Showing posts with label Patrick Doyle. Show all posts
Showing posts with label Patrick Doyle. Show all posts

Tuesday, May 21, 2013

Impressions of America by Patrick Doyle - Review

Impressions of America by Patrick Doyle - Review


Doyle’d Landscapes
Review by Edmund Meinerts

In 2012, the Scotsman PATRICK DOYLE voyaged back to the land of his ancestors, musically speaking, with his Gaelic-flavored score for Pixar’s BRAVE. Simultaneously, it turns out, he was working on a tribute to the land to which many of his ancestors migrated – not in a film score, but rather in a concept album of sorts containing fifteen different IMPRESSIONS OF AMERICA. This piece was originally written to be performed by the National Schools Symphony Orchestra and has now been released a year later by Varese Sarabande to coincide with the composer’s 60th birthday. Of course, when it comes to film composers writing concert pieces celebrating America, JOHN WILLIAMS is the first name that comes to mind, but don’t expect to hear much resembling the maestro’s bright and brassy fanfares here; DOYLE’s perspective is that of an outsider looking in on America, restrained and respectful rather than proud and patriotic. For an album about America, there isn’t a whole lot of Americana on display here.

READ THE FULL REVIEW

Thursday, November 29, 2012

Ten Best Tracks from the Harry Potter Movies

Ten Best Tracks from the Harry Potter Movies

It’s been over a year since the film series came to a conclusion, so now is a great time to look back over the extensive catalogue of top notch orchestral music from Harry Potter. Within the eight soundtracks there are a total of 181 fabulous pieces. Today I do the stupid impossible heroic, and choose what I believe are the ten most rich and inspiring tracks from the entire Harry Potter series.

Sadly none of Patrick Doyle’s score for The Goblet Of Fire made it into my Top 10. This is unfortunate, since I really do love Doyle’s unique take on the Potter franchise. My favourite cues, however, all come from Nicholas Hooper, Alexandre Desplat and of course John Williams. It should come of no surprise that my list is dominated by John Williams.

Before I dive into the list, I feel I should note once more that this really is an impossible task, and that many superb pieces of music will inevitably be left out. However if there are some in particular that you would include in your top ten, I’d be very interested to hear from you! Simply leave a comment at the bottom of this page.

Without further ado, let’s jump in to-


10. Obliviate


As the first track of The Deathly Hallows Part 1, this was an excellent introduction to Alexandre Desplat’s slice of the series. After a very slow and quiet opening the track builds into a wistful, rhythmic melody. The undercurrent impersonates the chugging sound a steam train (fitting for Potter) as the foreground is filled by seductively emotive strings. It’s an extremely effective piece I’ve been in love with since the very first time I heard it.


9. Dumbledore’s Farewell


Nicholas Hooper brought us many dark themes over his two-movie-long relationship with Potter, and this is certainly one of the best. It’s gentle and tender, with powerful strings accompanied by subtle, eerie chorals. This piece supplies a perfectly morose tone for several of the most tense and cheerless moments in the film series.


8. Statues


Rarely has fantasy action been so sentimental. Alexandre Desplat seems to rarely, if ever, compose action cues in the traditional way I expect. Instead, he creates beautiful, rhythmic pieces like this one, which don’t so much “score” the action of the film but instead toy with our emotions. The result in “Statues” is an beautiful piece of music which also works excellently in the film. I should note the similarity to another piece from The Deathly Hallows Part 2, “Courtyard Apocalypse”, which meddles with the same melody in a similar fashion. In the end I chose “Statues” for my list.


7. Dobby The House Elf


Playing to the lighter side of The Chamber Of Secrets, it’s impressive how well this track holds up by itself outside of the context of the film. In fact, I probably prefer this piece outside of the film, where you can really appreciate its musical prowess. Playful, mischievous and quirky, this piece is still totally grounded and controlled like all of John Williams’ greatest.


6. Flight Of The Order Of The Phoenix


This track from Nicholas Hooper’s first Harry Potter score may be tragically short, but it uses it’s one-and-a-half minute runtime to build into a spectacular cue. As with all of these great Harry Potter tracks, Hooper combines palpable senses of excitement and wonder to form a magical piece of music. It’s a tragedy that Hooper didn’t get to spend more time developing themes like this one.


5. Harry’s Wondrous World


As we head adventurously into the final five tracks, here’s John Williams doing what John Williams does best: non-stop magnificence. I think of this piece as the unofficial theme for Hogwarts, as it seems to describe musically the magical castle we know and love. It’s a remarkable combination of the themes of The Philosopher’s Stone, stirred together with copious doses of pure triumph, ending the film on a glorious note.


4. A Window To The Past


The perfect antithesis to “Harry’s Wondrous World”, this is John Williams taking Potter into dark and sombre territory in The Prisoner of Azkaban. The wistful melody never fails to conjure powerful images in my mind of darkness and snow and hooded Dementors from The Prisoner of Azkaban. Essentially a woodwind solo, this track contains the power to bring (manly) tears to my eyes. It really encapsulates an intense and childlike sense of longing.


3. The Chamber Of Secrets


Excitement and mystery are incarnate in this grandiose, almost vampirical piece. A spine tingling series of descending notes on organ lead into a waltz of strings and horns, building powerfully to an epic conclusion. The orchestra seems to come together so fluidly and graciously, changing drastically from moment to moment but never leaving the listener behind.


2. Hedwig’s Theme


This is the quintessential piece of Harry Potter music. From the delicate tinkling of the iconic theme we’ve all heard a thousand times to the cheeky pumping of brass, and then into the inevitable culmination of the united orchestra. Most of this track is used in film to score the action-packed wizarding sport, Quidditch. I’m glad Williams doesn’t hold back.


1. Fawkes The Phoenix


Fluttering out of the magic and mystery, this piece will forever be romantically entwined with the Harry Potter universe. Mixing an absolutely epic scale of majesty and grandeur with the delicate beauty and wonder of the enchanting melody, this track is another of the many reasons that John Williams is one of the greatest composers of all time.

There it is! My favourite magical music from Harry Potter. As I mentioned at the beginning, there are so many more incredible tracks and themes that I absolutely adore in the eight Potter soundtracks. In the end I whittled down to this list of ten, but maybe your list would be different? Let me know, what are your favourite pieces of music from the Harry Potter series?



Sunday, May 22, 2011

Thor (Soundtrack) by Patrick Doyle - Gang Tackle Review

Thor (Soundtrack) by Patrick Doyle - Gang Tackle Review


Doyle and Thunder!

Review by Tracksounds Gang

The translation of THOR from Asgard to the big screen may prove to be the biggest challenge that Marvel Studios will face in its ambitious AVENGERS project. Granted, getting a human hunk of flying iron, a gamma-green behemoth, and genetically altered hero of WWII all into the same contemporary world is no small feat, but we are talking about a mythological god here.

The announcement of director Kenneth Brannagh as THOR’s director was met by a good deal of surprise and countless questions. Not the least of these was whether he’d bring along his long-time collaborator, PATRICK DOYLE, back into the breach. The thought of it was just full of the most electric of potential.

In THOR, Brannagh delivers a distinct Shakespearean edge to the Nordic triangle of power: Odin, Thor, and Loki, while simultaneously providing an approachable, contemporary world of New Mexico, which has just seen its first visitor from another world (at least outside of Roswell). We're then left with the question, "Just how well does Patrick Doyle's score perform in, as well as connect, those worlds?"

The Tracksounds staff gang-tackles that question...

READ THE FULL GANG-TACKLE REVIEW

Friday, May 13, 2011

The SoundCast - Ep. 25 - Thor and Patrick Doyle

The SoundCast - Ep. 25 - Thor and Patrick Doyle

Thor and Patrick Doyle



Recorded May 12, 2011
Published May 13, 2011

THOR and the music of Patrick Doyle are the central topics for Marius, Tom, Helen, and Christopher for milestone episode 25 of the Soundcast.

Episode Highlights

00:45 — Introduction
03:51 — What we have been listening to
15:27 — How you can support The SoundCast
18:08 — Thor - the movie
25:03 — The score on CD
38:37 — Thor subdued?
38:01 — Thor and the Globet of Fire
42:26 — Has Thor been Remoted Controlled?
51:17 — How did Brian Tyler get in here?
57:27 — Top Patrick Doyle Scores
67:08 — Our own post-credits tease...


Music Clips (Select music clips contained in this podcast)


00:00 — "Main Theme" (The Mighty Thor [1966]) by unknown
00:18 — "Thor Kills the Destroyer" (Thor) by Patrick Doyle
04:00 — "A Forceful Intelligence" (Doctor Who Series 4) by Murray Gold
06:00 — "Half pint boards" (Soul Surfer) by Marco Beltrami
06:37 — "New York" (Crysis 2) by Borislav Slavov
08:28 — "Fast Five" (Fast Five) by Brian Tyler
10:00 — "Priest" (Priest) by Christopher Young
12:44 — "A New Hope" (Age of Heroes) by Richard Michael Plowman
14:00 — "Ancient China- Story of Shen" (Kung Fu Panda 2) Hans Zimmer and John Powell
17:29 — "Frost Giant Battle" (Thor) by Patrick Doyle
24:35 — "A New King" (Thor) by Patrick Doyle
35:34 — "Forgive Me" (Thor) by Patrick Doyle
38:01 — "The Story Continues" (Harry Potter and The Goblet of Fire) by Patrick Doyle
40:23 — "Detonators" (Harry Potter and the Deathly Hallows Part 1) by Alexandre Desplat
41:46 — "Hammer Found" (Thor) by Patrick Doyle
43:31 — "Eistein's Wrong" (Transformers:  Revenge of the Fallen) by Steve Jablonsky
44:37 — "Earth to Asgard" (Thor) by Patrick Doyle
46:44 — "Setting The Trap" (Outlander) by Geoff Zanelli
56:46 — "The Thunder Storm" (Indochine) by Patrick Doyle
57:58 — "The Road to China" (Indochine) by Patrick Doyle
59:33 — "Estella's Theme" (Great Expectations) by Patrick Doyle
61:42 — "Eragon" (Eragon) by Patrick Doyle
65:05 — "To Jotunheim" (Thor) by Patrick Doyle
67:08 — "Title Theme" (Captain America [1966]) by unknown


Monday, October 04, 2010

Patrick Doyle Scores Sir Billi, Plus Video Interview

Sir Billi - Original Score from Patrick Doyle (Video Interview)


“SIR BILLI” CREATIVE TEAM ANNOUNCES COMPLETION OF MUSICAL SCORE BY OSCAR-NOMINATED COMPOSER PATRICK DOYLE FOR SCOTLAND’S FIRST FULL-LENGTH ANIMATED FEATURE FILM


Los Angeles– October 1, 2010 – Glasgow-based Billi Productions Ltd. announced today the completion of the musical score composition and orchestral recording for “Sir Billi,” Scotland’s first full-length animated feature film that is now in the final stages of post production. Internationally recognized film composer Patrick Doyle wrote the score, working with the film’s husband and wife creative team, Sascha Hartmann, who directed the movie, and Tessa Hartmann who wrote the script.

Patrick’s Oscar®-nominated work on the original score for “Hamlet” (1996-Best Music, Original Dramatic Score) and “Sense and Sensibility” (1995-Best Music, Original Dramatic Score), as well as his original scores for the hit British comedy “Bridget Jones Diary” (2001) and Saturn Award-nominated “Harry Potter and the Goblet of Fire” (1996) attracted the Hartmann’s to approach Patrick to compose and record the original score for “Sir Billi.”

“We are thrilled with Patrick’s uncanny ability to capture the true essence of ‘Sir Billi’ through his music and bring it to life in this new dimension,” said Sascha Hartmann. “Patrick has such a keen musical sense and created just the right nuances to convey the highs and lows of Sir Billi’s adventures on his quest to save Bessie Boo the Beaver.”

Patrick was inspired to write the theme to the original score on the spot, as the melody of the theme came to him while speaking with Sascha Hartmann about the direction of the score—something Doyle says has only happened twice before in his career.

“Sir Billi’s endearing multi-generational family story and cliff-hanger action spikes in the storyline provided me with just the right elements to compose a score I’m proud to say is among my best work to-date,” said Doyle. “My goal was to shine a light on the soul of this colorful cast of loveable characters through the power of music.”

“Being a part of Sir Billi meant so much because animation has always been a fascination of mine especially because I am from Scotland and know all of the areas where the film is based,” said Doyle.
“The fresh look of ‘Sir Billi’ and its original storyline gave me all the inspiration needed to create some of the best composition work I feel I’ve done.”

“Sir Billi” is an adventure story about the power of a remote Scottish community held together by an eccentric, skateboarding and retired veterinarian played by Sir Sean Connery and their race to save an illegal fugitive – Bessie Boo the Beaver. Sir Billi braves treacherous ravines and hazardous waters as he and the village clash with the law in their fight to rescue Bessie.

The husband and wife creative team were also very involved in the soundtrack for the film, with the five original songs in the film composed by Sascha, and the lyrics written for the songs by Tessa. The first song announced and opening title track of the film, “Guardian of the Highlands,” was performed by Dame Shirley Bassey and produced by the film’s director Sascha Hartmann. Best known for recording the theme songs to the James Bond films Goldfinger, Diamonds Are Forever, and Moonraker, Bassey is once again teaming up with Sir Sean Connery, who lends his voice as Sir Billi, the lead character in the film.


LISTEN TO “BILLI’S THEME”


WATCH BEHIND THE SCENES INTERVIEWS WITH PATRICK DOYLE



ABOUT “SIR BILLI”
When tragedy strikes in the Scottish Highlands, there can be only one man for the job - Sir William Sedgewick, aka Sir Billi (Sir Sean Connery)! An adventure story about an inimitable Highland hero – a grandpa and active senior skateboarding veterinarian who goes above and beyond the call of duty fighting villainous policemen and powerful lairds in a battle to save an illegal fugitive – Bessie Boo the beaver!

The heart-warming and hilarious action-packed family movie, where thrilling car chases, heroic skydiving and daring stunts from this octogenarian, fueled with encounters with a hostile submarine, will keep you at the edge of your seat!

ABOUT BILLI PRODUCTIONS LTD
Billi Productions Ltd was founded in 2005 by Sascha and Tessa Hartmann, Sir Sean Connery and John Fraser (investor) to own the copyright and all film rights to the intellectual property that is “Sir Billi.” Production is being carried out by parent company Glasgow Animation Ltd., an independent studio based just outside Glasgow. This small animation studio is a wealth of young and ambitious creative talents who have produced Scotland’s first full length animated feature in-house. To learn more about Billi Productions please visit: www.billiproductions.com.

Monday, October 06, 2008

Win Igor (Soundtrack) by Patrick Doyle


Win Igor (Soundtrack) by Patrick Doyle


Can you caption this shot from IGOR? Enter up to three captions for this image and you could win the original soundtrack from IGOR by Patrick DOYLE!


Enter here

Monday, February 18, 2008

As You Like It (Soundtrack) by Patrick Doyle

As You Like It (Soundtrack) by Patrick Doyle
Wax On, Doyle-San!
Review by Christopher Coleman

Director Kenneth Branagh's most recent attempt to bring Shakespeare to the big screen is AS YOU LIKE IT - one of the Bard's most popular comedies. Unfortunately, Branagh was only partially successful. While the film made it to theaters in the United Kingdom, AS YOU LIKE IT only made it the DVD racks in the United States. And, especially in light of the amount of shrot that does actually make it to screens here, it is doubly shameful that this release was so confined. As Kenneth Branagh does with his film-adaptations of Shakespeare's plays, he puts an interesting spin on the telling. Instead of being set in France, the setting is 19th century Japan. Among other things, this choice had a significant effect on the film's score, which was, once again, written by Branagh's composer of choice, PATRICK DOYLE. AS YOU LIKE IT makes it the seventh collaboration between the director and composer and Patrick Doyle waxes on with his own musical eloquence to match that of The Bard's words, and Branagh's offbeat vision.

Director Branagh's choice to set the film in Japan remains as much as mystery as it is compelling. It was certainly eye-catching to see actor Brian Blessed dawning full samurai armor as well as many other characters in quasi-Japanese garb. The question as to why this setting was preferrable to France was never apparent to me in the context of the film. Whatever Branagh's reasons, that choice of setting did give PATRICK DOYLE opportunity to do something special for the film's score - the inclusion of Japanese instrumentation.

Wednesday, January 31, 2007

Eragon by Patrick Doyle

Eragon (Soundtrack) by Patrick DoyleTo Eragon is Human, but the Score is Divine
Review by Christopher Coleman

Composer Patrick Doyle brought himself back to the forefront of film music - a place he has earned the right to occupy - through, what was one of 2005's best scores, HARRY POTTER AND THE GOBLET OF FIRE, and likewise one the best of his distinguished career. Yet even before delving into yet another new, big-budget, fantasy-franchise, Patrick Doyle delivered a surprisingly entertaining score for NANNY MCPHEE in early 2006. The quality of these two major projects gave little cause for intrepidation when it was announced that Patrick Doyle would be providing the musical magic for the highly anticipated film adaptation of author Christopher Paolini's first book, ERAGON. In fact, there was quite a bit of jubilation over it. . .

How strange the fates of the film music composer. From one of 2005's most highly rated films, Harry Potter, to one of 2006's most highly hated, ERAGON - composer Patrick Doyle manages to provide one of the few saving graces for a film that clearly should have stayed in the oven of originality a while longer. That yeast clearly didn't finish making its way through the script. Still, even the lead weight of ERAGON, the film, could not keep it's score from mounting up on lofty dragon's wings and blaring the praises of composer Patrick Doyle.

Read the full Review here