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James Horner's GLORY (1989) - NEW! 2021 2-CD Expanded Edition from La-La Land Records


Jay
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I agree. Has to be. That's pretty much the right way to go. This is also good for people new to the music to experience the ost album presentation as an introduction and then move into the expansion. 

 

That's how I chose to play THE EIGER SANCTION which is new to me in every sense. 

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19 hours ago, NL197 said:

The remaining lyrics (in the main title "A Call to Arms") and the end credits are: 

"Blow The Horn

Play The Fife
Beat The Drum So Slow-ly
Blow The Horn
Play The Fife

Make The Drum-Ming Low-ly"

 

Wow! And here I thought all this time that the choir was singing in Latin

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2 hours ago, Corellian2019 said:

 

Wow! And here I thought all this time that the choir was singing in Latin

For Charging Fort Wagner- that one has Latin lyrics.,

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Fort Wagner lyrics (12M1R)

 

I tried to break them up based on how they’re sung by the chorus.

 

Re-cor-da-re

 

Tune Dic-tu-rus est

(tune dic-tur us)

 

Om-nes cune-ta Stric-te

 

Dis-cus-sur-us

 

(0:27)

In Quan-tus in

Tre-mer

Fur-us

Quan-do

Ju-dex

Stric-te et Ven-tur-us

(Stric-te)

Est 

 

(0:37)

In Quan-tus

Tre-mor

Fur-us

Cune-ta

Stric-te

Stric-te est Ven-tur-us

(Stric-te)

 

(0:46)

Quan-do

In-dex Est 

Ven-tur-us

Cune-ta Stric-te

Dis-cus-sur-us Om-nes

 

(0:54)

Tu-ba

Mir-um

Spar-gens

Son-um

Per-se

Pul-ere

Re-si-o-ni-num

 

(1:04)

Lib-er Scrip-tus

Pro-fer-e-tur

Con-tin-e Tur

Li-be-ra-me

 

(1:14)

In-dex-er-go

Cum-se-de Bit

Ap-per-e Bit

Nil In Ul

Tum

 

(1:24)

In Quan-tus in

Tre-mor

Fur-us

Quan-do

In-dex Est 

Ven-tur-us Om-nes

 

(1:33)

Est

Na-tur-a

In-cre-tur-a

In-di-can-ti

Res-pon-sur-a

In-dex

 

(1:42)

Est In

Quan-tus

In Fu-tur-us

Stric-te Dis-cus-sur-us

 

(1:53)

Sal-ver-a Me

Li-be-ra Me

Li-be-ra-Me

Et Que Vid

 

(2:03)

Sal-ver-a Me

Li-be-ra Me
Li-be-ra Me 

Om-nes Sid

 

(2:12)

Quan-tus

Tre-mor Est 

Fu-tur-us

Quan-do

Ju-dex Est

Ven-tur-us

 

(2:22)

Cune-ta

Stric-te 

Est Fu-tur-us

Cune-ta Stric-te Dis-cus-sur Us

 

 

 

14 hours ago, Kühni said:

Veni. :devil:

 

14 hours ago, Bespin said:

Vidi. :devil:

 

14 hours ago, May the Force be with You said:

Vici. :devil:


 

BB9A5657-FFF8-4ACF-B52C-CDAFCAF742CC.jpeg

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6 hours ago, NL197 said:

Fort Wagner lyrics (12M1R)

 

I tried to break them up based on how they’re sung by the chorus.

 

Re-cor-da-re

 

Tune Dic-tu-rus est

(tune dic-tur us)

 

Om-nes cune-ta Stric-te

 

Dis-cus-sur-us

 

(0:27)

In Quan-tus in

Tre-mer

Fur-us

Quan-do

Ju-dex

Stric-te et Ven-tur-us

(Stric-te)

Est 

 

(0:37)

In Quan-tus

Tre-mor

Fur-us

Cune-ta

Stric-te

Stric-te est Ven-tur-us

(Stric-te)

 

(0:46)

Quan-do

In-dex Est 

Ven-tur-us

Cune-ta Stric-te

Dis-cus-sur-us Om-nes

 

(0:54)

Tu-ba

Mir-um

Spar-gens

Son-um

Per-se

Pul-ere

Re-si-o-ni-num

 

(1:04)

Lib-er Scrip-tus

Pro-fer-e-tur

Con-tin-e Tur

Li-be-ra-me

 

(1:14)

In-dex-er-go

Cum-se-de Bit

Ap-per-e Bit

Nil In Ul

Tum

 

(1:24)

In Quan-tus in

Tre-mor

Fur-us

Quan-do

In-dex Est 

Ven-tur-us Om-nes

 

(1:33)

Est

Na-tur-a

In-cre-tur-a

In-di-can-ti

Res-pon-sur-a

In-dex

 

(1:42)

Est In

Quan-tus

In Fu-tur-us

Stric-te Dis-cus-sur-us

 

(1:53)

Sal-ver-a Me

Li-be-ra Me

Li-be-ra-Me

Et Que Vid

 

(2:03)

Sal-ver-a Me

Li-be-ra Me
Li-be-ra Me 

Om-nes Sid

 

(2:12)

Quan-tus

Tre-mor Est 

Fu-tur-us

Quan-do

Ju-dex Est

Ven-tur-us

 

(2:22)

Cune-ta

Stric-te 

Est Fu-tur-us

Cune-ta Stric-te Dis-cus-sur Us

 

 

 

 

 


 

BB9A5657-FFF8-4ACF-B52C-CDAFCAF742CC.jpeg

 

Ah Horner using the classic Dies Irae lyrics.

DIES irae, dies illa,
solvet saeculum in favilla,
teste David cum Sibylla.
THAT day of wrath, that dreadful day,
shall heaven and earth in ashes lay,
as David and the Sybil say.
Quantus tremor est futurus,
quando iudex est venturus,
cuncta stricte discussurus!
What horror must invade the mind
when the approaching Judge shall find
and sift the deeds of all mankind!
Tuba mirum spargens sonum
per sepulcra regionum,
coget omnes ante thronum.
The mighty trumpet's wondrous tone
shall rend each tomb's sepulchral stone
and summon all before the Throne.
Mors stupebit et natura,
cum resurget creatura,
iudicanti responsura.
Now death and nature with surprise
behold the trembling sinners rise
to meet the Judge's searching eyes.
Liber scriptus proferetur,
in quo totum continetur,
unde mundus iudicetur.
Then shall with universal dread
the Book of Consciences be read
to judge the lives of all the dead.
Iudex ergo cum sedebit,
quidquid latet apparebit:
nil inultum remanebit.
For now before the Judge severe
all hidden things must plain appear;
no crime can pass unpunished here.
Quid sum miser tunc dicturus?
quem patronum rogaturus?
cum vix iustus sit securus.
O what shall I, so guilty plead?
and who for me will intercede?
when even Saints shall comfort need?
Rex tremendae maiestatis,
qui salvandos salvas gratis,
salva me, fons pietatis.
O King of dreadful majesty!
grace and mercy You grant free;
as Fount of Kindness, save me!
Recordare Iesu pie,
quod sum causa tuae viae:
ne me perdas illa die.
Recall, dear Jesus, for my sake
you did our suffering nature take
then do not now my soul forsake!
Quaerens me, sedisti lassus:
redemisti crucem passus:
tantus labor non sit cassus.
In weariness You sought for me,
and suffering upon the tree!
let not in vain such labor be.
Iuste iudex ultionis,
donum fac remissionis,
ante diem rationis.
O Judge of justice, hear, I pray,
for pity take my sins away
before the dreadful reckoning day.
Ingemisco, tamquam reus:
culpa rubet vultus meus:
supplicanti parce Deus.
Your gracious face, O Lord, I seek;
deep shame and grief are on my cheek;
in sighs and tears my sorrows speak.
Qui Mariam absolvisti,
et latronem exaudisti,
mihi quoque spem dedisti.
You Who did Mary's guilt unbind,
and mercy for the robber find,
have filled with hope my anxious mind.
Preces meae non sunt dignae:
sed tu bonus fac benigne,
ne perenni cremer igne.
How worthless are my prayers I know,
yet, Lord forbid that I should go
into the fires of endless woe.
Inter oves locum praesta,
et ab haedis me sequestra,
statuens in parte dextera.
Divorced from the accursed band,
o make me with Your sheep to stand,
as child of grace, at Your right Hand.
Confutatis maledictis,
flammis acribus addictis.
voca me cum benedictis.
When the doomed can no more flee
from the fires of misery
with the chosen call me.
Oro supplex et acclinis,
cor contritum quasi cinis:
gere curam mei finis.
Before You, humbled, Lord, I lie,
my heart like ashes, crushed and dry,
assist me when I die.
Lacrimosa dies illa,
qua resurget ex favilla.
iudicandus homo reus:
huic ergo parce Deus.
Full of tears and full of dread
is that day that wakes the dead,
calling all, with solemn blast
to be judged for all their past.
Pie Iesu Domine,
dona eis requiem. Amen.
Lord, have mercy, Jesus blest,
grant them all Your Light and Rest. Amen.

 

 

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True, although it us funny when he talks about the necessity of creating something brand new with each score and being uncomfortable about copying concert music. 😂

 

Karol

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2 hours ago, crocodile said:

True, although it us funny when he talks about the necessity of creating something brand new with each score and being uncomfortable about copying concert music. 😂

 

Karol

 

It is difficult to grapple with being a Horner fan and then asking "Why didn't the Khachaturian family sue the pants off of him?" Or "He got paid how many times for that piece of music?"

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It's one thing to use an entire piece on its own (and pay the heavy fee) and another to copy as a near clone and call it an original piece. Horner/ company was already stung by legal subpoenas when he used or was forced to use Nino Rota's AMARCORD in HONEY, I SHRUNK THE KIDS back in the 80's. So I guess he smarted up real quick. That's why Take #1 was rejected after careful thought and Horner refashioned another piece while maintaining the same rhythm but rounded it as close to the scores thematic material. The opening/ending crescendos are similar to the piece and the central charge motif with the Latin text is mostly driven by a string motif derived from the score thereby allowing Horner to retain it as his own. 

 

BTW, Bruce Broughton also came close to doing the same for the cue 'Waxing Elizabeth' in YOUNG SHERLOCK HOLMES. 

 

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2 hours ago, Amer said:

It's one thing to use an entire piece on its own (and pay the heavy fee) and another to copy as a near clone and call it an original piece. Horner/ company was already stung by legal subpoenas when he used or was forced to use Nino Rota's AMARCORD in HONEY, I SHRUNK THE KIDS back in the 80's. So I guess he smarted up real quick. That's why Take #1 was rejected after careful thought and Horner refashioned another piece while maintaining the same rhythm but rounded it as close to the scores thematic material. The opening/ending crescendos are similar to the piece and the central charge motif with the Latin text is mostly driven by a string motif derived from the score thereby allowing Horner to retain it as his own. 

 

BTW, Bruce Broughton also came close to doing the same for the cue 'Waxing Elizabeth' in YOUNG SHERLOCK HOLMES. 

 

 

I don't know how fast the lawsuits came at him, but Honey I Shrunk the Kids was June of 1989 and Glory was December.

 

Also, Horner was saying that they COULDN'T use the piece on its own. Which I find... Questionable?

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That must have been in between. The fact he protested knowing very well that this piece of music was widely known in the public domain he couldn't risk it upon his own name if he went too far. I therefore say he wised up and realized he could still get away occasionally without making it too obvious. Now that's a talent. And as they say or said that a good composer always steals. 

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5 hours ago, Amer said:

It's one thing to use an entire piece on its own (and pay the heavy fee) and another to copy as a near clone and call it an original piece. Horner/ company was already stung by legal subpoenas when he used or was forced to use Nino Rota's AMARCORD in HONEY, I SHRUNK THE KIDS back in the 80's. So I guess he smarted up real quick. That's why Take #1 was rejected after careful thought and Horner refashioned another piece while maintaining the same rhythm but rounded it as close to the scores thematic material. The opening/ending crescendos are similar to the piece and the central charge motif with the Latin text is mostly driven by a string motif derived from the score thereby allowing Horner to retain it as his own. 

 

BTW, Bruce Broughton also came close to doing the same for the cue 'Waxing Elizabeth' in YOUNG SHERLOCK HOLMES. 

 

 

Honey I Shrunk the Kids was the same year as Glory, it may have been scored before but I doubt by much more than months. Definitely not long enough for all the legal trouble to be behind him.

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20 minutes ago, blondheim said:

 

Honey I Shrunk the Kids was the same year as Glory, it may have been scored before but I doubt by much more than months. Definitely not long enough for all the legal trouble to be behind him.

 

Probably still in front of him! 

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30 minutes ago, Tallguy said:

 

Probably still in front of him! 

 

Yeah. The Glory conversation does shed an interesting perspective on his relationship with temp-tracking. James Horner was such a fascinating person.

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9 hours ago, Jay said:

@Jay

Thank you for sharing the articles.

Writing and putting them online takes so much time that sometimes I need to do something else before I come here to share the links.

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