 |
|
|
|
|
|
|
|
|
|
|
One of the worst scores ever made by JNH. Such a shame..
I'm afraid not.
I like the score, there is a plenty ideas with the orchestra (WONDERFUL Overture) and certain moments where the tension reminds me to Marco Beltrami, and the choir is haunting.
Here a review by Xalabarder
The composer applies a soundtrack into two distinct dramatic levels: first, symphonic music of classic air to provide the historical context of importance and relevance. This is an elegant, refined and impressive music. In contrast, and secondly, music for tension and action, very it attached to the rhythm and the related events and that brings tension, dynamism and sense of danger.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
In that case you missed the idea of the score, and this is just my humble opinion.
|
|
|
|
|
|
It is just wasted opportunity... except for 1st track and the last 2... the rest is just boring wallpaper where hardly anything happens... why this had to be 70+ minutes I have no idea. With some 30 it would be more than enough.
Exactly. But 70+ minutes is a bad joke..
|
|
|
|
|
|
Oh wow, this really is Herrmannesque in the Overture, but in the romantic underscore Herrmann mode, not like his Main Title cues for Hitchcock. As the second section begins, I'm sure this is from a classical work of some sort, but hell if I know what it is.
I don't know if it's because I'm streaming it, but the mastering for this is awful when it gets louder.
|
|
|
|
|
|
If you told me in 1993 we would long for 30 minute albums & regularly diss guys like JNH & Patrick Doyle....bloody Twilight Zone these days ....
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Are there many electronics in this score? If so, what are they like?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
no
Who are you responding to...?
|
|
|
|
|
|
Are there many electronics in this score? If so, what are they like?
There is, but very subtle, a lot of cello, like Hermann.
|
|
|
|
|
|
Are there many electronics in this score? If so, what are they like?
There is, but very subtle, a lot of cello, like Hermann.
Thanks for the info. I was expecting some subtle electronics, i.e. Defiance -- kind of lurking in the corners, very subdued.
|
|
|
|
|
|
I approach every new JNH score with a hint of caution. I used to blind buy but now... not so much!
Same with me. And I’m so sad about this, because JNH is one of my all-time favorite composers.
My heart was broken when I read him saying the following on different occasions (and I quote):
“It’s hard to imagine having an opportunity to write anything like that now. Almost impossible. It’s a style of writing I have tried to move away from. It’s very melodic, and I think it was really fine for Wyatt Earp, but compositionally I don’t think I had the same awareness of my music that I started to have ten years later, where I was really getting so overly familiar and tired of my own cadences and the quality of what I was writing, that I was intentionally and consciously moving to a more textural, gestural ideas, and away from pianistic writing.”
|
|
|
|
|
|
I approach every new JNH score with a hint of caution. I used to blind buy but now... not so much!
Same with me. And I’m so sad about this, because JNH is one of my all-time favorite composers.
My heart was broken when I read him saying the following on different occasions (and I quote):
“It’s hard to imagine having an opportunity to write anything like that now. Almost impossible. It’s a style of writing I have tried to move away from. It’s very melodic, and I think it was really fine for Wyatt Earp, but compositionally I don’t think I had the same awareness of my music that I started to have ten years later, where I was really getting so overly familiar and tired of my own cadences and the quality of what I was writing, that I was intentionally and consciously moving to a more textural, gestural ideas, and away from pianistic writing.”
I love Wyatt Earp, but not every movie has the same idea for apply, something like Roman J. Israel is not for play a huge orchestra with melodies or themes. Don't get me wrong, i love melodic scores, but there is a place for small scores with electronics or acoustic instruments.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
