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I've noticed in these past, initiating months that, despite now owning dozens of movie scores, I overwhelmingly stick to (and enjoy most) the music of Rozsa, Herrmann, Alfred Newman (and to a lesser degree Waxman and Tiomkin). There are a few from Williams, Goldsmith, and Zimmer, but they are a tiny handful compared to the others.
I find that I do that with concert music and popular bands as well: tons of Beethoven, Wagner, Bach, Mahler, Beatles, Black Sabbath, Stevie Wonder. Very few one offs and absolutely no one hit wonders.
Which do you do, or are you pretty even on both accounts?
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I am very genre-based. For example, I love Rozsa's noir scores, but would never dream of buying one of his epics.
I would rather buy a spy score from a second-tier composer than I would, say, a war film by a first-rate composer.
One of the reasons I love Chopin is that he sounds like music from a 70s Euro erotic film. If his music sounded like a western, I would not be interested.
This is an interesting take on the topic, thanks Onya!
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I guess I would say "composers" of the two choices, but I also tend to like certain genres of music like westerns, epics, sci-fi...the ones that tend to sell well for the labels, to be honest, so I guess I'm like most score fans. (That said there is the occasional romantic or comedy or other genre score that I love; they tend to be by a favorite composer, ie. Goldsmith and The 'Burbs or Alfred Newman and A Certain Smile, but then there are others I love like Miles Goodman's Dirty Rotten Scoundrels).
No hard and fast rule, I guess. I just love great music wherever it comes from. There's a computer game called Viva Piñata of all things with incredible music by Grant Kirkhope, and I was a backer for John Massari's project to record his synth score to Killer Klowns from Outer Space with orchestra, because I was impressed with the music in the demo video. I've found great orchestral music written for computer games, television, terrible movies (even direct to video ones), and of course the vast history of concert music, ballet, opera, and theatrical scores like Peer Gynt, Midsummer Night's Dream, etc. I've learned not to care where it comes from, though certainly sometimes watching the film does increase my appreciation for a score (and sadly, occasionally diminish it).
Yavar
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This is an interesting take on the topic, thanks Onya!
As I think further on this, it is interesting that I have so much by Bernard Herrmann. I guess by chance or design he ended up working primarily on the kinds of films that interest me.
He was terrific. Only Rozsa and Alfred Newman interest me as much as far as film composers go. And I have and am getting a lot! 
I just seem to do that, gravitate toward composers rather than single musical works. My Beethoven, Mahler, and Wagner collection is huge: vinyl, cassettes, cds.
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Posted: |
Dec 28, 2017 - 9:36 AM
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By: |
Grecchus
(Member)
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When I was a youngster it was Williams and Goldsmith who ruled the roost - that is exactly how things seemed to me when no internet existed. Incredibly, as things turned out, they were the two composers for film I saw the most in person at the London venues, so there must be some truth to the notion they were the giants of their field. That seems like a self fulfilling prophesy, only, this board's existence kind of dispels that as myth.
Herrmann, for instance, did some rather commanding work for the movies - unfortunately, he lived at a time when his music didn't percolate very far because the technology of his day was not what it is now. Perhaps my favorite score of his is The Day The Earth Stood still. Well done Kritzerland for getting that out to us. One way or the other, he is under represented in my collection. On the other hand, is Rozsa truly deserving of being in so high regard?
Maybe I haven't understood the thread title sufficiently, but generally speaking, film music being so narrow in overall scope, the scores and composers tend come welded firmly together. All the composers that get named by me on the fingers of one hand will be from the movies.
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Posted: |
Dec 28, 2017 - 10:01 AM
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By: |
Bill Cooke
(Member)
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I have favorite composers, but I never sought to have every score by them. For example, I love Goldsmith of the 60s to mid-eighties, and have very nearly every release from this period, but don't care for his output in the 90s and beyond and have very few of his scores from that latter period.
It's also a matter of economics. Because there is so much music out there (including the insurmountable Everest that is classical music, which I also collect), it would be impossible to have EVERYTHING by every composer I adore. Still, I manage to do pretty well with those that appeal to me the most and have a large body of excellent work: Rozsa, Herrmann, Waxman, Korngold, Tiomkin, Williams, Goldsmith, and others.
I'm also a film buff and have special interest in certain genres. I enjoy vintage horror and science fiction scores for the moods that they evoke and will pursue them - even obscure ones - more for their effectiveness than any sort of composer loyalty. I also enjoy western and noir films and have many scores from these genres.
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It's the score that comes first,although there is one composer that I find myself being a completist on... Miklos Rozsa. His music never disappoints.
This is hard to argue with...though I'm having trouble with Providence.
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I'm in the camp that hears a score first, then looks at the composer's repertoire.
And definitely can't argue with the love for Rozsa.
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Posted: |
Dec 28, 2017 - 5:46 PM
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By: |
Col. Flagg
(Member)
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...though I'm having trouble with Providence.
Rozsa is a favourite, I lap his stuff up – but I agree with you on Providence and a handful of his others.
But I found Rozsa like I did every composer: through a movie they scored or the score on its own. Only after that, did I glam to their output as a whole.
After nearly forty years of collecting (and in the past twenty, bringing my collection to true fruition), I'd recently felt I'd run out of new, satisfying finds. And just like that, I discover the work of John Scott – though not through MAN ON FIRE or SHOOT TO KILL, two of his more popular gateway scores. For me it was Scott's ANTONY AND CLEOPATRA, 20,000 LEAGUES UNDER THE SEA, and KING KONG LIVES that triggered my desire to hear the remainder of his repertoire.
(And btw, I'm not even 50 yet.)
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Posted: |
Dec 29, 2017 - 4:49 AM
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By: |
leagolfer
(Member)
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Film composers I collect is not about being a completest, but to have there most effective work.
Goldsmith, Williams, I own a fair amount from 50s to mid 90s any-think beyond I'm a little unknown, my Herrmann collection is fairly big, golden age, silver age, 70s, other US, English composers I generally like to weed-out there best work not to be drawn to there careers fully.
Golden age composers, Steiner, Korngold, Young, Newman, Tiomkin, Rozsa, Waxman Etc. I collect certain genres of work, I'm fairly unknown to there earliest works, although I'm getting to know some a little better with the revival of releases lately, my golden age collection is growing.
Apart from Morricone.. Euro/Asian film composers are more 50/50 scores to me, don't get me wrong, I have a biggish collection in-names from E/A, however, with so many composers/scores around you I like to weed-out, primary scores.
My collection is probably 50/50
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Just realized that for me sometimes it's neither: Hugo Montenegro is not in my pantheon of great composers, and I've never seen the film Hurry Sundown so can't appreciate his work for it as a film score, but based on positive comments and sound clips I took a chance on the complete Intrada album, and it's one of my favorite purchases of the past couple years! So sometimes it's really just about the music all on its own.
Yavar
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