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Posted: |
Feb 23, 2015 - 7:20 PM
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By: |
Zaku
(Member)
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I think CLOUD ATLAS certainly fits that bill, as does GATTACA.
And, of course, this:
https://www.youtube.com/watch?v=Kf5ZsNgsmxY
I did think about Michael Nyman while I was writing this I don't know why I didn't include him. And you nailed it with Gattaca! Too many scores to remember. Gattaca not only fits the criteria it is also one of my favorite scores. Not only that but it's one of maybe 5 scores that made me notice film music in the first place and got me interested in it.
I love solid romantic scores, but I'm still not sure what you mean by "romantic minimalism." I'm a bit confused and hope you'll give us more details. You mention Craig Armstrong, and when I think of his lovely romantic score for Love Actually, I'm not sure where "minimalism" fits in as it seems a full blown romantic score. Maybe I don't understand that word in relation to music, but I'm interested in learning.
Yeah I don't know myself what I'm talking about! Maybe Armstrong shouldn't be in that list, I was maybe thinking about his Piano Work album but then I also said we should keep the conversation limited to film scores so my bad I guess. Then I thought maybe Kaczmark shouldn't be in that list either but I just read at Synchrotones in his post from yesterday "Oscar Nominees 2014" saying " It is beautiful, full of pathos and melancholy. It’s modern, but still feels classical. Fans of the romantic works of James Horner, Dario Marianelli, Jan AP Kaczmarek or Abel Korzeniowski should find plenty to enjoy here." He was refering to The Theory of Everything, so maybe I wasn't too far off including Kaczmarek.
Maybe someone else with more knowledge or with better skills to express what I was trying to say can add something. Maybe I'm not to good in defining genres or styles.
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Posted: |
Feb 24, 2015 - 4:14 AM
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By: |
Graham Watt
(Member)
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I was a bit puzzled by the term too at first, but I think I get it now, sort of.
Seems like the aforementioned GATTACA fits the bill, right? I'm not a great fan of Nyman's incursions into minimalism, but I do like GATTACA very much. It's almost like a romantic John Barry score, but drained of its heart-on-sleeve emotion, so it ends up sounding kind of colder and more distant than Barry, but perhaps even more poignant in a way. Barry would often score the rapture, or longing, of romance... Nyman in GATTACA seems to evoke the tragedy of the absence of it.
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Posted: |
Feb 24, 2015 - 5:59 AM
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By: |
Graham Watt
(Member)
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I'm not a great fan of Nyman's incursions into minimalism, but I do like GATTACA very much. It's almost like a romantic John Barry score, but drained of its heart-on-sleeve emotion, so it ends up sounding kind of colder and more distant than Barry, but perhaps even more poignant in a way. Barry would often score the rapture, or longing, of romance... Nyman in GATTACA seems to evoke the tragedy of the absence of it.
Blood and sand, that was well written.
Why thank you, TG. It even had capital letters and eveything. I don't know if what I wote is really watertight, but it sounded good to me at the time. And that is after all from where one gets one's rabbits.
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Posted: |
Feb 24, 2015 - 6:05 AM
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By: |
Tall Guy
(Member)
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I'm not a great fan of Nyman's incursions into minimalism, but I do like GATTACA very much. It's almost like a romantic John Barry score, but drained of its heart-on-sleeve emotion, so it ends up sounding kind of colder and more distant than Barry, but perhaps even more poignant in a way. Barry would often score the rapture, or longing, of romance... Nyman in GATTACA seems to evoke the tragedy of the absence of it.
Blood and sand, that was well written.
Why thank you, TG. It even had capital letters and eveything. I don't know if what I wote is really watertight, but it sounded good to me at the time. And that is after all from where one gets one's rabbits.
Well, one man's incisive is another man's codswallop. 'Twas pure poetry to this observer, tho.
Given the re-emergence of capital letters, are we to infer that you have two hands again?
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Posted: |
Feb 24, 2015 - 11:59 AM
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By: |
Thor
(Member)
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Dario Marianelli was mentioned in passing earlier, but he's a definite contender in this sound -- gorgeous scores like JANE EYRE and SALMON FISHING IN YEMEN, for example.
This particular style of composition is EXTREMELY popular these days (well, minimalism in general is, but especially the more romantic kind) -- managing to conjure up beautiful melodies and textures, but without the longwinded melodic lines of the 90s.
Other examples are Bear McCreary's DA VINCI'S DEMONS, Christopher Gordon's ADORE, Elfman's PROMISED LAND and RESTLESS, Henrik Skram's BALLET BOYS, Jeff Beal's WILD SALOMÉ, Patrick Doyle's LA LIGNE DROITE, maybe Mychael Danna's LIFE OF PI. Also check out the work of Pascal Gaigne! And of course Wojciech Kilar and Zbigniew Preiser. The Poles are very much into this stuff!
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Posted: |
Feb 25, 2015 - 11:22 AM
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By: |
Mike West
(Member)
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And of course Wojciech Kilar and Zbigniew Preiser.
THE PORTRAIT OF A LADY was the first thing I thought of too. One thing about Kilar's music that I'd say differentiates it somewhat from something like THE THEORY OF EVERYTHING and other scores today in that mold is that, to me, Kilar's writing is more actively melodic. A lot of the stuff today sounds more in a specifically Glass-ian minimalist mode (and more specifically, THE HOURS), where the focus is on a very specific kind of driving, string-heavy orchestration. Kilar's scores are more overtly tuneful, in a great way.
there was a double cd with rerecordings by varese with the royal scotish national orchestra and their pianist, I forgot her name, called Arthouse classics. Portrait of a Lady was on it I think. Nyman's The Piano, The English Patient.
I don't remember what else. Maybe something on there?
Shakespeare in Love, is that along the lines you are thinking of?
And maybe some John Barry pieces would also fit in there, or do they lack the short repetive figures?
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Posted: |
Feb 25, 2015 - 11:22 AM
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By: |
Mike West
(Member)
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And of course Wojciech Kilar and Zbigniew Preiser.
THE PORTRAIT OF A LADY was the first thing I thought of too. One thing about Kilar's music that I'd say differentiates it somewhat from something like THE THEORY OF EVERYTHING and other scores today in that mold is that, to me, Kilar's writing is more actively melodic. A lot of the stuff today sounds more in a specifically Glass-ian minimalist mode (and more specifically, THE HOURS), where the focus is on a very specific kind of driving, string-heavy orchestration. Kilar's scores are more overtly tuneful, in a great way.
there was a double cd with rerecordings by varese with the royal scotish national orchestra and their pianist, I forgot her name, called Arthouse classics. Portrait of a Lady was on it I think. Nyman's The Piano, The English Patient.
I don't remember what else. Maybe something on there?
Shakespeare in Love, is that along the lines you are thinking of?
And maybe some John Barry pieces would also fit in there, or do they lack the short repetive figures?
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Posted: |
Feb 25, 2015 - 11:22 AM
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By: |
Mike West
(Member)
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And of course Wojciech Kilar and Zbigniew Preiser.
THE PORTRAIT OF A LADY was the first thing I thought of too. One thing about Kilar's music that I'd say differentiates it somewhat from something like THE THEORY OF EVERYTHING and other scores today in that mold is that, to me, Kilar's writing is more actively melodic. A lot of the stuff today sounds more in a specifically Glass-ian minimalist mode (and more specifically, THE HOURS), where the focus is on a very specific kind of driving, string-heavy orchestration. Kilar's scores are more overtly tuneful, in a great way.
there was a double cd with rerecordings by varese with the royal scotish national orchestra and their pianist, I forgot her name, called Arthouse classics. Portrait of a Lady was on it I think. Nyman's The Piano, The English Patient.
I don't remember what else. Maybe something on there?
Shakespeare in Love, is that along the lines you are thinking of?
And maybe some John Barry pieces would also fit in there, or do they lack the short repetive figures?
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Posted: |
Feb 25, 2015 - 11:22 AM
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By: |
Mike West
(Member)
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And of course Wojciech Kilar and Zbigniew Preiser.
THE PORTRAIT OF A LADY was the first thing I thought of too. One thing about Kilar's music that I'd say differentiates it somewhat from something like THE THEORY OF EVERYTHING and other scores today in that mold is that, to me, Kilar's writing is more actively melodic. A lot of the stuff today sounds more in a specifically Glass-ian minimalist mode (and more specifically, THE HOURS), where the focus is on a very specific kind of driving, string-heavy orchestration. Kilar's scores are more overtly tuneful, in a great way.
there was a double cd with rerecordings by varese with the royal scotish national orchestra and their pianist, I forgot her name, called Arthouse classics. Portrait of a Lady was on it I think. Nyman's The Piano, The English Patient.
I don't remember what else. Maybe something on there?
Shakespeare in Love, is that along the lines you are thinking of?
And maybe some John Barry pieces would also fit in there, or do they lack the short repetive figures?
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Posted: |
Feb 25, 2015 - 11:22 AM
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By: |
Mike West
(Member)
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And of course Wojciech Kilar and Zbigniew Preiser.
THE PORTRAIT OF A LADY was the first thing I thought of too. One thing about Kilar's music that I'd say differentiates it somewhat from something like THE THEORY OF EVERYTHING and other scores today in that mold is that, to me, Kilar's writing is more actively melodic. A lot of the stuff today sounds more in a specifically Glass-ian minimalist mode (and more specifically, THE HOURS), where the focus is on a very specific kind of driving, string-heavy orchestration. Kilar's scores are more overtly tuneful, in a great way.
there was a double cd with rerecordings by varese with the royal scotish national orchestra and their pianist, I forgot her name, called Arthouse classics. Portrait of a Lady was on it I think. Nyman's The Piano, The English Patient.
I don't remember what else. Maybe something on there?
Shakespeare in Love, is that along the lines you are thinking of?
And maybe some John Barry pieces would also fit in there, or do they lack the short repetive figures?
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Posted: |
Feb 25, 2015 - 11:23 AM
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By: |
Mike West
(Member)
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And of course Wojciech Kilar and Zbigniew Preiser.
THE PORTRAIT OF A LADY was the first thing I thought of too. One thing about Kilar's music that I'd say differentiates it somewhat from something like THE THEORY OF EVERYTHING and other scores today in that mold is that, to me, Kilar's writing is more actively melodic. A lot of the stuff today sounds more in a specifically Glass-ian minimalist mode (and more specifically, THE HOURS), where the focus is on a very specific kind of driving, string-heavy orchestration. Kilar's scores are more overtly tuneful, in a great way.
there was a double cd with rerecordings by varese with the royal scotish national orchestra and their pianist, I forgot her name, called Arthouse classics. Portrait of a Lady was on it I think. Nyman's The Piano, The English Patient.
I don't remember what else. Maybe something on there?
Shakespeare in Love, is that along the lines you are thinking of?
And maybe some John Barry pieces would also fit in there, or do they lack the short repetive figures?
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