I'm messing with you. I know what you're referring to, it's from "The Dark Side Of The Moon" in Apollo 13, and essentially you dismissed "The very first track" as being directly from that score, hence my obvious sarcasm.
The small motif you mention (which is just that in both scores, not blown out of proportion) is repeated in the end cue "Remembrance, Remembrance".
That people literally dismiss things because of a similarity of what....10 seconds or so out of a whole score? Is just really silly to me. But that's me.
EDIT:
What 1993 score that dealt with Nazis had a similar theme that wasn't Schindler's List?
This film dealt with Nazis and received an expanded treatment of that theme on piano.
Both scores dealing with Nazis, both scores by Horner. Hmmm....I wonder if there's something to this connection between a score from 1993 and a score from 2008?
I'm messing with you. I know what you're referring to, it's from "The Dark Side Of The Moon" in Apollo 13, and essentially you dismissed "The very first track" as being directly from that score, hence my obvious sarcasm.
The small motif you mention (which is just that in both scores, not blown out of proportion) is repeated in the end cue "Remembrance, Remembrance".
That people literally dismiss things because of a similarity of what....10 seconds or so out of a whole score? Is just really silly to me. But that's me.
LOL! Yeah, I made my post just seconds into listening to it on YT. I'm known for hyperbole. I'll listen to the rest before finalizing an overall opinion.
Edit: Oh and one nitpick. Not at you, but since you mentioned it. There is NO dark side of the Moon. There's the FAR side of the Moon.
If there's one issue I have with the score, it's nothing to do with the music, but the mixing:
It completely lacks any bass (even in the film) so it's almost too light a recording. Take your average CD and turn the bass down, leaving the treble where it is at default, and that's what this recording sounds like.
Anyway, the other Nazi-themed score I'm referring to is "Swing Kids".
Horner always went for those thematic connections in his projects and scores, and the sad /somber little motif in the cue from Apollo 13 (for when Marilyn Lovell is listening to the signal blackout as the LEM circles the moon) is played here in similar fashion.
The 'four notes' are heard in a cue titled "The Funeral", though it's more to represent an evil that has come and passed through.
Query to the musicians among you: how is the enormous build-up in the strings at the end of "Strange New Clothes" achieved? Is it a glissando / portamento? Is it just the violins? Are harmonics involved (at least for some players)? A note cluster sliding upwards? Are there notes being added during the slide-up? How is the bowing (slow, rapid)?
