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Well, John Williams...I had a mad crush on his scores from the 70's and early 80's but found his work soon became overly "stuffy." A little too "high society" for me. I still love what I loved but he always seems like he'd be happier composing classical symphonies.
James Horner: again, his early period, the 80's into the early 90's and then he used that flute whose name I can't spell. He leaned on it so hard... Then "Titanic" had that John Wlliams syndrome. It's so selfconsciously stuffy, I just couldn't embrace it. I did love "Apollo 13", "The Perfect Strom" and "The Amazing Spider-Man", though.
Mostly, though, I find that other composers will create a score I love and then not capture that same sound again. For example, when I first heard "Ice Station Zebra" I was obsessed with finding more from Michel Legrand. But he didn't seem to compose anything nearly of the same style again. Same with Gabriel Yared's unused "Troy" score. Everything else I heard form him put me to sleep.
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Posted: |
Mar 13, 2020 - 6:02 AM
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By: |
Jim Phelps
(Member)
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The one that I've really "fallen out of love" with is Elmer Bernstein, and I don't know why. I still love stuff like SUMMER AND SMOKE, but I rarely want to listen to ANY Elmer Bernstein nowadays, be it his westerns, his thrillers, or his Ondes Martenot horrors. I just find him clunky now.
There was so much "blah, blah, blah" in your post, but at least there was the above kernel to keep the discussion going.
I...agree with you, except I have been listening to Elmer's jazzy scores and I still believe them to be energetic and vital, even sixty years after their debut. I wish I still felt the same about his western and (then) contemporary issues scores.
But Elmer the jazzer made some damned fine music, and it always will be as far as my personal taste is concerned.
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For me, I can always listen to The Magnificent Seven, Man With the Golden Gun, Where's Jack, and especially To Kill a Mockingbird.
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Meant Golden Arm.
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I was recently listening to an extremely popular piece of contemporary classical music--yes, you heard right. A piece from 1994 called Danzon No. 2 by Arturo Marquez, The piece has a great melody with gentle passages voiced by oboe and clarinet and dynamic full orchestral sections. I initially thought that Marquez would make a great film composer, and then I thought why in the world would he want to? If he can make a decent living writing such incredible pieces as Danzon No. 2 why would he give that up to compose for Marvel films? As a listener--and film music fan--I would not want him scoring films because I doubt that anything as wonderful as his concert music could ever find its way into today's films.
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We've already had one decry of Tiomkin, so just be patiently -- there will be somebody to come along and say they grew tired of one of more of the composers from your list.
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Posted: |
Mar 13, 2020 - 12:28 PM
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By: |
Thor
(Member)
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No mentions of Korngold, Steiner, Waxman, Raksin, Tiomkin, or Alfred Newman. Very few of Rozsa and Herrmann. Can it be that the classics of film music "wear" better than the composers of later times? Or is it just that young people don't really know the classics?
I was under the assumption this topic was about living composers who you used to like, but not so much anymore, due to their recent output. But I guess it could be applied to composers of all ages.
Interestingly, Korngold used to be my favourite Golden Age composer, but not so much anymore (my favourite is now Waxman). Vice versa, I used to really dislike most of Herrmann's output, but have come to appreciate him more in recent years.
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No mentions of Korngold, Steiner, Waxman, Raksin, Tiomkin, or Alfred Newman. Very few of Rozsa and Herrmann. Can it be that the classics of film music "wear" better than the composers of later times? Or is it just that young people don't really know the classics?
Well, they were mostly all dead by the time I discovered film scores, so they didn't have one sound that got me hooked which then beacme something else that got me unhooked over the course of time. Those on that list whom I enjoy I still enjoy just as much.
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No mentions of Korngold, Steiner, Waxman, Raksin, Tiomkin, or Alfred Newman. Very few of Rozsa and Herrmann. Can it be that the classics of film music "wear" better than the composers of later times? Or is it just that young people don't really know the classics?
I was under the assumption this topic was about living composers who you used to like, but not so much anymore, due to their recent output. But I guess it could be applied to composers of all ages.
My interpretation of the OP's thread subject is, rather, music by composers who were formerly your favorites but who are now not amongst your current favorites.
A re-phrasing of the question might be: whose music did your younger self love to listen to over 20+/30+/40+ (etc.) years ago that no longer engages your current day interests?
Perhaps Golden Age composers are barely mentioned because, to begin with, they were never top favorites in our youth. When we get into film (& TV) music during our teenage years, it's typically due to relatively (then-) recent entertainments that intrigued us and not the stylistic aesthetics from, for example, the 1940s. An 18-year-old might accrue interest in movie music via soundtracks by Desplat or Zimmer, but not through scores by Stothart or Victor Young.
Another observation is that mainstream cinema is usually youth-orientated. As we listeners enter into middle-age or senior citizenship, some of us develop lower tolerance or greater resistance toward the 'heart-on-sleeve' or 'young-at-heart' sentiments.
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