on 10 November 2014
Cliff Eidelman nails it, this is what Star Trek is about, bombast and a slightly over the top feel.
The first track Overture while suspiciously sounding like it could of been part of Holst's planet suite is a great opening track and the use of some unusual percussion instruments for when Kirk and Bones are on the Klingon prison world of Rura Penthe is great to hear.
The final few tracks give a nice sense of occasion as this was the original casts final outing on the Enterprise.
Undiscovered Country is real favourite of mine and this score only enhances the experience 5 stars!
on 20 September 2003
Whereas Leonard Rosenman's score for Star Trek IV was joyous, and grand, Cliff Eidelman's score for Star Trek VI is extremely dark and brooding. From the main titles, featuring a relentless cello ostinato and outbursts from the full orchestra as well as a chorus (something heretofore unheard in the Star Trek universe) Eidelman sets the tone of the film as dark, unforgiving, and ultimately one about sacrifice. Much of his score is in a similar dark vein, utilizing choral moans and brass to astounding effect. Eidelman also uses ethnic instruments as evidenced in the opening passage to the cue "Assassination" used to underscore a conversation between Spock and his apprentice Valkris. When on the Penal Colony Rura Penthe, Eidelman creates extremely atonal, harsh, aggresive music, and for the long panoramic views of the harsh winter wasteland, trumpet solos soar above the orchestra. In one of the films first sequences, where the Enterprise Leaves Drydock, Eidelman allows his orchestra to unleash itself with an extremely happy fanfare and an almost naval flair. In one of the final cues, "The Battle for Peace" Eidelman takes his previously established material, and uses it to full effect,creating an eerie blend between Holst's Mars, and Stravinsky's Firebird, with his warlike percussion, Heavy use of strings and high woodwinds, and choral outbursts that punctuate the entire score. Eidelman finally allows a certain degree of joy in his final cue "Star Trek VI Suite" which orchestrationally is similar to Rosenman's Star Trek IV theme, using chimes and brass to full effect, he then switches to the films main theme, and leaves us with a melancholy solo trumpet playing over tremolo strings. Eidelman's score is perhaps one of the more underrated of the "Star Trek" scores and deserves to be rediscovered for it's beauty, anger, and value as fine music.
on 23 May 2014
I do find it interesting that when it comes to Star Trek films, if it's a good film, you usually get a good sound track, "Wrath of Khan", "First Contact", but if it's a bad Star trek film, a bad sound soundtrack usually follows, "The Final Frontier" & "Insurrection" for example (although my personnel favourite soundtrack is "Star Trek, The Motion Picture", the jury's still out on whether that's a good film, but I always say that you should never let facts spoil a good theory). It does help though if the plot of the fill involves an enemy Kirk & Co. can get their teeth in, & then try to blow 7 bells out in the process.
So this is a delightfully dark & brooding soundtrack (it's nice sometimes to ware the black hat, (cowboy reference)), with a really bleak melody that permeates throughout most of the CD (it would be nice, if the soundtrack of a film, for once, had lots of different pieces of music, instead of constantly repeating the same score, perhaps songwriters who compose soundtracks are just plain lazy).
The film itself does have its lighter moments, (Kirk Kissing Kirk springs to mind), so the music is not entirely representative of movie.
As with most soundtracks, once the visual element has been removed, you really start to hear aspects of the music that you didn't notice before, which give soundtrack a freshness, interesting liner notes as well.
So if you're a Sci-Fi fan, or occasional Timelord, this record is great example of music that fits perfectly with the images it backs, but also can stand alone as a musical album in it own right.
on 22 July 2012
Great to see the definitive soundtrack released. Cliff Eidelmann's score was one of the highlights of Star Trek VI. It stands alone as its own piece of work, albeit with elements of Stravinsky,Holst and Wagner peppered through.It is the darkest score of the original series Trek films, but suits the story perfectly. In fact it elevates the film and helps the audience overlook the films main flaws, which was primarily a production budget that was far too small to do an otherwise excellent story justice. The score on its own in a terrific listen, especially with extra tracks! Throughly reccomended!
on 27 August 2002
James Horner and Jerry Goldsmith are the forerunners of the Star Trek music (Horner has done ST2&4, Goldsmith ST1,5,8&9) but this soundtrack is the best one for the classic crew to go out on. It is moving and during the action scenes adreanalin pumping. It is one of the best.