Ten Tracks Today – 9th September 2011
Posted by Alan Rogers on September 9, 2011
Illarramendi’s writing for strings very much reminds me of Georges Delerue and this track is no exception. Quite a romantic track this one.
A light cue this one, composed for a small ensemble almost exclusively for woodwinds. Plus the inclusion of what sounds like a harp. It’s a lovely melody that the woodwinds play.
I hope that I am correct in my crediting Bernie for such an infectious theme. From the cartoon series, this is one I grew up with as a child. The Harlem Globetrotters seemed to be constantly on TV when I was growing up.
Such a mournful solo string (cello?) in this track. Then there’s the juxtaposition against the jazzy music with its very raw brass writing. Very sleazy end indeed to this track.
I believe this version could be from an Australian production. The composers go for the tinkling of what sounds like a celeste and plucked strings to signify what could be the falling snow. Soft woodwinds play a melody over this.
From what I understand, this music represents Illaramendi’s music that was replaced in the film. His score was rejected. Which is a shame as it’s quite beautiful. The composer again gives the string section of the orchestra a good workout.
A bit of an action track this one. Wall’s scores for video games can be quite enjoyable but I found that this one is a bit difficult to really get into. The prominent synth strings is what attracts me to this cue. The tracks isn’t particularly well edited together as music seems to be faded in and out after a time. But maybe that’s what was wanted for this track? It’s certainly full of catchy rhythms though.
The main theme of this score is a very memorable one. It’s light and jolly with a bright and breezy orchestration throughout. But it can get a bit tiring if you are not in the right mood!
Salta’s score has some good rhythm and the pounding beat here sets out the tempo for the track. The theme in the middle reminds me of Brad Feidel’s score for Terminator 2 somehow – part of it is definitely his specific use of the synths.
Swirling strings and characteristic brass Goldenthal mannerisms make this relatively short track a highlight in anyone’s playlist of tracks. I believe that this may be in line for the expanded treatment?