Can't believe no-one has mentioned Mychael Danna! THE ICE STORM and GIRL, INTERRUPTED push melancholy to new heights (lows?). (Get the iTunes ICE STORM and the Academy promo of GIRL, INTERRUPTED though. The commercial releases are lacking.)
Also: Morricone's "Alla Serenita" from LA DONNA INVISIBILE. Santaolalla's "Endless Flight" from BABEL. Cosma's "La peur d'Augustine" from LE CHATEAU DE MA MERE. Delerue's "Generique fin" from UN HOMME AMOUREUX, and the "Main Theme" from AGNES OF GOD. The orchestral performance of John Barry's "Midnight Cowboy" theme on Cinema Century (Silva) is at least as melancholy as the original version.
And I support (among others) these ones already mentioned: THE LONELY PASSION OF JUDITH HEARNE SOPHIE'S CHOICE THE HUMAN STAIN
I think Morricone's "White Dog" is one of the most melancholy scores I own. The FSM version is excellent, but prepare to feel on a bit of a reflective downer as you listen to it.
I think Morricone's "White Dog" is one of the most melancholy scores I own. The FSM version is excellent, but prepare to feel on a bit of a reflective downer as you listen to it.
Atonality can do an excellent job of conveying melancholy and the deepest of depression. Goldsmith used it for this purpose often and a score such as Freud has enough melancholy in it to really get you down at times. Not sure if I would label it melancholy exactly, but Goldsmith's use of atonality in "The Search Continues" from Planet of the Apes is as desolate and lonely sounding as it gets which has an air of melancholy about it.
Goldsmith's mostly tonal Seconds is filled with melancholy and can get pretty sadly pensive verging on despair at times.
I recently received this CD as a gift from a friend, and it really blew my mind. It's heart-wrenchingly beautiful, but at the same time very sad.
I was just about to recommend this one. Almost the definition of melancholy, with just enough light infused to keep it from spilling over the edge into bleak depression. I said it at the time, and I'll say it again: it fills a niche in Horner's oeuvre that nothing else quite does. In my research for the liners, I tracked down a copy of the film (which was probably the hardest-to-acquire film I've ever encountered), and it's an extraordinary piece of work. I truly hope it gets a home video release one of these days...
I listened to this again yesterday (twice in a row), and read your liner notes. I especially like how you described the ways that the score illustrates the emotional landscape of the film. Since I may never get a chance to see the movie for myself, at least I now have somewhat of a narrative to follow while listening, which given the nature of the story makes the music seem all the more melancholy, yet no less beautiful.
I agree with many of the choices named so far, but I am surprised one score is getting overlooked which enjoyed a complete release recently:
Star Trek III is surely one of Horner's best melancholy scores. I think it's the melancholy in the score that makes me like it better than its predecessor.
Mark beat me to the punch with Seconds, though. It contains my favorite melancholy music of Goldsmith's (or heck, anyone's) career.
Gorgeous and simply gorgeous. It's like a Kilar piece, and in spots. Michael Nyman bopped in with 90's Thomas Newman marimba's in tow. REALLY heavy on the swaying Kilar-esque tones.
I "blind bought" the vinyl and listening this evening, am floored. I guess it is tied to the bands Mogwai & Slowdive? I havent fully researched & art/credits are non existent. Thor will know. Melancholy & gorgeous.
