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Comments about the soundtrack for The New World (James Horner)
Suprising response

Matt
(216-237-196-116-dslam1-hmc.norths
tate.net)


  Responses to this Comment:
Eric
CS^TBL
B
Suprising response   Wednesday, February 15, 2006 (3:21 p.m.) 

I'm shocked at the response this score has received. Indeed "The New World" has shades of several Horner works but why has this particular one received so much scorning? If I had to choose a few of his better scores of the new century, this one would definitely be on the list.

People have said it sounds an awful lot like "The Missing". That score, I felt, was much weaker than this. It had perhaps a little more depth, but overall it left me cold. There's much more feeling and love in this work, despite its sweetness (which is why I suspect Malick was displeased with the end result...and in that regard, I don't blame him. This score is lovely on its own, but rather wrong for the film). As for the connections to "Braveheart", yes they're there, but not nearly they're not nearly so intense as to call it a "Braveheart rework". Besides, "Braveheart" is far from an original masterpiece (it's slightly overrated actually).

We must learn to overlook his flaws and just enjoy the music for what it is. James Horner is miles away from the finest of composers throughout history but his music is still enjoyable. Maybe someone else can help me understand why "The New World" has picked up so much controversy instead of other more banal Horner works in the past.

Anyway, the film is stunning and flawed as it is, his use of Wagner and Mozart still helped the film.

Matt


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Eric
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(proxy-la.cbs.com)

  In Response to:
Matt

  Responses to this Comment:
Matt
Re: Suprising response   Wednesday, February 15, 2006 (7:12 p.m.) 

Terrence Malick reportedly disliked Horner's score and replaced it with the classical music.

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Matt
(216-237-196-116-dslam1-hmc.norths
tate.net)

  In Response to:
Eric
Re: Suprising response   Wednesday, February 15, 2006 (7:42 p.m.) 

> Terrence Malick reportedly disliked Horner's score and replaced it with
> the classical music.

I'm full aware of that. In case you didn't notice, I stated that (in so many words) in my comment.

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CS^TBL
(62-221-215-55.dsl.fiberworld.nl)

  In Response to:
Matt

  Responses to this Comment:
Matt
Re: Suprising response   Thursday, February 16, 2006 (5:33 a.m.) 

> I'm shocked at the response this score has received.

The problem I have with Horner is that it looks like he isn't even going to bother to try something new. It's lazyness. There're so many musical ways to go, why does he stick to his usual welknown path?
'Borrowing' from himself or even other composers is also incredibally n00b, there're plenty o' examples where he takes pieces almost 1:1 from other (film-)composers. Try 'Land Before Time', and compare it with the classical piece 'Peter and the Wolf', the outcome is shocking!
So, that's why I wondered in the other topic, below: what's he gonna compose in 2026? The same ol' stuff again?

> We must learn to overlook his flaws and just enjoy the music for what it
> is. James Horner is miles away from the finest of composers throughout
> history but his music is still enjoyable.

Yes, the album on its own is easily four stars yeah. But in terms of "how much new material does it offer to an already large collection of Horner OST's", it's all very FRISBEE'ish.. You could own 5 OST's from the man, and basically have all the source material he did sofar!

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Matt
(216-237-196-116-dslam1-hmc.norths
tate.net)

  In Response to:
CS^TBL
Re: Suprising response   Thursday, February 16, 2006 (3:39 p.m.) 

> The problem I have with Horner is that it looks like he isn't even going
> to bother to try something new. It's lazyness. There're so many musical
> ways to go, why does he stick to his usual welknown path?
'Borrowing'
> from himself or even other composers is also incredibally n00b, there're
> plenty o' examples where he takes pieces almost 1:1 from other
> (film-)composers. Try 'Land Before Time', and compare it with the
> classical piece 'Peter and the Wolf', the outcome is shocking!
So,
> that's why I wondered in the other topic, below: what's he gonna compose
> in 2026? The same ol' stuff again?

> Yes, the album on its own is easily four stars yeah. But in terms of
> "how much new material does it offer to an already large collection
> of Horner OST's", it's all very FRISBEE'ish.. You could own 5 OST's
> from the man, and basically have all the source material he did sofar!

I understand what you're saying about his career and the direction it's headed but consider this- even in the 80's, when he focused on those silly action and science films, he was ripping himself off just as much as he is now. Eventually that style wore out so he moved on to dramatic films. Who would of guessed the composer of "Star Trek II" would go on to compose something like as soft and serious "House of Sand and Fog"? Horner is always re-inventing his own wheel so to speak. Of course he still uses his early ideas and presents them in his new works, but the tone of his music is very different. I have no doubt he'll move on eventually. He's still in his 50's.

And yes, there's a good amount of music in "The New World" that we've heard before, but there are also a few ideas, as always. No matter what the score, no matter how unoriginal it may be, he still has at least one thing new to say.

As I always say, I'd like to see you get up and compose a full blown film score and make each one after it original. Absolutely no composer in history (and I mean every composer from every time period) is innocent of ripping themselves off or the work of others. It's impossible, especially in this day in age. Of course Horner does it a little more than others, but he's definitely not the only one. Film composers often don't have the flair and brilliance of the classics anyway, with some exceptions.

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B
(24-247-224-179.dhcp.trcy.mi.chart
er.com)

  In Response to:
Matt
Re: Suprising response   Thursday, February 16, 2006 (3:54 p.m.) 

From good composers, you expepct good work. We all have been amazed by much of Horners previous works and we hold him to a higher standard. But no composer should be plagiarizing his work so uniformally throughout the way Horner does in several tracks on this. And after the travesty that was Horner's Bobby Jones, the only thing that will awaken me to his music and make me rave again (which I so want to do) is a grand new score with, perhaps, Hornerisms, but not simply plagiarism.

B

> I'm shocked at the response this score has received. Indeed "The New
> World" has shades of several Horner works but why has this particular
> one received so much scorning? If I had to choose a few of his better
> scores of the new century, this one would definitely be on the list.

> People have said it sounds an awful lot like "The Missing". That
> score, I felt, was much weaker than this. It had perhaps a little more
> depth, but overall it left me cold. There's much more feeling and love in
> this work, despite its sweetness (which is why I suspect Malick was
> displeased with the end result...and in that regard, I don't blame him.
> This score is lovely on its own, but rather wrong for the film). As for
> the connections to "Braveheart", yes they're there, but not
> nearly they're not nearly so intense as to call it a "Braveheart
> rework". Besides, "Braveheart" is far from an original
> masterpiece (it's slightly overrated actually).

> We must learn to overlook his flaws and just enjoy the music for what it
> is. James Horner is miles away from the finest of composers throughout
> history but his music is still enjoyable. Maybe someone else can help me
> understand why "The New World" has picked up so much controversy
> instead of other more banal Horner works in the past.

> Anyway, the film is stunning and flawed as it is, his use of Wagner and
> Mozart still helped the film.

> Matt


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