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==Overview== |
==Overview== |
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| − | Marked by a strong emphasis on electronically synthesized instrumentation, Jerry Goldsmith's score for {{film|9}} is infused with the same kind of life and ''light'' as the film itself. |
+ | Marked by a strong emphasis on electronically synthesized instrumentation, Jerry Goldsmith's score for {{film|9}} is infused with the same kind of life and ''light'' as the film itself. Energetic and continually flowing, the score introduces new elements to the sound of the ''[[Star Trek]]'' film franchise: most notably, a constant, bouncing piano and electronic current beneath traditional orchestral elements. |
| − | ''Insurrection'' integrates old material such as the ever-present [[USS Enterprise (NCC-1701)|''Enterprise'']] theme and the incidental [[Worf]]/[[Klingon]] theme (both introduced in {{film|1}}) with new elements such as a love theme and overarching, pulsating action beat. |
+ | ''Insurrection'' integrates old material such as the ever-present [[USS Enterprise (NCC-1701)|''Enterprise'']] theme and the incidental [[Worf]]/[[Klingon]] theme (both introduced in {{film|1}}) with new elements such as a love theme and overarching, pulsating action beat. Unlike the score for his next effort, {{film|10}}, Goldsmith never allows ''Insurrection'' to get mired in the darkest moments of the film. Clearly intended to coincide with the producers' desire to create a lighter, less melancholy film, the score for ''Insurrection'' is a stark departure from the dramatic themes of {{film|8}}. While not without its emotional moments, the score tends to skew more towards the wonder and whimsy of the [[Ba'ku]] storyline. The "adversity" or "A Busy Man" theme from {{film|5}} and the aforementioned ''First Contact'' is performed only once (just as [[Jean-Luc Picard|Picard]] makes his decision to rebel) and then only fleetingly. |
| − | The score culminates (as the film does) in a life or death struggle aboard the [[Son'a collector]], but even then serves to emphasize not the darkness of the moment, but the wonder and scope of the situation. |
+ | The score culminates (as the film does) in a life or death struggle aboard the [[Son'a collector]], but even then serves to emphasize not the darkness of the moment, but the wonder and scope of the situation. Goldsmith once again closes the score with a standard performance of ''The Motion Picture'' end credit suite, this time bookending the same delicate, string-based melody representing the Ba'ku village that opened the film and sustained the lighter moments. |
==Track listing== |
==Track listing== |
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| − | The commercial soundtrack release contained a sampling of the music used in the film. |
+ | The commercial soundtrack release contained a sampling of the music used in the film. Below is a list of the tracks made widely available. |
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Revision as of 13:19, 4 April 2016
Template:Realworld Jerry Goldsmith's original score for Star Trek: Insurrection.
Overview
Marked by a strong emphasis on electronically synthesized instrumentation, Jerry Goldsmith's score for Star Trek: Insurrection is infused with the same kind of life and light as the film itself. Energetic and continually flowing, the score introduces new elements to the sound of the Star Trek film franchise: most notably, a constant, bouncing piano and electronic current beneath traditional orchestral elements.
Insurrection integrates old material such as the ever-present Enterprise theme and the incidental Worf/Klingon theme (both introduced in Star Trek: The Motion Picture) with new elements such as a love theme and overarching, pulsating action beat. Unlike the score for his next effort, Star Trek Nemesis, Goldsmith never allows Insurrection to get mired in the darkest moments of the film. Clearly intended to coincide with the producers' desire to create a lighter, less melancholy film, the score for Insurrection is a stark departure from the dramatic themes of Star Trek: First Contact. While not without its emotional moments, the score tends to skew more towards the wonder and whimsy of the Ba'ku storyline. The "adversity" or "A Busy Man" theme from Star Trek V: The Final Frontier and the aforementioned First Contact is performed only once (just as Picard makes his decision to rebel) and then only fleetingly.
The score culminates (as the film does) in a life or death struggle aboard the Son'a collector, but even then serves to emphasize not the darkness of the moment, but the wonder and scope of the situation. Goldsmith once again closes the score with a standard performance of The Motion Picture end credit suite, this time bookending the same delicate, string-based melody representing the Ba'ku village that opened the film and sustained the lighter moments.
Track listing
The commercial soundtrack release contained a sampling of the music used in the film. Below is a list of the tracks made widely available.
| # | Title/Runtime |
|---|---|
| 1 | Ba'Ku Village † (6:52) |
| 2 | In Custody (1:14) |
| 3 | Children's Story (1:47) |
| 4 | Not Functioning (1:45) |
| 5 | New Sight (5:44) |
| 6 | The Drones Attack (4:10) |
| 7 | The Riker Maneuver (3:09) |
| 8 | The Same Race (1:16) |
| 9 | No Threat (4:12) |
| 10 | The Healing Process † (7:15) |
| 11 | End Credits † (5:25) |
| Total | 41:29 |
- † Contains TOS theme composed by Alexander Courage
| Previous soundtrack release: | Series | Next soundtrack release: |
| Star Trek: First Contact | Star Trek Movie Soundtrack Star Trek: Insurrection |
Star Trek: The Motion Picture - 20th Anniversary Collector's Edition |