James Horner – Titanic: Music From The Motion Picture (1997) [Reissue 2003]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 72:30 minutes | Scans included | 4,69 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,47 GB
James Horner’s score for James Cameron’s epic romance Titanic is much like the film itself — against all expectations, it delivers exactly what it promises. His score is grand, without falling into typical melodrama, and delicately romantic, without being sickly sentimental; it offers genuine emotion and excitement, with the haunting vocals of Norwegian singer Sissel providing a nice counterpoint to Horner’s blend of strings, vocals, orchestras, and synthesizers. Celine Dion’s “My Heart Will Go On” may feel a little like an afterthought, especially after experiencing Horner’s wrenching, affecting score, but its heart is in the right place. Nevertheless, it is Horner’s instrumental work and its whirlwind of emotions that makes the score of Titanic a voyage worth repeating.
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James Horner – A Beautiful Mind: Original Motion Picture Soundtrack (2002)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 71:25 minutes | Full Art (PDF) | 4,33 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Art (PDF) | 1,29 GB
This Ron Howard film parlays the troubled story of Nobel laureate John Forbes Nash Jr., a gifted Princeton mathematics professor tormented for decades by paranoid schizophrenia, into something considerably richer than typical Hollywood triumph-against-all-odds fare. Howard has teamed here again with frequent collaborator James Horner, and it’s the composer who deftly shades the film’s difficult emotional landscape and helps impart a compelling humanity. Horner’s first task is not inconsiderable: musically portraying the arcane realm of mathematical theorems that are the story’s backdrop. In doing so, the composer leans heavily on modern minimalist technique, bright flourishes that recur briefly throughout an orchestral score that increasingly reflects Nash’s bleak inner landscape in its quietly somber and brooding tones. And while Horner has frequently been accused of excessively repeating himself in his scores, the neo-minimalist gambit employed on this reflectively pastoral, postmodernist soundscape neatly nips such criticism in the bud. Nash’s triumph is ultimately an intensely personal one, well reflected in Welsh soprano Charlotte Church’s lilting performance of the Horner/Will Jennings ballad “All Love Can Be”.
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James Horner – James Horner – The Classics (2018)
FLAC (tracks) 24 bit/48 kHz | Time – 01:04:15 minutes | 667 MB | Genre: Classical, Soundtrack
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Sony Classical
Multi-Academy Award winner James Horner is one of the most acclaimed composers in Hollywood history. He has written scores and songs for iconic movies including Titanic, Avatar, Braveheart, Cocoon and The Mask of Zorro. If not for his tragic passing, the composer would have celebrated his 65th Birthday on August 14 of this year. This album is a unique tribute to one of the titans of film music. A stellar array of musicians such as 2CELLOS, Lindsey Stirling, Tina Guo, and the Piano Guys come together to offer stunning and imaginative interpretations of his greatest compositions.
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Title: Hollywood in Vienna – The World of James Horner 2013
Released: 2016
Genre: Score, OST, Documentary
Conductor: David Newman
Released: Varèse Sarabande Video
Duration: 03:01:34
Quality: Blu-ray
Container: BDMV
Video codec: H.26
Audio Codec: DTS, PCM
Video: MPEG-4 AVC Video / 15992 kbps / 1080i / 29,970 fps / 16:9 / High Profile 4.1
Audio # 1: English / DTS-HD Master Audio / 5.1 / 48 kHz / 2281 kbps / 16-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 16-bit)
Audio # 2: English / LPCM Audio / 2.0 / 48 kHz / 1536 kbps / 16-bit
Size: 23.19 GiB
Scoring films is not for the faint of heart. Putting aside the technical requirements involved, merely navigating the often treacherous waters of Hollywood personalities might be enough to make even the strongest man (or woman) blanch. One of my favorite anecdotes (one I’ve shared previously, but it’s instructive and therefore repeatable) about an iconic composer came courtesy of lyricist Gene Lees, who was actually writing a remembrance of Percy Faith, a favorite composer and arranger of mine who never really had a major film profile (despite an Academy Award nomination for Love Me or Leave Me, and having provided one of the best scores for one of the worst movies of all time, The Oscar). In discussing Percy’s relative lack of a film scoring career, Lees recounted that Percy’s son Peter was a well respected agent for a number of high profile composers, including Dave Grusin (another huge favorite of mine). Peter had relayed to Gene a funny story that involved Grusin having been hired by some cigar chewing producing impresario who had already fired another composer on a film he was managing (or at least attempting to manage). Grusin was hired under duress and the hard driving producer evidently hovered over the gifted writer as he was starting to come up with themes at his piano, repeatedly interrupting Grusin to the point of distraction. Somehow Grusin finished writing at least a few cues and proceeded to the recording process. With the producer there, still hovering, Grusin conducted the first four bars of the main theme, stopped the orchestra dead in its tracks (no pun intended) and turned toward the producer, asking, “OK so far?” The shocked producer still had enough attitude to nod without realizing what was coming next. Over and over again Grusin would stop after a couple of bars and demand the producer’s approval before continuing. Lees’ hilarious anecdote didn’t reveal if Grusin’s score survived (my hunch is it didn’t), but it’s one of the more salient examples of what the best film composers have to deal with, and what those with less tolerance simply can’t deal with. James Horner evidently had much closer relationships with a number of major producers and/or directors than Dave Grusin had with this particular producer, and it didn’t take him very long to establish himself as one of the more respected compositional voices of his generation, repeatedly working with the likes of Ron Howard and James Cameron. The film world was shocked when Horner died last year in the crash of a plane he himself was piloting, silencing (at least in terms of future works) one of the major film scoring voices of a generation.
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