![]() The former came from the early Golden Age, when sound film was in its infancy – filmmakers wrestled with the basics of form and narrative and did not know how to deal with music, so movies would have one or two diegetic cues between the titles and nothing more. By examining the respective contexts that led to their composition, and illustrating the musical approaches and objectives of their composers, we will see how both scores respond to the necessary requirements of the films and the different interpretations of the same story.īoth versions of King Kong are products of their ages. Legendary for its developments in stop-motion animation and special effects, the film inspired Peter Jackson to become a director, remaking it for a modern audience in 2005. For the first time a sound film was accompanied by an original non-diegetic score that paralleled, supported and enhanced the narrative, pioneering the techniques and principles that have governed film scoring ever since. Adopting Lost Boys/Peter Returns (4:05)Ġ9.Film music was forever changed by Max Steiner’s 1933 score for King Kong. Hook Is Dead/Flying Jolly Roger (4:51)Ġ8. Intrada Special Collection 2-CD release available while quantities and interest remain!Ġ7. Entire 112-minute score presented direct from digital two-track stereo session mixes made by Shawn Murphy in October & November 2003, colorful flipper-style package from Kay Marshall, detailed notes from Frank DeWald include new comments for this release by the composer. Unusually long “End Title/End Credits” sequence in film incredibly is all Howard, with over ten minutes of material both drawn from score and recorded specifically for closing suite, a magnificent wrap-up. When all is said and done, Howard bids farewell to Think in moving quote, then brings Peter’s soaring theme to the fore for climax of “Peter Returns” and finally melts with quiet, beautiful major-key finish. Latter portion of score is packed with energy: “Into The Rigging” opens with powerful 4/4 action motif then later erupts in chopping motif for brass, “He’s Mine” launches with riveting horn motif then becomes an action highlight for entire orchestra replete with brass fanfares, glissandi trombones, everything but the kitchen sink. Highlights abound in Howard’s massive, lengthy opus: “Please Don’t Die” offers powerful chords in orchestra and chorus, building to dramatic finish, dynamic low brass rhythmic procession as “Wendy Walks The Plank”. Lilting waltz-like idea alternating between major and minor builds in deliberate fashion, becomes emotionally rich “Fairy Dance”. ![]() “Fetch Long Tom” ushers in excitement, “Castle Swordfight” furthers action with lively rhythms, rousing statement of main theme in fanfare-treatment, climaxing in deadly serious, aggressive moment for crocodile encounter, a previously unreleased highlight. Back-to-back “Learning To Fly” and “Flying” are early, rousing set-pieces, with “Flying” rising to especially grand peroration for full orchestra with chorus. Contrast of material is stunning! Opening celeste, xylophone, strings are joined by female chorus to establish perfect tone to launch with quotes of darker Hook material soon making appearance, followed by twittering flute for Tink, triplet figure suggesting gentle love story to unfold ahead and heard more fully during “Is That A Kiss?”. Howard offers truly wall-to-wall scoring that presents richly thematic material that evolves, changes throughout with stunning array of ideas both large and small. Beloved characters include Peter Pan, Wendy, the fairy Tinkerbell and, of course, the villainous Captain Hook, who lost his hand to a crocodile. ![]() James Newton Howard scores for large orchestra plus chorus, fashions music that melds soaring flight music, mystical Tinkerbell moments with powerhouse action sequences - many of them omitted from previous highlights album issued at time of film’s release. Hogan directs & scripts with Michael Goldenberg, Industrial Light & Magic creates the visual wonders. Columbia Pictures & Universal Pictures with Revolution Studios presents, Jason Isaacs, Jeremy Sumpter, Richard Briers, Olivia Williams, Lynn Redgrave head cast, Ludivine Sagnier plays Tink, P.J. Premier 2-CD expanded release of spectacular symphonic score by James Newton Howard! Lavish, sincere yet still magical filming of timeless books & stageplay by James M.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |