Absolutely wonderful. Don Davis is infinitely underrated. If you were to continue with Matrix scores, Neodammerung would be so appreciated somewhere down the line. Thank you very much.
'Davis has been nominated for eight Primetime Emmy Awards, winning twice for Outstanding Music Composition for a Series. He has also won four BMI Film Music Awards.' - Wikipedia
Holy crap.. prepared piano in a film score!? Surely some of your most impressive work! I can't believe so many of the main techniques I've learnt about for 20th century music are in here! What a great score this would be to teach.
@@patricksuiter I'm not a horror fan either (outside of The Shining, Alien and The Thing), but it's probably the most recognisible sounding type of instrument in film score history outside of the classic "Psycho" string stabs.
A very impressive score even now, in my opinion the best action film score this side of Predator. Look forward to more breakdowns of this score. Thank you and happy New Year David
In hindsight it's no surprise this masterpiece was never honored with an Oscar. It's too intellectual. I've always liked this score but it wasn't until I read Chris Heckman's dissertation (cf Sideways) that I truly appreciated its complexity. Your wonderful analysis gives a nice glimpse into the abyss of Davis's composing technique.
Are you familiar with John Adams’ Harmonielerhe? It can’t be coincidence that this sounds so similar to the end of that piece’s third movement - down to the undulating, strings, the pulsating rhythms, the stacked Em/Cmaj chords, and the sound pallete in general. This was definitely still an awesome score in its own right.
Even moreso Adams' "Harmonium", specifically the transition from movement II to movement III - the entire Matrix score is literally ripped gesture-for-gesture from that specific example - here is a recording with score, start at 20:15 - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-sQYzzFqT0zE.html
I'll watch later, but just saying thanks now. I was very interested in the dual tonalities in this score since I first heard it, but never gave it any analysis. Many thanks.
David, I enjoy that great dissonance at 4:59 between the violins sustaining the E against the pay phones (D note?). It's jarring and unexpected, and something a director or studio could have easily chosen to cut out, but this rub, similar to the idea of the two chords playing the dynamic swells has this idea of a collision between the two worlds.
Do you think you could do an analysis of some of the music from Homeward Bound: The Incredible Journey? Bruce Broughton's score is incredible! For example, during the ending where the pet's return home, the main theme (which I like to call Shadow's theme based on how it was used in the film) is not heard till Shadow returns.
very cool... were you drawing from a printed score to do this reduction? I don't see how transcribing this by ear would be possible to be accurate even with great ears, given the chaotic amount of different overlapping lines especially in instruments of the same sections (strings in 16th notes etc)
