I was tempted to mention the opera scene in Hannibal (featuring Patrick Cassidy's beautiful 'Vide Cor Meum'), but the scene directly after it - in which Dr Lecter presents Pazzi's wife with a gift from the Capponi Library - is equally sublime. 'The Burning Heart' is a mesmerising piece of music and one which actually benefits on the album from the inclusion of Hopkins' lyrical dialogue from the film.
Men In Black 1 - the orion's belt moment when the Fiorentino character sees a whole universe on the cat's collar
Speaking of Men in Black:
The great finale where Kay is reunited with his wife, with a wonderful arrangement of Kay's theme from the film, including that solo trumpet around the end. I cut it off at that point, 'cause then we're torn away from that with the alien music.
The entire 'spider' sequence from KRULL (Horner) - represented by two cues, "The Widow's Web" and "The Widow's Lullaby", is a stunning 11 minute suite of music with so many emotions at play, from dissonant terror of the rawest order (with Ligeti-esque blasts of choral dissonance) through celestial awe (the ending of the former track) and pathos-laden nostalgic yearning (the children's choir in the latter cue), to the rapturous recapitulation of the love theme that follows and finally a massive orchestral and choral crescendo that evokes fear and wonder simultaneously. BRILLIANT.
Not only does Horner's music here add tremendous maturity and depth to this sequence (which itself, dodgy stop-motion for the spider aside, is the most original and affecting scene in the film), but it is, compositionally, a true marvel of virtuosic proportions, and a high water mark in Horner's output in my opinion.
I will never understand why this score isn't considered his best EVER. The while damn thing is jsut freaking awesome. It leaves his TREK scores absolutely gasping for air in my opinion (not that I don't think they're great, but... They're no KRULL, that's for sure!).
The entire 'spider' sequence from KRULL (Horner) - represented by two cues, "The Widow's Web" and "The Widow's Lullaby", is a stunning 11 minute suite of music with so many emotions at play, from dissonant terror of the rawest order (with Ligeti-esque blasts of choral dissonance) through celestial awe (the ending of the former track) and pathos-laden nostalgic yearning (the children's choir in the latter cue), to the rapturous recapitulation of the love theme that follows and finally a massive orchestral and choral crescendo that evokes fear and wonder simultaneously. BRILLIANT.
Not only does Horner's music here add tremendous maturity and depth to this sequence (which itself, dodgy stop-motion for the spider aside, is the most original and affecting scene in the film), but it is, compositionally, a true marvel of virtuosic proportions, and a high water mark in Horner's output in my opinion.
I will never understand why this score isn't considered his best EVER. The while damn thing is jsut freaking awesome. It leaves his TREK scores absolutely gasping for air in my opinion (not that I don't think they're great, but... They're no KRULL, that's for sure!).
"Krull" is Horner's finest score, in YOR's humble opinion!
I literally put that in my VCR, yes VCR, and play those scenes over and over when I am feeling very emotional. They work best if you use headphones and block out the rest of the world. I ge5t a lump in my throat every time I watch those two scenes.
Yor, the moment you mention in “Once Upon a Time in America” is among my favorites. I’ll throw in another Morricone: when Jill arrives at the train station in “Once Upon a Time in the West.” That sequence –the celeste quietly chiming (like a delicate pocket watch) as Jill emerges from the train (is it a celeste?) – the sorrowful, melancholic, yet soaring music as Jill enters the station and the camera cranes up higher and higher -- with the music lifting and enveloping us in a sublime experience of another place and another time -- so beautiful it is like an out of body experience -- it never fails to move me.
That's my choice too. I think that film is the best marriage of image and music there's ever been - and that scene the most extraordinary of the lot. Morricone has written many sublime scores - I think he's probably the only genius film music's had, so far - and that's the best of all.
So I'll pick the scene where Redford takes Streep up in his airplane in Out Of Africa. When she looks down, she finally really sees the beauty and magnificence of Africa. Barry's music for that scene is perfect and gorgeous. The visuals and music create a perfectly sublime scene.
Yor, the moment you mention in “Once Upon a Time in America” is among my favorites. I’ll throw in another Morricone: when Jill arrives at the train station in “Once Upon a Time in the West.” That sequence –the celeste quietly chiming (like a delicate pocket watch) as Jill emerges from the train (is it a celeste?) – the sorrowful, melancholic, yet soaring music as Jill enters the station and the camera cranes up higher and higher -- with the music lifting and enveloping us in a sublime experience of another place and another time -- so beautiful it is like an out of body experience -- it never fails to move me.
That's my choice too. I think that film is the best marriage of image and music there's ever been - and that scene the most extraordinary of the lot. Morricone has written many sublime scores - I think he's probably the only genius film music's had, so far - and that's the best of all.
Surprised nobody mentioned 'Cinema Paradiso's ending with the wonderful compilation of famous screen kisses to Morricone's beautiful music. Always moves me to tears.
