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| This is a comments thread about FSM CD: Star Trek III: The Search for Spock |
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As someone who has played and played his GNP version to death (since 1994), this new version is such a treat to the ears. Remarkable job to all involved!
And I'm going on record as saying that I *do* want The Voyage Home to come next, I don't care what the naysayers say.
Nick
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One of my favorites of the recent spate of old-school James Horner was Intrada's Something Wicked This Way Comes. I had seen the film, but long ago and didn't remember the music very well. No matter, as soon as I started playing it, I got swept up.
I have to say that this Star Trek III expansion really breathes new life into the score on its own. I agree with Yavar that the Klingon music benefits very much both from the remaster (the exotic instrumentation is much better delineated) and the wider variations afforded it here (so it doesn't come off so much as Khan redux and comes into its own as a versatile theme). I am particularly fond of some of the aggressive presentations in "Grissom Destroyed" and "Spock Endures Pon Farr."
There are some really cool transitions here, too, such as the one in "Klingon Plan" and the triple transition in "Spock Endures Pon Farr." One of my favorites, however, is in "A Fighting Chance To Live," as the jaunty version of Kirk's theme segues into the Alexander Nevsky part of the Klingon theme for the exchange on the transporter platform.
When I was tagging these tracks for my iPod, I grouped together all of the cues with the Alexander Courage theme to add his credit to the list I keep in the "lyrics" field. It was the first time I really thought about the fact that the Courage theme is not heard for a moment as momentous in the history of Star Trek as the destruction of the Enterprise. It was in no way the wrong choice; as I said, it took me twenty-six years to notice this, and I think the cue as Horner composed it is perfect for the scene. From a spotting perspective, it makes the appearance of the Courage theme in "Genesis Destroyed" much more cathartic.
Interestingly, Vosk and I were having a discussion yesterday about how the different Star Trek feature composers handled the Courage theme. While Jerry Goldsmith used the theme for the Captain's Log sequences in TMP, it was really Horner that brought the fanfare to the forefront as the curtain-opener for the movies. And while Goldsmith would use it to announce and send of his scores, his use within the fabric of the score was usually very sparing. Leonard Rosenman's score as it appears in the film and on disc is similar ("Home Again" being an obvious exception, but that's why it's "Home Again") as is Cliff Eidelman's.
The two big exceptions for the features were Dennis McCarthy and James Horner, both of whom utilized the Courage fanfare as prominently in their scores as any of their own themes. I think I read in the Allan Asherman interview book that Horner said he hit on using the fanfare because he wanted something that would signify Star Trek immediately to the audience, drawing a comparison to the way that Richard Strauss' "Also Sprach Zarathustra" opened 2001 by announcing to the audience that something Profound was about to be seen. It's interesting to contrast that bold statement of the fanfare at the beginning of Wrath of Khan with the wistful arrangement of the complete theme at the conclusion of The Search for Spock.
As for Giacchino, his use of the Courage theme was very different because of the nature of the project. I really liked how sparing its use in the new film was, with sly hints woven in here and there. It's one of the things I'm looking forward to tracking better once I receive my copy of the 2 CD set.
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Wait... Alexander Nevsky part?
I was only interjecting that so people would know what I was talking about. I don't mean to do any Horner-bashing, especially in light of this new release!
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And I'm going on record as saying that I *do* want The Voyage Home to come next, I don't care what the naysayers say.
Nick
I'll take any of 'em next.
Wait... Alexander Nevsky part?
From Battle on the Ice, the low brass. Actually, Horner's use of it alerted me to the existence of the Nevsky score and got me into it. :-)
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Yes, while it isn't a very popular score, I would love to see the "Genesis Trilogy" completed by FSM with Star Trek IV: The Voyage Home (not that I'd really mind all that much if it came from another label, but it would be nice to have the consistency). I watched the film recently when it came out on Blu-ray and there were a few musical passages that, while short, are quite interesting
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Well, we've heard Group 82's offering on STIII...
Maybe Horner could team up with Sir Mix-A-Lot and add a hip-hop track to Star Trek IV called "Baby Got Humpback".
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In terms of future Trek release, here's my ideal:
FSM to do Trek IV, V, VI and I in the same style as II and III.
This would have TMP on 2 CDs, with the complete score + alternates, with treks IV, V and VI likely easily fitting on 1 CD each.
How glorious and wonderful it would be to get that !!!
This probably wouldn't happen, but Trek II and Trek III have proven that there are always possibilities.
To my mind, the first 6 Star Trek scores certainly deserve this treatment, and though IV is not a great score to my mind, it is still a good, servicable score that is perfect for the movie for which it was written.
FSM/SAE certainly are not obligated to do this, and their Horner Trek releases have already gone above and beyond my wildest hopes and dreams for Star Trek music releases.
If FSM could treat I, IV, V and VI like they did II and III, it would be a historic feat of restoration, negotiation and hard work that everyone here would absolutely love and appreciate.
Whatever happens, THANK YOU FSM/SAE/RETROGRADE !!!!
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...when Paramount started licensing their music, did Lukas claim all the Treks for FSM? Or did he start with II, hoping if it sold well FSM would be able to release more of them? Did Intrada and/or LLL beat him to it on other Trek titles?
Well, both IV & VI were on MCA, so maybe they can kill two birds with one stone.
Though, in reality, I'm sure they have to go through the whole process for each title.
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My guess is that Lukas released Trek II as a one off when Paramount opened up their vaults, then fan demand got to the point of breaking his email inbox, leading to Trek III.
Given the performance of these two, which I imagine are selling like hotcakes, I would not be surprised to see Lukas try to release IV, then maybe VI or V, and maybe I after that.
He's likely taking the scores on a case-by-case basis, negotiating each contract as he goes.
Generations, First Contact and Insurrection, however, don't seem likely to me, because they are owned by GNP Crescendo in perpetuity.
The truth is, I'd be very satisfied by simply the first 6 movies.
Even though it's not all that popular, Trek IV would still sell very well on FSM, and Treks I and V would be virtually golddust in complete form, with Trek VI closely following.
Of course, I'm guessing as to whether Mr. Kendall was actually doing this. He may consider his job done with Trek II and Trek III.
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Posted: |
Jun 7, 2010 - 3:33 PM
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By: |
Marcato
(Member)
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My guess is that Lukas released Trek II as a one off when Paramount opened up their vaults, then fan demand got to the point of breaking his email inbox, leading to Trek III.
Given the performance of these two, which I imagine are selling like hotcakes, I would not be surprised to see Lukas try to release IV, then maybe VI or V, and maybe I after that.
He's likely taking the scores on a case-by-case basis, negotiating each contract as he goes.
Generations, First Contact and Insurrection, however, don't seem likely to me, because they are owned by GNP Crescendo in perpetuity.
The truth is, I'd be very satisfied by simply the first 6 movies.
Even though it's not all that popular, Trek IV would still sell very well on FSM, and Treks I and V would be virtually golddust in complete form, with Trek VI closely following.
Of course, I'm guessing as to whether Mr. Kendall was actually doing this. He may consider his job done with Trek II and Trek III.
Mike M did state in another thread about IV main title and cut - either he have the score ans have listened to it on cd or else he is actually working with the tape to give is the score next year - i can see one ST coming each year like they did with DIRTY HARRY series
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Mike M did state in another thread about IV main title and cut - either he have the score ans have listened to it on cd or else he is actually working with the tape to give is the score next year - i can see one ST coming each year like they did with DIRTY HARRY series
That is a strong possibility, and I hope this is the case. 
If they do this for Trek IV, then it's a sure bet that I and V are also being considered/negotiated.
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Posted: |
Jun 7, 2010 - 4:51 PM
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By: |
Jeff Bond
(Member)
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Whoa, you guys really have the inside track! I remember the day Lukas decided to do the Star Trek III album and it went down almost exactly the way you've theorized. "Jeff," he said to me, "What's this 'Star Trek III' score people keep emailing me about? It's just about breaking my inbox! I know there's a Star Trek II' score because we put it out a while ago. But now fans keep telling me there's a 'Star Trek III' we should do. Know anything about it?"
Lukas had asked me because of my advanced age. There was just a chance that I had been alive during the period after the original 'Star Trek II' movie came out and it was possible I might have seen a third Star Trek film, had such a thing actually existed. If in fact I had seen such a movie, there might have even been some kind of primitive soundtrack release connected to it...and maybe, just maybe, this was what all the fans were referring to in their emails.
I thought hard, struggling to remember these bygone days. "Yes," I said finally. "I think there IS a 'Star Trek III' soundtrack you can release. Why not make the deal to release it now since fans are asking for it?"
'I will!' Lukas said. 'But since numbers II and III exist, what about numbers I, IV, V and VI?" I saw that Lukas was having a flash of sudden insight. "I'll make the deals to release all those as well!"
Quick as a wink, Lukas called the studio, and the deals were made! Everyone was happy, because they had reminded Lukas that Star Trek III existed, leading to the release of ALL unreleased Star Trek music on the same label, just for added convenience. What a relief!
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