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A wonderful score! I particularly like 'Ibelin' and its use through the score especially in 'Jerusalem'. But for me 'Sibylla' is one of the highlights, like a breath of fresh air.

Citizen Kane by Bernard Herrmann.

-Erik-

NP: Piedone l’africano (1978) - Guido & Mauricio De Angelis

Just fun pop music.

NP: LA LIGNE DROITE (Patrick Doyle)

This is probably Doyle's best score in recent years -- yeah, it's minimalism again, but very delicious and "sparkling", in lack of a better word.

Well, that's the purpose of minimalism!

But yeah, there could have been more of an 'arc' to the whole thing.

NP: MUCH ADO ABOUT NOTHING (Patrick Doyle)

One of his best, ever. "Sigh No More Ladies" is about as elegant as it comes.

I think Erik just won the thread.

Could you tell a bit more about your thoughts on Horner's Spider-Man?

I actually was in a funny, if irritating, argument about the Horner score. Actually, because me and the other guy loved Horner's score (which I actually do and I think Hans' work is on the same level, but for different reasons), but we were arguing about how differently we saw it.

Basically, Horner's score, heralded as a return to the more traditional sound of superhero films, is not as "traditional" as people may see. And it's not because it features a lot of electronics. The technical aspects of Horner's orchestral writing are quite modern. The harmony is quite modern. It's actually interesting how at times Horner, rather than going with a more "classical" approach, so to speak, goes from a major chord to another major chord in quite an unexpected fashion (not that it's new for him, he often goes "all-major" in his heroic music and that might be a Britten influence, maybe?). So my discussion was:

My interlocutor: This is a great score, so traditional (recently throw in bashing Zimmer's score with that)
Me: It's not so traditional as you say.
Interlocutor: Yeah, it has electronics.
Me: But I don't mean the electronics, it's modern in its orchestral approach too
Interlocutor: Yeah, but the electronics fit better than Zimmer to the orchestra...

ad infinitum :mrgreen:

You're the last person on earth i'd expect to hear such a statement from.

I'm not that predictable even though most of you think that there is only one style of score that I like.

-Erik-

Now playing:
Kaguyahime no Monogatari (The Tale of Princess Kaguya) - Joe Hisaishi

If Kaze Tachinu was the most 'Mediterranean' sound of his, I'd say this one is his most Japanese sound. Love both albums anyway.

X-Men: The "Last" Stand John Powell

The pessimist in me doesn't think we'll ever get a true 5-star Marvel score (I suppose it would be odd if the optimist thought that), but this is the closest anything has come so far.

As much as I love Signs (though a bit less than you, I do prefer Unbreakable and The Village over it), I wouldn't say that Signs are a minimalistic score. Unless, of course, you would call Bernard Herrmann (who was a bigger influence than, say, John Adams or Phillip Glass on that particular score) a minimalist.

However, Thor calling a Phillip Glass score influenced by minimalism does raise an eyebrow.

I never said that. I said that "I think I've come to the realization that I love minimalism-influenced music, but not necessarily hardcore minimalism like this". LA LIGNE DROITE and SIGNS are minimalism-influenced, Glass is obviously hardcore minimalism. Your confusion probably stems from the fact that Erik cut out half my sentence.

Also, I don't hate SIGNS. But I don't particularly care for it either.

NP: The ThornBirds (1983) - Henry Mancini

Sweet.