There is a fair amount of thematic overlap and there are quite a few places where music by one composer is designed to flow right into music by the other. While the above comments almost sound like two separate scores, the two portions actually blend very well. Newman also provides a religious hymn (with Biblical lyrics) that is presented first in “Hymn to Aton” and later reprised in “Death of Merit”. Newman’s portion of the scoring also tends to be the strongest contributor to giving the score a distinctively middle-eastern flavor. This aspect of the score is particularly well represented in the lengthy (7 minutes plus) cue “Valley of the Kings”. While Herrmann’s segments often tended to emphasize brass and percussion, Newman’s is dominated by lush strings and gentle woodwinds. Newman’s contribution tends to focus more on the romantic side as well as the score’s sense of nobility. His talent for thrilling, fast paced action scoring is present as well, particularly in the exciting “The Chariot Ride/Pursuit” and the frantically stark cue “The Homecoming”. Herrmann was often most comfortable with darker, more brooding music and that is on display here in cues such as “The House of the Dead/The Burial”. For the most part, the composers tend to handle the parts of the score that are most appropriate to their styles.
#Final fantasy orchestra collection from the 90s full
The score features a full orchestra and chorus, giving it a fittingly large scale. It isn’t complete, but it is does cover the most important portions of the score.Īs you would expect, this is a true epic score with dynamic action music, intimate romantic themes, and pretty much everything in-between. While a few re-recordings were available, the original recordings were long thought to be destroyed, until Film Score Monthly obtained access to preserved stereo tapes in 2001, allowing them to release a 72 minute limited edition CD (still available) containing all the surviving portion of the score.
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The score was a true collaboration with each composer composing key segments of the score, but with shared themes and effective blending of both composers’ styles.
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The score was a collaboration between two of the true giants of Golden Age film scoring, Alfred Newman and Bernard Herrmann, working together on a large-scale historical epic. The Egyptian (Alfred Newman, Bernard Herrmann, 1954): The Egyptian is one of the most important scores of its era.