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Don't feel bad. You've just summed up why Hans and Lorne make a good team. Lorne is by all accounts a fantastic arranger and can bring out the best in others' ideas but I sometimes find his own compositions are a bit basic or leave me cold. Hans on the other hand always nails the theme and the concept but his scoring to picture to me feels clunky and a bit amateurish, especially when the music is dense. <br><br>Both super talented in their own ways. :-)Is there anyway o get sheet music for Into the pie machine for orchestra?Just saw Maleficent 2. There is a lot more Newton Howard in the movoe than there is on album.<br>I actually can't really understand why they didn't include the reprise of The Christening (the dinner scene) & the finale in the movie.<br><br>Zanelli's score is wonderful and I love it very much. But would have loved this on albumI can't imagine how someone likes Balfe's part over Richters. As you said Thomas, Richters work sounds more like suites, and Balfes work is written more to picture. BUT, it sounds to me also like a typical RCP-work with Hans. While Hans gives the direction with his suites and melodies, Balfe and co are adapting those suites to the specific scenes and writing some "new" stuff to fill any gap if there is any need of it, so they become additional composers in the credits.<br><br>And here, we have the same. Richter shows the direction and some cues are real intense and beautiful. Balfes parts sounding like a gap-filler. I don't want to talk bad about Balfe, he's a composing machine, but still i can't find anything remarkable on those parts and so i can't understand how Richters work hasn't been used but instead the more colorless cues from Balfes part :/<br><br>Again, don't feel insulted guys, it's just my sensationBalfeís part is the best I think.<br>It also seems written to picture instead of just long suites.<br>My understanding is the Balfe wrote half of the score but the album doesnít seem to represent that for some reason.
I really liked Richterís score over balfesI listened Max Richter for years. He is the kind of select or minority composer who does his solo works and soundtrack for movies not so famous. <br>His solo works are really really good with quintet and piano and voice. "on the nature of daylight" is definitely the best. <br>His sountrack is not good as his solo, to be honest. I think "the Leftovers" (2014-2017, HBO series), "Miss Slaone" (2016) and "Mary Queen of Scots" (2019) are cool.<br>If you need some peaceful music for meditation or good sleep, listen to his work.Richter did his recording in january and june 2019. The Director himself is a fan of Richter, so the deadline and director are not the reason.<br>It seemed that producers were not satisfied with Richter's music and they wanted something new, that's why they got Lorne. It turned out Lorne brought a very limited new...@Cercei<br>Hybrid can definitely answer that best. Richterís score is used (alongside Balfeís material) as well as some source pieces. If I remember correctly itís a mish-mash of the two.I do know that piece, itís very pretty. Iíll check out his other works, thanks for the recommendation. In terms of minimalism I really am into Brian Eno at the moment. His ďMusic For AirportsĒ and ďThe Lovely BonesĒ are excellent if you like more introspective music.
btw, you're saying Lorne recomposed and reworked the entire score. as i haven't seen the movie yet, did the producers end up with not using richters score for it at all and just used the score from Lorne?thanks for your information. but i actually don't understand why they have done that. i've heard now Lornes cues and Richters cues. all those cues from Lorne, they sound very similiar to that what Richter composed, but somehow with less melodies. And you really have to work hard to not use fewer melodies then Richter, as he's a minimalist at its best ^^ with that being said, i can't hear any groundbreaking differences from Lornes part, so what was their idea on hiring it and getting the same style of music, but in a more "light" version? :/i really admire Max Richters work, he isn't that new in this scene. his style is that repeating minimalism. maybe you've heard once the cue "on the nature of daylight" which was used a lot by many other movies. his last score which knocked me out was "Hostiles". such an emotional and intense score, you need to hear that, and probably see the movie as well (with Christian Bale). <br><br>Really surprised at this album, Iíve never really heard anything from Max Richter but I really like what he ended up writing for this score. It surprisingly flows well for a stand alone listen. Itís funny that the producers wanted a different approach, I think Richter nailed it.<br><br>Balfeís contribution is excellent as well, I particularly like that repeating chord progression (which is starting to become one of his trademarks considering how many times he has used it). Itís disappointing that they didnít include more of his contribution though, since he apparently rewrote the entire score.Lorne said in his Twitter, the first album for His Dark Materials come 3rd November, no date, for the moment, for the second album.
Was the producersi haven't understood the fact, that Lorne was involved in this. Can someone explain it for me? Was the director not satisfied with Richters music? Was the deadline too near? Or what was the reason why they have brought Lorne to this project?"The Wanderer", "Event Horizon", "You Have To Let Me Go" and "Tuesday (Voiceless)" = WOW WOW WOW!!!Zanelli is no James Newton Howard, but he did a fantastic job with writing a large scale fantasy score. Iíll even say that, while I think the first Maleficent is stronger overall, I personally like the action writing better here. Also 2 little things Iíve noticed;<br><br>1. The new theme here sounds fairly similar to the Father/Son tune from KFP3<br>2. 2:20-3:30 sounds like it may have been temped from the finale of Fantastic Beasts. (Or maybe Iím just crazy lol)Great work of Zanelli, if is not as good like JNH's Maleficent, is a tremendous work, with a terrific writing and orchestrations, even the most tender parts are terrific.
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Toby ChuLadd McIntoshJim DooleyKevin Globerman
ComposerOrchestratorSong WriterDigital Score Recordist
Legends Of Oz - Dorothy's Return
Label: Columbia
Length: 45'38
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (3153 votes)
  1. When The World - Lea Michele (4:06)
  2. Candy Candy - Martin Short (2:25)
  3. China Princess - Megan Hilty (3:56)
  4. Jester - Martin Short (2:26)
  5. Work With Me - Lea Michele (2:40)
  6. Even Then - Lea Michele, Megan Hilty & Hugh Dancy (2:43)
  7. When The World Finale - Lea Michele (3:52)
  8. One Day - Lea Michele (3:21)
  9. Overture (3:06)
  10. Under The Jester's Spell (4:21)
  11. The Spell Is Broken (4:26)
  12. Escape From Emerald City (4:25)
  13. Dorothy Wakes (3:51)
Create Topic

Michael Fields reply Replies: 0 || 2018-08-11 10:12:55
MOVIE CREDITS:

Songs By
BRYAN ADAMS
JIM VALLENCE
TIFT MERRITT
JIM DOOLEY
MIKE HIMELSTEIN

Score Composed And Arranged By
TOBY CHU

Music Supervisor
VICKI HIATT

Supervising Music Editor
VICKI HIATT

Music Editor
SEBASTIAN ZULETA

Additional Arrangements By
PAUL CRISTO
IVANA LISAK

Score Recorded And Mixed By
JEFF BIGGERS

Digital Score Recordist
KEVIN GLOBERMAN

Assitant Score Engineer
DANIEL WALDMAN

IGLOO MUSIC STUDIOS

Songs Produced And Mixed By
GUSTAVO BORNER

Songs Arranged By
TOBY CHU
NICK BAXTER

Vocal Recordings By
GUSTAVO BORNER
NICK BAXTER
JUSTIN MOSHKEVICH

Music Assistants
SERGE COURTOIS
LEAH HERDER

Score Recorded At
SONY PICTURES STUDIOS

Conducted By
NICK GLENNIE - SMITH

Orchestra
THE HOLLYWOOD STUDIO SYMPHONY

Orchestrated By
LADD McINTOSH

Orchestration Coordinator
ESTHER McINTOSH

Music Prepration By
BOOKER WHITE

Scoring Stage Recordist
ADAM MICHALAK

Scoring Stage Engineer
GREG LOSKORN

Scoring Stage Hands
DAVID MARQUETTE
MARK ESHELMAN
DANTE REYNOLDS

Orchestra Contractor
PETER ROTTER

Choir Contractor
JASPER RANDALL

Music Business Affairs
GRETCHEN O'NEAL

Music Contractor
SHARI GIRDLESTON (SAVANT PRODUCTIONS, INC.)

Vocal Coach
DARLENE KOLDENHOVEN

Music Transcription
KRISTIN SUMMERS

Choir
VANGIE ARCHER
ERIC BRADLEY
REID BUTTON
HARRY J. CAMPBELL
ERIN CARLSON
DANIEL J. CHANEY
ALVIN K. SHEA
RANDY CRENSHAW
TIM DAVIS
AMBER ERWIN
CLAIRE FEDORUK
AMY FOGERSON
CHRISTOPHER GAMBOL
MICHAEL THOMAS GEIGER
ABDIEL GONZALES
SCOTT TOBY GRAFF
JENNIFER KAY GRAHAM
JEFFREY MICHAEL GUNN
WALTER S. HARRAH
KATIE HAMPTON
AYANA HAVIV
KAREN HOGLE
TODD HONEYCUTT
CLYDENE JACKSON
ANGIE JAREE
ELISSA JOHNSTON
BOB JOYCE
MICHAEL LIGHTENAUER
CHRIS M. MANN
ELYSE MARCHANT
DONNA MEDINE
JESSICA ROTTER
NIKE ST. CLAIR
NANCY SULAHIAN
KIMBERLY SWITZER
JASPER TITMAN
MARIJKE VAN NIEKERK
SUZANNE WALTER
GREG WHIPPLE
GERALD T. WHITE

Off Camera Singers
RANDY CRENSHAW
ARIA GUNN
MISSI HALE
AYANA HAVIV
KARISSA LEE
MICHA LEE
JOE MATTHEWS
DAN NAVARRO
JASPER RANDALL
RANDI SOYLAND
LESLIE STEVENS
GERALD T. WHITE

SONGS

"WHEN THE WORLD"

Written By
TIFT MERRITT

Performed By
LIA MICHELE

"CANDY, CANDY"

Written By
BRYAN ADAMS
JIM VALLANCE

Performed By
MARTIN SHORT

"CHINA PRINCESS"

Written By
JIM DOOLEY

Performed By
MEGAN HILTY

"JESTER"

Music By
JIM DOOLEY

Lyrics By
MIKE HIMELSTEIN

Performed By
MARTIN SHORT

"WORK WITH ME"

Written By
BRYAN ADAMS
JIM VALLANCE

Performed By
LIA MICHELE

"EVEN THEN"

Written By
TIFT MERRITT

Performed By
LEA MICHELE
MEGAN HILTY
HUGH DANCY

"ONE DAY"

Written By
BRYAN ADAMS
JIM VALLANCE

Performed By
LIA MICHELE

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Legends Of Oz - Dorothy's Return soundtrack - Toby Chu 2014