The Official Star Trek Music Discussion Thread (1 Viewer)

[Neil Middlemiss]

Star Trek Insurrection soundtrack reissue in August 2013 by GNP!!!!





http://store.gnpcrescendo.com/new/index.php

http://store.gnpcrescendo.com/new/product_info.php?products_id=231

NOW AVAILABLE FOR PRE-ORDER!
STAR TREK: INSURRECTION
Expanded Collector's Edition


GNP Crescendo Records is proud to announce another volume in its continuing series of expanded Star TrekTM releases. Star Trek: Insurrection was the third of four movies to feature the characters of the 1987–1994 television series Star Trek: The Next Generation, and the fourth Star Trek feature scored by Jerry Goldsmith. Goldsmith had created a template for Trek films with his score for the first picture in the franchise, Robert Wise’s Star Trek: The Motion Picture (1979). His subsequent scores for Star Trek V: The Final Frontier and Star Trek: First Contact (the latter co-composed with his son Joel) built on that foundation while expanding the musical horizons of the Star Trek universe.
Goldsmith retained many of the time-honored themes and effects of his previous Trek scores in Insurrection, fostering a sense of familiarity while at the same time giving the film a new identity. Because of the lovely romantic subplot, he wrote a score using, in his own words, “a much more melodic, romantic approach … almost operatic,” balancing the lyricism with several exciting militaristic action cues. This equilibrium, along with Goldsmith’s restraint in reusing his prior themes and his thoughtful approach to the film’s villains, makes Insurrection one of the most cohesive of the Star Trek movie scores.
GNP Crescendo’s new Expanded Collector’s Edition of Goldsmith’s complete score includes a half hour more music than the original 1998 CD, plus several alternates—for a total running time of over 79 minutes. The 16-page booklet, copiously illustrated with film stills, includes authoritative notes by Jeff Bond (author of The Music of Star Trek: Profiles in Style) and Lukas Kendall.A track-by-track analysis of the score and film by John Takis will be available online at gnpcrescendo.com/insurrection.

This is terrific news. Insurrection may be on the more dull side of the big screen adventures, but Goldsmith produced a lovely score for it. He reused some elements from this score in other films, most notably for me in Hollow Man. This expanded release is an instant buy for me!

 

[Osato]

This is terrific news. Insurrection may be on the more dull side of the big screen adventures, but Goldsmith produced a lovely score for it. He reused some elements from this score in other films, most notably for me in Hollow Man. This expanded release is an instant buy for me!

The score for Insurrection is a great one. I'm very excited about this release as well.

I enjoyed Insurrection quite a bit. Now Nemesis is another story...

: )

 

[Ockeghem]

Lee and Nelson,I've been listening to a lot of the music from The Star Trek Soundtrack Collection. I'm currently listening to "Card Tricks" and "Charlie's Gift" (you both know how I feel about the latter track). I love how some of the tracks from Mudd's Women were used in A Taste Of Armageddon (particularly "Venus Aboard"). While watching the latter episode (many times over the years) I never realized that the music we hear as we first see the gorgeous matting which represents Eminiar 7 was the same as that heard in Mudd's Women. How I wish that that track had gone on longer.

Nelson,You have a lot of experience with the remastered edition of TOS. Would you say that there are marked (significant) differences between the unremastered and the remastered edition of A Taste Of Armageddon? I seem to recall that you posted some of the changes in the matting of the opening visual of Eminiar 7 -- or perhaps that was someone else. In any event, I seem to recall some edition showing moving vehicles in the background as well as some of the inhabitants (additional to Mea and her party) being seen in the background.

 

[Nelson Au]

Scott, the remastered A Taste of Armageddon does replace that static matte shot of the Eminian city with a new painting. The new painting is the same overall design and look, just a tighter rendering and more realistic looking. And yes, the addition of moving rail cars on elevated tracks. The original live action shots of Mea and the guards going out to greet Kirk and Spock is there in the foreground. They did a great job on that shot!Thats right, that music when you see the city is from Mudd's Women! I hadn't realized that either.

 

[FanCollector]

I like when the choices for music tracking were not obvious ones, but still fit. The use of the Mudd's Women score in Armageddon is one such example; the use of New Capellan from Friday's Child in Wolf in the Fold is another. They were able to stretch the associations of the music without it feeling forced at all. Any other favorites?

 

[Ockeghem]

I like the use of "Monster Allusion" (big surprise there!) in The Return Of the Archons and of course in This Side Of Paradise.Lee,

Too bad the usage of "New Capellan In Town" wasn't extended a bit more in that opening clip from Wolf In the Fold as Kirk and Bones get up to leave the room. I think it's also in Friday's Child later on (around the time Eleen and McCoy are conversing by themselves), if memory serves.

 

[FanCollector]

I completely agree about both subsequent uses of Monster. In This Side of Paradise especially, the context is so different but still entirely appropriate.

 

[Ockeghem]

Lee,I watched Friday's Child a couple of nights ago, and snippets from "New Capellan In Town" are heard when we first see Eleen and during a couple of other segments in the episode, including during the "Oochy-woochy kootchie-koo" segment. Incidentally (although I have no way to measure this statement), I would submit that Friday's Child is one of the more underrated episodes of TOS. It may well be my favorite offering from D. C. Fontana.

 

[FanCollector]

There are also a number of other pieces in Friday's Child that use the same theme as New Capellan in a different way. If you listen to the soundtrack of that episode, you can hear some of the repetition. Gerald Fried seemed especially fond of doing that in his scores.Bold statement about Friday's Child and D.C. Fontana. What led you to this major reassessment?

 

[Ockeghem]

Lee,Agreed. And Fried not only uses the theme differently, he also changed the meter (and of course the instrumentation) a couple of times.

I'll have to ponder why I like Friday's Child so much. What are your favorite scripts (if you have a favorite) of hers?

 

[FanCollector]

With the proviso that Ms. Fontana never wrote a bad Star Trek script, I have to go with This Side of Paradise and Journey to Babel as my favorites. They, along with The Enterprise Incident, illustrate her special affinity for finding the hidden depths of Mr. Spock, while still serving the larger themes of the stories. If the three requirements of a great script are character, suspense, and ideas, then Ms. Fontana surely earns a nomination for Star Trek's most successful writer. (And that's without considering her uncredited contributions to most every script from The City on the Edge of Forever through Assignment:Earth.)

 

[Ockeghem]

Lee,Okay, I had totally forgotten about This Side Of Paradise. May I include both on my list of favorites? (I bow to the superior intellect, as well as to one of only two A-8 TOS classifications known to exist.)

 

[FanCollector]

I'm not sure you need permission for your list of your favorites, but I'll grant it anyway... And as long as we are on your list, doesn't Charlie X hold a special place for you also?

 

[Ockeghem]

I'm not sure you need permission for your list of your favorites, but I'll grant it anyway... And as long as we are on your list, doesn't Charlie X hold a special place for you also?

Lee,Yes, Charlie X most definitely holds a very special place for me. But D. C. Fontana had very little to do with that episode.

 

[FanCollector]

She wrote it.

 

[Ockeghem]

She wrote it.

Lee,You know me better than that. I had to write what I did in order to see if an A-8 would stoop so low as to continue reading the posts of an A-7 (or lower) TOS specialist. At least I now know that you do in fact still read my posts.

 

[FanCollector]

Logical. Flawlessly logical.

 

[Ockeghem]

Lee,Well, now I will have to watch either Charlie X or This Side Of Paradise tonight (probably the latter as I am in the mood for some "Monster Illusion"). In all sincerity, I didn't really know which episodes D. C. Fontana had written. I don't have that kind of TOS knowledge stored away. But I'm glad I know someone who does.

 

[Kevin EK]

I was simultaneously delighted with the release of the TOS box set and saddened that I no longer had any outstanding Star Trek music to hunt.
("When Alexander saw the breadth of his domain, he wept for there were no more worlds to conquer"...)


For myself, I had long been looking for much of the TOS music. Many, many great scores here.

My current favorites from this set:

"Friday's Child" - next to "Amok Time", my favorite of the Fried scores.
"Elaan of Troyius" and "Spock's Brain" - both of which surprised me in their breadth.
"Charlie X" - it's surprising how much of this score found its way into other episodes, all the way to the 3rd season

Various cues stay with me as really great examples of mood writing:

"Monster Illusion" - maybe the best cue ever written for the series, frankly
"Mace Fight" - a classic Fried fight cue from Catspaw
"Aberrated Captain" - particularly for the very ending of the teaser of Enterprise Incident, which gives a great introduction of the Romulan theme

 

[Ockeghem]

"Monster Illusion" - maybe the best cue ever written for the series, frankly."Bravo.

Lee,

Last night while watching This Side Of Paradise, I noticed that "Monster Illusion" (three or four times) and "2nd Ruth" (the latter incorporating a couple of snippets as well as the track in its entirety at the conclusion of the episode) occur several times in this episode, and taken together perhaps more so than in any other. (I was trying to recall if "Monster Illusion" occurs in Shore Leave, but I don't believe that it does.)

I am currently listening to "Goodbye Charlie/Finale" (M62/M63) (Fred Steiner) from Charlie X. It's interesting how many times I go to the wrong episode to look up pieces I want to hear. For example, I was looking at my first four discs trying to locate some music from Space Seed in order to hear this work, and then it dawned on me that I ought to have been looking for music from Charlie X.