# Film Score of the Day



## pianozach

*Max Steiner
The Lost Patrol
1934*









Film scores weren't even a category at the Oscars until 1934, and Steiner's score was one of only three that were nominated that first year (the others were the two musicals *The Gay Divorcee*, and the winner, *One Night of Love*).

That Steiner was nominated was a coincidence, as composers weren't nominated for scores until 1938. The nomination (and award) would go to whomever the studio's music department head was at the time. Steiner, in this instance, was both composer and head of the RKO Radio Studio Music Department. Also coincidentally, Steiner was nominated for *The Gay Divorcee*, although that score was composed by Kenneth Webb & Sam Hoffenstein.

Back in 1934, films were still thought of as disposable product, to be released once, then likely melted down to be recycled for next year's films. So finding scores for films this old is sometimes a scavenger hunt.

The Lost Patrol is a hybrid WWI/suspense film. Here's the plot:

_During World War I, the young lieutenant in charge of a small British mounted patrol in the empty Mesopotamian desert is shot and killed by an unseen sniper. This leaves the sergeant at a loss, since he had not been told what their mission is and has no idea where they are. Riding north in the hope of rejoining their brigade, the eleven remaining men reach a deserted oasis where they find water, edible dates, and shelter.

During the night, one of the sentries is killed, the other seriously wounded, and all their horses are stolen, leaving them stranded. They bury the dead man and put his sword at the head of his grave. One by one, the remaining men are picked off by the unseen assailants. During the course of the film, the men talk and reminisce and fight-and deal with their situation. In desperation, the sergeant sends two men chosen by lot on foot for help, but they are caught and their mutilated bodies returned. One man, Abelson, suffering from heat exhaustion, sees a mirage and wanders into deadly rifle fire. The pilot of a British biplane spots the survivors, but nonchalantly lands nearby and despite frantic warnings is killed. After dark, the sergeant takes the machine gun from the aircraft and then sets the plane on fire as a signal to any British troops. Sanders, a religious fanatic, goes mad and walks into deadly fire.

In the end only the sergeant is left and, thinking he too is dead, the six Arabs who have been besieging the oasis advance on foot. Using the machine gun from the aircraft, the sergeant kills them all. A British patrol which had seen the smoke from the burning plane rides up and the officer in charge asks the sergeant roughly where his men are. In silence, the sergeant looks toward their graves, six swords gleaming in the sun._

*Here's the score*, in 11 parts, as recorded by the Moscow Symphony Orchestra led by William Stromberg (1964-....), an American film composer and conductor. Stromberg has been active in the Marco Polo Film Series, compact discs which feature world premiere digital stereo performances of classic movie scores of the 1930s and 1940s. Among them are "*Beau Geste*", "*The Hunchback of Notre Dame*" (the 1939 version), and many others. This collection also includes music from Steiner's scores for *Virginia City* and *The Beast With Five Fingers*.

Here's a link to the *Main Title* music, which I assume will link to the rest of the score titles.






*The Lost Patrol* was a remake of the silent film "Lost Patrol", released in 1929.

Prior to 1938 it's a bit tricky to track down film score credits, as credit was often simply not given. Steiner's work prior to this include Cimarron (1931) and King Kong (1933), Little Women (1933), and Of Human Bondage (1934), the film that made Bette Davis a star.

Of course, Steiner would go on to be nominated for 24 Academy Awards, winning three: *The Informer* (1935); *Now, Voyager* (1942); and *Since You Went Away* (1944).

There's also the top rated scores for *Gone With the Wind, Jezebel, Dark Victory, Casablanca, The Treasure of the Sierra Madre, A Summer Place, The Big Sleep, The Fountainhead, Life With Father*, and *The Glass Menagerie*.

Naturally, *Steiner*, along with contemporaries Erich Wolfgang *Korngold* and *Alfred Newman*, set the style and forms of film music of the time period and for film scores to come.


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## Jacck

good idea with this thread, after we already have all those "song of the day" and "electronic track of the day" etc threads. I will start with Jerry, since he is my most favorite film composer

Jerry Goldsmith - The Wind And The Lion


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## pianozach

*The Informer
Max Steiner
1935
*
Steiner won an Oscar for this score for the film *The Informer* directed by John Ford. Again, as with his nominations the previous year, he won as the head of *RKO*'s music department, and not for actually _composing_ the score. In effect, he was his own boss! In fact, he probably did more "arranging" and liberal re-working of traditional tunes and other music than actual composing for the film, although he did write music for a new version of Ave Maria.

Still, there is some real pathos you can feel in his arrangements. I think it's his voicings of the strings, but, hey!, I could be mistaken.











The film also won Oscars for Best Director, Best Actor, and Best Screenplay.

The plot revolves around a drinking weak-willed easily manipulated Irishman named Gypo that had been kicked out of the IRA.

Here's a re-recorded version (1990, I think) of the *Main Title* music, with Charles Gerhardt conducting the "National Philharmonic Orchestra" and The Ambrosian Singers. I'm including this short clip as the sound quality is quite good.






:trp:

Here's the "_*The Informer Soundtrack Suite*_" composed and conducted by *Max Steiner*






Playlist:
00:00 = "Main Title"
01:47 ="Kate Of The Streets"
03:03 = "Gypo's Decision / The Blind Man / Gypo In The Tavern"
03:29 = "The Wake"
04:03 = "Mary And Gallagher"
04:52 = "Money For Katie / Before The Trial"
06:14 = "Gypo Escapes / Katie's Flat"
07:13 = "The Plea To Gallagher / Messengers Of Death"
08:36 = "Gypo Shot / Forgiveness"


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## Jacck

James Newton Howard - Atlantis the Lost Empire


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## Jacck

Joe Hisaishi - Howl's Moving Castle


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## pianozach

Jacck said:


> James Newton Howard - Atlantis the Lost Empire


I've been actively attempting to expand my knowledge of the soundtrack genre, and I've reached a point where I can have some favorites, and tell many of the major composers apart.

I like *Howard*'s orchestrations, but am not as impressed with the actual composing. I find *Goldsmith* impressive, and *Williams*.

*Steiner*, too, was a master orchestrator, and his composing skills developed quickly after only a few years in the film industry. Then again, he was on the bottom floor of cinema, and it seems to me that his approach was to have the music SUPPORT and be subservient to everything else in the film at first.

*Shore*'s great. He's scored over 6 dozen films. People keep asking him to score films, so he's doing something right. I do find that it's funny that it only took him 20 years to become an overnight success (the *LOTR* films).

But as for Howard's Atlantis, again, some very impressive orchestrations, but some very derivative composing. I like it.

But it's film music, and sometimes film music HAS to be derivative.

At the moment I'm sort of letting the consensus of experts guide me through some scores. And the Top 100 Scores lists I've found vary greatly (and there is no shortage of lists). The AFI list tries mightily to spread out the scores over time. Classic FM has a 25 Best scores from the last 25 Years list, which is nifty.

But most of the "of all time" lists seem oddly reflective of each other . . . yeah, great scores: *Star Wars, Gone With the Wind, Psycho, high Noon, Chinatown*, and *King Kong*.

And speaking of *King Kong*, here's *Max Steiner*. Again.


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## pianozach

*King Kong
Max Steiner
1933*

*Wikipedia*: _"King Kong's score was the first feature-length musical score written for an American "talkie" film, the first major Hollywood film to have a thematic score rather than background music, the first to mark the use of a 46-piece orchestra, and the first to be recorded on three separate tracks."

"For budgetary reasons, *RKO* decided not to have an original film score composed, instead instructing composer Max Steiner to simply reuse music from other films. [Producer Merian] Cooper thought the film deserved an original score and paid Steiner $50,000 to compose it. Steiner completed the score in six weeks and recorded it with a 46-piece orchestra. The studio later reimbursed Cooper. The score was unlike any that came before and marked a significant change in the history of film music."_ (*Fun Fact*: $50,000 in 1933 is equivalent in purchasing power to about $1,000,880.77 today.)

Steiner used the concepts of leitmotifs from opera, musical theatre, silent film scoring, and the blurring of digetic and non-digetic scoring.

First the *'Opening Overture, Music & Credits''*








And the *Full Official Soundtrack*:






0:00 - 3:43 Main Title (A Boat In the Fog)
3:43 - 8:41 Forgotten Island (Jungle Dance)
8:41 - 11:12 Sea At Night
11:12 - 15:14 Aboriginal Sacrifice Dance
15:14 - 19:35 Entrance of Kong
19:35 - 24:08 The Bronte (Log Sequence)
24:08 - 26:00 Cryptic Shadows
26:00 - 35:36 Kong (The Cave)
35:36 - 37:12 Sailors Waiting
37:12 - 41:22 Return of Kong
41:22 - 42:56 King Kong Theatre March
42:56 - 47:35 Finale (Kong Escapes / Aeroplanes)



*And a related video of note: Percussionist Dave Roth* wears a GoPro during a _*LIVE*_ performance of *King Kong* on Broadway at the Broadway Theatre in New York City so you can get the feel of what it is like to sit in the chair of a musical theater percussionist. I find it captivating that Dave is watching the conductor on a CCTV feed, as they've kept him isolated so the percussion doesn't bleed all over the sound of the other live instruments.

This is the percussion part for _*Skull Island*_


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## Jacck

Basil Poledouris - The Hunt for Red October


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## Jacck

Russell Garcia - The Time Machine


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## pianozach

Jacck said:


> Russell Garcia - The Time Machine


Not familiar with the score, although I'm sure I watched the film several times as a youth.

I'll cue it up for listening later. Russell Garcia: That name doesn't ring any bells . . . lets see . . . Google says . . .

*Russell Garcia*, QSM (12 April 1916 - 19 November 2011)[1] was a composer and arranger who wrote a wide variety of music for screen, stage and broadcast.

Garcia was born in Oakland, California, but was a longtime resident of New Zealand. Self-taught . . .

. . . television shows as *Rawhide* 1962 and *Laredo*, 1965-67 . . . original scores for such films as George Pal's *The Time Machine* (1960) and *Atlantis, the Lost Continent* (1961).


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## Jacck

it (the Time Machine) is a decent old school soundtrack. I have never heard Atlantis, the Lost Continent (neither have I seen the movie), so I am going to listen now, because the Time Machine score is impressive


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## Jacck

Ernest Gold - Exodus 





a fairly well-known soundtrack


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## Jacck

Bill Conti - The Karate Kid


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## Jacck

Dimitri Tiomkin - The Alamo


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## Jacck

Elmer Bernstein - The Ten Commandments


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## pianozach

*The Desert Song
Sigmund Romberg
Lyrics: Oscar Hammerstein II & Otto Harbach 
1929*









Ah yes, the days of silent films were numbered.

*The Desert Song* was the first Warner Bros. film to be filmed partly in Two-Color Technicolor, and the score included Intermission music.

The film was based heavily on the very successful stage musical (actually an operetta) with music by *Sigmund Romberg* and book and lyrics by Oscar Hammerstein, Otto Harbach, and Frank Mandel.

While the film now only exists in a B&W version, and one of the musical numbers is missing, the score has astonishingly survived.

Obviously the source material is great, so much so that additional film versions were made in 1943 and 1953 (the latter starring Kathryn Grayson and Gordon McRae).

The 1929 version featured the talented and versatile Myrna Loy in the supporting role of Azuri. The film starred singer/actor John Boles and opera singer Carlotta King (in her film debut). Most folks probably haven't ever heard of King, as she decided to sign a contract with MGM rather than continue with Warner Bros., who had already cast her in an upcoming film. MGM left her potential films in development hell, and she instead went back to singing in Vaudeville.

Here's the eight minute *Overture*, taken directly from the Vitaphone disc. You might recognize some of the tunes.








Here's a small taste (under three minutes) of the score, _*The Riff Song*_:






:tiphat:

And here's the entire 1929 public domain film *The Desert Song*.

One small item of note . . . *Wikipedia*'s entry lists *Irving Berlin* as contributing to the score along with Romberg. There's no sourcing or explanation for his inclusion. Berlin, in 1929, was basically just a songwriter, so it's possible that the film included one of his songs, tunes, or some lyrics.


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## Prodromides

a suite from Tōru Takemitsu's 1978 *Empire of Passion* 武満 徹 「愛の亡霊」


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## pianozach

Prodromides said:


> a suite from Tōru Takemitsu's 1978 *Empire of Passion* 武満 徹 「愛の亡霊」







I'm four minutes in and I'm enjoying it. It often seems very 'old school', then occasionally becomes quite 'modern'. I'm a sucker for old/new and new/old, although I'm not even certain that's what *Takemitsu* was going for.

Reminds me a little of the score from *"Help!"* score actually.


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## Jacck

Jerry Goldsmith - Mummy





another excellent score from Goldsmith. It is amazing how he was able to make to music Egyptian sounding. The whole score is excellent, though if I remember correctly my favorite tracks were The Sand Volcano, Night Borders and Imhotep


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## Prodromides

A TC member seems to have just recently discovered André Previn whilst surfing on John Williams.

Here's the United Artists LP program on *Two for the See Saw*.






'See Saw' might well apply to Previn's discography: composer for Hollywood soundtracks plus conductor for London Symphony Orchestra.
This album also see-saws between orchestral incidental music and jazz source music.


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## Jacck

^^^ sounds similar to Chinatown from Jerry Goldsmith (the jazzy saxophone). But since Two for the See Saw is from 1962 and Chinatown is from 1974, it seems that Goldsmith might have been inspired by Previn


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## pianozach

*City Lights
Charlie Chaplin
1931*

By 1931, talkies had changed the film industry forever, but Chaplin was the one very notable resister, and continued to make silent films for the rest of his career. Even his 1940 film *The Great Dictator* was partly silent, although it's considered his first true "talkie".

But the art of synchronizing sound to moving pictures WAS used by Chaplin to match the score to the film. *City Lights* was Chaplin's first film score (although he had some help), and he lost a lawsuit for not crediting the leitmotif he plagiarized for the Flower Girl theme _*("La Violetera" ("Who'll Buy my Violets")*_ by Spanish composer José Padilla). He also had some help with the actual notation: *"I really didn't write it down. I la-laed and Arthur Johnson wrote it down, and I wish you would give him credit because he did a very good job. It is all simple music, you know, in keeping with my character."*

The score was then arranged by *Alfred Newman*, who would go on to win numerous Oscars for his own scores.


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## Jacck

Lalo Schifrin - Bullitt 




_For BULLITT, Lalo's musical creation perfectly captures San Francisco then and now. The blasts of brass that blow like steel fireballs through the glass canyons, the piano-driven riffs of cool melancholy, the gentler tones of jazzy laid-back intimacy that sugests not just the startling scenic wonders of the Golden Gate and the icy-blue of the bay, but the ragged, glorious chaos of the vertiginous hills and the claustrophobic cluster of perilously perched people and homes._


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## bharbeke

Awesome thread idea! I may post links occasionally, but I may also just talk about a track and let people seek it out on their own. Today, my mind goes to the wonderful piece from The Empire Strikes Back called The Asteroid Field. It's the perfect sequel to TIE Fighter Attack from the original movie.


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## Jacck

John Barry - Octopussy (007)


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## pianozach

bharbeke said:


> Awesome thread idea! I may post links occasionally, but I may also just talk about a track and let people seek it out on their own. Today, my mind goes to the wonderful piece from *The Empire Strikes Back* called *The Asteroid Field*. It's the perfect sequel to *TIE Fighter Attack* from the original movie.


I like things nice and tidy, and intellectually know that is not possible.

I figured I post one per day, and progress somewhat chronologically up through the years. Other people could post up to one per day (unlike the SONG OF THE DAY thread, where people will post a dozen songs every day).

It's really impractical to listen to entire scores, in addition to whatever else one may listen to in a day. Many folks work, then they come home and have to do chores, and eat, and watch TV, or pick out a symphony to play while cooking dinner . . .

I'm not going to ruin the fun by trying to run a thread with an iron hand though . . . everyone will contribute when they want, if they want.

Some may get excited over a particular score or composer, some will comment on scores posted. Me? I like to point out FUN FACTS about the film or the score, or perhaps some insight into what to listen for in a score that makes it special. Whatever . . .

Here they are . . . .


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## Jacck

Luboš Fišer - Valerie a týden divů





Czech movie Valerie and Her Week of Wonders (1970) 
https://www.imdb.com/title/tt0066516/


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## bharbeke

I promise that not every post I make in this thread will be John Williams. However, Adventures on Earth from E.T. is one of my absolute favorites from his work, and today feels like the day to post about it.


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## Prodromides

With TC's surfeit of John Williams threads during January 2021, here is an antidote before month's end:

*il delitto del diavolo* (1970) by Angelo Francesco Lavagnino.






There is quite a significant amount of Italian soundtracks available (in comparison with such from other non-English language territories) that unfortunately get marginalized by global focus on Hollywood.
Don't let these dozens upon dozens of Italian film music composers pass one by because they are not attached to the U.S. 'blockbusters'.


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## SanAntone

I started watching _Catch Me If You Can_ last night, and liked the score by *John Williams*.


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## Jacck

Tan Dun - Crouching Tiger Hidden Dragon Soundtrack





The film was scored by Tan Dun, a Chinese-born composer who lived in the United States and is learned in Western and Chinese music. A significant part of the film takes place in the Western Chinese desert regions, where Tan was sent to work as a boy during the Cultural Revolution and learned the local music, which also finds its way into the score.

Tan Dun used highly diverse and complex forces in making this recording, including the Shanghai Symphony Orchestra (Western instruments), the Shanghai National Orchestra (ethnic Chinese instruments), and the Shanghai Percussion Ensemble. The prominent cello part is played by international star Yo-Yo Ma, who convincingly realizes the Chinese flavor written into this solo line, particularly in an enchanting duet with the ethnic Chinese violin, the erhu, played by Ma Xiao Hui. Tang Jun Qiao plays two instruments, called the bowu and dizi, Alimjan plays an ethnic instrument of West Chinese origin called the rawap, and the hand drum (another instrument from the region) is played by Kasim. Tan Dun and Jorge Calandrelli's A Love Before Time, the end titles tune, is sung by Hong Kong pop star CoCo Lee and presented, in full, in both English and Mandarin versions.


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## bharbeke

I listened to the Goldsmith Mummy suite from earlier in the thread last night. It was pretty enjoyable, so thanks for sharing it.

How about a little Korngold today?


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## pianozach

bharbeke said:


> I listened to the Goldsmith Mummy suite from earlier in the thread last night. It was pretty enjoyable, so thanks for sharing it.
> 
> How about a little Korngold today?


A *fine* score. Korngold rocked it.


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## Prodromides

pianozach said:


> I like to point out FUN FACTS about the film or the score,


Here's a trivia item for the connoisseurs.

Which composer had written music for films directed by Allégret, Becker, Buñuel, Chabrol, Clouzot, Godard, Melville, Renoir, Vadim & Welles?

Reveal: 



 and


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## bharbeke

I put on the classical radio station this evening, and they were playing some great music by John Barry that included snippets from Goldfinger, Somewhere in Time, Out of Africa, and Dances with Wolves. The show is called Reel Music, and KBAQ is the station, for those who want to seek out the show.


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## Jacck

Benjamin Frankel ‎- The Curse Of The Werewolf 





_The 1961 Hammer horror film, The Curse of the Werewolf, paired innovative make-up and set design with the avant-garde music of Benjamin Frankel (1906-1973). Frankel's concert works had by this time embraced serialism, but The Curse of the Werewolf was his sole attempt at composing an almost entirely serial film score. This music more fully bridged the divide between the continental modernist practices found in his concert works with more conventional film music techniques. _

certainly an interesting 12-tone serialist score


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## pianozach

Jacck said:


> Benjamin Frankel ‎- The Curse Of The Werewolf
> 
> 
> 
> 
> 
> _The 1961 Hammer horror film, The Curse of the Werewolf, paired innovative make-up and set design with the avant-garde music of Benjamin Frankel (1906-1973). Frankel's concert works had by this time embraced serialism, but The Curse of the Werewolf was his sole attempt at composing an almost entirely serial film score. This music more fully bridged the divide between the continental modernist practices found in his concert works with more conventional film music techniques. _
> 
> certainly an interesting 12-tone serialist score


Can't say I've ever even HEARD of this film. Or Frankel.

I see by the poster that it's rated *"X - Adults Only"*.

But I suppose it deserves recognition for being the first 12-tone serialist score.

I'll put it in my listening queue . . . .


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## Prodromides

pianozach said:


> Can't say I've ever even HEARD of this film. Or Frankel.
> 
> I see by the poster that it's rated *"X - Adults Only"*.
> 
> But I suppose it deserves recognition for being the first 12-tone serialist score.
> 
> I'll put it in my listening queue . . . .


Benjamin Frankel was one of the 'top 3' A-list composers (along with William Alwyn and Malcolm Arnold) within the post-WWII British film industry. Chances are that a randomly selected U.K. production between 1946 and 1963 could well have its music scored by one of these three men. If one is not familiar with Hammer Films, though, then one likely hasn't viewed much of Britain's cinema.
The British "X" from this time should not be confused with the MPAA's 1968 rating system "X". This adults-only restriction is basically due to some onscreen female cleavage and some pre-Peckinpah blood-spurting. 
Frankel's composition for *The Curse of the Werewolf* is regarded as the first British serial film score, but 12-tone techniques were used in film scoring periodically between 1950 & 1960.

Notable titles include:
*The Man with a Cloak* (1951) for which David Raksin wrote a 12-note-based theme.
The 1954 Italian/U.K. *Romeo & Juliet* in whose score Roman Vlad purportedly used 12-tone techniques (haven't seen/heard this one myself)
+
MGM's *The Cobweb* (1955) - with its Leonard Rosenman score widely regarded as the earliest application of dodecaphony to a high-profile Hollywood picture.

I was planning to post, eventually, a sample of either Rosenman or Frankel ... but Jacck got to it ahead of me.


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## Jacck

Hans Zimmer - Chevaliers de Sangreal ALL VERSIONS (The Da Vinci Code), (Angels & Demons), (Inferno)




★The Da Vinci Code (Chevaliers de Sangreal) 0:02, 
★ Angels and Demons (503) 4:08, 
★ Inferno (Life Must Have Its Mysteries) 6:20


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## bharbeke

The Lion King (1994) has both a great score and set of original songs. From the Legacy Collection release, The Rightful King is one of my favorite tracks.


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## Jacck

^^^ The Lion King is one of the better sountracks by Zimmer. I am not really a Zimmer fan. I dont even really like the score I posted above (The Da Vinci Code), but I wanted to post something from Zimmer. It is effective, bombastic, but also very primitive and repetitive after a while. But people love it, if you read the comments under the youtube video. My favorite movie composer is Goldsmith, so here is another Goldsmith score with an African theme (Congo)


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## Jacck

Alfred Schnittke - Story of an unknown actor, op. 125


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## pianozach

Jacck said:


> ^^^ The Lion King is one of the better sountracks by *Zimmer*. I am not really a Zimmer fan. I dont even really like the score I posted above (The Da Vinci Code), but I wanted to post something from Zimmer. It is effective, bombastic, but also very primitive and repetitive after a while. But people love it, if you read the comments under the youtube video. My favorite movie composer is *Goldsmith*, . . .


I don't have a "favorite". I am honestly pretty impressed with most film scores.

All of the major film score composers have brought different things to the genre. Well, mostly. *Zimmer* does what he does; but he does it well.

My least favorite score is probably Jocelyn Pook's soundtrack to Kubrick's *Eyes Wide Shut*. And naturally, it won a few awards. I don't care. Sometimes crappy works get awards. Hell, *Mrs. Miniver* undeservedly won the Academy Award for Best Picture.

But for the most part, all of the major soundtrack composers have works that are exemplary works of music:

*John Williams,
Hans Zimmer, 
Bernard Herrmann, 
Elmer Bernstein,
Maurice Jarre, 
Jerry Goldsmith, 
Alfred Newman,
Miklós Rózsa, 
James Horner, 
Korngold, 
Tiomkin, 
Waxman, 
Max Steiner*

All great in their own way. Who did I miss?


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## pianozach

*Around the World in 80 Days
Victor Young
1956
*
Perhaps my favorite soundtrack. One of the ones laying around the house when I grew up, and of all the soundtracks, this is the one that sticks with me. It actually was the #2 album of 1957 (beaten by Elvis Presley), spending 10 weeks at #1. It won an Oscar for Best Score. Finally. 20 previous nominations.

Naturally, this is probably the best of the 300 or so soundtracks he composed. Well, maybe not the _*best*_, but certainly the most memorable and popular.

Of course, he really did have an unlimited palette to draw from . . . a film about traveling around the world. He used the opportunity to "sneak" in little tributes of music associated with each country visited. And I'm sure its popularity only benefitted from his death less than a month after its premiere.

Here's "*the Suite*" from the film.






.

. . . And the *original 1956 soundtrack* from the LP (a 50th anniversary extended version was released with an expanded smattering of random music from the film)


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## WNvXXT




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## pianozach

Oops. Wrong link for *Around the World in 80 Days*

That just gives you first track from the LP soundtrack

This takes you to the same track in a playlist of the tracks I think,:

https://www.youtube.com/playlist?list=PL416ABF98510F4D3E


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## Jacck

*Basil Poledouris - Conan the Barbarian and Conan the Destroyer*
At some point, I had to post this score, since for me personally this is my No.1 score. I have loved it since I first heard it as a school child. This is the penultimate romantic heroic fantasy score. Some info about it is on wiki
https://en.wikipedia.org/wiki/Conan_the_Barbarian_(1982_film)#Music

all of the tracks are awesome, but some favorites
Orphans of Doom/The Awakening





Atlantean sword





The Scrolls Of Skelos


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## pianozach

WNvXXT said:


>


Hmm. *Philip Glass*.

His stuff often works well with the films with which they are associated, and I _kinda_ like what he does sometimes, BUT . . .

Gawd, Glass is a one trick pony. It gets pretty old after awhile . . . the loops that keep changing slightly after eight go-rounds. Even when he changes up the orchestration, it still sounds the same. "Oh, that sounds like Philip Glass".


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## Kyler Key

Kyler Key - Corruption (Fluid Art)


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## pianozach

Kyler Key said:


> Kyler Key - Corruption (Fluid Art)


Lovely visual, and somewhat interesting music in the vein of a film score.

But not a film score, nor part of one.


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## Jacck

Elmer Bernstein - The Magnificent Seven


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## Alfacharger

I think Michael Giacchino is trying to best Jerry Goldsmith for composing good scores to bad movies. Here is one of my favorite tracks. Commitment from Jupiter Ascending.






And a little someting from Jerry Goldsmith's son Joel.


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## pianozach

Jacck said:


> Elmer Bernstein - The Magnificent Seven


Truly one of the great film scores . . . .


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## Jacck

James Bernard - Taste The Blood Of Dracula (Full OST - Hammer Horror)





another Hammer studio film - the Dracula films that made Christopher Lee famous. James Bernard composed music for several of the Hammer films. The scores sound pretty intense and added to the horror atmosphere of those movies
https://en.wikipedia.org/wiki/James_Bernard_(composer)


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## bharbeke

Here are a couple of my favorite pieces from The Return of the King: The Complete Recordings.


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## pianozach

I have to say, *Shore*'s music for *The Lord of the Rings* seems to be pretty awesome.


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## bharbeke

pianozach said:


> I have to say, *Shore*'s music for *The Lord of the Rings* seems to be pretty awesome.


It definitely is. Shore wrote great material and planned out how he wanted the themes to relate and change as the story progressed.


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## Alfacharger

For a cold February day on Cape Cod.


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## pianozach

*Happy Super Bowl Sunday!*

Today's score will, then, of course be

*Remember the Titans
Trevor Rabin
2000*

The film is based on the true story of black coach Herman Boone and his attempt to integrate the T. C. Williams High School football team in Alexandria, Virginia, in 1971.

*Trevor Rabin* is better known in the pop/rock world as the guitarist/singer/songwriter that rescued the band Yes from oblivion with their unexpected hit Owner of a Lonely Heart, and though he led the band for 15 years, he's spent far more time scoring films. Actually a classically trained pianist and arranger, he was scoring major and minor films for many years, as well as a few TV series.

Rabin names *Bernard Herrmann* as his favourite score composer. He has named *Arnold Schoenberg* as one of his favourite classical composers, and him and other classical composers - Beethoven, Sibelius, Elgar and Tchaikovsky - as influences.

The score itself wasn't released by Walt Disney Records until 2005.

That soundtrack release, however, was dominated by music composed by various artists, and contained less than 10% of Rabin's score that was actually used in the film. Naturally, the songs used were awesome as well: Ain't No Mountain High Enough (Marvin Gaye), Spirit in the Sky (Norman Greenbaum), Peace Train (Cat Stevens), etc. The one released Rabin piece, titled *Titans Spirit*, went on to have an independent life of its own, being an extremely popular theme used in many different sports settings:

It has been used on numerous sports telecasts, particularly those on *NBC*, which utilized the score during its closing credits for the Salt Lake *2002*, Athens *2004*, Torino *2006*, Beijing *2008*, Vancouver *2010*, London *2012*, and the Rio *2016* *Olympic Games* as well in 2002 with the final closing credits montage ending their 12-year run of *NBA coverage*. The song was also played as veteran *New York Mets* players crossed home plate during the closing ceremonies at Shea Stadium, and as the *New York Yankees* were awarded their rings from their 2009 *World Series* championship. The *New Jersey Devils* also used this song during the jersey number retirement ceremonies for Scott Stevens, Ken Daneyko, Scott Niedermayer, Martin Brodeur and Patrik Eliáš. In 2018, at the conclusion of the *Stanley Cup playoffs*, the song was used during the Washington Capitals' Stanley Cup celebration as captain Alexander Ovechkin lifted the Cup in Las Vegas.

It was also used during the *2008 Democratic National Convention* to accompany the celebration and fireworks at Invesco Field after future president Barack Obama gave his nomination acceptance speech, and was also used immediately following his victory speech upon winning the 2008 Presidential Election.

Titans Spirit






.

The complete orchestral score is actually beautifully orchestrated and well composed. You can hear it _*here*_.

https://www.youtube.com/playlist?list=PLohYzz4btpaRQ34kfRd8_1V81dST8bRNw


----------



## Jacck

Clint Mansell - The Fountain OST


----------



## Posauner

Happy 89th birthday to John Williams!


----------



## Jacck

John Williams is 89 today? Then we must indeed play some score of his. For example Hook


----------



## bharbeke

In honor of John Williams, here are my favorites from The Last Jedi:


----------



## Jacck

Bill Conti - The Right Stuff


----------



## Haydn70

Jacck said:


> Bill Conti - The Right Stuff


Bill Conti? How about Gustav Holst and Pyotr Ilyich Tchaikovsky?


----------



## Jacck

Haydn70 said:


> Bill Conti? How about Gustav Holst and Pyotr Ilyich Tchaikovsky?


I like those too, but in Tchaikovskys time film did not exist yet. Holst actually influenced the movie music industry quite a lot. Bill Conti won the Academy Award for Best Original Score for The Right Stuff OST


----------



## Haydn70

Jacck said:


> I like those too, but in Tchaikovskys time film did not exist yet. Holst actually influenced the movie music industry quite a lot. Bill Conti won the Academy Award for Best Original Score for The Right Stuff OST


My point is that one section is a blatant rip-off of the opening of Jupiter from The Planets. Another is a rip-off of Tchaikovsky's Violin Concerto.

All too typical of film composers...thieves of the first magnitude.


----------



## Jacck

Haydn70 said:


> My point is that one section is a blatant rip-off of the opening of Jupiter from The Planets. Another is a rip-off of Tchaikovsky's Violin Concerto.
> 
> All too typical of film composers...thieves of the first magnitude.


it is possible, though I did not notice it myself. It is nothing new that the film composers were inspired in classical music (or even borrowed whole themes). The John Williams Hook score I posted above sounds to me like a motif from one of the two Strauss symphonies (cannot remember which one)


----------



## bharbeke

From Solo, here's "Corellia Chase":


----------



## Prodromides

My favorite Hollywood composer is Alex North.

Below is a 14.5-minute suite from *The Misfits* which demonstrates North's talent for creating musical set-pieces; this one includes his 'horse ballet' accompanying a wild herd trying to avoid capture by cowboys.


----------



## pianozach

bharbeke said:


> From Solo, here's "Corellia Chase":


Is he deliberately trying to 'channel' John Williams?


----------



## bharbeke

pianozach said:


> Is he deliberately trying to 'channel' John Williams?


He is using a theme for Han Solo written by John Williams, so you are going to hear the Williams sound when it is used. For something that is more Powell, try the Cloud Rider theme, heard prominently during Enfys Nest's appearance in the conveyex/train heist section.


----------



## Jacck

Danny Elfman - Edward Scissorhands OST 





_It is not the easiest task to combine compassion and creepiness into one musical piece, but Danny Elfman has demonstrated, quite elegantly, just how to do it. Edward Scissorhands is quite considerably his masterpiece, instantly recognizable and hauntingly memorable. The concept of a man-made creation, a recluse who has been left with scissors for hands because his inventor died just before attaching natural ones, is certainly strange and possibly laughable. The film may indeed have played as pure farce if not for Elfman's artistry. While many films use soundtrack as the "glue" of the story, or as border, Elfman saturates every bit of Scissorhands so that it is as much his art as it is the director's (Tim Burton). The opening title is fantastic, emitting the wonder of childhood dreams and classic storybooks. But it is only the starting point on a journey of music that concludes with the "grand finale," which is not merely grand, but all encompassing. There are minor detours along the way, like "Edwardo the Barber," which is fun and reminiscent of Pee Wee's Big Adventure, but even in its lighter moments, Edward Scissorhands is classic._


----------



## pianozach

I'm undecided on *Elfman* actually.

I'll probably end up deciding he's a decent score composer, but I'm finding it difficult to get past his songwriting in films like *The Nightmare Before Christmas*. Certainly original, but gets there by way of unconventional harmonic progressions and decidedly grating harmonies. I don't know . . . I like to THINK I like "the unconventional" in music, but when displayed like THAT, I find I'm reticent to embrace it.


----------



## Jacck

pianozach said:


> I'm undecided on *Elfman* actually.
> 
> I'll probably end up deciding he's a decent score composer, but I'm finding it difficult to get past his songwriting in films like *The Nightmare Before Christmas*. Certainly original, but gets there by way of unconventional harmonic progressions and decidedly grating harmonies. I don't know . . . I like to THINK I like "the unconventional" in music, but when displayed like THAT, I find I'm reticent to embrace it.


his music is definitely strange and original and unlike any other film composer and it depends if it fits with your personal taste. I quite like him. Another interesting score is the Sleepy Hollow


----------



## Jacck

Christopher Young - Hellraiser OST





_In response to the film's celebration of the menacing and the macabre, Young wrote a score which is undeniably one of the great horror scores of the decade, and is in the conversation to be one of the best of all time. It's predominantly orchestral, with a few textures and timbres provided by Tom Calderaro's synthesizers, and what is immediately apparent about it is how thematic it is: it's filled to the brim with melody, harmony, and interesting instrumental ideas. It's also interesting to note just how romantic Hellraiser is at times; it's a dark romance, for sure, and there is plenty of sweeping grand guignol chaos and dissonance along with it, but Young never shies away from conveying one of Barker's twisted core ideas: that the Cenobites are sensory hedonists who have blurred the lines between pain and pleasure, and that on some level their victims all want to be tortured, otherwise they would not have sought out the puzzle box in the first place. As Pinhead says, the Cenobites are angels to some, demons to others. It's an interesting tonal conundrum - how do you score scenes of literal flesh-ripping horror while conveying the underlying almost-consensual relationship between torturer and victim? Whatever the answer is, Young does it perfectly._

https://moviemusicuk.us/2017/09/14/hellraiser-christopher-young/


----------



## bharbeke

The score for Pirates of the Caribbean: The Curse of the Black Pearl is great from start to finish. Here are a few of my favorite tracks:


----------



## Conrad2

Dream Songs: The Essential Joe Hisaishi
Artist: Joe Hisaishi
Label: Decca Gold
Release Year: 2020







A compilation of Ghibli studio films score composed by Joe Hisaishi.


----------



## Jacck

Franz Waxman - Sunset Boulevard





In 2005, Franz Waxman's score was named #16 of the top 25 film scores in the American Film Institute's "100 Years of Film Scores" list.
_
Two giants of Hollywood history, director Billy Wilder (1906-2002) and composer Franz Waxman (1906-1967), were born in the same year over a century ago.Wilder created several enduring classics of the American cinema, including Double Indemnity, The Lost Weekend, Sunset Blvd., Some Like It Hot, and The Apartment. Waxman, one of the most important composers of the Golden Age of Hollywood, wrote the music for The Bride of Frankenstein, The Philadelphia Story, Rebecca, Sunset Blvd., A Place in the Sun, Rear Window, Peyton Place, and nearly 140 others._


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## pianozach

Jacck said:


> In 2005, Franz Waxman's score was named #16 of the top 25 film scores in the American Film Institute's "100 Years of Film Scores" list.


I love *AFI*'s lists.

The *AFI Top 25 Film Scores* is quite the collection. Not a bad score in the bunch, not like, say, perusing the Oscar's Film of the Year Awards.

I note that John Williams, surprisingly, has only 3 films mentioned on this list. Steiner, Herrmann, Goldsmith, and Elmer Bernstein get 2 each.

It looks as though they tried to spread the love around, with practically every film composer managing at least one of their scores on the list.

I've seen some other lists, and most are Williams-heavy.

Oh, BTW, the voting for this list included 250 films (Williams, Waxman, Rosza, Steiner, Elmer Bernstein, Alfred Newman, and Goldsmith had 11 nominations each).

https://web.archive.org/web/20110313150632/http://www.afi.com/Docs/100Years/scores250.pdf


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## Jacck

Ed Shearmur - K-PAX 





_Edward Shearmur's score for K-Pax appropriately combines orchestral pieces with electronic music so as to match the fanciful tone of a film about a mental patient (played by Kevin Spacey) who claims to be from another planet and his psychiatrist (Jeff Bridges). But a solo piano-like sound, playing slow, introspective single-note melodies, is the primary musical element, the piano backed by haunting synthesized sounds on a cue such as "Good Morning Bess." The result is a soundtrack that works as an ambient/new age album much of the time, as well as providing a souvenir to the film._


----------



## Jacck

Henry Mancini - The Pink Panther





_The Pink Panther is another fine, early-'60s soundtrack from Henry Mancini. The title track became one of his most recognizable themes and kicks off a pleasant program of dreamy lounge cuts and Latin-tinged numbers. As he did on many other movie/TV albums (Touch of Evil, Peter Gunn, etc.), Mancini also includes some noirish, big band numbers, like "The Tiber Twist" and the main title. Along with these up-tempo songs, he balances out the mostly light material with the solidly swinging mambos "The Village Inn," "Something for Sellers" (as in Peter Sellers, the movies' star), and "It Had Better Be Tonight" (co-written by frequent partner Johnny Mercer and something of a minor vocal hit upon its release). The program's highlights, though, come from the kind of sublime (some might say cheesy) ballads he usually included on his soundtracks; the after-hours jazz tune "Royal Blue" stands out in particular, with its tasteful string arrangement and glowing trumpet solo. This is a great title for fans of Mancini's lounge/soundtrack material, but those more into his jazz material should consider either his Peter Gunn or Combo soundtracks_


----------



## Posauner

John Barry
The Lion in Winter (1968)

_The Lion in Winter was one of John Barry's most successful scores, picking up an Oscar, a Bafta and a Golden Globe in 1968. The film itself is a historical drama based on the Broadway play of the same name by James Goldman, and told the story of Henry II's family at Christmas in 1183. It starred Peter O'Toole, Katharine Hepburn, John Castle and Anthony Hopkins in his film debut, playing Richard the Lionheart. Brassy fanfares and medieval choruses capture the mood and intrigues of the court of King Henry II._


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## Jacck

Laurence Rosenthal - Clash Of The Titans





http://musicweb-international.com/film/2000/Nov00/clash_of_titans.html


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## Jacck

Vangelis - Blade Runner Soundtrack





this is a legendary soundtrack to a legendary cyberpunk movie

_Vangelis' soundtrack to the 1982 futuristic noir detective thriller Blade Runner is as bleak and electronically chilling as the film itself. By subtly interspersing clips of dialogue and sounds from the film, Vangelis creates haunting soundscapes with whispered subtexts and sweeping revelations, drawing inspiration from Middle Eastern textures and evoking neo-classical structures. Often cold and forlorn, the listener can almost hear the indifferent winds blowing through the neon and metal cityscapes of Los Angeles in 2019. The sultry, saxophone-driven "Love Theme" has since gone on as one of the composer's most recognized pieces and stands alone as one of the few warm refuges on an otherwise darkly cold (but beautiful) score_


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## pianozach

I always wonder how a score ends up faring as a director or producers create additional versions of a film. *Blade Runner* probably has at least four different versions.


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## bharbeke

Here is a little Danny Elfman (Mission: Impossible) and Alan Silvestri (Back to the Future) music that I love.


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## Jacck

Patrick Doyle - Carlito's Way




Al Pacino starred as Carlito who vows to go straight after his release from prison but ends up being dragged back into criminal activity. Patrick Doyle was an unusual choice for an American crime drama, but he delivered a highly accomplished and emotional orchestral score


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## Jacck

Gil Mellé - The Andromeda Strain (1971)






this is some crazy synthetizer avant-garde

a reviewer at Amazon _"As someone who has the vinyl version of this album, let me tell you that this is unlike anything you've heard before. The score of "Forbidden Planet" is the closest analog I can think of to this soundtrack. For "The Andromeda Strain", composer Gil Mellé totally re-thought exactly what film music is. His avant-garde score comes across more like a collection of sound effects, albeit sound effects arranged in a flowing, "melodious" way. It is a musical "trip", sans drugs."
_


----------



## bharbeke

The saxophone on that Pink Panther intro is so good. I grew up listening to the theme at Organ Stop Pizza, which could not do the tone bends that a saxophonist can.

David Arnold gets a lot of attention for his James Bond work, as well he should. Today, however, I'm going a little earlier in time to Independence Day. If you like the track below, others to check out include "The Darkest Day," "Base Attack," "International Code," "The President's Speech," and "End Titles."


----------



## Jacck

Elliot Goldenthal - Alien 3





Elliot Goldenthal is another film composers I really like. I think his Alien Resurrection soundtracks is as good as the score by Goldsmith, and that is saying a lot. Elliot Goldenthal (born May 2, 1954) is an American composer of contemporary classical music and film and theatrical scores. A student of Aaron Copland and John Corigliano, he is best known for his distinctive style and ability to blend various musical styles and techniques in original and inventive ways. He won the Academy Award for Best Original Score in 2002 for his score to the motion picture Frida,


----------



## bharbeke

It's a WandaVision release day, so let's have something cool from the MCU. Christophe Beck's Ant-Man score is great throughout, so if you like the theme, then you should check out the whole score release.


----------



## pianozach

bharbeke said:


> I promise that not every post I make in this thread will be John Williams. However, Adventures on Earth from E.T. is one of my absolute favorites from his work, and today feels like the day to post about it.


Speaking of "Adventures", it's time to visit *Erich Korngold's The Adventures of Robin Hood* (1938).

First off, let's call this score (and Korngold's 1940 score for *The Sea Hawk*) a major influence of *John Williams* (see how I tied that in?).

Here's the *Soundtrack "Suite" from The Adventures of Robin Hood.* You can better hear the influences on Williams though in Korngold's Sea Hawk.






There's a lot of reasons this score is great, but here's a mini-documentary (<20minutes) that is far more informative than it ought to be. This guy really talks fast.


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## Jacck

Abel Korzeniowski - Nocturnal Animals






http://www.movie-wave.net/nocturnal-animals/


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## Jacck

John Barry - Mercury Rising


----------



## Prodromides

Much to my surprise, Malcolm Arnold's soundtrack for *The Inn of the Sixth Happiness* (1958) has been uploaded into YouTube as a single 40-minute video.
I own a monaural LP of this on the 20th/Fox label (with dialog excerpts), but here it is in stereo (without dialog) in what sounds like a record-to-MP3 transfer:


----------



## Jacck

Jerry Goldsmith - Hour of the Gun




westerns from the 1960's are some of the best music Goldsmith composed, imho.


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## bharbeke

My feelings on Mr. Holland's Opus are mixed. The performances and music included are great, while the writing is a bit on the obvious side, and some of the parts are painful to listen to (the bad clarinet playing, the sirens, etc.).

That said, I still think the American Symphony music at the end is great, so here it is for your listening pleasure:


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## pianozach

bharbeke said:


> My feelings on Mr. Holland's Opus are mixed. The performances and music included are great, while the writing is a bit on the obvious side, and some of the parts are painful to listen to (the bad clarinet playing, the sirens, etc.).
> 
> That said, I still think the American Symphony music at the end is great, so here it is for your listening pleasure:


*Kamen* is vastly underrated. Until his death in 2013 he kind of flew under the radar, in spite of being nominated for two Academy Awards, winning three Grammy Awards, two Golden Globes, two Ivor Novello Awards, an Annie Award, and an Emmy.

He was a classic case of spreading his "eggs" around in many different baskets.

.

Did a lot of rock-related projects, including work with Pink Floyd


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## Jacck

Justin Hurwitz - First Man


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## bharbeke

Max Steiner's music for King Kong is justifiably remembered over 80 years later. The full soundtrack album is easily searchable, but for just a clip, here is the airplane/finale sequence.


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## pianozach

bharbeke said:


> Max Steiner's music for King Kong is justifiably remembered over 80 years later. The full soundtrack album is easily searchable, but for just a clip, here is the airplane/finale sequence.


There's a lot to be said about Steiner's score for King Kong.

Utilizing Wagner's leitmotiv system of assigning a theme for all of the main characters and events and using them developmentally in a symphonic fashion allowed Steiner to craft a film score which was both musically dramatic and story enhancing.

Noted film composer *Danny Elfman* says *"I think it is important to remember that when Steiner set down to score King Kong there were almost no references. He was practically starting from a clean slate - uncharted territory. So many things that Steiner did we take for granted now that the language has been defined. Steiner really is the granddaddy of this wonderful art form."*


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## Jacck

Patrick Doyle - Henry V


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## bharbeke

Information about the music for The Lady Vanishes is not popping up very readily. Wikipedia identifies two uncredited composers for the movie. The prelude to it sounds nice, and it holds up very well today as a movie.






The music to The Wizard of Oz is incredible and extremely memorable. The whole Deluxe Edition soundtrack is available as a playlist on YouTube. Here is a bit from the end of the movie:






Wikipedia also has some choice information about the music and some of the excerpts from other works included in the soundtrack.

https://en.wikipedia.org/wiki/Musical_selections_in_The_Wizard_of_Oz


----------



## Jacck

Miklós Rózsa - Knights Of The Round Table - An Epic Symphony





the slow melodic themes are quite beautiful, for example at 6:30 or 20:16


----------



## Jacck

Ernest Gold - Cross of Iron





_In 1977, Ernest Gold wrote one of his finest scores for Sam Peckinpah's searing war film, Cross Of Iron. The film starred James Coburn, Maximilian Schell, James Mason and David Warner. Cross Of Iron encompassed many of the themes consistent with Peckinpah's best work: betrayal, hatred of authority, redemption in the face of catastrophic adversity. Gold's music brilliantly accompanies Peckinpah's memorable images - martial music intertwined with innocent children's singing, a great and powerful theme for the James Coburn character, Steiner, and tremendous dramatic scoring throughout. In a way, it was almost a final burst of glory for both Peckinpah and Gold._


----------



## Jacck

Jerry Goldsmith - The Agony And The Ecstasy





a rather unknown, but wonderful score by Jerry Goldsmith. (the movie is pretty good too)


----------



## bharbeke

Here is a piece from 1940 that's worth hearing:

Theme From Rebecca (Franz Waxman)





For you horror fans, here is some music from the original The Wolf Man (1941):


----------



## pianozach

bharbeke said:


> For you horror fans, here is some music from the original The Wolf Man (1941):


*The Wolfman* score was not only worked on by *Frank Skinner* and *Hans J. Salter* but *Charles Previn*, uncle of Andre Previn, who composed the *"Wolf-Bane"* track and helped with the _*"Main Title"*_ as well as _*"The Kill."*_

The film's enduring impact owes much to its driving score.


----------



## Jacck

Ennio Morricone - Mission to Mars


----------



## bharbeke

My survey of music from great films in 1941 concludes here with The Maltese falcon and Citizen Kane.


----------



## Jacck

Cezary Skubiszewski - Death Defying Acts


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## pianozach

Jacck said:


> Cezary Skubiszewski - Death Defying Acts


Well.

A film I don't recall ever hearing of, and a composer whose name doesn't even ring a bell.


----------



## Jacck

Steve Jablonsky - Transformers 





a little zimmeresque, but I still quite like the OST, the main melody starts at 5:45. I have not listened to the whole suite, but I know the complete soundtrack


----------



## Jacck

David Shire - Return To Oz


----------



## Jacck

How To Train Your Dragon (2010) - Full soundtrack (John Powell)





a solid score, one of the better ones from recent period


----------



## Prodromides

In rememberance of French director Bertrand Tavernier who recently passed away, here is one of the soundtracks from his _oeuvre_: *Death Watch* (1980)






This single YT clip is from the LP (*Death Watch* has never been re-issued onto CD thus far). Composer Antoine Duhamel had periodic collaborations with directors ... the likes of whom included both Truffaut & Godard as well as Tavernier amongst other notables.

Duhamel is my 3rd favorite composer from French cinema, with Pierre Jansen and Jean Prodromidès being the other two within my franco-triumvirate.

A photo of Bertrand T. shares space on the reverse of the album with one of Duhamel with conductor Rabinowitz.


----------



## Jacck

Bernard Herrmann - 7th Voyage Of Sinbad


----------



## Jacck

Wojciech Kilar - The Ninth Gate


----------



## pianozach

Jacck said:


> David Shire - Return To Oz
> Steve Jablonsky - Transformers
> How To Train Your Dragon (2010) (John Powell)
> Bernard Herrmann - 7th Voyage Of Sinbad
> Wojciech Kilar - The Ninth Gate


I think you are finding some wonderful recent scores here . . . .

I can't say I recall hearing or seeing *The Ninth Gate*, but I've seen a few of the films he's scored, although being unfamiliar *Wojciech Kilar* as a composer, I certainly wouldn't have remembered his name: *The Truman Show* . . . um, no, I guess I've only seen _that_ one. I see he scored *The Pianist* and *Bram Stoker's Dracula*.

Of course, it appears that he's far more active scoring foreign language films (foreign to me), and being an American in America, films are a rather Americentric activity. Films in foreign languages aren't given much of a chance here - it's rare when a foreign language film gets wide release at all - the exceptions are few.


----------



## Jacck

pianozach said:


> I think you are finding some wonderful recent scores here . . . .
> 
> I can't say I recall hearing or seeing *The Ninth Gate*, but I've seen a few of the films he's scored, although being unfamiliar *Wojciech Kilar* as a composer, I certainly wouldn't have remembered his name: *The Truman Show* . . . um, no, I guess I've only seen _that_ one. I see he scored *The Pianist* and *Bram Stoker's Dracula*.
> 
> Of course, it appears that he's far more active scoring foreign language films (foreign to me), and being an American in America, films are a rather Americentric activity. Films in foreign languages aren't given much of a chance here - it's rare when a foreign language film gets wide release at all - the exceptions are few.


people who are tired with the mindless shalowness of Hollywood usually watch many more independent/foreign films, ie what is called world cinema. Wojciech Kilar is easy to remember for me, since he is Polish and in Czech we have a similar Slavic name Vojtěch (=Wojciech). The Night Gate movie is definitely very good. One of my favorites. And Kilar's Bram Stoker's Dracula score is wonderful too. In fact, I was trying to decide if I should post that one or the Ninth Gate


----------



## Jacck

Dracula - Bram Stoker's *Original Soundtrack* Film [1992]





the Dracula score is worth posting (and re/listening) too


----------



## vincula

Regards,

Vincula


----------



## Jacck

The Luzhin Defence (Suite) - Alexandre Desplat


----------



## vincula

Nico Muhly, soundtrack to _The Reader_, a film based on the wonderful novel from the German writer (and jugde) Bernhard Schlink.






Nico Muhly has a wide and stimulating musical work, that goes way beyond his role as film composer.

Regards,

Vincula


----------



## Jacck

Wojciech Kilar - The Portrait Of A Lady





the whole sountrack here


----------



## qanik

with regards to soundtrack Lion in Winter - agree 100% loved the movie when it first came out and bought the LP right away , have never tired of it, play the LP on special evenings otherwise the CD


----------



## Jacck

James Horner - Krull


----------



## pianozach

Jacck said:


> James Horner - Krull


*Really?! Krull?* All 90 minutes?

I've seen the film once, many years ago. Didn't realize Horner did the soundtrack, nor did I pay any attention to the music when I saw it.

What's your assessment of it?


----------



## Jacck

pianozach said:


> *Really?! Krull?* All 90 minutes?
> I've seen the film once, many years ago. Didn't realize Horner did the soundtrack, nor did I pay any attention to the music when I saw it.
> What's your assessment of it?


I have known the soundtrack for years. Before I "discovered" classical music, I have been collecting soundtracks and listening to soundtracks for years. My assessment of it? One of the best by Horner. And I have 23 scores by Horner. Though he did compose many fine ones, such as Braveheart, Beautiful Mind, Avatar, Star Trek - The Wrath Of Khan, the Zorro movies, Troy, Titanic, The Name of the Rose etc.


----------



## pianozach

Jacck said:


> I have known the soundtrack for years. Before I "discovered" classical music, I have been collecting soundtracks and listening to soundtracks for years. My assessment of it? One of the best by Horner. And I have 23 scores by Horner. Though he did compose many fine ones, such as Braveheart, Beautiful Mind, Avatar, Star Trek - The Wrath Of Khan, the Zorro movies, Troy, Titanic, The Name of the Rose etc.


I've got it playing in the background now . . . 10 minutes in . . . far more diverse and deep than I would have expected from the film for which it was written.


----------



## pianozach

pianozach said:


> I've got it playing in the background now . . . 10 minutes in . . . far more diverse and deep than I would have expected from the film for which it was written.


OK, I've got to say that *Horner's Krull* soundtrack is pretty astounding, amazing, and worth the 90 minutes playing through it.

If I had to make a criticism, it was a great deal "kitchen sink" -ish, but I happen to like that sort of thing.


----------



## Jacck

David Arnold - Stargate (1994)


----------



## bharbeke

I really liked what I heard of the Krull soundtrack (I listened closely for about the first 15 minutes and used the rest as music to fall asleep by, something that I can do no matter how awesome the music is). It shares a lot with his Wrath of Khan music, especially in how he likes to orchestrate.

I've heard and enjoyed the Stargate music in context of the movie. I look forward to hearing the soundtrack.

Speaking of David Arnold, he wrote some nice music for The Chronicles of Narnia: The Voyage of the Dawn Treader.


----------



## Jacck

bharbeke said:


> I really liked what I heard of the Krull soundtrack (I listened closely for about the first 15 minutes and used the rest as music to fall asleep by, something that I can do no matter how awesome the music is). It shares a lot with his Wrath of Khan music, especially in how he likes to orchestrate.
> I've heard and enjoyed the Stargate music in context of the movie. I look forward to hearing the soundtrack.
> Speaking of David Arnold, he wrote some nice music for The Chronicles of Narnia: The Voyage of the Dawn Treader.


Among Horner's oeuvre, Wrath of Khan is definitely the most similar to Krull. Both the Krull and the Stargate are great soundtracks with lots of ideas. Some soundtracks are quite cheap in that they contain one central melody that is repeated several times over the movie, and some boring filler. On the other hand there are rich soundtrack full of musical ideas and not too repetitive. The Stargate is definitely among those.

Never heard the The Chronicles of Narnia: The Voyage of the Dawn Treader OST. But I sampled it on youtube, and sounds really great





I know the The Lion, the Witch, and the Wardrobe Narnia OST by Harry Gregson Williams and that is pretty good as well


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## Jacck

Bruno Coulais - Himalaya : L'Enfance d'un chef 





one of my TOP soundtracks, possibly even top10. Though I am not nearly as methodical as Art Rock in keeping detailed tabs and ratings on my music, so hard to tell.


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## Jacck

François de Roubaix - Daughters of Darkness [1971]





François de Roubaix (3 April 1939, Neuilly-sur-Seine, Hauts-de-Seine - 22 November 1975, Tenerife, Canary Islands) was a French film score composer. In a decade, he created a musical style with new sounds, until his accidental death at 36. Roubaix did not receive any formal education in music, but began studying jazz on his own at age 15, forming a band and learning trombone as an autodidact. His father, filmmaker Paul de Roubaix [fr], made educational films, and offered to let François compose scores for them. His first film score was for a 1961 film by Robert Enrico; through the late 1960s and early 1970s he scored films for Enrico, Jose Giovanni, Jean-Pierre Melville, Jean-Pierre Mocky, and Yves Boisset. Notable in his style is his use of folk elements, as well as electronic musical instruments such as synthesizers and early drum machines. He is thus seen as a precursor of the French electronic music. Roubaix had a home studio where he would overdub parts until he was satisfied with the result. He died in 1975 in a diving accident. In 1976, his score for Le Vieux Fusil was awarded a César Award.


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## Jacck

Hans Zimmer - Blue Planet II





I wonder how much Hans did and how much the other two composers


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## pianozach

Jacck said:


> Hans Zimmer - Blue Planet II
> 
> I wonder how much Hans did and how much the other two composers


This is a fairly recent trend, to "tag team", or collaborate, on a film score.

It certainly makes it even more difficult to catalog a collection, or list, of film soundtracks.

*Three* composers! Hans Zimmer, Jacob Shea & David Fleming.


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## Jacck

Ennio Morricone - Marco Polo





one of my favorite soundtracks by Morricone, if not the most favorite. I have known this music since childhood, since the 1980's. The communist TV in Czechoslovakia aired mostly films and TV series from the eastern bloc, but there were some exceptions when they allowed some series from the West. This TV series Marco Polo was one of those exceptions. I was captivated by this music even as a child.


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## Jacck

Keith Emerson - Inferno (1980) Original Motion Picture Soundtrack





this is the Keith Emerson from the Emerson, Lake & Palmer (ELP) band and this is a prog rock soundtrack for a Dario Argento horror movie


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## bharbeke

The David Arnold Stargate score is wonderful. Thanks again for sharing that.

Here is something nice from his score to The World is Not Enough:


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## Andrew Kenneth

Agneepath (2012)
music by : Ajay Atul


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## pianozach

Andrew Kenneth said:


> Agneepath (2012)
> music by : Ajay Atul
> 
> View attachment 153998


I enjoyed the video, and the music. I'm a sucker for compound rhythms and well layered percussion.

And handclaps. They are way underrated as a percussion instrument.


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## Jacck

Klaus Doldinger - The Never Ending Story


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## Jacck

Marc Streitenfeld - Prometheus 





I love scores like this. Prometheus is of course a scifi horror movie by Ridley Scott, that was supposed to be a continuation of the Alien franchise. I loved the movie, unfortunately the movie flipped with the alien fanbase who just wanted to see more of the xenomorphs and were not interested in some deep philosophy, so the sequels were created to accomodate the fans and it destroyed the franchise. Anyway, the score captures the adventure and mystery and also isolation of space, and some horror elements.


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## mikeh375

^^^I believe Streitenfeld had to consult the horn soloist who plays at the beginning of the film because the theme goes a tone higher than the official register for the horn. The books say the top note is a concert F and the theme goes up to G at one point. It's such a haunting theme and yeah, a great movie that was nicely continued with 'Alien Covenant' imv. I await the 3rd instalment.
Didn't Gregson-Williams add a few cues too?


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## Jacck

mikeh375 said:


> ^^^I believe Streitenfeld had to consult the horn soloist who plays at the beginning of the film because the theme goes a tone higher than the official register for the horn. The books say the top note is a concert F and the theme goes up to G at one point. It's such a haunting theme and yeah, a great movie that was nicely continued with 'Alien Covenant' imv. I await the 3rd instalment.
> Didn't Gregson-Williams add a few cues too?


I seriously disliked the plot twist in the Alien Covenant, where it was revealed that it was David who constructed the xenomorphs. In pretty much killed the series for me. I expected some more exposition on the Engineers, and we got a silly android instead. Yes, wiki says that Gregson-Williams composed two tracks from the OST (they are shown on the wiki page)
https://en.wikipedia.org/wiki/Prometheus_(soundtrack)


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## mikeh375

Jacck said:


> I seriously disliked the plot twist in the Alien Covenant, where it was revealed that it was David who constructed the xenomorphs. In pretty much killed the series for me. I expected some more exposition on the Engineers, and we got a silly android instead. Yes, wiki says that Gregson-Williams composed two tracks from the OST (they are shown on the wiki page)
> https://en.wikipedia.org/wiki/Prometheus_(soundtrack)


There might be more on the Engineers in the 3rd instalment - here's hoping. I agree that more on them is needed. If the 3rd instalment is meant to lead up to the original 'Alien' then an Engineer may have to be included given that a downed ship of theirs is first discovered on the planet that's being terraformed.


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## Jacck

Jerome Moross - The Big Country (1958)


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## Andrew Kenneth

Ram-Leela (2013)
music by Sanjay Leela Bhansali


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## Prodromides

I posted this on another thread & am putting it here, too:






My favorite director/composer collaboration is Claude Chabrol & Pierre Jansen.


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## Jacck

Trevor Jones - The Last Of The Mohicans 





a well known soundtrack (at least I think)


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## pianozach

Jacck said:


> Trevor Jones - The Last Of The Mohicans
> 
> 
> 
> 
> 
> a well known soundtrack (at least I think)


Co-composed by *Trevor Jones and Randy Edelman*. Because director Michael Mann changed his mind at the last minute from wanting an electronic score to wanting instead a symphonic score, Jones had to scramble to work his original electronic score into a symphonic one. Then constant re-cutting of the film meant music cues sometimes had to be rewritten several times to keep up with the new timings, and Jones had to call in Edelman to help complete the score.

For some reason this meant that the score was ineligible for Oscar contention.


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## nikola




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## Andrew Kenneth

Dil To Pagal Hai (1997)
Music : Uttam Singh - Lyrics : Anand Bakshi


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## MAS

Andrew Kenneth said:


> Ram-Leela (2013)
> music by Sanjay Leela Bhansali
> 
> View attachment 154496


Hmm. Steamy films? Reminds me of "Romance Novel" book covers.


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## Andrew Kenneth

MAS said:


> Hmm. Steamy films? Reminds me of "Romance Novel" book covers.


The film is based on "Romeo & Juliet", so it's definitely a romance.

trailer =>


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## ZJovicic

This is from one of the most famous movies from former Yugoslavia (1980) _Ko to tamo peva_ (Who's That Singing Over There?):


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## Tempesta

Howard Shore's theme for Cronenberg's _Crash_


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## pianozach

*OK, two things for today:
*
*1. The Academy of Motion Pictures* (the OSCARS), in light of declining viewership of the annual Oscar Presentation live program, has decided to relegate the category of Best Original Score to the non-broadcast "technical" portion of the awards ceremony. Yes, there's been some outcry (myself included), mostly to deaf Academy ears.

In total, eight different Oscar categories - *original score, makeup and hairstyling, documentary short, film editing, production design, animated short, live action short and sound* - will be awarded prior to the start of the upcoming March 27 show, edited for time, and broadcast sporadically throughout the evening.

I'm thinking that this is a mistake, as the art of film is a wondrous collaborative process. Sure, the director is where the buck stops, but that director relies on a great many other experts such as editors, screenwriters, cinematographers, art directors, and, of course, composers.

They are losing their viewership partly because they are failing to uplift these aspects of filmmaking, and deliberately calling them, in effect, boring. This cheapens films by highlighting only the superficial aspects.



*2. Film Score of the Day:* *Howard Shore - The Lord of the Rings*. Yes, Shore has learned a great deal from the film scorers of the past, and certainly from Max Steiner, John Williams, and the like. Shore seams to take all this to a level just a bit higher than the artisans of the past.

:tiphat:

So that brings me to Aussie *Youtuber CallMeCaroline*, who highlights this particular film and composer, and relays how this particular score opened her eyes to the importance of a film score to the overall ginormous product that constitutes a "film".


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## verandai

Not bad the analysis! Although it could dig a little deeper - but then it wouldn't get the desired views, I guess.

Also, the second part of the Fellowship-theme having 9 notes, I think that's just coincidence


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## pianozach

pianozach said:


> *OK, two things for today:
> *
> *1. The Academy of Motion Pictures* (the OSCARS), in light of declining viewership of the annual Oscar Presentation live program, has decided to relegate the category of Best Original Score to the non-broadcast "technical" portion of the awards ceremony. Yes, there's been some outcry (myself included), mostly to deaf Academy ears.
> 
> In total, eight different Oscar categories - *original score, makeup and hairstyling, documentary short, film editing, production design, animated short, live action short and sound* - will be awarded prior to the start of the upcoming March 27 show, edited for time, and broadcast sporadically throughout the evening.
> 
> I'm thinking that this is a mistake, as the art of film is a wondrous collaborative process. Sure, the director is where the buck stops, but that director relies on a great many other experts such as editors, screenwriters, cinematographers, art directors, and, of course, composers.
> 
> They are losing their viewership partly because they are failing to uplift these aspects of filmmaking, and deliberately calling them, in effect, boring. This cheapens films by highlighting only the superficial aspects.
> 
> 
> 
> . . . .


*Variety* is reporting the 350 "Industry Pros" have signed a petition to get the 8 "demoted" categories reinstated.

*"We urge you and the awards committee to reverse your decision to move these eight awards off this year's live Oscars telecast."*

https://variety.com/2022/awards/new...ui8heq4N76EDLqf_yuoBYKZs2wBsbggx02NeXpGHNZ-ok


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## pianozach

Film Score of the Day

56th Annual Oscars

NOMINEES

DON'T LOOK UP
Nicholas Britell

ENCANTO
Germaine Franco

PARALLEL MOTHERS
Alberto Iglesias

THE POWER OF THE DOG
Jonny Greenwood

*WINNER*
*DUNE
Hans Zimmer*


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## Forster

pianozach said:


> Film Score of the Day
> 
> 56th Annual Oscars
> 
> NOMINEES
> 
> DON'T LOOK UP
> Nicholas Britell
> 
> ENCANTO
> Germaine Franco
> 
> PARALLEL MOTHERS
> Alberto Iglesias
> 
> THE POWER OF THE DOG
> Jonny Greenwood
> 
> *WINNER*
> *DUNE
> Hans Zimmer*


Certainly the most obvious one to post for the day's score.

I enjoyed the movie and I'm sure my enjoyment was enhanced by the soundtrack, but there were no memorable or lush romantic themes.


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## pianozach

*DON'T LOOK UP*
*Nicholas Britell*


*Britell* composed the music for Adam McKay's 2021 film *Don't Look Up*, including the song *"Just Look Up"* performed by *Ariana Grande and Kid Cudi*.

BTW, he also composed the score for 2021s *Cruella*, for which he won the World Soundtrack Award for Best Original Song, _*"Call Me Cruella"*_.

He's won several awards from several associations for his score for the 2019 film *If Beale Street Could Talk*

One of the five nominees for *Best Original Score* at the 2022 Oscars. I believe that this was his third nomination for *Best Score*. He did win a *Hollywood Music In Media Awards* award for the score

*Britell* is an American composer and pianist of Jewish descent.

His work is inspired by Rachmaninoff, Gershwin, Philip Glass, and Zbigniew Preisner, Quincy Jones and Dr. Dre.

*Main Theme*







•

*The Call*






•

*The Launch*


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## pianozach

*ENCANTO
Germaine Franco*
2021

Obviously a mashup soundtrack with soundtrack music from Germaine Franco, and songs/music from Lin Manuel-Miranda


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## Chibi Ubu




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## Rogerx

Vangelis: Chariots of Fire

Vangelis (keyboards, programming)

Ambrosian Singers, John McCarthy

Remembering Vangelis


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## pianozach

pianozach said:


> *ENCANTO
> Germaine Franco*
> 2021
> 
> Obviously a mashup soundtrack with soundtrack music from Germaine Franco, and songs/music from Lin Manuel-Miranda


This film, and the *Lin Manuel-Miranda* songs, seem to be rather popular with the teens right now.


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## pianozach

*Around the World in 80 Days
Victor Young
1956*

One of the soundtracks my folks had on LP when I was a child.

The music captivated me, probably because as the film followed the exploits of travelling around the world, it was able to incorporate music that reflected wherever they were.

Young received 22 Oscar nominations for his work in film, twice being nominated four times in a single year, but he did not win during his lifetime. He received his only Oscar posthumously for _this_ score.

*Around The World In 80 Days 
Soundtrack suite






*
Frankly, I think the soundtrack album full of individual tracks arranged chronologically from the score is a far better listen than the Suite, but this is a decent way to get a sense of *Young*'s styles.


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## Forster

pianozach said:


> [...]
> 
> Young received 22 Oscar nominations for his work in film, twice being nominated four times in a single year, but he did not win during his lifetime.
> 
> [...]


That's a bit rough. Though I see that there was more than the now customary 5 nominees in the two music categories in 1940 - 12 in one and 13 in the other. In 1941, there were even more nominees for original score: 17! And 9 for scoring. By 1957, it was just the regulation 5 scores.


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## pianozach

Forster said:


> That's a bit rough. Though I see that there was more than the now customary 5 nominees in the two music categories in 1940 - 12 in one and 13 in the other. In 1941, there were even more nominees for original score: 17! And 9 for scoring. By 1957, it was just the regulation 5 scores.


Yes! You noticed.

For many years (from 1937 through 1945 ) the score nominations were practically unlimited. _EVERY_ studio was allowed to submit a score from one of their films for each music category. *Victor Young* wasn't tied to a single studio, and would freelance at as many as he had time for, and for as many wanted that wanted his services. 

In *1939* Young recieved 3 nominations for *Best Original Score* (for *Golden Boy* [Columbia], *Gulliver's Travels* [Paramount], and *Man of Conquest* [Republic]) AND a nomination for "*Best Music, Scoring*" (for *Way Down South* [RKO]). Young's films lost to *The Wizard of Oz* and *Stagecoach* in those two categories.

That same year *Max Steiner* received two nominations for *Dark Victory* and *Gone With the Wind*, and *Alfred Newman* received four nominations for *Wuthering Heights, The Rains Came, They Shall Have Music*, and *The Hunchback of Notre Dame*. 

*Aaron Copland* received _two_ nominations, one in each of the two categories, for the same film, *Of Mice And Men*.

There were dual categories for *Original Score* and *Scoring*, and then dual categories for *Dramatic Score* and *Musical Score* (until 1961). In 1962 they changed back to the dual categories of *Original Score* and "*Adapted" Score* (which was used mostly for stage musicals adapted for screen, in which the songs were technically no longer 'original'). Those variations lasted, on and off, until 1999 (I think).

In the early days (until 1937), the composers wouldn't get the nominations: The nominations be given to the Head of the Studio Music Department, regardless whether that Studio Head composed all, or none, of the music for the film.


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## pianozach

*PARALLEL MOTHERS*
*Alberto Iglesias
2021*

Another of the nominated films from last year, *Parallel Mothers (Madres Paralelas)* is the thirteenth film that *Alberto Iglesias* has scored for director Pedro Almodovar, and it's his third Oscar nomination. 

While he _didn't_ win an Oscar for Best Original Score, he _did_ win an *HMMA [award]* for *Best Original Score - Independent Film (Foreign Language)*, a new category for the 2021 awards for the *H*ollywood *M*usic in *M*edia *A*wards (their 12th year).






Here's the short first three tracks, and the lengthy and poignant last track, from the Soundtrack album. He's writing in an orchestral style, and it has a bit of a Spanish flavor, not surprising for a Spanish film. He seems to rely heavily on the string section, with woodwinds and brass only occasionally interjecting for dramatic effect.

While he does rely on repetition and heavy rhythmic tropes frequently, he's also just as likely to wander into ambience, polyphony and thematic development, almost as though he's a master of str-e-t-ch-ing his music in order for it to fit a scene. Go figure.





















The Spanish-language film (with English subtitles) revolves around two women, Janis and Ana, who share a hospital room where they are both going to give birth. Both are single and had become pregnant by accident. Janis, middle-aged has no regrets and is exultant. The other, Ana, an adolescent, is scared, repentant and traumatized. Janis tries to encourage her while they move like sleepwalkers along the hospital corridors. *The few words* they exchange in these hours will create a very close link between the two. Their relationship develops and complications ensue, and both of their lives in a decisive way. Penelope Cruz (nominated for Best Actress) and Melana Smit star as Janis and Ana.


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