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Abel Korzeniowski - W.E. (2011) - Soundtrack Score Suite
 
13:50
Synopsis W.E. tells the story of two fragile but determined women -- Wally Winthrop and Wallis Simpson -- separated by more than six decades. In 1998, lonely New Yorker Wally Winthrop (Abbie Cornish) is obsessed with what she perceives as the ultimate love story: King Edward's VIII's abdication of the British throne for the woman he loved, American divorcée Wallis Simpson. But Wally's research, including several visits to the Sotheby's auction of the Windsor Estate, reveals that the couple's life together was not as perfect as she thought. Weaving back and forth in time, W.E. intertwines Wally's journey of discovery in New York with the story of Wallis (Andrea Riseborough) and Edward (James D'Arcy), from the glamorous early days of their romance to the slow unraveling of their lives in the decades that followed. Madonna about the film W.E. is about the nature of true love, and the sacrifices and compromises that are often made. I've wanted to tell this story for a very long time, and bringing it to life has been a great adventure for me. -- Madonna Music between Mirrors The prevailing sense of obsession was what inspired me in W.E.. The irrational compulsion to sacrifice everything and anything for love -- a love that could easily be just an illusion, a reflection of a nonexistent, fictitious object or a repetitive answer to the Rorschach test, taking the form of a pair of ten-thousand-dollar gloves... Madonna intensifies this impression with the use of long tracking shots down hallways and mirrors. We can see reflections of the characters displayed on different objects, from unexpected angles, but we are not allowed to look at them directly. The score for W.E. takes inspiration from this filmic approach. There are six recurring themes in the film, but none of them is fixed to a traditional function like a love motif or a character motif. Instead, the same theme can carry despair and sorrow in one scene, and turn into hope and joy in another. This happens without any melodic alterations. Once established, a melody remains the same and repeats relentlessly, over and over again. It's like watching multiple reflections of a person in a room full of mirrors. The person doesn't really change, but the world revolving around it compels us to think otherwise. The opening scene introduces the two most prominent themes of the movie. The first one, called Six Hours, very melodic, is displayed here in full force. This is the one that's starts the film in despair and sorrow, kindles a new relationship in the middle of the story, and empowers us with hope and joy before the end credits. The next one is only hinted at the end of the first cue. It's just a simple harmonic structure of what will later become the strongest theme of all -- Abdication. It appears six times in the film and serves to bridge two love stories in two different time periods. The score was written over the course of four months, starting in January 2011. It was recorded with a 60-piece orchestra and solos (piano, violin and viola) at Abbey Road Studios in London, in April 2011. -- Abel Korzeniowski
Views: 539481 SchnurpselsBacke
Thomas Newman - ROAD TO PERDITION (2002) - Soundtrack Suite
 
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Tracklisting: 00:00 - 01:25 Wake 01:25 - 02:15 The Farm 02:16 - 04:09 Rock Island, 1931 04:10 - 05:09 Road To Chicago 05:09 - 06:47 Cathedral 06:48 - 08:14 Dirty Money 08:15 - 09:33 Meet Maguire 09:34 - 10:38 Shoot The Dead 10:39 - 14:11 Road To Perdition The highly acclaimed Sam Mendes adaptation of a graphic novel, 2002's Road to Perdition was Oscar bait in the making, placing Tom Hanks, Paul Newman, and a strong supporting cast in a compelling story of organized crime in 1930's Chicago. Hanks plays a hitman of high talents, but when he becomes the victim when the majority of his family is executed by the jealous son of his employer, he and his remaining young son go on a journey of revenge, discovery, and healing in the setting's gloomy and dark underworld. The successful collaboration between Mendes and composer Thomas Newman continued with Road to Perdition. It was their pairing just a few years prior for American Beauty that earned them both the most heightened critical and popular recognition of their careers, despite an upset of the score at the Oscars. Newman's music for the 2000 hit had taken on a life of its own, with a second generation of his fans becoming attached to his style of extremely eclectic, low-key tones that would continue in Erin Brockovich and Pay it Forward. Whether Newman was experimenting with these kinds of synthetic scores or building upon his more largely established fan base with his complex orchestral works, he always concentrated heavily on character development and tackled setting and time as a secondary task. While Road to Perdition may be a 1930's Chicago gangster film in setting, the core of its drama is still rooted in the same genre of family tragedy that made American Beauty into such an intoxicating experience for many audiences. The difference, though, is that Newman folds many of the intriguing stylistic mannerisms from his quirky scores of the era into a much larger orchestral scope for Road to Perdition, taking the best of both worlds and wrapping them into a far broader and admirable, Academy Award nominated effort. Not only was Road to Perdition a return for Newman to the vastly complicated orchestral works of his past, but it also features some of his most dynamic and successful character development in the 2000's. Because the film's personality is conveyed in a somber tale of loss and revenge, Thomas Newman's score is no walk in the park. Not only was his aim to compose music to accompany the tragic events on screen, but to also illuminate the thinking of the primary character, a challenge in any such environment. Thus, his music for Road to Perdition is jumpy, unorthodox, melancholy, and colorful all in one. Road to Perdition is a somber, though fascinating score that will appeal greatly to listeners who were eager for the composer's return to the dramatic depth of The Shawshank Redemption. (http://www.filmtracks.com/titles/road_perdition.html)
Views: 317837 SchnurpselsBacke
Thomas Newman - Piano Concerto No. 2 (fan-made)
 
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This one´s for all Thomas Newman fans out there! Please enjoy... hopefully with a little smile on your face and a dreamy feeling in your hearts. :) PS: This compilation or "concerto" was created by myself. And here´s - at kind request - the track list for this video: 1. 00:00 - 01:34 - "Wasted Air" from PAY IT FORWARD 2. 01:35 - 02:50 - "Real Kiss" from THE ADJUSTMENT BUREAU 3. 02:50 - 03:30 - "Hillcrest" from LITTLE CHILDREN 4. 03:31 - 05:10 - "Pool Days" from LITTLE CHILDREN 5. 05:11 - 07:05 - "Love Music" from JUMPING JACK FLASH 6. 07:06 - 08:20 - "Brothers" from JOSH & SAM 7. 08:20 - 10:24 - "Oleander Time" from WHITE OLEANDER 8. 10:25 - 11:29 - "Nemo Egg" from FINDING NEMO 9. 11:30 - End - "Ain´t You Tired" from THE HELP
Views: 204821 SchnurpselsBacke
Thomas Newman - Piano Concerto No. 1 (fan-made)
 
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This piano suite is dedicated to my YouTube-friend juggernoud1... thanks for all those beautiful piano dreamings you´ve created for the world to enjoy. You´re a true artist. Tracklisting: 00:00 - 00:40 - "Houses" from IN THE BEDROOM 00:30 - 02:10 - "Resilience" from LEMONY SNICKETS 02:10 - 04:03 - "Habanera" from THE LINGUINI INCIDENT 04:03 - 05:25 - "Prince Rupert´s Drop" from OSCAR & LUCINDA 05:25 - 06:35 - "Afternoons" from MEN DON´T LEAVE 06:33 - 07:55 - "Gone Again" from THE WAR 07:55 - 09:02 - "Mental Boy" from AMERICAN BEAUTY 09:02 - 09:47 - "Lace" from PHENOMENON 09:46 - 10:35 - "Portuguese Angel" from PHENOMENON 10:34 - 12:20 - "Simple Truths" from THE HORSE WHISPERER 12:17 - 14:23 - "Valley of the Shadow" from LITTLE WOMEN
Views: 131122 SchnurpselsBacke
Thomas Newman - Piano Concerto No. 3 (fan-made)
 
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Tracklisting: 00:00 - 01:35 - MEET JOE BLACK ("Walkaway" & "That Next Place") 01:35 - 02:35 - ERIN BROCKOVICH ("Miss Wichita") 02:35 - 03:30 - THE HORSE WHISPERER ("Percheron Stallion") 03:31 - 04:30 - WELCOME HOME, ROXY CARMICHAEL ("In A Closet") 04:31 - 05:45 - THE SHAWSHANK REDEMPTION ("Compass & Guns") 05:45 - 07:15 - ROAD TO PERDITION ("The Farm") 07:15 - 08:45 - LITTLE CHILDREN ("Be A Good Boy") 08:40 - 10:12 - FRIED GREEN TOMATOES ("The Bee Charmer") 10:13 - 12:00 - UP CLOSE AND PERSONAL ("Up Close") 12:00 - 13:25 - PAY IT FORWARD ("I Forgive You") 13:25 - 14:57 ROAD TO PERDITION ("Road To Chicago")
Views: 105623 SchnurpselsBacke
Rachel Portman - THE CLOSER YOU GET (2000) - Soundtrack Suite
 
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Fox Searchlight's 2000 follow-up to their surprising hit The Full Monty is a similarly themed arthouse picture, but this time pouring on the comedy inherent in Irish culture. Four men in a small town in Ireland meet nightly at a pub to moan over the fact that there isn't a good selection of women in the area. With few in the town enjoying the benefits of marriage, the local priest becomes a consistent target of the film's comedy. The men place an advertisement soliciting American women for their town's annual St. Martha's Day Dance (and themselves) in a Miami newspaper and are dismayed when the local women irritatingly respond by inviting a bunch of Spanish fishermen to the affair. In the end, the right matches are there all along if only the belligerent folks of the town would realize it. Becoming a regular in the arthouse scene during the late 1990's was composer Rachel Portman, who likely would have won a second Oscar had she scored The Full Monty instead of Anne Dudley. Portman's low key work for The Closer You Get couldn't compare with her mainstream appeal caused by scores like The Cider House Rules, but collectors of the composer's work can't help but love the spunk that she adds to funky little romantic comedies like this one. She throws the best of her usual, upbeat, charming, and small-scale style to help the story along from joke to joke. The small budget and provincial personality of the film allowed for only a limited ensemble of players to be hired for this score. Portman employs a handful of specialty artists, including a majority of woodwinds (she sure does love those woodwinds), a few guitars, banjo, accordion, electric bass, a single violin, marimba, and some light band percussion. There seems to be some synthetic, keyboarded elements in parts, but they serve only to flesh out the background of a few cues. The bass clarinet gets the most airtime in the score. The quirky performing group makes the most of their instruments through bouncing, likable rhythms that any loyal Portman fan would enjoy. They're along the same lines of The Road to Wellville, but at far less hyperactive and voluminous levels. While her usual strings are absent, she relies heavily upon the woodwinds and guitars to produce the basis for each rhythmic movement. With so little score employed in the film, Portman makes almost constant use of one of her two themes for The Closer You Get. Both are provided in succession in "End Titles Suite," with the funky comedy theme and its infectious rhythm followed by the more tender character/romance theme. The primary theme hits you immediately in "The Closer You Get" and swings with a jazzy movement very typical to Portman's favored chord progressions. The enthusiasm of the performances of this theme, extending to even more exuberant presentations in "Hope Springs Eternal" and "Why Wouldn't They?," are what will cause your butt to wiggle in your seat. The latter cue uses a bass woodwind and electric bass to kick the tempo into high gear for electric guitar to cooly explore the theme. The character theme is easily overshadowed in the score, with acoustic guitar performances in "Sean & Ella" and "There's a Suit" always yielding to the more attractive primary theme. The biggest detriment of the score on album is its brevity. Portman's music on the product only amounts to roughly fifteen minutes, so to be interested in the album for its score contents, you have to consider yourself a big fan of her styles. The majority of running time is occupied by famous rock songs about relationships that herald back a few decades and arrangements of traditional Irish pieces (including one arranged and produced by Portman herself) heard at the actual dance sequence. Mixed in between these songs are the score tracks, and because these bits and pieces of material are so short, they are sometimes easy to miss. What you get is still rewarding. (http://www.filmtracks.com/titles/closer_you_get.html)
Views: 75949 SchnurpselsBacke
Zbigniew Preisner - THE SECRET GARDEN (1993) - Soundtrack Suite
 
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Aside from the Three Colours trilogy, Preisner, a relatively unknown composer, creates a score for this magical Hodgson Burnett adaptation that uplifts the listener. Traversing from the mystic India to the sweeping English countryside, Preisner's score for Agnieszka Holland's adaptation of the classic children's story The Secret Garden takes the listener on a journey, as any memorable score should, and gives each landscape and character a distinct theme. One can shut their eyes whilst listening to the score and picture the garden's progression from overhanging and unkempt land to a fertile, blossoming landscape wherein the protagonist, Mary, played with great naivety as well as intelligence by newcomer Kate Maberly, has the power and strength to grow. The Garden Is A Character Itself, Elevating Preisner's Score To Great Heights The garden is a metaphor both for Mary and Colin's progression from childhood innocents into mature adults as well as their individual barriers to overcome. Mary has the chance to be loved by her Uncle, Lord Archibald Craven (John Lynch) where she was abandoned by her neglecting parents. Presiner's score compliments the symbols and the allegories hidden in Holland's adaptation of the story. The main title invokes the echoing sounds of children, like soft crying, and the theme builds to match the sense of impending disaster as the earthquake ensues and parts Mary from her parents. The score begins rooted in Indian culture before shifting the tone from the frenetic pace of India to the tranquility of the English countryside with soft piano melodies. First Time Outside and Entering The Garden invoke a release for Mary, held prisoner in a manor house by Maggie Smith's multi-facetted Mrs Medlock. In Walking Through The Garden a spoilt rich girl gains her independence and starts to grow. The garden is Mary's escape; her freedom to blossom. Moreover, there is both a delicacy and a strength within this piece of music that strongly echoes Mary's persona. The Garden Unites The Three Of Them And Signals Full Growth Changing Seasons represents a further growth of the garden and transformation of Mary and Colin. The middle track of the score, Awakening Of Spring, implies a sense of growth but not a full transformation. The theme appears to be a raw indication of Mary's maturity. Preisner's themes for Lord Craven, seen in the film clothed in black and hidden in the shadows, reflect his mysterious persona by the utilisation of a dramatic piano. Taking Colin To The Garden builds on the main theme, focussing on Colin's ability to walk and experience the beauty of the world outside the confines of his bed. Colin Opens His Eyes builds this theme into a crescendo. The aptly named Happily Ever After concludes the soundtrack in a soft, comtemplative manner. The only absent track from the score is Linda Ronstadt's Winter Light which plays over the film's end credits and seems to fititngly conclude the story. Mary, Colin and Lord Craven are free from their constraints. The garden has brought them all together. Preisner's thematically rich yet delicate score represents a fine addition to a beloved story. (http://www.suite101.com/content/the-secret-garden-1993-soundtrack-review-a109202)
Views: 247236 SchnurpselsBacke
Thomas Newman - THE BEST EXOTIC MARIGOLD HOTEL (2012) - Soundtrack Suite
 
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A quick look at the amazing cast of The Best Exotic Marigold Hotel lets me know that this is a film I need to see -- Maggie Smith, Judi Dench, Bill Nighy, Tom Wilkinson, Penelope Wilton. Based on Deborah Moggach's novel, it follows the story of a group of British retirees who move to what they are promised is a luxurious hotel in India -- on arrival they find it to be slightly less luxurious than expected. I guess that various life-affirming events then transpire. Director John Madden teams up with composer Thomas Newman for a second time, after The Debt. I'm never one to miss an opportunity to make an extremely facile observation, and am delighted that this time I have been presented with the opportunity of saying -- imagine what Newman's score for the Bollywood remake of American Beauty might sound like -- and essentially you've imagined this. The score opens with "Long Old Life", a quintessential Newman main title piece with its little repeating rhythmic figures, only this time with the added colour provided by Indian instrumentaion. The theme that first appears in "The Chimes at Midnight", on the other hand, is a long-lined beauty and brings an air of magic whenever it appears. At times Newman gets surprisingly far into A.R. Rahman territory -- the brilliantly exotic "Road to Jaipur", the spirited, dancelike "Tuk Tuks", the mesmerising finale "A Bit of Afters" -- and his use of Indian vocalists throughout the score is impressive. "More than Nothing" is lovely, a male voice singing a haunting tune over percussion that sounds like it could come from Wall-E! There's a very brief piece just before the end -- "What Happens Instead" -- which contains a melody of incredible beauty, it's hard to believe it's only heard for those 50 or so seconds before it vanishes again. This is such a colourful album, Newman painting vivid pictures -- the music teems with life and, while those with an intolerance to the Bollywood style will find those influences seriously harm their capacity to take much from it, others will discover Thomas Newman's most enjoyable album in years. **** (James Southall) Source: http://www.movie-wave.net/?p=2224
Views: 162927 SchnurpselsBacke
Thomas Newman - Piano Concerto No. 4 (fan-made)
 
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This one´s (again & wholeheartedly, my friend) for Noud, possibly the greatest fan of Thomas Newmans music on this planet... and for all those people out there who requested a new "installment" and patiently waited for this little video to manifest. Thanks a lot and enjoy the music with all your senses. Tracklist: 00:00 - 01:10 - "There Was Snow" from THE HORSE WHISPERER 01:04 - 02:05 - "The Twins" from THE IRON LADY 02:05 - 02:43 - "Wide Eyes and Little Feet" from THOSE SECRETS 02:43 - 05:02 - "Making Love" from WHISPERS IN THE DARK 05:03 - 06:25 - "American Beauty" from AMERICAN BEAUTY 06:23 - 07:40 - "Blair & Clay" from LESS THAN ZERO 07:37 - 09:12 - "Hyacinth and Gladiola" from HOW TO MAKE AN AMERICAN QUILT 09:10 - 10:14 - "What About You" from ERIN BROCKOVICH 10:13 - 11:10 - "A Tour Of Pleasures" from SCENT OF A WOMAN 11:10 - 13:07 - "Route 12" from REVOLUTIONARY ROAD
Views: 93485 SchnurpselsBacke
Philippe Rombi - UN HOMME ET SON CHIEN (2008) - Soundtrack Suite
 
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Continuing in the richly melodic, profoundly emotional style of his flawless score to "Angel," Philippe Rombi's latest score is utterly enchanting in every way. The absence of truly romantic film scores since the tragically premature death of French film composer Georges Delerue has been partially amended by the works of Rachel Portman and Alexandre Desplat, but if any one modern composer could be said to truly have succeeded Delerue's place, it might be Philippe Rombi. Since the composition of his wonderful, tender scores for Jeux d'Enfants, Joyeaux Noel and Angel, he has certainly solidified his standing as a composer of some of the most sweepingly gorgeous themes in recent years. The Music of Philippe Rombi His music is deeply rooted in the sound of the Golden Age of film music, with rich, vibrant orchestrations and captivating, long-lined (and memorable) themes. Besides all that, and perhaps most importantly, his music is deeply emotional and extremely accessible. It is impossible to listen to a score by Philippe Rombi and not be swept away by its swirling beauty and passion. His latest score, Un Homme Et Son Chien, proves to be yet another exquisite entry in an already flourishing canon of romantic masterpieces, and is a must-hear for lovers of lovely orchestral music. Un Homme Et Son Chien Soundtrack The score is based largely around one theme, introduced in delightful fashion on high-end piano in the first track, "Un Homme Et Son Chien (Theme)," gradually gaining the support of the full string section. The theme is unashamedly sentimental, and profoundly peaceful in its long-lined, pleasantly thoughtful meanderings. Eventually the piano gives way as the full ensemble assumes the melody in a rapturous statement of the theme which is stunning, sweeping and enchanting all at once. The theme is usually performed by piano during the bulk of the score, although many solo violin performances give it a fresh, soaring set of variations which nicely balance the delicacy of the piano with the intimate passion of the violin. And, although the majority of the album is amazingly soothing and peaceful, a few moments of intense drama punctuate the album with satisfying power: the pounding, percussive use of low-end piano in the "Ouverture," and the fantastically climactic "Final le Train," which showcases the album's only major use of the brass section. Delightful Romance Score Other standout moments include the brief but lovely use of acoustic guitar in "Seul," as well as the final cue which features a concert arrangement of the main theme performed by a piano/violin duet, an arrangement which provides a deliciously simple but superlatively delightful form of an already magnificent theme. The score is a well-balanced and not overlong album at just over 45 minutes long, and each moment is a true delight. Un Homme Et Son Chien is not only a perfectly satisfying and marvelous score in its own right, but also functions as a perfect complement to Rombi's other romantic scores. His music shines out with brilliant clarity, beauty and perfection in today's age of programmed, ambient scores, and his career promises to be a magnificent one if it continues in the fashion it has hitherto. Wholeheartedly recommended! (http://www.suite101.com/content/un-homme-et-son-chien-soundtrack-review-a124907)
Views: 55748 SchnurpselsBacke
James Newton Howard - WATER FOR ELEPHANTS (2011) - Soundtrack Suite
 
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Based on the acclaimed number-one bestseller, WATER FOR ELEPHANTS presents an epic tale of forbidden love in a magical place filled with adventure, wonder and great danger. A veterinary student from the wrong side of the tracks, Jacob, meets and falls in love with Marlena, a star performer in a circus of a bygone era. They discover beauty amidst the world of the Big Top, and come together through their compassion for a special elephant. Against all odds -- including the wrath of Marlena's charismatic but dangerous husband August -- Jacob saves Marlena from an unhappy life and they find lifelong love.
Views: 81855 SchnurpselsBacke
Marc Shaiman - CITY SLICKERS II: THE LEGEND OF CURLYS GOLD (1994) - Soundtrack Suite
 
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This is one of my very first score suites from way back in 2009. So please excuse the "transitions". ;-) When the first City Slickers film stormed into theatres in 1991, it unexpectedly earned massive returns for Columbia. And when Jack Palance infamously followed his Oscar win for his role in the film with some manly one-armed pushups and alluded to his knowledge of the ladies while on stage, the studio was inevitably headed towards sequel territory. With mostly the same cast, City Slickers II: The Legend of Curly's Gold throws Billy Crystal, Daniel Stern, and Palance back in the saddle and this time on a quest for hidden gold. Like the first film, the sequel has its more serious moments of bonding and identity crisis, and in the somewhat mishandled balance between these moments and the action scenes, most of the humor was missed by critics and audiences. The screenplay for City Slickers II is far more cliched than that of the first film, and it's no surprise therefore that Marc Shaiman tips his hat some famous Western film music in his sequel score. When he scored City Slickers in 1991, he was fresh on the scene, with only a feature project or two under his belt. His Western parody score pushed all the right buttons, however, and showed his talents for writing in several genres of music that were humorously incorporated throughout the film (and most of which previewed in the rowdy title sequence). The problems that the original City Slickers score suffered from were related partly to the erratic style shifts, but mostly to a sparse recording quality. Those problems are nearly solved in City Slickers II, with the inclusion of non-Western stylized music held to only two cues of note and the recording quality improved to the top limits of the era. Also working in Shaiman's favor with City Slickers II is a more diverse performing group and an obvious increase in the confidence with which he handles them. When you compare the two scores back to back, you can literally hear the composer transcend from being a newbie to an accomplished artist in the field, and it is with great enthusiasm that Shaiman revises his sound from City Slickers for a far superior, rousing sequel run. Every once in a while, you get a sense as a listener that a composer thinks about a score for a good film and wonders for a few years how it could have been done better. Even in the case of unique projects like City Slickers or The Mask of Zorro (among others), where the sequels are far worse in cinematic quality, you end up hearing revised scores that do everything that you wished the original had done. This is exactly the case with City Slickers II, for which Shaiman returns to all of the thematic ideas from the first film and expands upon them with brilliant results. As a listening experience, City Slickers II is leagues ahead of its predecessor because it maintains the same humor while boasting a muscular orchestral and choral presence. The superb quality of the recording by Shawn Murphy cannot be emphasized enough; the vibrance of the soundscape is crucial to the personality of this score. (http://www.filmtracks.com/titles/city_slickers2.html)
Views: 25883 SchnurpselsBacke
John Du Prez - A FISH CALLED WANDA (1988) Soundtrack Suite
 
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This one is for apxstitch! Thanks for your request... and I hope you enjoy the "Fish". ;-)
Views: 15492 SchnurpselsBacke
Patrick Doyle - ERAGON (2006) - Soundtrack Suite
 
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Composer Patrick Doyle brought himself back to the forefront of film music - a place he has earned the right to occupy - through, what was one of 2005's best scores, HARRY POTTER AND THE GOBLET OF FIRE, and likewise one the best of his distinguished career. Yet even before delving into yet another new, big-budget, fantasy-franchise, Patrick Doyle delivered a surprisingly entertaining score for NANNY MCPHEE in early 2006. The quality of these two major projects gave little cause for intrepidation when it was announced that Patrick Doyle would be providing the musical magic for the highly anticipated film adaptation of author Christopher Paolini's first book, ERAGON. In fact, there was quite a bit of jubilation over it. The fourth feature film of the Harry Potter franchise was aided immeasurably by Doyle's fresh and fantastic score. His music helped give the film franchise a much needed breath of fresh air. Far beyond endless variations of John Williams' quaint Harry Potter theme, Doyle added several new layers of depth and interest - something that Mr. Williams used to revel in. One has to guess that the Potter franchise accidentally cast some dark spell upon themselves as early reports tie one "Nicholas Hooper" to the next Potter film - THE ORDER OF THE PHOENIX. With Patrick Doyle's work for The Goblet of Fire, one is forced to ask two questions: "What are you thinking?" and "Nick who?" Perhaps the answer will reveal itself in time...for now, we have ERAGON. How strange the fates of the film music composer. From one of 2005's most highly rated films, Harry Potter, to one of 2006's most highly hated, ERAGON - composer Patrick Doyle manages to provide one of the few saving graces for a film that clearly should have stayed in the oven of originality a while longer. That yeast clearly didn't finish making its way through the script. Still, even the lead weight of ERAGON, the film, could not keep it's score from mounting up on lofty dragon's wings and blaring the praises of composer Patrick Doyle. With a movie, as painfully derivative as Eragon, it is all the more amazing that Doyle was able to produce a score that is refreshingly invigorating note after romantic note. In the end, ERAGON, the film, falls way short of those films it tries too hard to emulate; however, Patrick Doyle continues his top-notch scoring. Patrick Doyle's score for ERAGON shares many commonalities with some of the best film music of the decade: memorable theme, thoroughly evocative, and thrilling action cues. The book's sequel, ELDEST, coming to fruition as a feature film remains to be seen, yet fans of good film music can at least rejoice at the opportunity of getting more Doyle-fantasy-music, if it does happen. Hopefully, if the producers gamble on the sequel, they'll not gamble with the score's composer. If ELDEST does find its way to theaters then score fans will hopefully be able to anticipate another winner from Doyle. (http://www.tracksounds.com/reviews/eragon_patrick_doyle.htm)
Views: 27823 SchnurpselsBacke
James Horner - THE AMAZING SPIDER-MAN (2012) Soundtrack Suite
 
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Since Danny Elfman's wonderful scores for Raimi's first two Spidey films, the world of scoring comic book characters has undergone a Hans Zimmer-inspired sea change. Out have gone colourful themes, out has gone outward expression of musical emotion; in has come a lot of texture and a whole load of angst. It seems that having a man dress in a colourful costume go round performing gravity-defying feats of crime-busting is absolutely fine, but accompanying him with any hint of melody while doing so -- well, that would just sound silly. It is therefore a huge surprise to find James Horner attached to The Amazing Spider-Man -- quite apart from the fact that it's a complete departure from his usual earnest Oscar-bait-but-no-Oscar fare (and according to one interview he took quite some convincing by his friend Webb to take the film on), the fact that he's an old-school film composer -- the kind that film critics just love to hate these days, daring to inject music that actually has something to say into films -- it's a surprise to find him here. As it turns out, Horner's score is indeed very old-school -- a throwback to those pre-Batman Begins days -- so I imagine listeners will fall into one of two camps -- some will punch the air in delight at the emergence of what they will see as "proper film music" getting a chance to shine in a film like this -- others will shake their heads at how old-fashioned it all is. Guess which camp I'm putting my tent up in. (My shoulder's come out of its socket, I've punched the air with such force.) There's something in this score that has been absent for so long from any of these films -- a proper, rounded, developed character theme. Its noble heraldry is a joy when first revealed over the opening credits, a joy when it blasts triumphantly from murkier passages in the action sequences, a joy when Horner uses it as the basis for several key dramatic set pieces but takes it off in unexpected directions. Any film composer who has notched up well over a hundred scores (as James Horner has) will almost inevitably offer up some familiar-sounding parts in any new work. Because of his reputation, this particular film composer will of course come under greater scrutiny. I am surprised -- and pleased -- to report that while there are a few recognisable faces from the past, the music here mostly sounds fresh and new. The greatest surprise of all is that Horner resisted the temptation to depict the film's villainy with his patented four-note "danger motif". This is in fact the first score of his in a very long time (that I can remember, in any case) that doesn't feature that oh-so-familiar musical phrase at all. (If you ask me, Horner should be given some sort of Special Achievement Oscar for managing to write a score without it.) I predict a really mixed reaction to this one. Those who have become completely attuned to the modern ways (or indeed never even knew the previous ones) will probably find it as strange that a film like The Amazing Spider-Man could contain music like this as I find it strange that a film like Iron Man could contain its laughable attempt at music. I daresay various reviews of the film will direct predictably cretinous venom at Horner for putting such heart-on-sleeve music in a film in 2012. If the film does well then perhaps -- just perhaps -- coupled with Alan Silvestri's own admirably old-fashioned score for the phenomenally successful The Avengers -- we might see a bit of a turning point. I won't hold my breath; instead I'll offer the vacuous quip that Horner has spun a tantalising web here, one which doesn't work absolutely throughout the gargantuan run time of the album, but which feels like a three-course-meal in a world mostly serving up McScores. (James Southall) Source for the description: http://www.movie-wave.net/?p=2517
Views: 85692 SchnurpselsBacke
Klaus Badelt - THE PRODIGIES (2011) - Soundtrack Suite
 
12:40
Plot NYC, Central Park, 2010. Five young teenagers are violently assaulted. But they're not your average teenagers... they're prodigies. The trauma of the assault incites them to lash out against the world in a cold and calculating way. The five chillingly brilliant minds come together to concoct a perfect revenge. The only person aware of the pending doom is Jimbo Farrar, a sixth prodigy, who has gathered them. As long as he fights against his five counterparts with all his might, there's hope for the world. But should he turn over to their side, it's only a matter of time before a disaster of apocalyptic proportions ensues. Klaus Badelt is a composer who I am extremely fond of. His music is on another level that most composers will never reach. Now, you may be wondering where Klaus has been all this time? For American audiences he did in fact sort of disappear after his brilliant masterpiece score to Rescue Dawn. However, he has been very busy scoring foreign films and releasing many of his scores under his own label. The best part? The scores under his label are name your own price to buy even FREE if you wanted. I have been keeping up with Klaus and his team's work but I must admit I have been slow to get the reviews for his scores up. After listening to The Prodigies (under the Milan label in France, so not a free download) I was dipped into a nostalgic dream. His score here reminded me so much of Klaus Badelt's style in the past that I absolutely fell in love with it. The film is a French animated science fiction movie. Some may see the animation as very basic, but it's definitely a visual treat. Klaus's score here elevates the story to unimaginable heights though. The score has an electronic grounding but pulsing strings add an emotional layer that make the score really take hold of you. In many of the tracks he will do slow builds that slowly ascend to great emotional peaks. The music has dark sections that bring a forceful intensity and those moments really become grand. The theme is a very simple ascending set of notes and he reverts back to it time and again to keep everything grounded. Badelt's style takes a nostalgic trip back to his early years with this score and the result is one amazing action journey. Klaus Badelt has shown his versatility in the past few years composing much smaller films than when he started out with, but his style and grand sound was never lost. The Prodigies is proof that he still retains the ability to do huge swelling action scores. I really loved listening to The Prodigies and his work in general over the past few years where he has really found his footing since parting ways with Hans Zimmer and the RCP (Media Ventures) team. The Prodigies soundtrack is a French import but is a must own for every Badelt fan. Be sure to visit Klaus' website where many of his scores are available with the "name your own price" option.
Views: 8502 SchnurpselsBacke
James Horner - THE ROCKETEER (1991) - Soundtrack Suite
 
10:24
Happy 60th Birthday, Mr. James Horner! :)
Views: 9330 SchnurpselsBacke
James Newton Howard - GREEN LANTERN (2011) - Soundtrack Suite
 
14:42
Not only does this summer stand as having the some of the strongest superhero movies in memory row, but also for having two of those pictures feature characters who were likely voted most impossible to pull off for live action. First there was the mystical might of the Marvel god THOR, whose Asgardian grandeur was impressively hammered in by Patrick Doyle with a symphonic/ percussive score that virtually rebooted Doyle's old-school orchestral sound to new levels of young Hollywood hipness. Then in the DC corner, there's the GREEN LANTERN, Earth's recruit to a legion of space cops who make the galaxy safe for justice with the force of their emerald will power, as contained in a ring. If fans were astounded at seeing Thor wield a 3-D Mjolnir, they'll truly believe the eye-popping spectacle that more than convinces that a man in a black-and-green energy suit can fly, propelled into the cosmos by solid filmmaking, likable performances and another terrific hybrid score that confirms the superhero street cred of James Newton Howard. The Green Lantern (as re-imaged in the late 1950's) was as a jet-piloting earthman named Hal Jordan, who suddenly was assigned to protect the cosmos- an origin told here with remarkable faithfulness. While Howard makes the smart move of jumping right into his score with an exclamatory five-note theme that immediately imbues Hal with all the brassy heroism of Superman, much of the music's build is purposefully weird to the ear. Howard indulges in ticking-clock percussion and eerie sound design-cum-music, its bizarre, unsettling quality reminiscent of the style he used for the ass-busting slugs of the insane guilty pleasure called DREAMCATCHER. Howard then thrashes with rock guitar and percussion to capture Ryan Reynold's youthful charisma and confirm, a la TOP GUN, that there's nothing's cooler for playing a brash flyboy with blazing metal chords. It's all a well-thought out build up for the much bigger universe that's awaiting Hal, let alone the sense of a composer luxuriating in a whole bunch of 21st century gear. Unlike today's punk kids who arrive on the scoring scene with a wealth of tech savvy, Howard's analog style has grown with a sense of discovery that's let him create some truly striking synth tonalities in the likes of GRAND CANYON and FLATLINERS- a cosmic wonder in GREEN LANTERN that even conjures shades of Vangelis and Tangerine Dream. Yet there's a cool grittiness to even the more far-out bits that show off Howard's solid background in orchestral composing- as evolved from a pop background. It's a talent that lets Howard be simultaneously hip and old school, as opposed to some other composers from (and before) his day whose electronics have sounded just a bit dated. Always sure to ground even the craziest bits with some thematic statement or melodic orchestral element, GREEN LANTERN has a neat ruddiness to its neo-industrial thrash that conveys a rough-at-the-edges guy suddenly given the universe. Though Howard is sure to provide plenty of majestic excitement for Hal to revel in his powers, there's also a brooding quality to GREEN LANTERN that truly elevates the film beyond the popcorn. Far from being a cocksure Maverick, tender guitars, pianos and poignant strings also reveal Hal as a bit of a loser for all of his bravado. It's not only regret at failing in relationships, but also by blowing it with far more costlier collateral damage, something that' made all the more humbling because he's already been given the Lantern's powers. Howard's raging, Galactus-worthy villainy for guitars, voices and pounding brass get across the menace of a literal brainiac and a moon-sized embodiment of evil, creating a true, sometimes terrifying threat for Hal's music to go up against. Yet that only raises the stakes for the thrill when Hal gets his Green mojo on, with Howard bringing on the symphonic might of the Lantern's Socratic Oath with all the emotional wallop of watching a legendary character step into the suit he was destined for. It's the kind of rousing musical geek-gasm that even Superman would be impressed by, let alone the legions of Green Lantern fans who will be pinching themselves as Howard lets the Lantern theme burst through the speakers at top volume. GREEN LANTERN is all musical colors of the Hollywood blockbuster rainbow- at once aware of its hero's cosmic significance, the utter sci-fi strangeness of his shtick, and the rhythmic rock imperative of most superhero scoring nowadays. Like the movie that proudly wears his ring, there's nothing about GREEN LANTERN that's escaped James Newton Howard's musical sight.
Views: 49037 SchnurpselsBacke

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