Joshua Gizelt (swashbuckler332) wrote,
Joshua Gizelt

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"The Kobayashi Maru has set sail for the promised land."

24 Tracks • 83:17

    (Star Trek II: The Wrath of Khan — James Horner)

  2. RENDEZVOUS 5:27
    (Star Trek VI: The Undiscovered Country — Cliff Eidelman)

  3. SPOCK 1:05
    (Star Trek II: The Wrath of Khan — James Horner)

  4. CHEKOV’S RUN 1:16
    (Star Trek IV: The Voyage Home — Leonard Rosenman)

    (Star Trek II: The Wrath of Khan — James Horner)

    (Star Trek VI: The Undiscovered Country — Cliff Eidelman)

  7. THE MIND MELD 2:18
    (Star Trek III: The Search for Spock — James Horner)

  8. THE PROBE 1:10
    (Star Trek IV: The Voyage Home — Leonard Rosenman)

    (Star Trek II: The Wrath of Khan — James Horner)

  10. RURA PENTHE 2:48
    (Star Trek VI: The Undiscovered Country — Cliff Eidelman)

    (Star Trek III: The Search for Spock — James Horner)

    (Star Trek VI: The Undiscovered Country — Cliff Eidelman)

    (Star Trek II: The Wrath of Khan — James Horner)

    (Star Trek IV: The Voyage Home — Leonard Rosenman)

    (Star Trek III: The Search for Spock — James Horner)

  16. OVERTURE 2:53
    (Star Trek VI: The Undiscovered Country — Cliff Eidelman)

  17. KLINGONS 3:04
    (Star Trek III: The Search for Spock — James Horner)

  18. HOME AGAIN * 5:44
    (Star Trek IV: The Voyage Home — Leonard Rosenman)

    (Star Trek II: The Wrath of Khan — James Horner)

    (Star Trek VI: The Undiscovered Country — Cliff Eidelman)

    (Star Trek IV: The Voyage Home — Leonard Rosenman)

    (Star Trek II: The Wrath of Khan — James Horner)

  23. WHALE FUGUE 4:31
    (Star Trek IV: The Voyage Home — Leonard Rosenman)

  24. SIGN OFF * 2:16
    (Star Trek VI: The Undiscovered Country — Cliff Eidelman)

* Contains Theme from STAR TREK: The Television Series

Music Composed and Conducted by JAMES HORNER
Orchestrated by JACK HAYES
Engineered by DAN WALLIN Assisted by TOM STEEL

Music Composed and Conducted by JAMES HORNER
Orchestrated by GREIG McRITCHIE
Engineered by DAN WALLIN Assisted by DAN BENTON

Music Composed and Conducted by LEONARD ROSENMAN
Orchestrated by RALPH FERRARO
Engineered by DAN WALLIN

Music Composed and Conducted by CLIFF EIDELMAN
Orchestrated by MARK McKENZIE and WILLIAM KIDD
Engineered by ARMIN STEINER

Recorded at RECORD PLANT SCORING │ Orchestras Contractor: CARL FORTINA

I will make no bones about the fact that my interest in Star Trek had as much to do with my fascination with film music as Star Wars did. While Williams' music was omnipresent and almost axiomatic as the voice of Star Wars to me, the fact that there were so many different composers working on Star Trek, each impressing their own personality on the subject caused me to examine not just that the music was there, but what it was doing.

I was 8 when Star Trek II: The Wrath of Khan premiered. My father was an avid fan of the television series, so I grew up watching it, and was excited about the film (though I had not, at the time, seen The Motion Picture). I remember our local station, WPIX 11 offering tickets to the preview screening as a prize for their interactive games (you'd call in to play the game and say "PIX" to perform whatever action you did in the game — primitive online gaming), but having to wait until the actual premiere of the movie to see it. The first thing I asked my father exiting the theater was why after the very beginning there was no music from the television series. Of course, this was because the televisions series scores were endlessly retracked into other episodes, and I was expecting to hear a familiar Fred Steiner tune.

It wasn't until I was much older that I started analyzing the music. It was really Jerry Goldsmith's Star Trek: The Motion Picture that made me really pay attention to it from a practical point of view. That expansive palette and scope was so entrancing. Goldsmith set the standard for the feature scores, and would return to score the fifth Star Trek film as well as three of the four Next Generation features as well. I have covered Goldsmith's contribution to Star Trek in a soon-to-be-revised album called Battlestations).

Of course, Wrath of Khan was scored by then up-and-coming James Horner. His music for NicholasMeyer's striking film was bold and rousing, bursting with a young composer's desire to prove himself on his first major film project. This desire is somewhat muted in Leonard Nimoy's The Search for Spock, which came across as a softer version of Wrath of Khan, but was appropriate to story. Leonard Rosenman was asked by Nimoy to score the fourth and most financially successful entry, The Voyage Home, for which he provided a baroque-influence main theme and his own unique modernistic style. Nicholas Meyer would return to the director's chair and get another up-and-coming composer, Cliff Eidelman, to contribute a dark, intrigue-filled score for what would be the last film to feature the (entire) original film cast.

I had made several Star Trek mixes throughout my youth (in fact, my first ever compilation tapes would have been of Star Trek music taped off of the VHS tapes), but the original version of this disc was the first time I'd really gone back to that well in many years. The Retrograde Records release of Star Trek II: The Wrath of Khan was the direct impetus for revisiting this project as it was the only one of these scores that was available in really bad sound but also I had the opportunity to work with new and improved technology as well as a greater disc capacity than I had previously.

I have to thank Trenton for providing some of the additional material that I incorporated into this compilation. And, of course, I owe a great debt to Jeff Bond for his comprehensive book The Music of Star Trek: Profiles In Style, which proved to be an invaluable resource when compiling this disc.

  1. WHERE NO MAN HAS GONE BEFORE (Star Trek II: The Wrath of Khan — James Horner) 2:54
    The opening of this album was pretty obvious to me; the main title from Wrath of Khan. In order to firmly establish his own score as being in the Star Trek universe, Horner began what would become the trend for all Star Trek films save The Undiscovered Country and Generations; Alexander Courage's fanfare from the original Star Trektelevision series. It leads up to the nautical main theme of the film for Kirk and the Enterprise, which Horner has in interviews always referred to by this title. A secondary theme for the Enterprise is heard afterward, illustrating the comradery of her crew. In addition to being a fantastic opening, it is nice that the first track would be titled in such a way as so to tap into the mythology of Star Trek.

  2. RENDEZVOUS (Star Trek VI: The Undiscovered Country — Cliff Eidelman) 5:27
    This track consists of material from "Assassination" and "Surrender for Peace" on the original album, which is actually three cues in the film (the first portion being "Spock and Valeris/Arrival of Kronos One"). Eidelman's glass harmonica theme for Spock (Leonard Nimoy) is similar to that of Horner's (track 3), emphasizing the stoic dignity of the character as he speaks with Valeris (Kim Cattrall). A six-note "conspiracy" motif is introduced that will figure heavily in the score related to the Klingons. Thick orchestral textures are met with percussion and wordless male choir as two mysterious figures beam aboard the Kronos One and start a weightless killing spree.

  3. SPOCK (Star Trek II: The Wrath of Khan — James Horner) 1:05
    This is the first appearance on the album of Horner's introspective tritone-based theme for Spock, heard in the film as Kirk visits the half-Vulcan in his quarters. The modest palette is a glass harmonica, piano and a pan flute and recorder kept slightly out of tune with one another to reflect the Science Officer's dual nature.

  4. CHEKOV’S RUN (Star Trek IV: The Voyage Home — Leonard Rosenman) 1:16
    Rosenman goes Russian in this brief Tchaikovsky-meets-Prokofiev-meets-meets Shostakovich-meets-Khachaturian romp that scores the attempt of Chekov (Walter Keonig) to escape from military custody. The previous version of this disc cut this cue before Chekov takes his injurious tumble, but the first major alteration to this edition was to include the piece in full.

  5. ENTERPRISE CLEARS MOORINGS (Star Trek II: The Wrath of Khan — James Horner) 3:27
    This rousing cue is heard as Kirk observes the Enterprise embarking on a training cruise. A bold opening leads to mounting variations on "Where No Man Has Gone Before," with a brief appearance of Spock's theme (see track 3) as, in a move characteristic of his wry sense of humor, asks his protégé Saavik (Kirstie Alley) to command the ship as it gets underway to the consternation of Kirk and McCoy (DeForest Kelley). A grand presentation of the main theme is heard again but with an explosive Bruckner-influenced fanfare as the ship leaves dock and flies away in shots borrowed (albeit with a slight optical retint) from Star Trek: The Motion Picture; Horner's intention was to be "as ship-like and old-fashioned as it could be, and as majestic as it could be."

  6. DINING ON ASHES (Star Trek VI: The Undiscovered Country — Cliff Eidelman) 0:57
    Eidelman's heraldic main theme for the Enterprise appears sparingly in The Undiscovered Country. This is its most intimate incarnation, led by solo oboe, scoring a moment of reflection between Kirk and Spock. "Is it possible that we two, you and I, have grown so old, so… inflexible, that we have outlived our usefulness? Would that constitute a joke?"

  7. THE MIND MELD (Star Trek III: The Search for Spock — James Horner) 2:18
    Eerie rustlings and distant percussion (including super balls, employed by Goldsmith throughout The Motion Picture and several other scores) presage a forbidding statement of Horner's theme for the Vulcans to mark the arrival of Spock's father Sarek (Mark Lenard). This is closely related to Spock's theme, which then heard as Sarek melds with Kirk in search of Spock's katra (soul). A sad variation of the Vulcan theme plays as he breaks the meld, as his son's katra is not within Kirk. The arrangement of Spock's theme showcases the pan flute, a reference to the cue "Spock (Dies)" from Star Trek II: The Wrath of Khan. A moment of hope then appears in the strings as Kirk realizes who might, in fact, be the host.

  8. THE PROBE (Star Trek IV: The Voyage Home — Leonard Rosenman)1:10
    An unknown cylindrical object appears, sapping the power from its surroundings. When it arrives at Earth, it begins to effect major changes in the environment. This bleak and modernistic piece is most characteristic of Rosenman's particular style and features the brass tone pyramids that so permeated his score for Ralph Bakshi's The Lord of the Rings. A hint of his main theme closes off this cue as the action returns to Kirk and company on board the Bounty.

  9. SURPRISE ATTACK (Star Trek II: The Wrath of Khan — James Horner) 5:05
    In one of the major action set-pieces of the second Star Trek film, Khan (Ricardo Montalban) approaches the Enterprise in the hijacked starship Reliant, and, catching the Enterprise unaware, proceeds to disable the ship. This colorful cue opens with Khan's manic theme, a harsh piece featuring angry brass. There is an ostinato introduced after an interlude of "Where No Man Has Gone Before") on pizzicato strings. Khan's strike is accompanied by an explosion of dissonance, which then leads back to his primary theme as explosions rock the engine room; the ostinato is heard again in a new arrangement as Kirk and Spock check the damage control console, with Spock's grave observation that, "they knew exactly where to hit us," a moment that is one of my favorite bits of scoring.

  10. RURA PENTHE (Star Trek VI: The Undiscovered Country — Cliff Eidelman) 2:48
    This tense track is the first addition to the new version of the album, although it only omitted from the previous version due to an oversight. Kirk and McCoy are sentenced to imprisonment on a Klingon gulag planet. Dark rumblings from the basses, 'celli, brass and percussion are offset by violins and a shakuhachi (Japanese flute) and a male choir chanting "taH pagh taHbe'" (Klingon for "To be or not to be") illustrating the bleak environment, both natural and socal.

  11. STEALING THE ENTERPRISE (Star Trek III: The Search for Spock — James Horner) 8:04
    A playful string passage (mixed very differently in the film) reminiscent of Tchaikovsky opens this central moment in the score for Search for Spock as Kirk and company commandeer the Enterprise in order to gather Spock's body from Genesis. A descending motif representing the Starfleet impediments to their goal is introduced as Uhura (Nichelle Nichols) endures the ignorant smugness of a brash youth (Scott McGinnis), who is quite shocked to find a flag officer showing up in the middle of the night with no orders. This is accompanied by a reprise of "Where No Man Has Gone Before" that, on the album, leads into a dissonant passage as the group beams away which I have never felt that it really fit the vocabulary of the score as a whole. This sequence was edited from the film, cutting immediately to the Alexander Courage theme as the Enterprise bridge lights up, and so as on the original version of this mix, I edited it out. Originally I painstakingly recreated the cut as it appears in the film, but I felt that I could do better, and so what appears here was inspired by the film but slightly cleaner. A new three-note horn motif is introduced before Courage's theme is heard again as the ship begins to move; a motives carried over from Wrath of Khan (from tracks 13 and 19) are heard and built upon, and the horn motif is expanded upon, gradually becoming a fugue as the Enterprisenears the spacedock doors. An authoritative statement of "Where No Man Has Gone Before" is heard as the ship clears the dock. A variation on the finale of Horner's end title theme for his two Star Trek scores is heard as the Enterprise warps away, but the Excelsior is in pursuit, accompanied by the descending motif; which is heard briefly inverted as the Excelsior prepares to jump to warp speed, only to trail off as the ship does nothing.

  12. CLEAR ALL MOORINGS (Star Trek VI: The Undiscovered Country — Cliff Eidelman) 1:29
    Cliff Eidelman's main Enterprise theme is the basis for this cue which also features Alexander Courage's fanfare as Kirk has Valeris pilot the ship out of spacedock at one-quarter impulse power. This is the most heroic variation on the theme that will be heard until the very end of the score (see track 24). This was the only case where I sourced anything from the copy of the complete score I had, allowing me to extract a clean beginning for this piece as it had been crossfaded with the previous cue on the album.

  13. KIRK’S EXPLOSIVE REPLY (Star Trek II: The Wrath of Khan — James Horner) 3:31
    Kirk is at the mercy of Khan after he disables the Enterprise (see track 9) but buys time by agreeing to send him some information about Project Genesis. Kirk, however, realizes that Khan is too dangerous to allow access to Genesis; Horner's music is edgy but confident, built around another ostinato and quotations of "Where No Man Has Gone Before" as he orders the prefix code to the Reliant's command console to be retrieved. An tense, frantic version of Khan's ostinato is then heard as the Reliant's shields are disabled, followed by "Where No Man Has Gone Before" as Kirk fires upon the ship. The album version of this cue closed with a pair of orchestral slams that do not appear in the film; again, the included track mimics the film edit.

  14. GILLIAN SEEKS KIRK (Star Trek IV: The Voyage Home — Leonard Rosenman) 2:11
    One of the main mission statements I had when approaching the revision of this project was that I wanted to include a more rounded presentation of Rosenman's score; this track has never appeared on any previous version. Gillian Taylor (Catherine Hicks) is shocked to discover that her beloved whales have been shipped out to the ocean without her even having been informed. Rosenman's main theme is heard at as in an act of desperation she decides to find Kirk, a fleeting, if insane, hope. The remainder of the track is quite playful as Gillian discovers in the most awkward manner that the robust Admiral is as good as his word.

  15. RETURNING TO VULCAN (Star Trek III: The Search for Spock — James Horner) 4:45
    A plaintive version of the Vulcan theme is heard as McCoy speaks to the body of Spock about what they've shared; this opens out into a gorgeous version of Spock's theme, similar in arrangement to the one which accompanies the sight of Spock's tube on the surface of Genesis at the conclusion of Star Trek II: The Wrath of Khan, as the stolen Bird of Prey approaches and lands on Vulcan. The distant percussion with superballs then returns as Kirk speaks with Sarek before going before T'Lar (Judith Anderson), where the Vulcan theme is reprised as Sarek makes a most illogical request. This cue fades in and out in the film's sound mix to accommodate the Vulcan horns, but is presented here in its original form (sourced from The Astral Symphony).

  16. OVERTURE (Star Trek VI: The Undiscovered Country — Cliff Eidelman) 2:53
    This is the suspenseful overture from The Undiscovered Country, which presents the six note "conspiracy" motif in a very active setting, reminiscent of both Holst and Stravinsky, opening out into a spectacular display of orchestral color. Many of the fragmentary motives throughout the score are arranged as part of this main title sequence, which prompted me to drop the lengthy but repetitive "The Battle for Peace" from this compilation. I initially had only included the first two minutes or so of this piece, but found that it worked best with the frantic finale leading up to the explosion of the Klingon moon of Praxis.

  17. KLINGONS (Star Trek III: The Search for Spock — James Horner) 3:04
    Horner built his theme for the Klingons around many of the same elements that Goldsmith had introduced for the opening sequence of Star Trek: The Motion Picture; like Goldsmith's take on the species, he employs a clarion hunter's call sound over disciplined percussion, although the actual melody seems to be derived from his own theme for Khan in the previous installment. Klingon spy Valkris (Cathie Shirriff) hands off information about Project Genesis to the Kruge (Christopher Lloyd); the opening portion of this cue was heavily altered in the film mix for a more textural opening. This was one of the cues I felt was sorely missed on the previous version of this disc.

  18. HOME AGAIN (Star Trek IV: The Voyage Home — Leonard Rosenman) 5:44
    Rosenman's Vulcan theme is very similar to Horner's Vulcan theme, and here it essays the farewell Spock bids his father. This opens out into a series of variations on the vocal line of Courage's main title theme for the television series (its only appearance on this album) as the crew are led past the Excelsior and to… a new Enterprise, NCC-1701-A to soaring renditions of both the Courage fanfare and theme. The end credits then begin, with cascading bells announcing Rosenman's main theme, then the whale fugue theme (followed by a reprise of the main theme). Both of these pieces have a strong baroque flavor, although the orchestration and some of the harmonic relationships are much more modern. I had included the finale and end credits on the previous version of this disc but found that it had an air of finality to it that was a bit too much for its placement. I got around this by bridging the finale of the main title to the end, thus allowing the music to play out without the slam-bang ending to allow for more material to follow, but satisfying nonetheless.

  19. BATTLE IN THE MUTARA NEBULA (Star Trek II: The Wrath of Khan — James Horner) 6:33
    Kirk and company beam back to the Enterprise after having hoodwinked Khan into thinking that the ship was still disabled and them stranded to playful variations on Horner's Enterprise theme. "Where No Man Has Gone Before" and Khan's theme alternate as the action shifts between the two ships, with Khan finally finding the Enterprise. As the Reliant is in better shape than the Enterprise,Spock recommends Kirk take the ship into the Mutara Nebula, where Khan's advantage would be meaningless. A rousing arrangement of "Where No Man Has Gone Before" accompanies a montage of the Enterprisecrew preparing for battle (including a cameo by Horner himself as an engineer in training). Once the action enters the nebula, however, the music becomes forbidding. Both ships are floating through darkness with no way of ascertaining the other's location. Kirk, however, is having the Enterprise circle along their route of entry, a fact which is announced in the score by blaster beam hits leading up to ablaze of brass and strings, and the fanfare from "Enterprise Clears Moorings" (track 5); after theships lose track of one another again, a sudden reappearance of Khan's theme scores the sudden realization that the Reliant is right in front of the Enterprise. In compiling the previous version of this disc, I had actually prepared an alternate version of this track that shortened some of the trail-offs and pauses in the cue, but decided to include the full length version of the cue. Due to the improvements in sound quality on the new edition of this score, I went back to that previous version and so this track runs much shorter than what appears on the album or in the film.

  20. ESCAPE FROM RURA PENTHE (Star Trek VI: The Undiscovered Country — Cliff Eidelman) 4:00
    Kirk and McCoy link up with shape-shifter Martia (Iman) in order to escape their incarceration. This track is very textural, with interesting variations on motif for the enigmatic Martia. As the trio manages to break free of their imprisonment, they trek across the frozen wasteland, and the music opens out to epic scope for this sequence reminiscent of Vaughn-Williams.

  21. HOSPITAL CHASE (Star Trek IV: The Voyage Home — Leonard Rosenman) 1:07
    This is the goofiest piece of music that you'll ever hear Rosenman do, heard as Kirk, McCoy and Gillian (Catherine Hicks) rescue Chekov from a hospital. The composer was apparently rather tickled to be scoring what he saw as a Keystone Kops bit of slapstick, and his ebullience comes through in this faux baroque delight. This track was placed significantly later than I had ever placed it before, offering a bit of a comic respite before the album's endgame.

  22. GENESIS COUNTDOWN (Star Trek II: The Wrath of Khan — James Horner) 6:28
    The ostinato heard in "Kirk's Explosive Reply" (track 13) returns and is heard throughout this cue. Khan, realizing his defeat, activates the Genesis device, the area-of-effect of which will surely encompass the damaged Enterprise. Spock realizes that if Mr. Scott (James Doohan) can not restore full power within a few moments that the ship will be destroyed, and so he heads down to the engine room. His theme is heard as he is forced to nerve pinch McCoy, who is preventing him from performing the repairs because of unsurvivable levels of radiation (a fragment of Courage's fanfare is heard here but is usually uncredited). A sequence featuring piano, agitated strings, piano and brass scores Spock, whose half-Vulcan constitution is stronger than any humans,' activating the main energizers (a moment which Horner would re-use almost note-for-note in Cocoon). The Enterprise theme is reprised in a "propulsive, fateful rendition" before being profanely interrupted by a blaster beam introducing Khan's theme. The ship is able to move and warps out of danger, but the Genesis device goes off. A quiet moment with the Enterprise theme is heard in the music as the the crew observes a planet forming from the nebula. The same movement is given a dramatic reading as Kirk realizes what their escape may have cost.

  23. WHALE FUGUE (Star Trek IV: The Voyage Home — Leonard Rosenman) 4:31
  24. The Bounty crash lands in the ocean under the Golden Gate Bridge, where Kirk frees the humpback whales. The opening of this track features the relentless motif for the probe and otherworldy sounds reminiscent of the composer's work on Fantastic Voyage and Beneath the Planet of the Apes. This portion of the cue was dialed out of the final film mix, returning as the music opens out into a triumphant variation on the main theme as the probe, satisfied by the whales' communication, departs the planet and power is once again restored. The whale fugue is then heard as the crew of the Bounty rejoice at their victory, which has in turn saved Earth, and serving as the emotional climax of this album.</li>
  25. SIGN OFF (Star Trek VI: The Undiscovered Country — Cliff Eidelman) 2:16
    The Courage fanfare leads off this cue as Spock recommends Uhura tell Starfleet Command to "go to hell" for asking them to decommission the Enterprise.Eidelman's main theme is heard in several warm variations as Kirk decides to take her out for one last spin and makes one final log entry as the ship heads toward the "second star to the right and straight on 'til morning." Courage's theme then reappears, blossoming into a rousing passage as the actors sign their names on the screen, culminating in an arrangement of Courage's fanfare once again as Shatner's name is seen that is very similar to the finale of Horner's end credit sequences forWrath of Khan and Search for Spock. This is an iconic moment; even though cast members would reprise their roles on some of the spin-offs, never again would the entire Star Trek cast re-appear together (until that Futurama episode). I therefore felt that it was the most fitting conclusion I could make to this album.
Tags: cliff eidelman, film music, james horner, jerry goldsmith, leonard rosenman, lord of the rings, my mixes, sandy courage, star trek
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