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Comments about the soundtrack for Cinderella (Patrick Doyle)
Patrick Doyle's Cinderella (2015)

RL
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(a89-154-169-18.cpe.netcabo.pt)


  Responses to this Comment:
Vincent
Patrick Doyle's Cinderella (2015)   Sunday, June 7, 2015 (12:59 p.m.) 

2015's Cinderella is one of those scores that deserves ***** stars, not 4.
It would be like give a 4 star score to a Tchaikovsky or Johann Strauss work.
Why?: This is one of the few scores nowadays that you look and know how it was written, and know how much work the composer/orchestrator put on it. And it's a hell lot of work. It's completely completely different of using any kind of processed sound.
About the "fanciful" tone failing to connect with the audience, why nowadays every single film need to have a more fantasy toned orchestration like maleficent, it actually takes the magical effect if used constantly.
This is a more grounded base like kind of film, but innocent at its core, so it needs a less exotic and more stylish kind of orchestration (and as mentioned, always exotic takes the exoticness of the thing).
Why does it fail to connect with the audience? - because it's more classically grounded? - fantasy like scores are classical and people like them, but it's just a trend in music, in a few years from now the score will have the potential of any other work from a 20th century composer. People just like what it's new basically? Then it should not be mentioned that people like classical music, because it is a genre with a LOT of Historiac, and a lot of genres worth explore, rather sticking to it's more fantastic tone.


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Vincent
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m.be)

  In Response to:
RL
Re: Patrick Doyle's Cinderella (2015)   Tuesday, June 9, 2015 (2:28 p.m.) 
• Now Playing: the sound of studying  

> 2015's Cinderella is one of those scores that deserves ***** stars, not 4.
> It would be like give a 4 star score to a Tchaikovsky or Johann Strauss
> work.
> Why?: This is one of the few scores nowadays that you look and know how it
> was written, and know how much work the composer/orchestrator put on it.
> And it's a hell lot of work. It's completely completely different of using
> any kind of processed sound.
> About the 'fanciful' tone failing to connect with the audience, why
> nowadays every single film need to have a more fantasy toned orchestration
> like maleficent, it actually takes the magical effect if used constantly.
> This is a more grounded base like kind of film, but innocent at its core,
> so it needs a less exotic and more stylish kind of orchestration (and as
> mentioned, always exotic takes the exoticness of the thing).
> Why does it fail to connect with the audience? - because it's more
> classically grounded? - fantasy like scores are classical and people like
> them, but it's just a trend in music, in a few years from now the score
> will have the potential of any other work from a 20th century composer.
> People just like what it's new basically? Then it should not be mentioned
> that people like classical music, because it is a genre with a LOT of
> Historiac, and a lot of genres worth explore, rather sticking to it's more
> fantastic tone.

I fully agree. If, and this is a big IF, this music fails to connect with the audience, well, then the audience has big problems. I have only been able to listen to this score in its full length once, but the ending of Pumpkins and Mice makes me shiver. It's such a joy to be reminded of Doyle's Goblet of Fire and Nanny McPhee days. This is emotional music through and through and it doesn't even need the film to tell its story. I can only hope Doyle will still live for 30(0) years and that he can write music for all the upcoming Live Action films.


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