Popular Post Loert 2,510 Posted January 1, 2017 Popular Post Share Posted January 1, 2017 This whole track is great, but the bit from 1:16 till the big thematic statement from 2:03 is extraordinary! I just love how Goldsmith commands the meter with seemingly no effort. Marcus, Naïve Old Fart, publicist and 1 other 4 Link to comment Share on other sites More sharing options...
Popular Post Dixon Hill 4,233 Posted January 3, 2017 Popular Post Share Posted January 3, 2017 Naïve Old Fart, Marcus, Muad'Dib and 1 other 4 Link to comment Share on other sites More sharing options...
Loert 2,510 Posted January 3, 2017 Share Posted January 3, 2017 Here's another great head-bobbing moment; the orchestral interlude from the first act of Strauss' "Die Frau ohne Schatten": Marcus 1 Link to comment Share on other sites More sharing options...
KK 3,307 Posted January 6, 2017 Share Posted January 6, 2017 This is the kind of sophisticated voice-writing that Giacchino so obviously lacks in his bigger scores. Someone give Shearmur a chance at the SW throne please. Link to comment Share on other sites More sharing options...
Will 2,215 Posted January 16, 2017 Share Posted January 16, 2017 Currently my favorite moment of the score (to 2:36). Marvelous!! Totally fits dancing. Not Mr. Big and Cerebral Cortex 2 Link to comment Share on other sites More sharing options...
Loert 2,510 Posted January 16, 2017 Share Posted January 16, 2017 This is not from a film but it might as well be...I love this particular passage from Bartok's "The Wooden Prince": 8:41 - 8:59 Sounds like 100 harps approaching you from all directions! Link to comment Share on other sites More sharing options...
Will 2,215 Posted January 21, 2017 Share Posted January 21, 2017 This was running through my head yesterday: This is also terrific: Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted January 29, 2017 Share Posted January 29, 2017 The piano solo at 1:20 that plays as Spoiler Hiccup discovers his fake leg. Loert and Cerebral Cortex 2 Link to comment Share on other sites More sharing options...
Loert 2,510 Posted January 29, 2017 Share Posted January 29, 2017 And here's the man himself performing it: Not Mr. Big and Cerebral Cortex 2 Link to comment Share on other sites More sharing options...
DominicCobb 194 Posted January 30, 2017 Share Posted January 30, 2017 From about 1:30 to 2:20 is possibly the best part of the whole score (which is utterly and uniformly fantastic), and then 3:05 to 3:47 is probably the second best part. Link to comment Share on other sites More sharing options...
Will 2,215 Posted January 30, 2017 Share Posted January 30, 2017 17 hours ago, DominicCobb said: From about 1:30 to 2:20 is possibly the best part of the whole score (which is utterly and uniformly fantastic), and then 3:05 to 3:47 is probably the second best part. I loved how 3:47 worked in the film: The music stopped, we saw someone dive into the pool, and then as soon as they hit the water the music started up again. Really stood out to me. That cue really sets a party mood so well. Perfect. Another great moment from that score: 1:15-1:38 Looking back, it almost seems too cheery, as if Hurwitz was already letting us in on this being "fake" (something I at least wasn't 100% sure about until the very end)... Link to comment Share on other sites More sharing options...
DominicCobb 194 Posted January 31, 2017 Share Posted January 31, 2017 8 hours ago, Will said: I loved how 3:47 worked in the film: The music stopped, we saw someone dive into the pool, and then as soon as they hit the water the music started up again. Really stood out to me. That cue really sets a party mood so well. Perfect. The whole cue perfectly encapsulates the feeling of being at a party where there's tons of people but you feel all alone. Which is a great description for LA in general, honestly. It's essential emotional set up for what follows in the story. Will 1 Link to comment Share on other sites More sharing options...
Will 2,215 Posted February 5, 2017 Share Posted February 5, 2017 Link to comment Share on other sites More sharing options...
Loert 2,510 Posted February 6, 2017 Share Posted February 6, 2017 2:06 - 2:47 Link to comment Share on other sites More sharing options...
Muad'Dib 1,801 Posted February 6, 2017 Share Posted February 6, 2017 HOLY FUCK Link to comment Share on other sites More sharing options...
Loert 2,510 Posted February 7, 2017 Share Posted February 7, 2017 9:23 - 9:52, and then the subtle transition into "Circle of Life" at 10:24. A work of genius, I say! Link to comment Share on other sites More sharing options...
Loert 2,510 Posted February 13, 2017 Share Posted February 13, 2017 1:57 - 2:27; sounds like it could come straight out of vintage Star Wars! Jilal 1 Link to comment Share on other sites More sharing options...
Popular Post KK 3,307 Posted February 13, 2017 Popular Post Share Posted February 13, 2017 Bring Stravinsky back for the next SW! Loert, Will and Simon McBride 3 Link to comment Share on other sites More sharing options...
Will 2,215 Posted February 16, 2017 Share Posted February 16, 2017 0:00 to 0:33 Link to comment Share on other sites More sharing options...
Jilal 569 Posted February 16, 2017 Author Share Posted February 16, 2017 On 13-2-2017 at 10:02 PM, LampPost said: 1:57 - 2:27; sounds like it could come straight out of vintage Star Wars! I especially love how the planing major triads interact with the arpeggiating G major ostinato beneath. Link to comment Share on other sites More sharing options...
Loert 2,510 Posted February 18, 2017 Share Posted February 18, 2017 12:17 - 13:06 Reminds me of the horns from Temple of Doom! Link to comment Share on other sites More sharing options...
Perrinzki 8 Posted February 19, 2017 Share Posted February 19, 2017 From 0:35 to 1:15, a masterclass of buildup, balance, tension, and anticipation. Folks, this is how you Gloriously Resolve. Composed and conducted by Christopher Tin. Will 1 Link to comment Share on other sites More sharing options...
Loert 2,510 Posted February 19, 2017 Share Posted February 19, 2017 That would work really well as "victory music" in Britain's got Talent. Link to comment Share on other sites More sharing options...
Dixon Hill 4,233 Posted February 19, 2017 Share Posted February 19, 2017 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted February 19, 2017 Share Posted February 19, 2017 I like 'Clear and Present Danger', too! Link to comment Share on other sites More sharing options...
Dixon Hill 4,233 Posted February 19, 2017 Share Posted February 19, 2017 I prefer it here! ------ Loert 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted February 19, 2017 Share Posted February 19, 2017 I don't hear it. For me it sounds more like americanized Shostakovich, at least falling 3-note motif. But it is the best part (or half) of the piece - i virtually cannot listen to the second with its overbearing hurrah americana and the children's chorus. Link to comment Share on other sites More sharing options...
Dixon Hill 4,233 Posted February 19, 2017 Share Posted February 19, 2017 Oh, the Debussy is a separate posting - "here" refers to Apollo 13. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted February 19, 2017 Share Posted February 19, 2017 Sly bastard. Link to comment Share on other sites More sharing options...
KK 3,307 Posted February 21, 2017 Share Posted February 21, 2017 You've got to credit Shore for making those badass, cluster-filled, bass/piano rumbling finale "Kilar-esque marches" sound so damn cool. Many lesser composers have tried to achieve the same effect with far less impressive results. Link to comment Share on other sites More sharing options...
Dixon Hill 4,233 Posted February 21, 2017 Share Posted February 21, 2017 Ridiculously badass cue! The JC score is nothing to scoff at, naturally, but more Shore is always welcome. Link to comment Share on other sites More sharing options...
KK 3,307 Posted February 21, 2017 Share Posted February 21, 2017 Yea, I'm glad we have both. I think this was the last time we heard Shore channel this sound, aside from moments in the Hobbit. By the way, at 0:40, are the basses tremolo-ing, or are they being instructed to pulsate to a strict rhythm on the pitch in some fashion? And anyone want to shed some light on what's going on in 2:02? Yes, there is a thread for this, and I should aptly move this inquiry there. Link to comment Share on other sites More sharing options...
Loert 2,510 Posted February 25, 2017 Share Posted February 25, 2017 3:32 - 4:29 I love this kind of ambient choral/orchestral texture. KK 1 Link to comment Share on other sites More sharing options...
leeallen01 2,134 Posted February 26, 2017 Share Posted February 26, 2017 4:58 - The woodwind runs are great. Reminds me of when the woodwinds are warming up and tuning up before a concert. Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,507 Posted February 26, 2017 Share Posted February 26, 2017 The lovely little snowmobile "interlude" in DAMIEN: OMEN II. It sounds like no other piece of OMEN music. Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted February 26, 2017 Share Posted February 26, 2017 https://www.youtube.com/watch?v=rf0ALodMqpA 2:00-2:33 Link to comment Share on other sites More sharing options...
Loert 2,510 Posted March 2, 2017 Share Posted March 2, 2017 44:56 - 45:27 The 'passionate kiss' from near the end of Bartók's tragic opera Bluebeard's Castle. Despite the sheer beauty and lyricism of the music, it's embodied in dark and unsettling harmony. Indeed there's a pervading sense of dread throughout the opera as Judith (Bluebeard's newly wedded wife) explores and opens the doors in his castle. The climax occurs from 58:50, after Judith opens the last door to discover Bluebeard's previously murdered wives, after which she herself becomes trapped and "swallowed up" with the others... This opera is filled with passages which inspired some of the "tropes" that appeared in Golden Age cinema scores some years later (the opera was premiered in 1918). The kiss sequence is reminiscent of Hermann's score to VERTIGO, the brooding strings from 7:38 are reminiscent of Rózsa. There are many other great musical gems but I don't want to spoil it for those unfamiliar with it - the effect is greater when listened to in context of the whole story. If you have an hour to spare I would highly recommend watching the Michael Powell film production on Youtube, especially if you're into the psychological horror genre. Link to comment Share on other sites More sharing options...
Loert 2,510 Posted March 8, 2017 Share Posted March 8, 2017 Love the little intro till 1:14! Link to comment Share on other sites More sharing options...
nightscape94 965 Posted March 8, 2017 Share Posted March 8, 2017 On 3/2/2017 at 10:27 AM, LampPost said: 44:56 - 45:27 The 'passionate kiss' from near the end of Bartók's tragic opera Bluebeard's Castle. Despite the sheer beauty and lyricism of the music, it's embodied in dark and unsettling harmony. Indeed there's a pervading sense of dread throughout the opera as Judith (Bluebeard's newly wedded wife) explores and opens the doors in his castle. The climax occurs from 58:50, after Judith opens the last door to discover Bluebeard's previously murdered wives, after which she herself becomes trapped and "swallowed up" with the others... This opera is filled with passages which inspired some of the "tropes" that appeared in Golden Age cinema scores some years later (the opera was premiered in 1918). The kiss sequence is reminiscent of Hermann's score to VERTIGO, the brooding strings from 7:38 are reminiscent of Rózsa. There are many other great musical gems but I don't want to spoil it for those unfamiliar with it - the effect is greater when listened to in context of the whole story. If you have an hour to spare I would highly recommend watching the Michael Powell film production on Youtube, especially if you're into the psychological horror genre. Coincidentally, my orchestra just performed this last weekend. Was interested in it, caught some of the music on Youtube a few months ago, but didn't get a chance to see the performance. Link to comment Share on other sites More sharing options...
Dixon Hill 4,233 Posted March 11, 2017 Share Posted March 11, 2017 This absolutely sublime 1st inversion suspension: Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted March 11, 2017 Share Posted March 11, 2017 This video is not available! Link to comment Share on other sites More sharing options...
KK 3,307 Posted March 13, 2017 Share Posted March 13, 2017 The ebbing string voices in the opening 15 seconds: Link to comment Share on other sites More sharing options...
Gnome in Plaid 219 Posted March 16, 2017 Share Posted March 16, 2017 0:53-1:27 The perfect culmination of all the Ring-related material. I wouldn't mind getting the chance to ask Jackson what the hell he was thinking dialing that out in the final cut. Link to comment Share on other sites More sharing options...
Jay 37,319 Posted March 16, 2017 Share Posted March 16, 2017 Somewhere during post production of TTT he lost his mind and was never the same again Link to comment Share on other sites More sharing options...
KK 3,307 Posted March 22, 2017 Share Posted March 22, 2017 There are so many cool moments in this score: Loert and Naïve Old Fart 2 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,507 Posted March 22, 2017 Share Posted March 22, 2017 He's such an underrated, under used composer. EXCALIBUR, THE DARK CRYSTAL, THE LAST PLACE ON EARTH, LABYRINTH: they are all fine scores. Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted March 22, 2017 Share Posted March 22, 2017 Merlin, too. Muad'Dib 1 Link to comment Share on other sites More sharing options...
KK 3,307 Posted March 22, 2017 Share Posted March 22, 2017 Indeed. If anything, he's a fantastic orchestrator. He really knows how to bring out the most out of all the sections. The orchestra rarely sounds so rich or large in modern scores (take note Djitichino!). Link to comment Share on other sites More sharing options...
Loert 2,510 Posted March 27, 2017 Share Posted March 27, 2017 45:27 - 45:58 King Kong falls down the Empire State Building. Link to comment Share on other sites More sharing options...
Will 2,215 Posted March 31, 2017 Share Posted March 31, 2017 Just heard about this score yesterday when Filmtracks named it best score of 2016! Listened to the whole OST last night. 1:41 - 2:48 Love the War Horse-like melody, then the cool wind transition, and then the awesome-y optimistic and exciting segment after that (particularly the first melody in the exciting segment). Marvelous. Some of the best chords remind me a bit of this awesome (IMO!) CBS golf theme music: Link to comment Share on other sites More sharing options...
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