JUPITER ASCENDING.

Jupiter-Ascending

Composer Michael Giacchino has steadily risen to the top of his profession, very much like fellow composer Brian Tyler, Giacchino I think in a couple of decades from now will be regarded in a very similar way as composers such as Jerry Goldsmith, John Williams and Elmer Bernstein are thought of today. Giacchino first came to my notice when he scored the video game MEDAL OF HONOUR and has ever since that score been I think earmarked as it were to achieve and be involved with interesting and also high profile projects in film. The new STAR TREK movies coming to mind instantly and also DAWN OF THE PLANET OF THE APES plus there have been some not so big box office hits such as JOHN CARTER which although was not exactly looked upon with a great deal of affection by cinema goers and critics its musical score still served well the images on screen and in fact is probably one of the most memorable things about the movie. The composer has the ability to adapt and alter his style and sound which each and every project that he is involved with. One of his latest scores is in my opinion possibly one of his best or at least his best to date, JUPITER ASCENDING as a movie is somewhat disappointing and has been met with mixed feelings from the press and public alike, sad to say many of the reviews and opinions I have seen have been mostly negative, due mainly to performances of certain actors, which is a shame because if the film fades into obscurity then so at times does its score and anything else to do with it. The soundtrack is a mammoth and magnificent work, Giacchino literally pulling out all the stops, it is a sweeping and lush soundtrack filled with rich and vibrant thematic material and enhanced by driving action pieces that are supported and enriched by choir and solo voice performances, plus there is a lot of music here, the soundtrack being released as a 2 disc set. The first disc opens with four movements of music from the movie, well I say from the movie, these were actually composed before any film had been shot, Giacchino writing his wonderful themes in 2013, the opening four tracks which have a duration of nearly 18 minutes are gloriously thematic the composer being able to create them without any restrictions of timings etc, the opening cue or first movement beginning with a fanfare of sorts purveyed by brass underlined and supported by percussion and timpani, sounding like a grand announcement that could rival the opening for 20TH Century Fox. The brass flourishes fade and give way to a calmer and more subdued and tranquil atmosphere which is given a serene and near celestial mood by the composers use of choir and boy soprano, the soprano sounding slightly nervous and uncertain as if it is worried about being part of this grand affair that is about to commence.

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The second movement is a plaintive and emotive piece at its outset, a lilting and haunting theme being performed at first by solo violin that oozes with fragile melancholy and tenderness, the theme is then taken on and given a fuller working by the string section where we hear it begin to fully develop, the strings then hand the theme to the choral section and finally to a solo woodwind performance underlined by restrained strings. The third movement is in my opinion the most appealing with Giacchino evoking an atmosphere and sound which is exciting and exhilarating and very much akin to the style that he employed within his scores for the STAR TREK movies, at times abrasive brass stabs and driving unrelenting strings combine with booming percussion, martial timpani and Omen like dark malevolent chanting to create a piece that is not only imposing, fearsome and stimulating but one that also remains attractive and enticing throughout. The final movement too is attractive and beguiling, with Giacchino employing rich melodious adagio type strings that are warming and full combining these with heavenly choral contributions. At first the piece is fragile, apprehensive and delicate but soon builds into a romantic and highly emotional composition, the strings being enhanced by choir and further underlined by subdued brass, the boy soprano returns and creates a solitary and slightly darker atmosphere with the three note motif that later in the score will develop into the theme for the central character Jupiter, this gentle but slightly unsettling vocal leads the cue to its conclusion. After these four introductory movements we dive headlong into the composers glorious and affecting score which turns, twists and drives forward with a forthright intenseness that is hard, powerful and fast, during the work we hear again in various guises all of the principal themes that the composer introduces in the first four cues, but he develops and elaborates these further creating a score that is simply enormous. Saying this the score does also have its more romantic and wistful moments, flyaway strings, harmonious brass and woods at certain points creating a Williams-esque sound and also a sound that is so reminiscent of the late Jerry Goldsmith it is uncanny, but I have to say although there are similarities here and we all will obviously make comparisons between Goldsmith, Williams and even Barry (track number-10 THE TITUS CLIPPER) we are treated to all of this plus there is still the originality and the individual musical voice and fingerprint of Giacchino shining through all the way. As in the powerhouse cues SCRAMBLED EGGS, THE HOUSES OF ABRASAX, I HATE MY LIFE and THE ABRASAX FAMILY TREE to name but a handful. The score is emotive and also forebodingly forthright a listening experience that should not be missed. This is an essential purchase so do not hesitate go buy it NOW…….. images (28)

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2 thoughts on “JUPITER ASCENDING.”

  1. I’ve also discovered Michael Giacchino from his Medal of Honor score and thought what a talent to take over for the departed Jerry Goldsmith. I wanted to see Jupiter Ascending simply because of the great action-packed trailer, but the negative reviews have kept me away. His scores have not disappointed, but I want to hear more character driven and less action oriented scores in they way Alexandre Desplat have done. Only time will tell.

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