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"Guess what? I got a fee-vuh! And the only prescription...is more Stah Track!"
Like you, I stopped listening to all original series scores in August. I wiped them off my hard drive and didn't pop in the CDs. Now, normally, going months without listening to them was no trouble. As soon as I did this, though, it was suddenly like trying to quit smoking.
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I just re-watched “Metamorphosis;” a cue that shows how well Duning shaped his music to the images is “Companion,” a scene where Kirk, Spock and McCoy first observe the Companion on the surface of the planetoid. That ‘spinning’ sound Duning achieves there is very evocative of the effect for the creature. And, of course a standout moment is how when Kirk convinces Cochrane they need to confront the Companion; Duning scores Cochrane's emotional conflict rather than Kirk's resolve.
Well, you will find some Duning on Kritzerland.
Yes, I noticed that, and paired with some Mancini to boot. No way to go wrong there. A copy tumbled directly into the shopping cart, along with the recommendations from TheFamousEccles.
"Picnic" and "From Here to Eternity" are both marvelous scores, filled with beautiful melodies, great psychological scoring, and Duning's distinctive voice on display. "Cowboy" is also a great score, which you can find on LP.
I was looking at Soundtrack Collector and there doesn't seem to be a score-oriented release of From Here To Eternity, although there seemed to be a few albums on vinyl with selections from the score.
I'm going to keep an eye out for an LP of Cowboy, which I assume is a Western. That sounds like one I'd really get into.
Thanks for the recommendations!
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Posted: |
Dec 25, 2012 - 2:00 PM
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By: |
Thgil
(Member)
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Moving chronologically through the set, I just made it to "Who Mourns for Adonais?". While in the beginning I was a little put off by the amount of repurposed material (Don't ask why, it's always an annoyance my first go-round with scores featuring a lot of repurposed material; i.e: Damien: Omen II, RoboCop 3) it soon began to grow on me.
I've always loved the Apollo motif. The open fifths made me believe that Ron Jones loved the original series music until I read the notes from the Ron Jones Project at the time of its release. He says he never cared for the music of the original series I can't help but wonder if it subconsciously crept in while he composed "The Battle" (see "The Gift"; disc 2, track 2).
The tragic minor fifth variation of The Apollo motif has got to be one of my favorite elements of the score and probably one of my favorite Steiner devices so far. (Forgive me if it's not actually a minor fifth. My knowledge of music theory is in its infancy.)
Listening to the music brought back all kinds of memories of the episode. As stupid as it is at times, with Scotty repeatedly charging Apollo only to be zapped, the ending has always been, for whatever reason, poignant. "Would it have hurt us to pick a few laurel leaves?" (Or something to that effect.) Hearing the closing music brought back that moment's effectiveness in spades. Along with Kaplan, Steiner wrote the best sign-off music of the show.
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Posted: |
Dec 26, 2012 - 12:03 AM
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By: |
Eric Paddon
(Member)
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Well I've gotten in a single day halfway through Season 2. Rather than listen to the discs in sequence and hear too much of a single composer at once I've been listening to the episode scores in the episode production sequence.
I have to confess, reading this thread for the first time all the way through just now, I realize why "Doomsday Machine" my favorite episode of the series and my favorite score, didn't quite sound the way I was used to hearing it and that's because I've played the old CD so many times I've gotten used to the "fake stereo" sound too much. The clarification on the GNP being used for the DVD release is also helpful because that's the version I've been more used to over the years (though I remember how the initial DVD release was missing the Courage library cue from "Naked Time" after Kirk says "I'm gonna ram this thing right down its throat!")
And my mind no doubt overlooked where it was as I went through this, but where's the cue that in "City On The Edge Of Forever" is after Spock says, "Jim, Edith Keeler must die." as they go into commercial?
I got a chuckle in hearing cues in "Catspaw" I knew better from their retracked versions. Like the moment in "Ultimate Computer" when Kirk shouts, "Daystrom!" as he realizes the computer is locked in for the kill on the Excalibur. Just like I always find myself involuntarily saying Kirk's line, "Gentlemen, beam me aboard" for the moment in "Kirk Does It Again" in "Doomsday Machine" some cues just go with a certain line or moment you're accustomed to if its from an episode you've watched more than others. Or the other moment in "Catspaw" reused in "Wolf In The Fold" when we hear Redjac for the first time.
This has been loads of fun and as I'm socked in with a blizzard tomorrow that's delaying my trip home after the Christmas family gathering, I'll get through the rest of this for certain!
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I have to confess, reading this thread for the first time all the way through just now, I realize why "Doomsday Machine" my favorite episode of the series and my favorite score, didn't quite sound the way I was used to hearing it and that's because I've played the old CD so many times I've gotten used to the "fake stereo" sound too much. The clarification on the GNP being used for the DVD release is also helpful because that's the version I've been more used to over the years
The GNP CD was used on the DVD of The Doomsday Machine? Did they do that kind of thing on any other episodes?
I got a chuckle in hearing cues in "Catspaw" I knew better from their retracked versions.
I kept hearing The Changeling in Catspaw.
where's the cue that in "City On The Edge Of Forever" is after Spock says, "Jim, Edith Keeler must die." as they go into commercial?
Going from memory (and it's been quite a while since I've seen City), I want to guess it's "No Repair" from The Enemy Within, but if anyone should know EW, it's Eric Paddon. That's just about your favorite score, isn't it?
We really ought to get cracking on that list of tracked episodes and what they contain. Even partial lists of the most memorable cues would be helpful. Two of my biggest grailtracks are originally from Friday's Child: "Godfathers" (the tag in A Piece of the Action) and "Call of Duty" (the Saturn V launch in Assignment Earth). Good stuff.
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The GNP CD was used on the DVD of The Doomsday Machine? Did they do that kind of thing on any other episodes?
Sort of. The second part of The Menagerie on DVD and Blu-Ray starts act 1 with a bit from The Doomsday Machine. All of the fade in, aside from the last two acts, has music replaced, taken from CDs. For what reason, I'm not certain. The Blu-Ray mono track, however, is fine.
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We really ought to get cracking on that list of tracked episodes and what they contain. Even partial lists of the most memorable cues would be helpful. Two of my biggest grailtracks are originally from Friday's Child: "Godfathers" (the tag in A Piece of the Action) and "Call of Duty" (the Saturn V launch in Assignment Earth). Good stuff.
http://www.filmscoremonthly.com/board/posts.cfm?threadID=93485&forumID=1&archive=0
I've been on holiday, so I'll be back to it soon.
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This is such a huge project that it's difficult to talk about the music without just dipping in and talking about general impressions at the moment.
First off, I wanted to confirm that the presentation of this set is great with some great booklets and information. Luckily, my set managed to get here without any damage whatsoever.
As far as the music goes, listening to favourite titles, the anticipated titles and titles from composers whose scores I wasn't sure about, it's clear that - for me - Fred Steiner and Gerald Fried's music is "my Star Trek music" (closely followed by Alexander Courage's work). George Duning's works are my least favourite: they seem to be quite romantic but are not really grabbing me at the moment.
It's finally great to hear complete scores from AMOK TIME, BALANCE OF TERROR, CHARLIE X, MIRROR MIRROR, THE CORBOMITE MANEUVER, WHAT ARE LITTLE GIRLS MADE OF? and THE NAKED TIME - music I seem to have grown up with, finally heard in its best form possible.
Of the titles that had been previously unavailable, FRIDAY'S CHILD and especially WHO MOURNS FOR ADONAIS are great to hear.
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We really ought to get cracking on that list of tracked episodes and what they contain. Even partial lists of the most memorable cues would be helpful. Two of my biggest grailtracks are originally from Friday's Child: "Godfathers" (the tag in A Piece of the Action) and "Call of Duty" (the Saturn V launch in Assignment Earth). Good stuff.
Christmas slowed me down a LOT. I had to stop my Corbomite Maneuver project with only 15 minutes complete, but things should hopefully clear up after the New Year.
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where's the cue that in "City On The Edge Of Forever" is after Spock says, "Jim, Edith Keeler must die." as they go into commercial?
This one is super easy.  It's on Volume 5, "Edith Must Die."
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Such lush work from George Dunning for Metamorphosis and Return to Tomorrow.
Romance, drama, suspense, and a bit of action- everything you need so beautifully rendered.
I have a hard time moving off one disc to the next. All the music here is so remarkable, any one composer and/or score offers such riches.
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Since we're asking for directions, does anyone know where the final beam-out music is from Mirror, Mirror? It doesn't seem to be part of either the episode's program or library music.
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Since we're asking for directions, does anyone know where the final beam-out music is from Mirror, Mirror? It doesn't seem to be part of either the episode's program or library music.
Disc 10: Sad and Thoughtful on Captain's Theme
Unless he means the actual beam out music (or beam in music), which would be from The Doomsday Machine: Kirk Does it Again.
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Disc 10: Sad and Thoughtful on Captain's Theme
That's the one, thanks guys.
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:O 
