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Posted: |
Apr 23, 2018 - 12:55 PM
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By: |
bobbengan
(Member)
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I'm bumping this for no other reason than because I've been on a HUGE Talgorn kick of late, and even after owning and loving stuff like ASTERIX, ROBOTJOX, LE BRASIER and THE TEMP for several year now, I've really begun to dive deeper into his filmography - his library music, more recent French scores, older more obscure ones - and I'm rediscovering that wonderful feeling all over again each time I begin a new "Where the hell was this person's work been hiding from me all these years?!?!"-type journey.
His style, harmonic language, orchestration etc. are just so appealing. I'm not adding anything others haven't already noted but it truly is amazing how innately Williams-like his voice is, without feeling derivate of that composer - they just happen to share certain musical proclivities. His incredibly rich string writing is especially delectable.
Even across a relatively small output of work compared to guys like Williams, Horner, Goldsmith, Holdridge et al (at least of stuff that's attainable in any form away from the film), Talgorn might be quickly sneaking his way onto my top ten or fifteen list. Not for any one particular score, but for an overall "sound" across his thirty-odd year career that's deeply appealing to my ears, in the same way John Scott isn't defined by one singularly 'best' work, but rather a commitment to consistent excellence and an authentic, definitive voice across multiple decades of output. To me, that's the mark of a real artist in any given field of craft.
Viva La Talgorn!
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Posted: |
Apr 23, 2018 - 4:46 PM
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By: |
bobbengan
(Member)
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Yea, that HM2K score is a real juggernaut. I honestly never really appreciated it until recently, especially following Bernstein's original (That "Taarna Theme" is one of the most beautiful things ever).
However, a more detailed re-evaluation/deeper listening (and taking the sequel score on its own terms) shows I really could not have been more wrong in my initial evaluation.
Outside of that one tremendous heroic/romantic "Julie & Kerrie" cue, there's so much more to appreciate here - It's a complex, original work of great maturity with extremely detailed and creative orchestrations. Of particular note that wavering, sultry string theme in "Tyler Awaits His Wench" and "Hospitality" is just endlessly transfixing and evocative - really amazing writing. You could've told me those pieces were from some long-forgotten Debussy tone poem and I'd be none the wiser.
I wish the sound quality on that score was a little punchier though, a la his many fantastic-sounding London recordings he's done. While the Munich Symphony sound up to the job as far as playing the very demanding composition goes (hope Talgorn bought those brass players a beer afterward), there's a very distant, cavernous quality to the sound (and several other scores I've heard recorded at the same Munich venue during the late 80's through early 2000's) that does a bit of a disservice to how well-crafted and intricate the score is... But that's not a fault that can be placed on the score's shoulders per se.
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