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Posted: |
Nov 6, 2018 - 7:28 AM
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By: |
hyperdanny
(Member)
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I got mine a couple days ago..I remembered something from the movie (BTW at the time I rather liked it, I should rewatch it) but it was a long time ago..so I was not quite prepared for the outpouring of gorgeousness that this score is.
Oh yes, it's dark, it's suspenceful, and it's an ebb and flow of liquid and enveloping melody...all that is expected from a vintage Barry score.
What I did not recall , and surprised me, is the richness of it..many strong themes, and beautiful and varied orchestration.
Really , a fulfilling listening experience from beginning to end.
Do not misunderstand me, I love even "final phase" Barry (I had the Indecent Proposal theme played at my wedding!) but a score like this really puts in stark relief how "simplified" were most of his post-Dances with Wolves scores.
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I got mine a couple days ago..I remembered something from the movie (BTW at the time I rather liked it, I should rewatch it) but it was a long time ago..so I was not quite prepared for the outpouring of gorgeousness that this score is.
Oh yes, it's dark, it's suspenceful, and it's an ebb and flow of liquid and enveloping melody...all that is expected from a vintage Barry score.
What I did not recall , and surprised me, is the richness of it..many strong themes, and beautiful and varied orchestration.
Really , a fulfilling listening experience from beginning to end.
Do not misunderstand me, I love even "final phase" Barry (I had the Indecent Proposal theme played at my wedding!) but a score like this really puts in stark relief how "simplified" were most of his post-Dances with Wolves scores.
I love it too. The reason the thematic material is so rich is because he recycled themes from his failed musical, The Little Prince. I don't say that to put the score down, I'm just saying that he had some great themes to use.
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Posted: |
Nov 6, 2018 - 1:10 PM
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By: |
Ado
(Member)
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I got mine a couple days ago..I remembered something from the movie (BTW at the time I rather liked it, I should rewatch it) but it was a long time ago..so I was not quite prepared for the outpouring of gorgeousness that this score is.
Oh yes, it's dark, it's suspenceful, and it's an ebb and flow of liquid and enveloping melody...all that is expected from a vintage Barry score.
What I did not recall , and surprised me, is the richness of it..many strong themes, and beautiful and varied orchestration.
Really , a fulfilling listening experience from beginning to end.
Do not misunderstand me, I love even "final phase" Barry (I had the Indecent Proposal theme played at my wedding!) but a score like this really puts in stark relief how "simplified" were most of his post-Dances with Wolves scores.
I love it too. The reason the thematic material is so rich is because he recycled themes from his failed musical, The Little Prince. I don't say that to put the score down, I'm just saying that he had some great themes to use.
I just read the book and watched the animated version of Little Prince, and I liked both very much, to be sure, very eccentric.
I can see it being a challenge to make it a musical. I did not know about this failed project.
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You John Barry/Little Prince fans must read Joseph Tandet's book: The Lawyer and the Little Prince, which chronicles Tandet's (an entertainment lawyer with the rights to the book) decades-long misadventures in trying to get a musical or film-musical out of this book. The numerous John Barry anecdotes are worth the price of the book.
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Well, I'm really enjoying this album. Always liked the score.
I think it does sound better. Not by miles, but I think there is improvement.
The second track is not 3:21 as it says on the booklet and site, so people (like me) who got it into their head that some of the extra music is in this track were chasing a red herring. It's just over a minute, same as the Prometheus release.
The new music on the disc is track 3, 22 and it looks like the second half of track 11 is extra too when you do a sequential time comparison, but I definitely recognise that music from the Prometheus release.
Anyway, the new track 3, Masks, is interesting. I put the film on (just the first half) and didn't find that cue in the film, at least not in the sequence it's on the disc, so I assume it's an unused cue. I imagine it may have been intended for the Lobster House scene where we realise there's a plot to kill Olivia. Or a deleted scene.
The music in that track kind of reminds me of the Barry scored THE BUNKER but I have no idea why because it's completely different music. Maybe there's something in the style and arrangement that makes me think of it.
Anyway.
Cheers
I could not have put it better if I had tried and Masquerade is an excellent score which gets better on each listen and the new release is a very welcome release.
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