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The Official Strictly Non-Williams Favourite Short Musical Moments Thread™

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1 hour ago, Loert said:

31:09 - 32:12 Some of the best-orchestrated bars of classical music in existence!

 

Respighi was a respectable pioneer of such combinations to be sure, but is there really that much difference between it and the underscore in some Williams or Steiner film scores?

 

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1 hour ago, Modest Expectations said:

Respighi was a respectable pioneer of such combinations to be sure, but is there really that much difference between it and the underscore in some Williams or Steiner film scores?

 

 

Well it's all about the details, for example I really like:

  • The rising piano/celesta at the beginning, especially the falling "chords" in the second bar
  • The swoosh in the third bar, especially that held C# in the flute, which then "becomes" an F# at 31:35
  • The tam-tam/piano combo at 31:45

And I think the subtlety of the writing here is matched only by the most-carefully-written Williams underscore.

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The whole opening is breathtaking, but this statement at 1:08… jeez.
You can almost see the USCSS Nostromo gliding through space.

 


Which brings me to: 

 


At 2:23. So sad and bleak. Perfect score for a perfect movie.

 

And, since we're here:


From 0:43 onwards. Those scattered high piano notes get me every time.

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4:58 to the end is such a harmonic delight. This version's a little too slow though:

 

 

On 8/14/2018 at 11:21 AM, Disco Stu said:

Continuing my Dvorak theme today

 

7:52 - 8:20 is very "Golden Age Hollywood" and I love it

 

 

Yes, gorgeous! So much good stuff:

 

On 3/21/2019 at 7:26 PM, Borodin said:

One of my favorite musical moments. Never been on the ride, but the music sounds incredibly ethereal.

More like a fairy tale than space.

 

1:09 - 1:19

 

 

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On 11/21/2019 at 7:51 PM, Edmilson said:

Just a guitar and strings make for 1:15 of perfection:

 

 

 

THW is a great score, and this is one of Thomas Newman’s most memorable themes. I have a soft spot for his powerful chord progressions

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1 hour ago, Bayesian said:

Most of Thomas Newman’s music escapes my ability to appreciate. I feel like I should like it, but usually can’t quite make a connection. So it goes for these TN moments above me.

 

I get what you mean: I feel the same thing listening to Morricone: he’s damn good, plus he’s italian (like me), so a lot of my friends are like “you love soundtracks, then you’ll love Morricone”, but nope. :( 

 

For me there’s something TN does that immediately grabbed me from the first note I heard, something that makes me internally say “heck yeah”.

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This cue is just under 2 minutes long, and still is one of the saddest pieces of music I've ever heard. The performances of Paul Edgecomb's theme firstly on oboe and then on the whole string section, well, a perfect musical representation of profound sorrow. 

 

The Green Mile is one of the saddest scores ever written for one of the saddest movies ever made - and it's unexplicable how it failed to get an Oscar nomination.

 

 

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On 12/6/2019 at 2:13 AM, Edmilson said:

This cue is just under 2 minutes long, and still is one of the saddest pieces of music I've ever heard. The performances of Paul Edgecomb's theme firstly on oboe and then on the whole string section, well, a perfect musical representation of profound sorrow. 

 

The Green Mile is one of the saddest scores ever written for one of the saddest movies ever made - and it's unexplicable how it failed to get an Oscar nomination.

 

 


Agreed. It's a really powerful score, and this theme is hauntingly beautiful.
I must say I quite miss 90s/00s Thomas Newman.

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45 minutes ago, Disco Stu said:

The two 2010s scores by T. Newman that I like the most are Bridge of Spies and Saving Mr. Banks, but yeah in general a fairly fallow period for him.  Doesn't help that I just can't get into his Bond scores.


While I do like some of his Bond tracks (Severine, Madeleine, Donna Lucia), I can't help but agree.
I liked Bridge of Spies and Saving Mr. Banks a lot, but I yawned while listening to The Highwaymen and his work for Castle Rock.
I expected to like his score for Finding Dory a lot more, but it was just… there.
 

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Skyfall has really warmed up to me over the years. And I think The Best Exotic Marigold Hotel was pretty refreshing for all its Indo-pop colour. But yeah, otherwise, rather barren years.

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Here I am, nosediving into TN again.
Loved this track since the first time I saw this movie.
 

 

And, oh, good ol' Dario. Funny thing is, he's from Pisa, which is like a 40 minutes drive from where I live, and also where I went to university.
 

 

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Oh gosh, how I love when, in amidst a romantic/melancholy melody for strings and harp, a composer just gently throws a wistful, lonely French Horn, like here, from 2:02 to 2:24:

 

 

Or here from 1:30 to 1:55:

 

 

Or on this Braveheart track too, from 2:30 to 2:47:

 

 

Williams also did this on "Ann and Gabriel" from The Patriot.

 

Sooooooo gooooooood! :lovethis:

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WOW!!! (37:45 - end):

 

 

I love the way in which Kalinnikov took the theme from the extremely soft adagio (14:27) and transformed it into such a blazing, dramatic finale.

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11 hours ago, Edmilson said:

One of the greatest moments in JNH' career! :lovethis:

 

What are your top 5 JNH scores? 

 

I really should listen to more of his scores, but admittedly have only ever listened to Signs, The Village, King Kong and Lady in the Water.

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