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rickO,
The results of some of his Brass writing can be heard in Krull and Battle Beyond The Stars.
It's funny when you realize that the players are having great difficulty keeping up. 
The thing is, I don't hear that much beyond his early-mid 80s material. He seems to have toned down in that regard, and has gotten pretty much perfect performances as a result.
I like the way the orchestra struggles with the music though, it adds to the energy of the music in a way.
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The thing is, I don't hear that much beyond his early-mid 80s material. He seems to have toned down in that regard, and has gotten pretty much perfect performances as a result.
I like the way the orchestra struggles with the music though, it adds to the energy of the music in a way.
I have to agree. In some ways, the loss of that youthful exuberance that has made him wisely tone down some of the harder-to-play sequences in his scores is unfortunately part of the reason why I find his scoring style less interesting these days. It's sort of a catch-22.
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I find myself enjoying his earlier and his later scores, but in slightly different ways.
A Beautiful Mind, Bicentennial Man, Braveheart and yes, Titanic are actually superb scores.
His reuse can be infuriating sometimes, but there's no denying that Glory, Apollo 13 and Legends of the Fall are not fantastic scores.
He mellowed over the years, refined his sound, but lost the exuberance and hunger of a young upstart we heard in Battle, Trek II and (to an extent) Trek III and Cocoon.
John Williams has also changed since his mid-late 70's scored up till The Last Crusade. He's become more restrained, and in that restraint, some beautiful music has emerged in a way that would have been more raw in earlier years. Compare the Star Wars Prequels to the Original Trilogy scores. There is a different feel to essentially the same basic material.
I loke that, and enjoy those differences.
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One thing that would be of great interest, might be a behind the scenes look at the Star Trek II and Star Trek III soundtrack releases.
I'd LOVE to get some of those technical details, or maybe some notes about what those at FSM/SAE/Retrograde went through to get this out there !!!
This strikes me as a great opportunity to provide a detailed insight into what it really takes for these works of art to be created and released.
Hanging out on these boards, I get an inkling, but what was the process? What were the dilemmas and choices that had to be made?
Maybe that would make a great article for FSM Online?
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this is one of the cues that was not included.
then this release is NOT COMPLETE, DAMMITT!
I guess i will have to wait another 25 years to finally . get the COMPLeTE SCORE
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