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I've been listening to this frequently in my car lately, going and coming from work, and I have to say that I am amazed at how great this score is in its sheer epic sound of the instruments as they mimic the submarine rocking through the ocean waves and the simplicity of it as it makes its way under the Artic.
Has anyone ever heard the lyrics to the main title "Listen to the Sea"? I can remember it being released for sheet music back in the 60s when my mother use to play it on her piano. I was wondering if anyone had actually sung the lyrics to it?
In my opinion, this has to be Michel Legrand's greatest score. Mind you, I have yet to hear a majority of his music, but with such memorable scores such as Summer of 42, Brian's Song, and The Thomas Crown Affair, Ice Station Zebra is absolutely fantastic.
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Posted: |
Oct 15, 2009 - 1:17 PM
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By: |
Morricone
(Member)
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Whenever I hear a European composer demeaned on here, usually because they don't deliver some cookie cutter idea of what film composing is supposed to be, I like to bring up that most are able to deliver the Hollywood brand of music with an arm tied behind their backs. The opportunities either don't come or they prefer a more challenging approach to the material. But the examples are abundent. This one from Legrand, HANNIBAL BROOKS from Francis Lai, THE PROFESSIONALS from Maurice Jarre, John Barry's ZULU, Nino Rota's WAR AND PEACE, Morricone's RED SONJA, Alexandre Desplat's HOSTAGE, even Georges Delerue did the very off character CENT MILLE DOLLARS AU SOLEIL (GREED IN THE SUN).
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Posted: |
Oct 15, 2009 - 1:28 PM
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By: |
Disco Stu
(Member)
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Whenever I hear a European composer demeaned on here, usually because they don't deliver some cookie cutter idea of what film composing is supposed to be, I like to bring up that most are able to deliver the Hollywood brand of music with an arm tied behind their backs. The opportunities either don't come or they prefer a more challenging approach to the material. But the examples are abundent. This one from Legrand, HANNIBAL BROOKS from Francis Lai, THE PROFESSIONALS from Maurice Jarre, John Barry's ZULU, Nino Rota's WAR AND PEACE, Morricone's RED SONJA, Alexandre Desplat's HOSTAGE, even Georges Delerue did the very off character CENT MILLE DOLLARS AU SOLEIL (GREED IN THE SUN).
I really like "Red Sonja" the film (which I prefer to Conan, which I like too) and Morricone's work for this film adds tremendously, and is my favourite music by this composer. I have been wondering for more than 10 years now why the ORIGINAL recording of this phenomenal work is still not available on CD.
D.S.
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It's a far better score than a movie. Legrand uses all manner of 'not where you expect it to go' changes in predictable chords for dissonances etc.. It's a score that tells you it won't be predictable and that Romantic is superceded. Like Previn. I'd say Williams's 'probe' music in 'Empire Strikes Back' was inspired by a lot of the satellite music.
It also tells you that Legrand has every skill in his paintbox, even though he uses a sparser technique usually. Restraint is his middle name, as a rule.
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Legrand's Ice Station Zebra was very ...grand.
Like the man said, it is the right main theme for the sub crashing through the waves.
Wonderful LP front cover.
I always thought Castle Keep was as odd as the film.
I liked it but it was a tad weird. of the score, I recall a lone organ track, and even a swingle-singers type track as well?
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While Thor's post above will take you to a picture of the sheetmusic cover, the actual sheetmusic must be extremely rare. I admit my curiousity was piqued as neither the "A" theme nor the "B" theme from the film seem a good fit with "Listen To The Sea" but stranger things have been attempted. After 20 or so minutes of surfing the net, the only recording I could find was a Richard Hayman LP called "Cinemagic Soiunds" which carried the theme under the song's title but I suspect it's just another instrumental arrangement.
You'd probably have to stumble upon someone selling the sheet music on eBay, but it's not there now and was not among the "completed" sales.
By the way, a vocal anywhere in the film would have be totally out of place in my humble opinion. (About as likely as Dimitri Tiomkin trying to talk the producers into a song for THE COURT MARTIAL OF BILLY MITCHELL related in his autobiography PLEASE DON'T HATE ME--he never got over his success with HIGH NOON I guess.)
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