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| This is a comments thread about FSM CD: Star Trek III: The Search for Spock |
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Horner feels that his score for STAR TREK III is superior to his work on the previous Trek movie. “That was 2 years ago for me. I was twenty seven and a half when I wrote STAR TREK II and now I’m thirty. So a lot of musical time has gone by for me and I just think that the score for STAR TREK III is just so much vastly better than STAR TREK II. It’s a much more interesting score and, for me, a much more beautiful and emotional score than STAR TREK II.”
Artists own favorite works are usually not the masses favorite works of said artist. I happen to completely disagree with his assessment of the two scores. WOK is a much richer creation. But I love SFS too. Just saying my preference goes the other way.
It's really interesting to learn of Horner's own opinion on this matter, and I must say I've always felt that Star Trek III was a more beautiful and emotional score than Star Trek II -- you just don't realize it so much when listening to the previous album because whereas for Star Trek II what was missing was a lot of the "interstitial" music (with the notable exception of Spock's Death), Star Trek III was truly missing HUGE highlight chunks of music. It was a much weaker album than the Star Trek II album, but now that we have the complete scores I think a lot of people will be reasessing Star Trek III and may even prefer it to its predecessor as I (and Horner) do.
That said, I do agree that what works best is treating them together as one long score, similarly to Howard Shore's Lord of the Rings -- together they are even more than the sum of their parts!
Yavar
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Got the CD in the mail today. And believe me did I need something to feel good about. It sounds wonderful! I love how the package matches the Wrath of Kahn disc too. Great companion CDs. Please now lets get deluxe editions of TMP and V!
Ah, I see you noticed my thread.  The only obstacle I could see would be the fact that both of those have albums in print, but then again Sony still has an edition of The Blue Max in print yet Intrada sold out of their remastered complete edition of 2500 copies last year...
Yavar
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I'm with Yavar on the Stark Trek III album, much weaker than Star Trek II in terms of listening experience, and presenting the story musically.
The unreleased cues are key to understanding the music in context, and I'm now torn as to which one is the better score, whereas I would have said Trek II more readily.
Trek III has always been highly regarded, but this CD brings to our attention the music we forget about when listening to the GNP CD.
Every now and then, and expanded or complete score will come along that changes people's perceptions of the score presented.
Temple of Doom is one of those, where more casual or less familiar listeners were lukewarm on the original CD, then hear an expanded version, and come to realize just how good the score is.
Star Trek III is in that category, and I have seen evidence from some posts that the score is being re-assessed as a result of FSM's work.
Well done FSM/SAE/Retrograde. Home run.
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Observation of some track titles.
In particular, "Klingons". It merges into the as prominent cue of the Enterprise docking. Thus simply naming it "Klingons" is not a very accurate description of the full track. "Klingons & Enterprise Docking" would have made more sense.
I agree with you, but "Klingons" was either Horner's original cue title (it was recorded as one cue) OR FSM was obligated to keep it titled the same as it was on the original album.
Regarding "The Klingon's Plan". It starts out with a Klingon motif of sorts but then merges into the "federation" theme. But I do not know what is happening on the screen during the second half of that cue. Anyone know?
Might I suggest reading the (superb) liner notes?
I will say that when I created my own hypothetical track titles for the complete score, I did write "Klingons / The Enterprise Returns to Spacedock" and something similar for the other cue.
Yavar
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Just wanted to say how happy I am to have the film version of the score presented.
That crazy violin intro to "Stealing The Enterprise" on the original release drove me crazy. They were right to ask Horner to redo it for the movie; "too busy" indeed.
The only track I always skip is the "Katra Ritual" because it tends to put me to sleep.
Agree with everyone else on the board... "Great job FSM!!"
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I'm curious, how are sales of this and TWOK doing?
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So nice to see people re-evaluating this score and having it elevated in opinion. I always loved it, but agree the LP was a pretty poor representation of the score as a whole. Aside from the placement of The Mind Meld, the original album was sequential and with the last portion of the music (aside from the end credits) being the slow, soft Vulcan bits, the album always seemed top heavy. Maybe it would have worked better had it been arranged more out of order.
However, the long left-off cues really do fill out the composition. It's incomprehensible that they excluded "Fighting Chance to Live" and "Genesis Destroyed" back then. Those omissions robbed the album of a strong climax. Unlike TWOK, which had an amazing album presentation all those years, TSFS was gypped.
As for which is better: neither. Both are incredible examples of perfectly written scores for two different, but connected, films. TWOK score is 100% right for that film, and Horner's follow up is an equally perfect score for TSFS.
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Posted: |
Jun 6, 2010 - 7:52 PM
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By: |
Avatarded
(Member)
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(Maybe the cue should have been titled "Stealing from Prokofiev" instead... OK, I know, I know, that was mean and unkind. I apologize and take it back. No, really. No more Prokofiev jokes from me.)
This is the FSM messageboard, so repeating the same garbage about Horner and his re-using his music, or incorporating others into his own is expected. Thor's "dead horse" gif, the endless calls to finally "let it go" and move on, all falling on deaf ears (there's an ironic term to use here) each and every day.
That being said, I do like the irony of Film Score Monthly - the magazine and board who virtually pioneered the James Horner hate parade, releasing two of his scores on their label.
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