As I mentioned on Christmas Day, I found the long-awaited release of John Corigliano's score for Revolution to be a stunning work with a raw emotionality emerging from the composer's trademark harmonic sophistication. He also structures the score interestingly, with such touches as the way that "Children's Theme" is heard on penny-whistle when Ned is younger and on flute when he matures, and performed by Sir James Galway, no less.
Fox hunts, with their inherent tension and equestrian milieu always make for great film music!!! This, of course, ties into the thread about hunting music I started on the FSM Board to get ideas for a compilation. But that is another story.
Speaking of mixes, the Back To the Future compilation is being worked on. I have started selecting tracks from the official releases for inclusion and done some preliminary work on sequencing. I am waiting for alternative sources for the two sequel scores to begin the project in earnest as they reportedly had superior sound to the official CDs.
My favorite Mozart pieces seem to be the ones in which he concentrates on showcasing one or two instruments against the orchestra.
I find it interesting that many of the more explosive musical sounds that we now associate with "primitive" in film scores — John Corigliano's Altered States, Alex North's unused score for 2001, Jerry Goldsmith's Planet of the Apes, Philippe Sarde's Lord of the Flies, etc. — are in fact rather modernistic. Of course, what is being illustrated here tends to be primal behavior, the archetype for which in the Western musical idiom is Igor Stravinsky's The Rite of Spring, not genuinely primitive music. In fact, it does make one wonder a bit as to what would constitute actual primitive music; the only example of a genuine attempt to do this that springs to mind are some of the source and percussion cues from Basil Poledouris' Conan the Barbarian (not the "source cues" that are included on the album, such as "Mountain of Power Procession" and "The Orgy," neither of which are really source music per se but a classic Hollywood conflation of source and score à la the "primitive dances" in King Kong performed by a 65 piece symphonic orchestra).