Generally speaking, the performances are basically
decent, but most are lacking when compared to either their originals or
other recordings done by similarly employed orchestras. The best
selections on this album are, obviously, those for which Goldsmith
conducts the impressive RSNO for his own compositions, including
Star
Trek: The Motion Picture,
Star Trek: First Contact, and
Star Trek: Voyager. Unfortunately, the product doesn't mention
that these same performances were originally available in late 1997 on a
Varèse compilation of Goldsmith recordings with the RSNO called
"Frontiers." The difference in quality between Goldsmith's conducting of
his own works with the RSNO and Frederic Talgorn's conducting of
Goldsmith work with the same ensemble a few years later is interestingly
noticeable. While the RSNO's professionalism is still maintained for
Star Trek: Insurrection, a genuine spirit is lacking in the
rendition, proving that the effect of Goldsmith's own presence in the
podium is not to be underestimated. So many of the highlights of
Star
Trek: Insurrection were contained outside of the primary statements
of the film's themes that the suite stands at a disadvantage due the
choice of material to record for this album. Talgorn's leading of
Star Trek: Generations is admirable, but the inclusion of Dennis
McCarthy's theme is easily one of the poorest on the product because of
the fluffy composition's original "episodic score-like" shortcomings.
Fred Steiner's conducting of the Royal Philharmonic Orchestra provides a
unique and well conditioned spirit in the performances that capture the
essence of the old 1960's themes quite well. To hear them performed in
such vastly improved sound quality will be awkward for some listeners,
however.
Cliff Eidelman, while composing arguably the most gutsy
and enjoyable score for a
Star Trek film, is greatly hindered by
the lackluster size and unenthusiastic attitude of the Seattle
performers. Their recordings of four feature film themes in the middle
of the album, as well as
Star Trek: Deep Space Nine, are shallow
and poorly mixed compared to the RSNO's performances. Even the recording
of Eidelman's own
Star Trek VI: The Undiscovered Country,
arranged into a unique suite of the score's two final cues ("Sign Off"
and "End Credits"), proceeds at an unsatisfyingly slow and withdrawn
pace. There are several small, but noticeably painful mistakes during
their sequences as well, especially during
Star Trek VI.
Additionally, there are two factors working against this album. First,
the tracks mostly consist the same old concert suite arrangements. The
targeted fans have heard them hundreds of times, many of them in person.
Only Eidelman's own, aforementioned extended suite is an exception. With
Goldsmith's end credit sequences all sounding so similar, the producers
would have been better served by commissioning the performance of one of
the relentless attack sequences from
Star Trek: Insurrection
instead. The other factor working against this compilation is the simple
fact that most of the suites have been performed better by other
orchestras. From Erich Kunzel to The City of Prague Philharmonic (and
even the older Czech performances on the Edel label in the early
1990's), massive symphonies with assistance from authenticating
synthesizers and choirs have produced exciting "Star Trek"
recordings that are far superior to most of those on this product,
especially the Seattle Symphony Orchestra. In light of this reality,
dedicated fans should seek out these other products, as well as
Goldsmith's "Frontiers" album from the same label.
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