Horner has a real ear for what fantasy should SOUND like, and he's far from alone in borrowing from whomever -- all of them have done it, Goldsmith, Williams, EVERY composer borrows -- and that includes the so-called "classical" composers. It's just that Horner seems especially egregious. And in the wake of TITANIC, he seems especially lazy. He's many years younger than Wojciech Kilar, yet nothing he's done in recent years matches the power and urgency of just a single recent cue, Kilar's opening to THE NINTH GATE (which I forgot to cite above.)

Andre, I haven't heard or seen PORTRAIT OF A LADY, but I'd take a gamble on it, if I found it for cheap enough. (As I've said a million times already, I try not to pay full price for anything, unless I REALLY NEED IT. I do wonder whether THE NINTH GATE won't fall into that category ... )

One thought about the so-called "classical" composers: remember that they were the POPULAR composers of their day. Mozart was his own era's Celine Dion, for God's sake. (Wretched comparison, I know, but I couldn't think of a really apt one. I was trying to underline how many records Mozart would've sold if they'd had records back then. Hey, look how many records he sells now!)

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Originally posted by AaronR1074:
Although all I've heard of Kilar is Dracula (A miniscule score but still quite nice), I think it would be a tough one for him.

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It's sad when someone doesn't know anything about a composer (who's working since the 50's) and start to say this kind of nonsense... Better to stay silent them.

Wojciech Kilar was born in Lvov on 17th July 1932. Becouse of occupation he had to leave Lvov. Between 1946 and 1947 he studied at P¦SM in Rzeszów (K. Mirski). He made his debut as a pianist in 1947 at Young Talents Contest (Konkurs Młodych Talentów), where he played his own "Two Child's Miniatures" ("Dwie miniatury dziecięce"), he won second prize. In 1947-1948 he studied in Higher School of Music (PLM) in Cracow (M. Bilińska - Riegierowa - piano, A. Malawski - harmony). Next in 1948-50 studied at Higher School of Music (PLM) in Katowicewith piano master Władysława Markiewiczówna and private lessons with composition tutor B. Woytowicz. Between 1950 and 1955 studied with Bolesław Woytowicz - piano and composition. In 1955 after obtaining a university degree with first class honour, he won second prize for "Small Overture" ("Mała Uwertura") in Symphonic Works Contest on V Youth Festival in Warsaw. In 1955-1958 he learned with B. Woytowicz at PWSM in Cracow. In 1957 he took part in International Vacation Courses of New Music in Darmstadt. In 1959-1960 he received a scholarship from French Government, where he studied composition with Nadia Boulanger in Paris. In 1960 he was awarded for Lili Boulanger memorial Fund Award of Boston for his "Ode to Bela Bartok in memoriam". Between 1979 and 1981 he served as vice-chairman in Polish Composers' Union (Zwi±zek Kompozytorów Polskich) In 1977 he founded K. Szymanowski Society (Towarzystwo im. K. Szymanowskiego) in Zakopane, for two first tenures he was also a vice-chairman. In 1991 K. Zanussi made a TV film about his life, called "W.K.".
He has received many artistic awards, including:

The Lili Boulanger Prize for Composer (1960)
The State Award, First Degree (1980)
The Award of the Minister of Culture and Fine Arts (1967 - Second Degree and 1976 - Firs Degree)
The Prize of the Polish Composers' Union (1975)
The Award of the Katowice Voivodship (1967, 1971, 1975 and 1980)
The Award of the City of Katowice (1975, 1992)
The Award of the A. Jurzykowski Foundation in New York (1984)
The Artistic Award of the Independent Culture Association NSZZ "Solidarnosc" (1989)
The Award of Three Uprising Wings (1990)
The Award of TV Katowice (1990)
The Award of the President of Cinematography Association (1991)
The Award of the American Composers Association for music to film Dracula(1993)
The W. Korfanty Prize (1995)
The Award of the Katowice Metropolitan Archbishop "Lux ex Silesia" (1995)
Sonderpreis des Kulturpreises Schlesien des Landes Niedersachsen (1996)
The Award of the Museum of Cinematography in Lodz (1997)
He also received awards on festivals:

One thought about the so-called "classical" composers:remember that they were the POPULAR composers of their day.Mozart was his own era's Celine Dion, for God's sake. (Wretched
comparison, I know, but I couldn't think of a really apt one. I was trying to underline how many records Mozart would've sold if
they'd had records back then. Hey, look how many records he sells now!)

Perhaps Mozart is a bad historical example. He was usually far from being "popular;" only toward the end of his life did he write much music that would have been heard or appreciated by the "people." For most of his life, he was a Court employee; when he went freelance, his income dried up and he died penniless.

On a different level, though, I would bet that the majority of the composers from the 18th and 19th centuries whose names we still recognize had little popularity beyond the upper-middle class. Few indeed made their fortunes at composition, being salaried professionals. Access to their music was most likely severely limited for the lower classes. "Popular" music most likely consisted more of vaudevilles, folk music, and minstrelsy, rather than of concert fare.

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Originally posted by SPOR2:
And, oh ya, to the person who suggested that Krull is one of the best scores ever written...that's a joke right?

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Oh... I don't know SOPOR2. Are you laughing?
Let us know, ok?

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Originally posted by Marian Schedenig:
could it really be coincidence that information about Kilar is on a Gandalf page!?

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Originally posted by SPOR2:
Schucks, Andre, you're such a stud.

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Hmmm... is that right? Well, I'm glad you feel cool man! Whatever you wrote means...

P.S.: Sometimes I feel real good to speak another language and don't be able to understand this mumbo-jumbo dialect some people feel so proud to write...