Malte Müller
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I liked his Bond scores although probably not his best ones. I do like him but are not really fan. SHAWSHANK is one of the CDs I sold quite some years ago when I thought I needed to get rid of some I rarley listen too (yeah, what a joke and I regret having sold those…even back before streaming then it really wasn’t much…). I always like ROAD TO PERDITION because of those Irish/Celtic influences and ANGELS IN AMERICA. I have less than 50 scores and probably should review them again as I cannot say much about them right now…
Not sure if I heard it directly before, but it instantly somehow reminded me of Delerue’s BLACK ROBE actually.
IMO much ado about nothing,
I think, too and found it funny. Of course at first it sounde like te typical classical snob talking about film music that I heard 30+ years ago the first time when I relaly got into film scores. And Williams sounds always so modest about himself compared to the giants of music in general that he surely underestimates himself as well sometimes.
And he even is often right, especially many modern but also older scores could often use some work to flow as listening experience. As we often discussed here with C&C. I even think that often with GOlden Age scores ome Gerhard suites flow way better than more complete scores.
Fond memories of the single track roads though it’s been 30 years I have been to Scotland. Wa a week tour by car staying at bed & breakfast locations. From Edinburgh through the Highlands including a visit on Skye and back. I even saw Nessie (okay, that’s a lie ;-)).
Never too late to start!
Indeed, so (too) much music to explore! 😉
Glass, Riley, Reich, Nyman, that kind of stuff — I’ve never been able to grasp that properly. I mean, there’s some I like. I enjoy Glass’ VISITORS, Nyman’s THE PIANO and some Greenaway.
Nyman can be tough because he is often more “scratchy” chamber music. I don’t love everything. Another more lyrical and almost morriconesque score of his basically western score THE CLAIM. Or WONDERLAND if I recall right.
Glass can be a little tiresome being a bit too repetitive (even if technically it often isn’t).
Wouldn’t Sakamoto also fit in this “minimalistic” vein often?
I know him by name and saw some movies like WALTZ WITH BASHIR but I am totally unfamiliar with him and indeed have not a single album by him. I do like minimalism like Glass or Nyman but I think his music didn’t grab me.
I usually keep albums as they are when importing from CD or downloading them. I don’t divide compilations into several albums. I would only do so if its a 2CD which two separate scores (e.g. the 4CD Star Wars box or the Airport 77/Airport 79 2CD) or sometimes if two versions (film vs albm recording or so). Different editions I keep always separate to be able to see which version is what. But I regulary change meta data as that is often so off on digital download services…
That animation movie recently was shown on arte over here but sadly I missed it. I think I first noticed Kilar with Dracula. A film where I also noticed him was Zanussi’s THE SILENT TOUCH which – as I learned later – was made around his concert work “Exodus”.
Obviously Kilar, with DRACULA, KÖNIG DER LETZEN TAGE, DEATH AND THE MAIDEN, THE PORTRAIT OF A LADY and THE NINTH GATE being favourites, but those are all his most famous. Would love to check out some of his lesser known stuff. I remember some of them being played at one of the Krakow festivals I attended, where he was also in attendance.
I have this compilation by Milan that is from the time around Dracula because two tracks are on it. But also lots of older Polish movies:
https://www.discogs.com/de/release/1426773-Wojciech-Kilar-A-Collection-Of-His-WorkHis theme often remind me of Morricone.
I just checked but we have no means to change any such behaviour neither via the forum itself nor the Akismet spam filter. Interesstingly the forum setting to actually use Akismet spam filter is off. TProbably we never had it enabled… But since you need to be registered and that is covered we probably fine for now. The links limit was WP standard setting though and indeed limited to 2. I raised it a bit to a few more.
Seems like an answer of mine is once again in digital limbo…
Was that the one with the images? The spam filter seems not to like more than one link (an image is technically kind of link)
Right, Kaczmarek needs to be on this list. Kaper for me is also a Hollywood composer. Just like I hardly consider Waxman or even Zimmer really as “German” composers anymore.
AI means “all invented”, right 😉 Embarrassing that people start to rely on AI now without actually thinking. The term “I just google that” seems to have been replace by “AIwhatever told me that…”… But that’s beyond the scope of this forum 😉
The obvious ones come to mind right now: Kilar primarily and Preisner I do like but are not that familiar with the general work. I like Debski’s Ogniem i mieczem but that’s also the only score I know. And also Komeda needs to be mentioned although he is not really favorite of mine.
Yeah, the first three Alien movies are classics. They lost me a bit with the later parts and when they started to crossover with Predator.
ROMULUS I didn’t see but PROMETHEUS und COVENANT didn’t grab me.Read that the series got quite good reviews. But as I also don’t have D+ – currently have Netflix only and my watchlist is full enough anyway 😉 –, I am not watching it for the time being.
(Feel free to spoiler, I will have forgotten about that if I ever watch it. Probably never will because it then already has several seasons ;-))
Though “Expanded Editons” vs. OST isn’t necessarily the same topic as re-buying a recording.
But in our crowd there are certainly lots of crossovers 😉 The JAWS Intrada or Schifrins DIRTY HARRY album on ALEPH compared to the older DIRTY HARRY compilation with some tracks. That was significant difference especially in direct comparison but often I am literally not that convinced. And I have to be picky. If I had endless fund I probably would be less.
But maybe back to topic before Thor complains 😉
Don’t want to hijack the topic with side ways. Probably we need our special topic about pro and contra of expansions and re-buying 😉
On Superman I like it a lot and I have the old CD as japanese version forever (wasn’t that having one or two extras tracks at that time?). I also have the Rhino one digitally. Somehow I am content with that.
One film score I love where I was always dissatisfied with the previous releases was Jerry Goldsmith’s PAPILLON. The Silva Screen release lacked substantial moments of the score didn’t sound too well, the Universal France added the missing music, but still didn’t sound good (though differently bad than the Silva Screen), and the Quartet… voila, everything fell into place, full program, great sound.
I like that score a lot and have that Silva Screen one forever. Bnever had any problems with it. I listened to the samples of the newer editions but somehow it never urged me to “upgrade”. For example with the Tsunami SAND PEBBLES I felt that urge to buy the Intradas (skipped the Varese one) 😉
After the great success of JACK HOLBORN awhile back, I’m finally giving Christian Bruhn’s famous CAPTAIN FUTURE a go. Wasn’t aware it was funky space disco! I dig it.
Yeah, great fun score. I heard the original japanese version and while its not bad it cannot compete childhood memories 😉
Maybe worth mentioning is the soundtrack that I bought the most often.
If I count more than two times as that happened more often with some expansions by Williams or Goldsmith scores primarily it is probably these:
- Rozsa’s Ben-Hur: First the 2 CD Sony release and then the longborad 2CD from Rhino. I then sold the Sony because I thought I now have the “original”. Regret it a bit because that two albums were of course different re-recordings. Then the Tadlow re-recording.
- Jaws: Had the original album for ages, then bought the 20th anniversary one and then the first new Intrada edition because of the really significant better sound. No plans to buy the latest “even better sounding” edition.
- Star Wars: I think I first had a Philips sampler by Williams with excerpts also of other of his scores. Then original albums and then the 4CD box. Then I do have the first DoCD releases of each digitally. But if I really want to listen to it I use the 4CD box
Quickly looked at soundtrackcollector and I think most parts of it debuted on the 4 CD box already with some tracks on the 4th extra disc. Some track titles are not there like “The Heroics of Luke and Han” or “Rebels At Bay”. Not enough expert on this where these might be hidden if at all.
I sort CDs generally by soundtracks, classical and pop/rock/jazz and by artist/composer within. Digital files also primarily use these general genres, soundtrack sometimes with additions like TV score or something. But scores have no actual genres like symphonic, jazz or whatever.
I don’t have any Williams or Goldsmith albums in my collection.
Please leave this forum or do we have to ban you? 😉
I don’t think I don’t have at least one track by every “major” composer 😉 (I do like Zimmer and – primarily the earlier – Giacchino)
I have a collection of TV themes – self recorded via TV via cable back then and from other sources, generally not just from some CDs – that would run 1,2 days 😉
Yes, I meant Herrmann’s thorny (often rude) personality, but I realize that’s a different thing than having troublesome political or religious convictions.
I think that are really two different things. If someone is just not an easy person like Herrmann I don’t care that much (Goldsmith is said not to be that easy at times, too). There is a saying that you should never meet your idols as you may be disappointed 😉
If I like a work by someone new I certainly read about that composer in general.
Take Richard Wagner, by all means a “problematic” personality. Yet the problems are not manifest in his music, which is glorious.
It seems the Wagner researcher in general have no agreement if or if not. I don’t know his work good enough. I basically can only listen to the instrumental parts which are glorious (as I am not a big fan of opera singing in general)
Interesting question… Quite some artists – especially those who don’t only work for hire – seem to be or have been complicated personalities. While I feel the same regarding your examples especially since I don’t know any composer personally, its hard to separate the artist from its work since the work transports a message. Maybe it is different on more “commerical” or work for hire artists.
I once read a book about film music on “famous” films from the dark NS times in Germany and lots of composers did work for propaganda movies. According to the book they even musically/technically actually quite good but of course the message they transported was not. Not sure if you can listen to that without context…
It’s always hard to judge if people “arrange” within a political environment. Regarding McCarthy and Trump. Maybe it was just a work of hire, he needed money and/or he believed in it to some extent, too. Don’t know. In general US americans seem to have a totally different relationship to their country and patriotism than Europeans. Hollywood movies and series certainly are full of that since for ever with more or less extend. And even Goldsmith scored Rambo 2 + 3… I somehow just take it as it is often…
For me it was Mike Post I knew by name early. Or from Bond specifially John Barry. I think Williams was the first other composer I really knew – if you don’t count Faltermeyer when “Axel F.” was a hit single ;-), Goldsmith came later for sure.
And over here they often edited tv series. Season had long delays, often the same intro although each season had different ones or similar (Magnum for example, here they even cut all Vietnam refrences in the original broadcast!)
But you, Malte and Nick, seem to have had a quite safe and constantly progressing journey through the wild oceans of music to have never experiecned anything, that made you revise your one or other oppinion on any musical piece.
Not revise I wouldn’t say. The general view on some scores sometimes can change of course, too. But it never got so far that I don’t like them anymore. I even more get to like thungs I didn’t previously, sort of re-discovering.
Like Nick TV themes had a huge impact, especially the groovy 70s/80s stuff, although we over here were a few years behind always (Mike Post specifially was all over the place. Someome should convince him to get a bit active with releasing…).
