Joshua Gizelt (swashbuckler332) wrote,
Joshua Gizelt
swashbuckler332

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Inspiring Find



After seeing it on the shelf pretty often, I finally nibbled at Miklós Rózsa's score for Sodom and Gomorrah (okay, I downloaded it). The score is pretty badass. Rózsa's propensity for researching and interpolating period music into the symphonic framework gives the music a very specific quality. The large, crashing scale of the score also features a very nifty Middle Eastern flavor that is touched upon in other Rózsa scores, but more prevalent here, I think.

I'm really not into cinematic religious epics for the most part, but I have to say that I really like the music that tends to go with them. The mythological nature of the subject material tends to mean composers respond with very operatic music. Rózsa's Quo Vadis, Ben Hur and King of Kings; Elmer Berstein's The Ten Commandments, Alfred Newman's The Robe and The Greatest Story ever told, Toshirô Mayuzumi's The Bible, Maurice Jarre's Jesus of Nazareth etc, all tend towards a large scale symphonic sound with leitmotives, building to glorious crescendos. It's a style that I enjoy, and the influence of these types of scores can be found in the musical accompaniment for most epic movies, including John Williams' Star Wars music and Howard Shore's The Lord of the Rings... and, of course, Rózsa's own El Cid, my favorite of his large epic scores.


Composer Miklós Rózsa


I like that bold approach. As I've gotten older, I've grown to appreciate subtlety more and more, but I also still like the brash and in your face extremity of the sturm und drang. Ironically that means that I am able to appreciate composers like Max Steiner a lot more now than I did when I was younger.
Tags: film music, miklós rózsa
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