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Tracklist:
01 Opening Titles
02 Klingons Refuse Help
03 Boarding the Enterprise
04 Clear All Moorings
05 Talk – Approaching Klingons
06 Klingons Come Aboard
07 Assassinating Gordon
08 Kirk Surrenders
09 Arrested – Spock Takes Over
10 The Trial Begins
11 Kirk’s Log Used Against Him
12 Sentenced to Rura Penthe
13 Arrival – Warden Speech
14 Inside Rura Penthe
15 Unfair Prison Fight
16 Spock Finds a Clue
17 Escape Into the Void
18 Kirk Fights … Kirk
19 Dead Assassins – A Theory
20 Mind Meld Confession
21 Outlived Usefulness
22 Enterprise Arrives
23 Rigging the Probe – Fire!
24 Kirk Saves President
25 A Round of Applause
26 Finale – Signing Off
27 End Credits
28 Opening Titles (alternate)
29 Escape to the Void (alternate)
30 Finale – Signing Off (alternate)
31 Klingons Come Aboard (alternate)
NOTE
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Dead link.
I’ve been waiting for an expanded release for some time, but no CD label seems to be interested. Thank you very much.
What you may not know (with all due respect) is that the director actually wanted to used The Planets as source to soundtrack the film, and was persuaded that this would be impossible. As a result, Eidelman was required to stick *very* close to that (and as you rightly point out, Stravinsky and others) to fill the brief given. This is extremely common in film scoring, and immesurably frustrating to a composer – but it’s not the film of the composer: it’s someone else’s film, and if you won’t do the score they want, they will get someone else. And make no mistake, to get the kind of film a Star Trek picture is (lots of chances for a score to be heard nice and loud and unobstructed – not always a given by any means) a lot of composers would give their non-conducting arm.
Just my two cents – never blame the composer when it’s clear that they’ve had to follow a temp or specific instructions to sound "like" something. It’s what one has to do to get to the films later on where creative freedom (or at least *some* creative freedom) is given.
———- Post added at 02:52 AM ———- Previous post was at 02:52 AM ———-
The score rips off Stravinsky and Holst, and at its best it’s an uninspired copy of Horner’s style from Star Trek II.
What you may not know (with all due respect) is that the director actually wanted to used The Planets as source to soundtrack the film, and was persuaded that this would be impossible. As a result, Eidelman was required to stick *very* close to that (and as you rightly point out, Stravinsky and others) to fill the brief given. This is extremely common in film scoring, and immesurably frustrating to a composer – but it’s not the film of the composer: it’s someone else’s film, and if you won’t do the score they want, they will get someone else. And make no mistake, to get the kind of film a Star Trek picture is (lots of chances for a score to be heard nice and loud and unobstructed – not always a given by any means) a lot of composers would give their non-conducting arm.
Just my two cents – never blame the composer when it’s clear that they’ve had to follow a temp or specific instructions to sound "like" something. It’s what one has to do to get to the films later on where creative freedom (or at least *some* creative freedom) is given.
Eidelman’s score is what it is.
Personally, I enjoy it – and I believe Wimpel is being a bit hard on it; particularly criticising it for ripping off Horner’s scores, when Horner’s scores themselves ripped off just about every piece of music ever written. Of course, it’s nowhere near as effective as Horner’s but it was an impressive debut score for Eidelman; who deserved far more of a career than he got.
🙂