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Liner note legend has it that Miklos Rozsa would have been hired for STAR TREK II if the budget had allowed it. But it doesn't seem like TIME AFTER TIME had such a high budget, so I wonder about that.
Anyway, what kind of KHAN would we have gotten if Rozsa has scored it? Was TIME AFTER TIME deliberately given an "Old World" traditional European sound to fit the story, or would KHAN have sounded similar? I suspect Rozsa would have done something great, but I guess we'll never know.
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I think Meyer was dead-set on his "nautical" theme for the whole production, from the costumes to the music, to bits of dialogue as well. Perhaps the clues to what Rozsa might have come up with are in his "Plymouth Adventure" score? Or the sea battle sequences in "Ben Hur"?
In fact, someone with the skills (and spare time) could probably whip up a Rozsa-scored "Highlights from ST:TWOK" YouTube clip right now.
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A new score by the old master would've been incredibly cool, all right, but STII and III inspired Horner to compose two of his all-time greatest scores (or some would say, one of his greatest two-part scores).
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As intriguing as it is, I felt Horner nailed those two Trek films and now, thirty-two years on, I have no desire to imagine those movies scored any other way.
It is, however, indeed intriguing.
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As intriguing as it is, I felt Horner nailed those two Trek films and now, thirty-two years on, I have no desire to imagine those movies scored any other way.
It is, however, indeed intriguing.
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As intriguing as it is, I felt Horner nailed those two Trek films and now, thirty-two years on, I have no desire to imagine those movies scored any other way.
It is, however, indeed intriguing.
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I have no idea why that appeared three times.
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If there were alternate universes in which every possibility is played out, there'd be a Barry Trek and a Williams Trek, and they'd be nothing like THE BLACK HOLE and STAR WARS.
For some reason I think Silvestri would have turned in a Horner-like KHAN, while Conti might have done that or gone off in a different direction.
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I have no idea why that appeared three times.
It had to in some universe. We just took the hit.
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Not the best choice for Star Trek II, but we would hear a violin solo every 10 minutes.
Horner owns that movie, it's his best score. And the best movie of the franchise.
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While I really like the idea of this Miklós Rózsa Star Trek score that never happened, let's face it, the extreme brickwalling and improper crossfades would ruin any prospective non-existent listening experience.
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Somehow I doubt that Rozsa would have deigned to interpolate Alexander Courage's fanfare into any score he might have done for the film. (And I sure can't believe a Rozsa score would have been as much fun as the Horner one.)
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I was once told he had been approached to score "Clash of the Titans" a year earlier but that he did not feel he had the energy to score another film at that time.
I'm not questioning it, but the director of CotTs forced Rosenthal to use a 'Straussian' feel to the music. This would suggest he didn't want the kind of semi-archaic harmonised 'authentic' type of score which Rozsa's 'romanticism informed by modernity' folk-based style would have provided. He seems to have wanted a 'universal' mythic classical style, since Rosenthal's score is more Korngold influenced than Rozsa.
We know from the likes of 'Becket' that Rosenthal could have come up with something more akin to Rozsa's ideology, and we know from interviews that he himself wanted a different approach to CotTs than that which he eventually was forced to employ.
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Somehow I doubt that Rozsa would have deigned to interpolate Alexander Courage's fanfare into any score he might have done for the film.
He may not have been asked to. According to the interviews with James Horner conducted by Allan Asherman, opening Wrath of Khan with the Alexander Courage fanfare was his idea. He wanted a something that would immediately announce Star Trek to the audience, and hit on using the fanfare.
This means that the tradition of opening a Star Trek movie with Courage's fanfare (the only subsequent entries that didn't were The Undiscovered Country and the Abrams films… Generations has it, albeit at the climax of its main title) only came about because of a specific desire by the composer of that one film. Had anybody else scored the film, that may not have happened at all.
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