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Special Recent Posts

GLORY: AN ANALYSIS OF THE COMPLETE SCORE

Once in a blue moon, a score comes along that floors you well and truly. Granted, 1989 was an unusually strong year for film music, but on the battlefield of musical excellence, James Horner arguably carried the day. Even coming up against some pretty stiff competition of his own–1989 also saw the release of Honey I Shrunk the Kids, Dad, Field of Dreams and In Country–Horner made Glory the high point of his output that year (although he undeniably had a special place in his heart for the Oscar-nominated Field too.) He and director Edward Zwick would go on to[...]

[REVIEW] JAMES HORNER: A LIFE IN MUSIC AT THE ROYAL ALBERT HALL

A few days after the death of James Horner, Robert Folk had suggested on Facebook the idea of producing a tribute concert bringing together his closest collaborators. Three and a half years later, this concert finally took place, thanks to Avex Classics, already responsible for Titanic Live and Aliens Live.   Vocalist Clara Sanabras, who worked with James Horner on For Greater Glory (2011), and legendary Irish bagpiper Eric Rigler (Braveheart, Titanic) were on stage. The collaborators Simon Rhodes, faithful sound engineer since 1998, and Joe E Rand, musical publisher on about thirty projects, were among the spectators. Sara, wife of[...]

JAMES HORNER - MUSICAL AESTHETICS AT UNIVERSITY OF CALIFORNIA, LOS ANGELES - MARCH 1992

UCLA's ethnomusicology department has released a video from March 1992 when James Horner spoke for an hour. This historic document begins with a short introduction by Professor Steve Loza and an intervention of Scott Lipscomb. James Horner starts talking at 00:19:16.     The composer explains the following topics: His career, his work for Roger Corman, why he has chosen film music, how to get hired on a movie, how the Oscars operate, handling directors who are too close to their temp tracks, orchestrating on his own vs assigning an orchestrator, his work on Aliens, working within Hollywood where each idea has to[...]

BETWEEN INTELLIGENCE AND SENSITIVITY: TWO DISSECTED UNTRUTHS

Everybody has a right to judge James Horner's music and not to like it. Generally this disenchantment is reflected in terribly pejorative verbs such as dig up, borrow, pump, copy, plagiarize ... The kind of actions the composer is accused of, putting forward the idea of ‌‌a lazy craftsman's poor and sloppy work: the pickaxe as an unsubtle tool, borrowing as a sign of weakness, pumping for large quantities, copying for the lack of creativity, plagiarism as a lack of respect towards the other composers. It is difficult to go against this phenomenon because the allegations are undeniable: Indeed, it is indisputable[...]

AUSTRALIA, 1991: JAMES HORNER SEMINARS

Having published interviews given in the early 80's to the CinemaScore magazine (see our article), we continue our exploration of the archives of the past with the publication of the two seminars which James Horner participated in, December 1991 in Australia.   That year, the Australian Film Television and Radio School (AFTRS) was celebrating film music with a series of courses and activities to recognize and celebrate the contribution that music makes to the screen experience. James Horner had made the trip to take part in a variety of national activities intended to stimulate an atmosphere of appreciation for the work of[...]

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