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"The film demanded it. It’s very possible to have written a score that sounded like one of the earlier films, but it would not have worked. This film had a darker and mysterious tone, plus all of the Shakespearean references [...] Combine that with my meeting with Nick, who said you can be darker and mysterious and that I did not have to go to the previous scores. He was asking me to go someplace new, which really felt comfortable being able to go off in my own direction. Looking back, I think that was a good choice."
Eidelman began the project by compiling music from the predecessors and consciously avoided taking inspiration from those scores. As he was hired early on in production, he had an unusually long time to develop his ideas, and he was able to visit the sets during filming. While the film was in production, he worked on electronic drafts of the final score, to placate executives who were unsure about using a relatively unknown composer. [2] : 9 He found science fiction the most interesting and exciting genre to compose for, and that Meyer told him to treat the film as a fresh start, rather than drawing on old Star Trek themes. [4]
Eidelman wanted the music to aid the visuals; for Rura Penthe, he wanted to create an atmosphere that reflected the alien setting and used exotic instruments for color. Besides using percussions, he treated the choir as a percussion, with the Klingon language translation for "to be, or not to be" ("taH pagh, taHbe") played repetitively in the background. Spock's theme was designed to be an ethereal counterpart to the motif for Kirk and the Enterprise. [2] : 10 Kirk's internal dilemma about what the future holds was echoed in the main theme. [5] : 46 For the climactic battle, Eidelman produced a quite music in the beginning, which builds the intensity as the battle progresses. [4]
Unlike the previous Star Trek scores, which was recorded at the Paramount Stage M in Record Plant, Los Angeles, the score for The Undiscovered Country was recorded in 20th Century Fox's Newman Scoring Stage. [3] Eidelman conducted a 91-piece of the Hollywood Studio Symphony, which performed an hour of the film's music with orchestrations provided by Eidelman, Mark McKenzie and William Kidd. [3] The score was recorded for a week at the studio with Eidelman taking 10 hours per day to compose the film score. [3]
Star Trek VI: The Undiscovered Country | ||||
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Film score by | ||||
Released | 1991 | |||
Studio | Newman Scoring Stage, 20th Century Fox Studios, Los Angeles | |||
Genre | Film score | |||
Length | 45:18 | |||
Label | MCA | |||
Producer | Cliff Eidelman | |||
Star Trek soundtracks chronology | ||||
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Cliff Eidelman chronology | ||||
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The soundtrack was released on December 10, 1991, through MCA Records and features thirteen tracks of score with a running time of forty-five minutes. [6] Eidelman arranged much of the score in order, combining the cues and editing its length to build an effective listening environment as heard in a standalone album. [3] In 2005, a bootleg copy of the soundtrack surfaced with thirty-six tracks of score and a running time of nearly seventy minutes. [7]
No. | Title | Length |
---|---|---|
1. | "Overture" | 2:57 |
2. | "An Incident" | 0:53 |
3. | "Clear All Moorings" | 1:39 |
4. | "Assassination" | 4:45 |
5. | "Surrender For Peace" | 2:46 |
6. | "Death Of Gorkon" | 1:10 |
7. | "Rura Penthe" | 4:22 |
8. | "Revealed" | 2:38 |
9. | "Escape From Rura Penthe" | 5:34 |
10. | "Dining On Ashes" | 1:00 |
11. | "The Battle For Peace" | 8:03 |
12. | "Sign Off" | 3:13 |
13. | "Star Trek IV Suite" | 6:18 |
Total length: | 45:18 |
Star Trek VI: The Undiscovered Country (Expanded Edition) | |
---|---|
Film score by | |
Released | February 27, 2012 |
Genre | Film score |
Length | 112:30 |
Label | Intrada |
Producer | Cliff Eidelman |
Intrada Records released a two-disc set in 2012. The first disc is made up of the complete score and four extra cues which Eidelman had in its digital audio tape. The second disc contains the material from the original MCA release. [8] Some of the alternate cues that composed were also for the promotional trailer. That cue, was considered to be a recording of a special session of how the main title being played with the orchestra and had a mix of three to four themes. [3]
No. | Title | Length |
---|---|---|
1. | "Overture" | 3:02 |
2. | "The Incident" | 1:09 |
3. | "Spacedock/Clear All Moorings" (Contains theme from Star Trek composed by Alexander Courage) | 1:59 |
4. | "Spock's Wisdom" | 3:13 |
5. | "Guess Who's Coming" | 0:49 |
6. | "Assassination" | 2:16 |
7. | "Surrender for Peace" | 2:48 |
8. | "The Death of Gorkon" | 2:07 |
9. | "The Trial/Morally Unjust Evidence" | 1:13 |
10. | "Sentencing" | 1:02 |
11. | "Rura Penthe/First Sight of Rura Penthe" | 4:09 |
12. | "Alien Fight" | 1:05 |
13. | "First Evidence/The Search" | 1:33 |
14. | "Escape From Rura Penthe" | 5:35 |
15. | "The Mirror" | 1:17 |
16. | "Revealed" | 2:48 |
17. | "Mind Meld" | 2:06 |
18. | "Dining on Ashes" | 1:01 |
19. | "The Battle for Peace/The Final Chance for Peace/The Final Count" | 8:15 |
20. | "The Undiscovered Country" | 1:07 |
21. | "Sign Off" (Contains theme from Star Trek) | 3:16 |
22. | "Star Trek VI End Credits Suite" | 6:17 |
23. | "Trailer" (Contains theme from Star Trek) (take 10) | 2:23 |
24. | "Guess Who's Coming" (alternate) | 0:51 |
25. | "Sign Off" (Contains theme from Star Trek) (alternate) | 3:31 |
26. | "Trailer" (Contains theme from Star Trek) (take 2) | 2:20 |
Total length: | 67:12 |
No. | Title | Length |
---|---|---|
1. | "Overture" | 2:57 |
2. | "An Incident" | 0:53 |
3. | "Clear All Moorings" (Contains theme from Star Trek) | 1:39 |
4. | "Assassination" | 4:45 |
5. | "Surrender for Peace" | 2:46 |
6. | "Death of Gorkon" | 1:10 |
7. | "Rura Penthe" | 4:22 |
8. | "Revealed" | 2:38 |
9. | "Escape From Rura Penthe" | 5:34 |
10. | "Dining on Ashes" | 1:00 |
11. | "The Battle for Peace" | 8:03 |
12. | "Sign Off" (Contains theme from Star Trek) | 3:13 |
13. | "Star Trek VI Suite" | 6:18 |
Total length: | 45:18 |
According to Christian Clemmensen of Filmtracks.com , "while Jerry Goldsmith has been immortalized as having brought the most, musically speaking, to the Star Trek franchise, Eidelman's score for Star Trek VI remains a unique powerhouse." [7] Thomas Glorieux of Maintitles wrote "Star Trek VI: The Undiscovered Country is rightly called the best non Horner / Goldsmith score for a Star Trek motion picture." [9] Craig Lysy of Movie Music UK wrote "Eidelman correctly interprets the film’s dark narrative, perfectly attenuates his music to the film’s imagery and demonstrates compelling mastery of his craft. His expert interplay between seven themes, use of instruments and tonal coloring all join in a wondrous synergy to yield a magnificent musical journey that will echo through time." [10] Jason Ankeny of AllMusic wrote "the climactic "The Battle for Peace" nevertheless recaptures the power and glory one expects from a Star Trek score, perfectly capping off the series' most fully rounded entry to date." [11] Darren Franich of Entertainment Weekly wrote "Cliff Eidelman’s score is minor-key, insinuating, infesting. It puts you on edge." [12]
Credits adapted from liner notes [13]