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I've got enough distance now from the heady days of first experiencing this set that I can see clearly what the more significant tracks are; significant in the sense that these cues give us further thematic development or show off JG's splashy splendor, thrilling us further.
In the former sense I'll nominate INNER WORKINGS [early version] as the penultimate track in the whole Hi-Res package. IWe is a stately, almost concert version of the same Vejur "loneliness" theme that starts off VEJUR FLYOVER. IWe then proceeds to the V'GER reveal at the same moderate level, yet finishes off with the best Vejur reveal, musically, we've got. A real treasure.
Then the development is forced by cinematic exigency into a second round of exciting innovations in INNER WORKINGS [alternate take], which I won't describe, but you get the gist.
For its deepening of the characterization of Vejur, and its flat-out excellence in musical pathos, this is the track to beat. If your taste runs to the heroic, you'll probably choose MAIN TITLE [album take].
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I have to nominate a track that's always been around, and I won't call it the best but it's still my favorite all these years and versions later.
Leaving Drydock
Sort of for the same reason I love The River cue from Goldsmith's Rio Conchos (discussed in the Kritzerland release thread). He takes his main theme and a tiny little motif and turns it into a tense, exciting and heartfelt three and a half minutes of music. Just a perfect music cue, capturing so much of what he achieved in this score - and how perfectly he could take cinematic transitions and turn them into real music.
I, a Trekkie for almost as long as there's been Star Trek, will never forget how excited I was by that scene - and that cue - in The Motion Picture.
As to the new music available, I love every minute and especially Spock's Arrival and The Force Field (which by gum uses that same little rhythmic ostinato in Leaving Drydock, so I'm just too too obvious).
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The Enterprise! On the basis that it's the best cue ever composed in the history of the human race!
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Well, favorite track is still The Enterprise. Winner for 35 years and counting.
I think my favorite new additions are probably the 47 versions of Ilia’s theme (seriously). And of course I’m delighted to have the film version of the main title. And the Captain’s Log music. Gotta love those. I like the “discrete” version of A Good Start, too.
Not new, but the “Vejur Suite” of The Cloud, V’Ger Flyover, and The Force Field is always a wonder all by itself. (I don’t always include Meet V’Ger for some reason.)
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"Blaster beam test"
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The Enterprise! On the basis that it's the best cue ever composed in the history of the human race!
I’m always a little embarrassed to say that I think that. But I do.
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"Spock Walk".
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It is almost a truism that the "best" track in a score is its primary theme - since that is usually the foundation for the score. (Not true of all films - like the Star Wars films, since the "main" theme is really more of a title theme, one among many - but is more true than not, especially with Goldsmith.)
And I think Enterprise gets picked because it is a grand and complete statement of the main theme turned into a stand-alone piece of music. It's rare enough for a piece of music to be allowed to drive a scene in a movie, but that is certainly what makes this piece stand out.
Which is what makes a comparison with the early version so interesting, because its lack of a theme makes it a less effective piece of film music when compared with its thematic replacement.
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One of my favorite cues has always been THE FORCE FIELD. I've always considered this to be the final piece of the V'Ger trilogy of cues after THE CLOUD and V'GER FLYOVER, and builds up to a very powerful ending.
I'll have to admit though that TMP is one of my top all-time favorite scores, not just of Goldsmith but of all, and it's really had to pick favorites because I love them all. It's so great to finally have in what I can only describe as the PERFECT soundtrack package from LaLaLand. I can not thank them enough!
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I'm surprised THE CLOUD (the film score version) hasn't been mentioned yet. The flute trills alone make that one a top-two-or-three selection. And the re-master really brings the best out of it.
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