The best from 2007

I really have come to like L'ENNEMI INTIME by Desplat a lot. Some very interesting use of dissonant textures there, an unorthodox ensemble, more Herrmannesque in its thematic structure than the classic themes-and-variations sound he usually operates in. Not sure if I can be trusted, as I'm the resident Desplat scholar/groupie here. (I notice you don't list LUST, CAUTION, which I kind of preferred to EASTERN PROMISES and even the excellent ATONEMENT - and such an involving film!)

I should qualify re: Thiriet - maybe 'bad score' is too strong as word, as it 'works' in the film. But it seemed like a lazy kind of 'working'. The compositions themselves felt a bit slight.

Some nice scores also from the year that were in a more romantic vein (I notice you stick to scores that have a more reserved, austere feel, which is understandable): MOLIERE (Talgorn - standard romantic themes-and-variations with a few period colours), AS YOU LIKE IT (Doyle - I find Doyle pretty insufferable lately, but this score was a reminder of the elegance and flair of HENRY V), LIVES OF OTHERS (Yared/Moucha - this one really moved me). If you like the florid epic fantasy sound, then Hisaishi's STORY OF THE GREAT KING AND THE FOUR GODS is also a strong one. George Fenton's PLANET EARTH and EARTH are also very strong works if the latter sound interests you.

I often find the films I like at the end of the year don't match up very well with the scores I like. This year, while it has some very well-composed scores for bad films, has been that rare exception when there have been films with scores that have really won me over, like ZODIAC, BLOOD, LIVES OF OTHERS, LUST and ATONEMENT.

Academic film music, eh? I must admit, it's what drew me to ZODIAC, and also BIRTH, in recent times. There's an austerity to those works I really like.

Then perhaps consider looking into Jerry Fielding's THE MECHANIC, recently issued by Intrada. That's one of the more interesting attempts to bring Schoenberg into film scoring. (Strangely you don't like Desplat - he's VERY Ravellian at times, moreso than any other film composer I can think of at the moment, actually.)

It's also not a very recent film score release as such, but consider getting your hands on the Frank Strobel re-recording of Alfred Schnittke's THE COMMISSAR (coupled with a suite from the short, pleasantly tonal STORY OF AN UNKNOWN ACTOR). Schnittke presents an interesting alternative voice in Russian film music to Shostakovich.

Also consider the following Alberto Iglesias works: TE DOY MIS OJOS and THE DANCER UPSTAIRS. Everyone groans around here when I start pressing the latter, but it really is the most exceptional film score I've heard this decade. (Which is why it probably ended up in the temp tracks of two of my films.) I'm somewhat frustrated that it's for KITE RUNNER and CONSTANT GARDENER that Iglesias has much of his western fame. As strong as they are, he's a master at writing a blend of Latino and jazz music for chamber orchestra, as exhibited by his Almodovar films, and the two I've listed above.

Did you like the Danna score for TIDELAND, btw?

Rubyglass, L'ENNEMI INTIME bears a lot of advanced writing, dense dissonant layers and non-standard arrangements. I always considered Desplat's writing to be of the most advanced in the current wave of younger film composers and L'ENNEMI INTIME - while admittedly difficult listen for most people and not exactly in-your-face direct scoring, is a very well-written score. I'd be curious in what you'll think of it, if you give it the time and space to breath and develop as a listening experience for you.

What were your favorite scores from last year btw?

Rubyglass, have you listened to ZODIAC and I KNOW WHO KILLED ME (McNeely) from last year?

My Best of 2007... one of the weakest film music years on record, IMHO.

10. I Know Who Killed Me - Joel McNeely

One of the classiest scores you will hear this year from a classless film. An intense and suspenseful score with some beautiful piano solos and gorgeous orchestrations.

9. Zodiac - David Shire

Shire returns to The Conversation mode. A score that is a difficult listen on CD but shines in the film. Written for solo piano, strings and solo trumpets... a demanding listen but a rewarding one.

8. As You Like It - Patrick Doyle

Doyle’s best since Harry Potter 4. Doyle seems to be inspired the most by working with long time collaborator Kenneth Branagh. This score contains beautiful melodies featuring haunting solo violin. The top and tale of the album are the highlights ending off with a gorgeous ‘Romance for Violin and Orchestra.”

7. Mr. Magorium’s Wonder Emporium – Alexandre Desplat & Aaron Zigman

One of the most colourful scores of the year featuring Desplat’s patented orchestrations. This score contains one of the most memorable themes for the year which goes through mainly major and minor variations during its playing time.

6. Eastern Promises – Howard Shore

The highlight cue is “Tatiana” – a wonderful and emotional piece for violin and orchestra which brings back memories of John Williams’ “Schindler’s List.” While the film eventually gets violent the score never heads down that direction.

5. Pirates of the Caribbean: At World’s End – Hans Zimmer

A score influenced by music from all over the world, this is one of Zimmer’s most eclectic scores. The film is brimming with melody and some gigantic action material. The somber dirge “He’s A Pirate” gets a good workout in this score as do melodies and themes from previous scores. The best Pirates score of the three… easily.

4. Ratatouille – Michael Giacchino

This is yet another thematic gold mine with not one but TWO themes written for the main character, Remy. Giacchino incorporates a lot of “Mickey Mousing,” the orchestrations are perfect and the action material is wild and zany. A brilliant album from start to finish!

3. Atonement – Dario Marianelli

The typewriter was a stroke of genius! Used for dramatic effects but I also think Marianelli was having a bit of fun with it as well with the like flick of the typewriter at the end of the opening track. And what’s there to say about the brilliant “Elegy for Dunkirk” that hasn’t been said before. A fabulous effort!

2. Island of Lost Souls – Jane Antonia Cornish

From sweeping themes, to pulse pounding action material this is the action adventure score I was waiting for all year. This the way I like’em… big, bold and purely symphonic! New comer Jane Antonia Cornish is my new discovery of the year and if this score is anything to go by, then this is just the beginning of a long and successful career!

1. Angel – Philippe Rombi

A score that fills my heart with warmth. Lush string theme for Angel, the playful comedic music heard in a few cues, the over the top dramatic scoring… this is another score right up my alley. From start to finish this score always has something to offer displaying numerous emotions. An expertly crafted score with some delicious orchestrations that hark back to a more Golden Age sound… something I embrace in modern day scoring. Angel hit all the right buttons musically and emotionally. The best score of 2007!

And by three favorite video game scores were…

- Guild Wars: Eye of the North – Jeremy Soule
- Lair – John Debney and Kevin Kaska
- Medal of Honor: Airborne – Michael Giacchino

Here samples from these scores at http://www.geocities.com/cinematicsound/

-Erik-

One of Giacchino's best talents is his ability to do this while still incorporating it all into a full performance of the main theme. ''A Real Gourmet Kitchen'' is the perfect example.

That's a very touching score indeed, especially liked the slow string adagio - like pieces; very sentimental stuff.

Yes, soon.

A word that has a whole new meaning to me.

Like: Summer will be here soon.
Or even: My 40th birthday, will be there soon.

2007 wasn't a great year for new music, but probably rather stronger than those years it immediately followed.

If I compiled a top scores list, then it would look something like this:

The Golden Compass (easily the best score of the year in my opinion - there's so much going on, and in contrast with a lot of scores by prominent composers - especially those with three initials, or who played keyboards on "Video Killed the Radio Star" - Desplat actually goes way beyond what was strictly required, rather than doing the bare minimum required to earn his pay.

Nothing else stands out like that for me, so the other scores that really impressed me in alphabetical order:

Atonement
The Bourne Ultimatum
Eastern Promises
Lust, Caution
Ratatouille
3:10 to Yuma
Zodiac

Several others fell into the "enjoyable, but not earth-shattering" category too - I certainly wouldn't have found so many scores to include in my list in 2005 or 2006.

However, hopefully 2008 will be a step up - in fact, I'm almost certain it will - after all, there are two new scores coming from Mr J.T. Williams.

I would add ANGEL to Southall's list, and probably also Blanchard's A TALE OF GOD'S WILL: REQUIEM FOR KATRINA, Doyle's AS YOU LIKE IT, Golijov's YOUTH WITHOUT YOUTH, Greenwood's THERE WILL BE BLOOD and (the better parts of) BATTLESTAR GALACTICA SEASON 3. But Golden Compass, Lust Caution, Zodiac and Ratatouille are the top items for me.

But the best cue of the year was, and remains for me, 'SONG FOR BOB' by Nick Cave and Warren Ellis. So simple, and on-screen, so satisfying.

Not to mention Fenton's EARTH, which is probably the best score any of us have heard in a while.

Hence the . Has anyone seen it yet?

Did Fenton compose any new material for Earth? Or does it use his material from the Planet Earth series?

Excellent additions from Michael on James' list. I 'don't agree that 2007 wasn't a special year for film music; yeah, it might not have been the greatest for sure but there have been some pretty impressive scores written and released.