Posted by: Roman.-) <Send E-Mail> Date: Wednesday, July 27, 2011, at 12:06 p.m. IP Address: ip-85-160-33-68.eurotel.cz
I cannot comment on similarities to particular film scores Christian points out in his review, but I can hear 2 brave borrowings from classical works that are completely unnecessary given the fact how well the "original (un-borrowed)" part of the score came off for the composer.
The first and most blatant of the borrowings is that solemn statement of a theme in this score that is a close cousin to Dvorak's Largo from his 9th, New World's Symphony. It's the theme of Largo that makes a clear appearance here, not its whole part, but it pokes in clearly enough to get noticed and it grabs your attention to a degree that you star paying attention to when and in what form it comes again.
The second "homage" is paid to Holst's "Planets", namely "Mars", but since The Planets have by now become other composers' impounded drawer of inspiration that Holst himself, had he lived, would have had to end up doubting himself being the author of the work.
As the score concludes and "The Omen"-like choir takes stage, there is another clear "homage" to a classical work I sadly cannot identify at this moment. It is the part that somehow resembles Morricone's signature writing for strings.
All in all, "Elizabeth" is a well-crafted score with a few blatant borrowings that, with repeated listen, will become less and less bothering and at the moment of writing this I find them "cool"