabilities of the bassoon and made me take notice of the instrument in Williams' and other composers' works.

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Sky Captain and the World of Tomorrow

Indiana Jones and the Last Crusade

Indiana Jones and the Kingdom of the Crystal Skull

Star Wars: The Rise of Skywalker

E.T. the Extra-Terrestrial

Minority Report

 

Karol

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On 7/11/2020 at 9:18 AM, Incanus said:

It took a while for me to start appreciating this particular Williams score but now I love it. While Hymn to the Fallen might be the standout track at first glance, the long flowing main theme first heard Omaha Beach is simply gorgeous. The soloists all add immensely to this score as well.

 

Seven Years in Tibet by John Williams: I actually edited a chronological version of the album recently but went back to the OST arrangement as it really works wonderfully as a listening experience. Another 90's Williams score I find myself going back to more and more. 

 

I can't agree more. Seven Years in Tibet was one of my early John Williams scores. I still think the B section of the main theme is one of the most shockingly gorgeous lines he has ever written. When I heard the B theme to Solo function in a similar way, I was grinning. One of his most-under-rated scores, Tibet.

 

On 7/13/2020 at 9:55 AM, Jurassic Shark said:

Longer tracks.

 

This. I am not thrilled to learn that long tracks are going to be split up now due to fees of some kind. Is it too much to hope for a track just simply called The Ultimate War?

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On 7/13/2020 at 4:25 PM, Edmilson said:

 

Really? I didn't know about this aspect of his life. So, is he a crazy Scientologist John Travolta style?

 

Aren't they all crazy?

 

On a different note, this score by @Marcus keeps growing on me.

 

https://open.spotify.com/album/3Ogf6c1N6FBIa5vS5fjDew?si=epywI0zpQh6fH5fpx0qHJw

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8 hours ago, Holko said:

Lawrence of Arabia (Tadlow) with @The Illustrious Jerry Fantastic.

Agreed, and this recording is fantastic, as Holko had mentioned. Tadlow is able to get the best out of the City of Prague I think, based on both this album and other re-recordings I've skimmed through recently.

 

On this listen, my first of the score in full form, I was really paying attention to the careful approach with the many themes, notably the main Desert theme. The complete score presentation is a testament to just how well spaced out each statement is. As Holko noted at the time, there is a brief period in the first few tracks where we almost -almost- go overboard on the Desert, but by the time we hear it again we've been through enough, say, atmospheric-based music that it's return feels completely warranted and all the more grand. And the athematic mood-setting cues had far more substance than my memory serves, aptly portraying that feeling on an unrelenting sun beating down, of sand blowing in ones face, etc. At one point I even said to Holko, "This is the musical equivalent of riding a camel", during one of the travel cues (can't recall which exactly). Furthermore, the precise masterful weaving of the supporting motifs (i.e. for the Arabs, Brits, etc.) is similarly well-done. 

 

Thanks for another listening session, Holk! 

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1 hour ago, The Illustrious Jerry said:

At one point I even said to Holko, "This is the musical equivalent of riding a camel", during one of the travel cues (can't recall which exactly).

In Whose Name Do You Ride?

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