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Posted: |
Sep 26, 2005 - 5:33 PM
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By: |
sergioleone
(Member)
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TEXT BY
Scott M. Skelton "serlingng2"
ABOUT GLORY
" (...)
This score is rife with the kind of borrowings for which Horner has become notorious over the years. The main theme, heard prominently and developed throughout the "Call to Arms" and "Forming the Regiment" tracks (to name two), is a transparent reworking of the ten-note theme of Aaron Copland's "Fanfare for the Common Man." In "Brave Words, Braver Deeds," a melody from the Offertorium movement of Gabriel Faure's Requiem is utilized without alteration, appearing twice. The "Burning the Town of Darien," track lifts a chunk from Ralph Vaughan Williams' sublime "Fantasia on a Theme of Thomas Tallis." The entire "Charging Fort Wagner" sequence is another transparent rejiggering by Horner, this time of the opening movement of Carl Orff's dramatic cantata "Carmina Burana." These are merely the ones I could identify. I'm no music historian; a sharper ear could likely pick out more.
No mention is given, either in the liner notes to the CD or in the credits for the film, of these other composers. At least in films like "Greystoke" and "Excalibur," the composers from whom the extra music got borrowed received a mention alongside that of the primary composer.
Read the credits of the old Errol Flynn film "Captain Blood" and you'll note that the composer, Erich Wolfgang Korngold, receives a title card that gives him credit for "musical arrangement," despite the fact that the music is almost entirely his. Korngold, pressed for time to meet his deadline, used a bit of Franz Liszt's music for a sword duel between Flynn and Basil Rathbone. The borrowed piece didn't amount to much, but Korngold insisted that he not be credited as composer, only as arranger. This was a man of integrity who wouldn't think of taking credit for another's work.
The circumstances surrounding the scoring of "Glory" are unknown to me. Perhaps Horner had a tough deadline. Perhaps the director fell in love with the "temp track" and asked Horner to emulate those pieces instead of coming up with something original. It really makes no difference, though. A man of integrity would have demanded that those other composers receive their due credit. If you're going to stand on the shoulders of giants, you should be man enough to admit it."
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The trumpet motif is used in "Enemy at the Gates" and "Titanic" during tense and solemn moments.
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Very interesting this topic continues, concerning Mr. Horner. I've listened to Goldsmith, Williams, etc., and, detect their use of musical phrases; done over and over. Have noticed this with other film composers. Also, noticed recently, while liistening to a classical composer...hey!!! Williams, used that passage. But, excuse me, continue with Horner.
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Very interesting this topic continues, concerning Mr. Horner. I've listened to Goldsmith, Williams, etc., and, detect their use of musical phrases; done over and over. Have noticed this with other film composers. Also, noticed recently, while liistening to a classical composer...hey!!! Williams, used that passage. But, excuse me, continue with Horner.
"It's called my style!"
-Bernie Herrmann
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Very interesting this topic continues, concerning Mr. Horner. I've listened to Goldsmith, Williams, etc., and, detect their use of musical phrases; done over and over. Have noticed this with other film composers. Also, noticed recently, while liistening to a classical composer...hey!!! Williams, used that passage. But, excuse me, continue with Horner.
To be fair, John Williams reused one of his themes for Towering Inferno in Earthquake (or was it vise versa?). And whenever a new Star Wars came out, one of the tracks wound up being nearly re-used in another score (ROTS music is in WOTW, etc.).
I guess Horner's re-use was just a lot more blantant and covered a wider variety of composers.
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Posted: |
Sep 26, 2005 - 8:33 PM
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By: |
Hurdy Gurdy
(Member)
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Yeah, sure he steals, borrows, whatever.. maybe more than other composers... BUT !!!
he also has a distinctive voice of his own!
When you hear a movie scored by Horner you know it's his style (unless it's Debney/McNeely scoring it instead).
I remember when he burst onto the scene years ago, that rush you got when you heard that style (Wolf Jump from Natty Gann will always give me goosebumps when I hear it) was incredible.
I know he lost a lot of listeners with constant re-use, borrowings and some sub-standard drony scores, but I'm glad I stuck with him and still enjoy most of his stuff and still look forward to his future scores. There are a lot of composers, I'm sure, who would kill to possess as distinctive a voice of their own, such as Horner has.
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