Started by Enoch, Mar 07, 2016, 06:56:16 PM
Quote from: Enoch on Mar 07, 2016, 06:56:16 PMI very much liked those two and some others Marc Streitenfeld composed, but I want to hear more music like this:Holst The Planets - Neptune, the Mystic
Quote"Gregson-Williams first worked with the latter on his first Ridley Scott film – 2005's Kingdom of Heaven, a Satellite Award-winning score he describes as 'very classical'. A former chorister and music scholar himself, he describes his musical heritage and influences as largely classical in origin, and 'very English'."
QuoteThe main signature Life theme is surrendered to us in its entirety in Track 4, and it could well be the greatest piece of music that Harry Gregson-Williams has composed, thus far. This is achingly gorgeous – at once euphoric, wondrous and spellbinding. It is an elegy written for both the promise of the stars, and a spiritual fanfare for the miracle of life, itself. If Sir David Attenborough gets put into hyper-sleep and is then defrosted to make a Life on Another Planet series then this cue would be its perfect title theme.Suffused with the sort of celestial glow that John Williams was able to conjure for Superman's Kryptonian introduction, or the sort of revelatory scope and grandeur that Jerry Goldsmith brought to his first and fifth big screen Star Trek outings, this rapturous slice of divine harmony really gets inside you and makes you thirst for visions, and for answers. Richard Watkins puts the tuba down and picks up the solo French Horn to play a lonely, lilting fanfare for those who long to reach beyond the stars. You can clearly imagine this as some sort of NASA flag-song for a parade of former astronauts saluting the next generation of interstellar explorers. With a female choir (The Metro Voices, Bach Choir and Apollo Voices all perform gloriously on the score) providing a dreamy reverie that is both optimistic and timeless.I adore this track ... and it is hard to keep from just repeating it over and over. It is almost a sideways evolution of Goldsmith's famous solo trumpet that was originally supposed to cry out over the impenetrable blackness of deep space until the Nostromo slowly appears ... but got mucked-around with by Scott. There is even a trace of Vangelis to the high, bending string tones and the curling French Horn that reminds of his resplendent synthetic layers for Blade Runner, which surely isn't merely coincidental. This theme is returned to on the album in Track 12's We Were Right, but in a far more subdued and pensive mode, the transcendental qualities swapped for a grimmer essence of much darker possibilities.
Quote from: Enoch on Mar 13, 2016, 05:24:08 PMThis critic is not so fond of Streitenfeld work on Prometheus, but writer of this article writes that he succeeded with eeriness and spooky atmospheres created by mixing many sound textures and recording orchestra playing backward and then digitally flipping that whole track in order to achieve some unsettling melody color.
Quote from: Astronoë on Mar 14, 2016, 08:38:53 PMBad movie, only good thing was the music...i'd like a haunting scene with someone singing something like this..https://www.youtube.com/watch?v=iQhPxLGhkok
Page created in 0.142 seconds with 13 queries.