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'Melancholy' and 'Transcendent' are big different Venn diagrams with only a little overlap. I think John Barry is the master of unremitting melancholy, and bittersweet. Alex North too. But all the great composers have been to the mood. Most of Herrmann's string passages in his earlier scores fit the bill.
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Ennio Morricone's Orca.
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Posted: |
Jun 19, 2010 - 11:14 PM
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By: |
DeputyRiley
(Member)
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GREAT question. Although to be honest a lot of the time when classifying scores as such I switch "melancholy" and "haunting" back and forth occasionally. [EDIT] Wow I'm thinking of more than I thought I would... Johan Soderqvist's LET THE RIGHT ONE IN...Marco Beltrami's sublime THE MINUS MAN and I AM DINA. Free Association's CODE 46, James Newton Howard's DEFIANCE, and James Horner's THE BOY IN THE STRIPED PAJAMAS, THE NAME OF THE ROSE, THE HOUSE OF SAND AND FOG (ohhhhhhh the beautiful haunting melancholy of "Kathy's Night"...ahhhhhhhhhh) and THE LIFE BEFORE HER EYES. A good deal of Mychael Danna's work is melancholy...GIRL INTERRUPTED, ANTWONE FISHER, THE ICE STORM. Tomandandy's WAKING THE DEAD. Peter Haycock and Derek Holt's ONE FALSE MOVE. Definitely John Williams' score to SLEEPERS. Brian Tyler's THE LAZARUS PROJECT. There is a great deal of melancholic beauty to be found in Gabriel Yared's CITY OF ANGELS. Howard Shore's SE7EN -- although possibly more ominous and menacing melancholy rather than beautiful melancholy. Some Thomas Newman work: LITTLE CHILDREN, IN THE BEDROOM, AMERICAN BEAUTY. Hans Zimmer/Klaus Badelt's INVINCIBLE. Christopher Young's HAUNTED SUMMER and MURDER IN THE FIRST. Zimmer's THIN RED LINE is tricky; it deftly alternates between uplifting beautiful hope and dark beautiful melancholy. There is a great deal of sadness in Zimmer's TEARS OF THE SUN. Parts of Christophe Beck's WE ARE MARSHALL are incredibly melancholy, particularly the cue "Our Boys' Plane". Danny Elfman's DOLORES CLAIBORNE. John Powell's UNITED 93 and STOP-LOSS. All I got for now...my opinions of course!
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Wow...it's kinda tricky to walk the line between bittersweet and morose (which is sorta where I feel melancholy lies). Here are a few...sometimes, only a few of the tracks will be what I'd consider melancholy, like Field of Dreams, which I'd mostly characterize as bittersweet for the most part, but some tracks (like The Drive Home) are melancholy enough I decided to include it anyway. The Village - James Newton Howard Defiance - James Newton Howard Snow Falling On Cedars Testament - James Horner In Country - James Horner Field of Dreams - James Horner The Man Without a Face - James Horner Spitfire Grill - James Horner John Debney - Dragonfly Mark Mckenzie - The Lost Child Fried Green Tomatoes How to Make an American Quilt The Horse Whisperer Brideshead Revised - Adrian Johnston Marvins Room - Rachel Portman Atonement - Dario Marianelli Pride & Prejudice - Dario Marianelli Sommersby - Danny Elfman Old Gringo - Lee Holdridge Let the Right One In - Johan Soderqvist Creation - Christopher Young
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