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"Farewell" from Ep. 9 Appreciation


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I've been putting off starting another of these TROS track appreciation threads, because honestly talking Star Wars feels so exhausting lately. But I happened to listen the cue "Farewell" this morning

Seeing (and hearing) that masterpiece alongside Joker made me remember why the Academy is a joke. 

The scene itself made me sick, and then a couple months later I found myself coming back to this track on the soundtrack A LOT.    There's this complicated mix of emotions going on here. Pai

The beginning of this track sounds very LOTR to me.

 

I like the certified 100% seriousness of the choice of a Mahlerian Victory Theme variation for the kiss scene.

 

It's my second favourite heavy music for the kiss scene in the last film of a multi-billion dollar franchise after the inappropriately sultry chromatic figure Desplat did when Ron and Hermione kissed in the last Potter film.

 

On a non-compositional side, it's a yet another track that shows how loud the harps were mixed in this score... which is a cool thing, but sadly to do that in a concert one would need a battery of harps like in Beneath the 12-Mile Reef.

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41 minutes ago, SilverTrumpet said:

...it's amazing that Williams was able to pinpoint the emotions that were SUPPOSED to be present in the movie but weren't at all. Then, to be able to communicate that via music to the world. Wow. 

 

Sometimes, I think the worse the movie, the better the score. And the converse is true: otherwise humdrum or unremarkable film music in a well-regarded movie can get a pass, and even absorb some of its critical esteem. I'm sure we can all think of plenty of examples of both.

 

Good film music suits the film. Great film music elevates it. Truly masterful film music transcends it.

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5 hours ago, Falstaft said:

Good film music suits the film. Great film music elevates it. Truly masterful film music transcends it.

 

Is that always a matter of one being directly better than the last, though? Isn't it entirely possible for great music to be written for a film that isn't very simpatico with the images? Lalo Schifrin is one of my favorite composers, but I find that a lot of his scores are almost ridiculous in how they play out in context, with some notable exceptions...in that regard, I don't consider him a very good film composer.

 

So the music "transcends" the films in that it's very well written and very satisfying to listen to on its own, but within the films themselves, it's almost a disservice. 

 

What would you call that? Unless there's a way to interpret what you're saying that I'm not considering? 

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1 hour ago, Nick Parker said:

 

Is that always a matter of one being directly better than the last, though? Isn't it entirely possible for great music to be written for a film that isn't very simpatico with the images? Lalo Schifrin is one of my favorite composers, but I find that a lot of his scores are almost ridiculous in how they play out in context, with some notable exceptions...in that regard, I don't consider him a very good film composer.

 

So the music "transcends" the films in that it's very well written and very satisfying to listen to on its own, but within the films themselves, it's almost a disservice. 

 

What would you call that? Unless there's a way to interpret what you're saying that I'm not considering? 

 

Hmm, you've put more thought into your response than I did in my little platitude!

 

There certainly is film music that is great on its own, but not so much in context of the film its meant to accompany. I struggle to think of any scores from Williams that fit this category, though maybe a few cues here and there -- "Plowing" from Warhorse, maybe, a spectacular piece of music which is rather overblown in the scene it accompanies. Possibly quite a few entries in this book would also qualify.

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