16 tracks from War Horse, after the cut. (Thanks to Tero Heikkinen)
Best score of the year, followed by Super 8(That is pure John Williams by Michael Giacchino).
This score is incredible. It is everything John Williams as been missing from his last few. Reminiscent of his luscious Memoirs of a Geisha score but somehow with more magic. There are so many interesting things he’s doing while still maintaining his variations on a theme style. Even if Warhorse doesn’t dominate, I can see Williams finally getting another oscar, long overdue considering he hasn’t won since Schindler’s List, and he’s had at least 5 that should have won since then (Amistad, Patriot, Potter, Catch me if you can, and Geisha).
Track #3 is signature Williams and #6 is the reason why he’s the frontrunner to win – as of now.
Woah! Those track titles are rife with spoilers! I guess this truly is a John Williams soundtrack.
I’ve listened to a few of the tracks before, but I think I’ll wait until I’ve seen the film before I listen to the whole soundtrack. The few tracks that I’ve heard though were quite majestic. I can’t wait to hear the rest.
Track 15 is gold. Specially the piano solo in the middle.
But I still think Tintin is easily the better and more accomplished score. Tintin is extremely complex and a score very few composers today could have written. Scratch that, only Williams could have written.
As ever, I like John Williams’ work very much, but it’s so derivative of work by other composers that I can’t admire it as much as I enjoy it. There’s so much Vaughan Williams in so many of these tracks, not just in the form of inspiration but almost in the form of pastiche. I too prefer his work for Tintin; it’s more musically complex and satisfying. Williams has an ear for brilliant themes and excellent, complicated orchestrations and there’s much more of both of those in his Tintin score. This, nevertheless, is a typically lovely and typically unoriginal soundtrack from Williams.
I am a huge admirer of John Williams and his film scores. Can’t wait to own both of these.
“The Homecoming” gives me goosebumps. Best Score of the year by far.
Incredible stuff. He has to win the Oscar for this! I’m saying it since the first trailer came out, no matter how good is The Artist or The Descendants, War Horse will sweep the Oscars!
Just listened to all of the tracks. Don’t know what to say. In a lot of ways, it reminds me of Williams’ smaller, more intimate scores but at the same time, I can’t help but be reminded that he writes terrific rousing, fanfare-ish film music as well. The use of brass is excellent.
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