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Not thirded by me, alas. Krull takes home the gold. "Riding the Firemares," "Colwyn and Lyssa Love Theme" add "The Quest for the Glaive" are among Horner's very best work. Not to mention "The Widow's Web," "The Widow's Lullaby," "Battle on the Parapets," the main title...OMG, the entire damned score! There is just so much "Hornery Goodness" in Krull that steamrolls over Willow, which doesn't even come close to resonating with me on the same level.
Both scores backed blatant Star Wars rip-offs, so they have that going for them. If you wanna know how Horner would have scored the Ewok Celebration at the end of Return of the Jedi, pop on "Willow the Sorcerer."
Having said all that, I would LOVE an Willow expansion to re-evaluate the entire score. It was a fantastic piece of work, but Krull will always be near and dear to me.
While Krull is a grandiose work in itself, I regard Willow as more of a journeyman's approach. I feel Willow's exploits and growth as the score advances (track order notwithstanding), whereas with Krull, Colwyn always seemed heroicly dependable in most of the cues. Horner told more of a story about the world of Andowyne (more than perceived in the film!) with slightly more motifs. At this point, it just becomes a camera finish of a competition rather than night and day. The guy knew how to host legends.
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Posted: |
May 25, 2018 - 9:52 PM
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By: |
bobbengan
(Member)
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THIS folks, not Krull, was his magnum opus.
Seconded.
Not thirded by me, alas. Krull takes home the gold. "Riding the Firemares," "Colwyn and Lyssa Love Theme" add "The Quest for the Glaive" are among Horner's very best work. Not to mention "The Widow's Web," "The Widow's Lullaby," "Battle on the Parapets," the main title...OMG, the entire damned score! There is just so much "Hornery Goodness" in Krull that steamrolls over Willow, which doesn't even come close to resonating with me on the same level.
Both scores backed blatant Star Wars rip-offs, so they have that going for them. If you wanna know how Horner would have scored the Ewok Celebration at the end of Return of the Jedi, pop on "Willow the Sorcerer."
Having said all that, I would LOVE an Willow expansion to re-evaluate the entire score. It was a fantastic piece of work, but Krull will always be near and dear to me.
I second this incredibly apt comment (and also un-third the former one!).
KRULL is a towering compositional masterpiece. Strauss, Rozsa, whomever, could not have written a better score than this. The fact that Horner wrote something this complex, exhilarating, inspired and passionate at age *29* boggles the mind all the more. Holst interpolations aside (and a nod to the trumpet writing of Strauss' ALPINE SYMPHONY in "Quest for the Glave"), it's also one of his most substantially original creations, with amazing fanfares, that genius long-lined main theme (seriously... How many notes?!?!) and the single. Most. Rapturous. Love theme. Horner ever wrote. I love a lot of this guy's music... But KRULL is in a canon all its own.
WILLOW is a good score that, in its finest moments, is hugely enjoyable and adventurous... But there's also tons of dull-as-dishwater moody shakuhachi ambience (boring as hell) and *every* single melody - The fanfare, Willow's string theme, even the little motif for his children at the end of the first cue... Is stolen from elsewhere. It's literally the most derivate score of his that I know of, and making matters worse, it began the annoying era of his recordings sounding so so so faint that in its quietest moment, you can't hear anything happening at all. Compared to KRULL's endlessly lush, vital-sounding and forceful mix, WILLOW sounds like it was recorded from the far end of a football stadium.
I digress. WILLOW is a very fun score. But it doesn't even live in the same Universe as KRULL.
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Posted: |
May 25, 2018 - 10:06 PM
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By: |
Zoragoth
(Member)
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I digress. WILLOW is a very fun score. But it doesn't even live in the same Universe as KRULL.
Seconded. I'm not a huge Horner fan, but while WILLOW has some attractive elements and is, along with the cinematography and the presence of Joanne Whalley, undeniably one of the stronger features of that very lame film, I find the score as represented on CD wears out its welcome after a while, as opposed to KRULL which, while it can be exhausting, is much more enthralling.I'm not so sure about the Rozsa comparison, but I do like KRULL a lot.
Funny how both are expensive, opulent, but extremely pedestrian fantasies, barely redeemed by Horner's hard-working scores! Sounds like many a Goldsmith case....
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I second this incredibly apt comment (and also un-third the former one!).
You can't "un-third" a comment! Why, that's... carry the two... multiply the cosign...
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