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The Duning stuff is just beautiful. I'd waited forty years for "Metamorphosis", but "Return to Tomorrow" is nearly as good. Fabulous, gorgeous, but Duning knew how to do thrills too. What a great composer. His work here seems almost as open and "filmic" as his scores for the big screen, and may appear to sit kind of ill-at-ease among the rest of the very instantly recognizable TREK-sounding scores, but they are sublime in their own right.
I think "Sargon Inert" from Return to Tomorrow is the single most moving cue in all of Star Trek TV-or-Movie-dom.
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Just moved on to 'Eye of the Beholder' and The Empath. Both are similar scores...
Wasn't that a Twilight Zone episode? 
I meant 'Is There no Truth In Beauty?', of course.
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Adm, you forgot to put an ironic smiley after "Is There No Truth In Beauty"!
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Is this the longest title of an OS episode with an original score?
(I think the longest-titled-OS episode is "For the World Is Hollow and I Have Touched the Sky.")
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Adm, you forgot to put an ironic smiley after "Is There No Truth In Beauty"!
$#&@! The bloody one with the bloody alien ambassador in the bloody box no one can bloody look at. Whatever the title is!
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Oh so it's THAT one, adm? Why didn't you say so before?
I've just listened to the two scores on Disc 5 of Season 2. I was prepared for anything before I heard Samuel Matlovsky's "I, Mudd" - and I really enjoyed it. It doesn't shout TREK, but that shouldn't really bother me, in fact it didn't. It's a fine little oddball score, sort of with moments of the grotesque, the burlesque..., lots of "-esque" except "Herrmannesque". It didn't quite exist in its own vacuum on CD because I could relate it to the composer's fine, equally oddball score for the James Caan/ Katherine Ross film directed by Curtis Harrington GAMES. I like when one can make these little connections. It helps to give things a perspective.
And then there's "The Trouble With Tribbles". Although I've already heard a few scores in the set that kind of departed from the iconic sound of, say, Steiner and Fried, this is perhaps the one where I the composer's personality is so strong that I barely even thought "TREK" when listening. I just kept thinking "Wow - Fielding"! I imagine the same thing will happen when I get round to "Spectre of the Gun". Whimsy isn't my favourite musical style, but Fielding's signature is all over it and as a Fielding fan, well, I can't not love it.
Moving onto the Library Music and Outtakes etc on Disc 5 soon. There's always something of interest there. Of the Season 1 outtakes and alternates etc, I already mentioned the "different note" in one of the takes of the Courage theme (by Courage himself I think). What I forgot to mention about the Season 1 Disc 5 extras is how amazingly jazzy Fred Steiner made some of the takes of the Main Titles. You can hear it really speeding up towards the finale before that big jazzy drumkit riff at the end.
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The alternates and outtakes etc at the end of Disc 5 are pretty interesting. Of course, for fans it's great to have this kind archaeological stuff at our disposal - fascinating to hear the "Tribbles" trombones as they were actually recorded, and it was great to hear the Gerald Fried rehearsal of the Spock theme from "Amok Time", talking to Barney Kessel ("Now could we try it with a little bit less reverb on Barney?").
Apart from that, there's some wonderful "new" library material by Alexander Courage at the start of the extras. Every time I hear Courage in dramatic mode I'm simply amazed at what a great composer he was.
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And so on to Season Three: Disc 1 -
I've given up saying things like "this doesn't immediately shout TREK", because it's becoming quite apparent that a fair number of scores fall outside the "iconic" (there's that word again) TREK sound. And so what? "Spectre of the Gun" is Jerry Fielding being absolutely totally Jerry Fielding. I love Jerry Fielding. "Spectre of the Gun" sounds like it could be bits and pieces of all his later Western scores stitched together. The only thing that's missing is a strong Main Title, but he wouldn't want to do battle with Courage's siren song. Great.
"The Paradise Syndrome" is Gerald Fried being Gerald Fried. And very iconic of STAR TREK of course! Now, I said before that I never thought that Fried was a terribly sophisticated composer, but I don't mean that in a bad way. He's probably the guy to go to whenever TREK had to conjure up sweetness and light and/ or primitive civilizations and primal threats. So in "The Paradise Syndrome" we have the beautifully simple and innocent major-mode themes juxtaposed with the more aggressive, growling minor-mode passages. It sounds fairly rudimentary when I say it like that, but it works a treat. I think Gerald Fried would have been great at scoring a Tarzan movie.
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Posted: |
Jan 22, 2013 - 5:12 AM
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By: |
Mr. Flint
(Member)
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Just moved on to 'Eye of the Beholder' and The Empath. Both are similar scores...
Wasn't that a Twilight Zone episode?
I meant 'Is There no Truth In Beauty?', of course.
[nitpicker's mode ON]
No, you meant "Is There IN Truth NO Beauty?". You see, there might be truth in beauty, but the question of that episode was the presence of beauty in truth! (See Sigerson Holmes' screen cap of the title card above for confirmation)
[nitpicker's mode OFF]
Besides, while "Eye of the Beholder" WAS a TZ episode (with that great score by Bernard Herrmann, as mentioned before), it also was a Star Trek TAS episode, which I thought you meant for a moment, before realizing that TAS only had library music which was used virtually in every single episode, so it seemed to make little sense to compare those two episode scores.
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Just curious, who sang the particular recording of Goodnight Sweetheart used in TCOTEOF?
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Just curious, who sang the particular recording of Goodnight Sweetheart used in TCOTEOF?
Hi - either eight people have asked this, or one person has asked eight times. WE DO NOT KNOW. WE HAVE NO DOCUMENTATION. SORRY.
Lukas
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Just curious, who sang the particular recording of Goodnight Sweetheart used in TCOTEOF?
Hi - either eight people have asked this, or one person has asked eight times. WE DO NOT KNOW. WE HAVE NO DOCUMENTATION. SORRY.
Lukas
I apologize for bringing it up again.
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I quite like '...Beauty' and 'The Empath'. They are both a bit noodly, but both have a memorable off-kilter romantic theme that fits their respective eps very well. I find these scores to be some the the most memorable music of the series. The organ gives them a 'spacy' quality Roddenberrunwas trying to avoid, but I don't think ot sounds at all cliche for that.
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I quite like '...Beauty' and 'The Empath'. They are both a bit noodly, but both have a memorable off-kilter romantic theme that fits their respective eps very well. I find these scores to be some the the most memorable music of the series. The organ gives them a 'spacy' quality Roddenberrunwas trying to avoid, but I don't think ot sounds at all cliche for that.
Noodly. Thanks, Miles, that's a perfect description of Dunning. I think Dunning was a pretty good composer but the more his scores "noodle" the less I like them. And Empath noodles a LOT.
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Is There No Beauty In Noodles?
Maybe in alphabet soup.
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I'd go crazy for a complete release of Devil at 4 O'Clock -- it's a fantastic score and the LP program only scratches the surface (some great important themes only appearing once!)
Yavar
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