Read about the horrible review this got from some classical critic. Just listened to it. Sublime. A welcome voice returns. The first movement is gorgeous. Everything that is loved about Horner is here and free from the time restraints of film (not that he paid much attention to those anyway - ha! - he of the epic 15 minute cues, etc.). Horner gets a chance to shine unencumbered here. Now I'm about to listen to 'Wolf Totem'...
This is a beautiful piece by Horner and it's very well performed! I am a little surprised at the blatant lift from Gorecki's symphony #3 at the opening of the second movement, especially since this piece by is probably meant to appeal to a classical audience who would probably be quite familiar with the Gorecki piece. Other than that, it's a lovely work!
No denying it's the same idea, but it's a very quick and forgivable reference. It's an extremely short phrase.
Joseph LoDuca had his way with Gorecki's masterwork to a FAR greater extent back in '95:
As for Horner's piece - I like it. It's a pleasant listen and the last movement is especially strong. It's not BRILLIANT or amazing or anything though and kinda feels like a missed opportunity somehow, it just seems to meander a lot with the dramatic bits in the 2nd movement and the finale of the third being the highlights. What's in between is kinda "meh" and boring to me.
While I've really, really dug some of Horner's recent output in general, like BLACK GOLD or WOLF TOTEM, I desperately long for him to write something even a third as brilliant as the staggering KRULL once more, be it a film score or otherwise.
Read about the horrible review this got from some classical critic. Just listened to it. Sublime. A welcome voice returns. The first movement is gorgeous. Everything that is loved about Horner is here and free from the time restraints of film (not that he paid much attention to those anyway - ha! - he of the epic 15 minute cues, etc.). Horner gets a chance to shine unencumbered here. Now I'm about to listen to 'Wolf Totem'...
Well said! Love every minute of it. And Wolf Totem is an amazing score.
Read about the horrible review this got from some classical critic. Just listened to it. Sublime. A welcome voice returns. The first movement is gorgeous. Everything that is loved about Horner is here and free from the time restraints of film (not that he paid much attention to those anyway - ha! - he of the epic 15 minute cues, etc.). Horner gets a chance to shine unencumbered here. Now I'm about to listen to 'Wolf Totem'...
Well said! Lo e every minute of it. And Wolf Totem is an amazons score.
1) To anyone familiar with video game music, am I losing my mind or between 0:45 and 1:01 in Part 3 does Horner quote music from The Legend of Zelda: The Wind Waker? If so, Horner's cache goes up significantly in my book for pure nerdiness.
2) My album booklet refuses to download. Can anyone share the technical credits?
Does anyone here really think that Horner would be so familiar with music from The Legend of Zelda video game? I kind of doubt it. He really doesn't seem to be a video game guy or one who is so familiar with video game scores.
'Wolf Totem' is towering. Parts of it early on are just ripping. But please forgive me, Hornerites, I was again absolutely gobsmacked to hear him Prokofiev's 'danger motif' about 40 minutes in! He's toying with us I tell you. He's TOYING with us!!!
'Wolf Totem' is towering. Parts of it early on are just ripping. But please forgive me, Hornerites, I was again absolutely gobsmacked to hear him Prokofiev's 'danger motif' about 40 minutes in! He's toying with us I tell you. He's TOYING with us!!!
I love the danger motif! And yes this is a towering score - great description!
'Wolf Totem' is towering. Parts of it early on are just ripping. But please forgive me, Hornerites, I was again absolutely gobsmacked to hear him Prokofiev's 'danger motif' about 40 minutes in! He's toying with us I tell you. He's TOYING with us!!!
Haha.
(It's Rachmaninov, though. Or was that part of the joke?)
'Wolf Totem' is towering. Parts of it early on are just ripping. But please forgive me, Hornerites, I was again absolutely gobsmacked to hear him Prokofiev's 'danger motif' about 40 minutes in! He's toying with us I tell you. He's TOYING with us!!!
Haha.
(It's Rachmaninov, though. Or was that part of the joke?)
The 'riff' I'm referring to is Prokofiev and it's (ALWAYS) from 'Alexander Nevsky', 'Battle on the Ice' - ARRRGH JAMES, I LOVE YOU BUT YOU'RE DRIVING ME NUTS - ha!
(I'm beginning to think he pays homage to it endlessly because it's possibly the first - or at least most definitive battle motif ever employed in a film score - and he wants people to know - ha!)
BTW - the 2 tracks where he references it are both incredible ('Frozen Lake' and 'Little Wolf') - and original up to the point where he inserts the reference and even then just briefly. Rather amusing really - or to quote Elvis Costello: 'I used to be disgusted....now I try to be amused'.
One thing I have to commend as I listen to the CD more is how well the extra pieces match the Horner. I can't believe the selections were unintentional.
Take Fratres, one of my favorite classical pieces. Horner was--shall we say--inspired by its quieter sections in Sneakers and Apollo 13.
But in reverse, Divinere, which came out in 2006, more than helps itself to one of Horner's themes from A Beautiful Mind (and is almost a fantasia on it).
I am a little surprised at the blatant lift from Gorecki's symphony #3 at the opening of the second movement, especially since this piece by is probably meant to appeal to a classical audience who would probably be quite familiar with the Gorecki piece.
This is the question I would have loved an answer to. It's such an obvious, blatant lift... did he know? Did he know we would know? Etc.
It's safe to say Gorecki #3 made an impression on him right from the famous 90's re-recording. Listen to Airport Goodbye, The Pelican Brief, from less than a year later. In the midst of Hornerisms, at 4:50 - 4:57 it's all Gorecki.
