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MusicOfMovies

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The best cinema soundtracks with images.

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MusicOfMovies @panchovertigen.bsky.social · 9h

Morricone’s score combines the sublimely beautiful with patently hilarious, all to astonishingly entertaining effect. It’s an insanely catchy cowboy clip-clop rhythm which uses a trilling recorder, a harmonica, and tolling bells in between vocal passages youtu.be/D5ykvSWPRu8

Vamos a matar, compañeros. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 08/10/2026

The opening cue “I’m Forrest… Forrest Gump” is a gorgeous, tender-hearted piano theme backed by elegant strings and light accents from guitars and woodwinds. It is one of the finest main titles Silvestri has ever written. youtu.be/xLZs2TBCA-o

Forrest Gump. Alan Silvestri

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MusicOfMovies @panchovertigen.bsky.social · 07/10/2026

Michael Small is known for his paranoia thriller scores. “I wrote that score from the point of the ending; that was the moment that the music could take the film to one final place. I thought that there had to be a certain irony and texture to the scene.” youtu.be/f3h1327Ss1A

Night moves. Michael Small

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MusicOfMovies @panchovertigen.bsky.social · 06/10/2026

A lounge jazz/light rock score. The main title theme is a hip beat with a prominent Hammond organ performing the dance like melody, accompanied by a rock drum kit, before it veers off into the first of a series of impressionistic harpsichord interludes. youtu.be/DOHwVZqr0mY

Uccidete il vitello grasso e arrostitelo. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 04/10/2026

The “Main Title” is a fun, bombastic march-like theme which bounces a series of staccato phrases around the orchestra. The rhythmic part of the theme is unique, if not downright bizarre, a 5-note motif with a sort-of brass fanfare. youtu.be/fjHu65xV3jQ

True lies. Brad Fiedel

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MusicOfMovies @panchovertigen.bsky.social · 03/10/2026

Jerry Goldsmith's score is built around several recurring main themes, including a powerful main theme, a wonderfully atmospheric trombone glissando motif which is usually used as a sort of ‘identity marker’ for the lurking presence of The Shadow. youtu.be/qU8YJdPtLlU

The Shadow. Jerry Goldsmith

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MusicOfMovies @panchovertigen.bsky.social · 02/10/2026

The score features an orchestra, the chorus of I Cantori Moderni di Alessandroni, and specialist instruments including keyboards, guitars and marimbas. But that description of simple facts doesn’t really come close to capturing just how odd the score is. youtu.be/SQFsrZTFqLU

Quando le Donne avevano la Coda. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 01/10/2026

The score is written for the full orchestra, with solo performances by percussionist Steve Jordan, Mike Lang on piano, Danny Kortchma and Tim May on guitar and a young Simon Franglen, who designed some of the score’s electronic elements. youtu.be/z65aZgGljw8

The Client. Howard Shore

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MusicOfMovies @panchovertigen.bsky.social · 30/09/2026

The superb “Main Titles” grows out from a duet between a solo violin and a pennywhistle to encompass the full orchestra in sweeping, stirring fashion. The main theme appears in almost every cue in the score in one form or another. youtu.be/_orFTXBj3-0

Black Beauty. Danny Elfman

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MusicOfMovies @panchovertigen.bsky.social · 29/09/2026

This “Tema d’Amore” is a gorgeous, haunting, searching lament for a bank of strings that gradually grows to enormous proportions of effortless beauty, especially when the heavenly sound of soprano soloist Edda dell’Orso enters. youtu.be/SWhPBY72lWM

The Red Tent. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 28/09/2026

The score opens with a bang in the terrific “Main Title,” a resounding volley of Coplandesque brasses, a broadly patriotic piece which somehow manages to thread a fascinating tonal needle by being both uplifting and dour, heroic and reserved. youtu.be/dCmJsqOfGr4

Clear and present Danger. James Horner

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MusicOfMovies @panchovertigen.bsky.social · 27/09/2026

In this suite we open with rousing refulgence with an ornate prelude from which is launched a heroic Marco’s Theme. Later, we are graced by the Venetian theme, a wonderful danza elegante and we flow into the Chinese Theme, which wooden percussion. youtu.be/q0-drULX-94

The Adventures of Marco Polo. Hugo Friedhofer

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MusicOfMovies @panchovertigen.bsky.social · 26/09/2026

'Song of Life' appears as a languid lounge-rock arrangement featuring a prominent Hammond organ, and picks up the full choir of Alessandrini’s Cantori Moderni that it shares a lot of similarity with the superb 'Abolição' cue from 1969’s film "Queimada". youtu.be/Outa6L1A_ZU

I Cannibali. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 25/09/2026

Bernard Herrmann shed the percussion section and assembled an ensemble consisting of double woodwinds, four French horns, strings, and harp. The soundscape he envisioned was intimate, often including various woodwinds soli, and themes offering cantabile melodies. youtu.be/EMv8i6C7oTs

The trouble with Harry. Bernard Herrmann

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MusicOfMovies @panchovertigen.bsky.social · 24/09/2026

Miklós Rózsa's Main Theme offers a quintessential English sensibility and nautical flavor. It presents in classic long-lined form, with a proud and declarative seventeen-note A Phrase, with the B Phrase dance-like with repeating eight-note phrasing. youtu.be/e3PrVnSHqB0

Moonfleet. Miklós Rózsa

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MusicOfMovies @panchovertigen.bsky.social · 23/09/2026

Morricone scored the film with just one main theme for gentle woodwinds and tinkling dulcimers first heard in the first half of the “Main Titles,” which then gradually morphs into an unusually light pop arrangement in which the main melody is whistled. youtu.be/LYKViyiwdmk

Hornets's Nest. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 22/09/2026

Leonard Rosenman insisted on working the way Russian composers had worked. This involves being constantly on location. "Main Title" offers a score highlight, where he introduces the two primary Themes, which perfectly establish the tone of the film. youtu.be/RZaZRUoziyQ

East of Eden. Leonard Rosenman

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MusicOfMovies @panchovertigen.bsky.social · 21/09/2026

Main Title offers a score highlight where Kaper perfectly sets the tone of the film. It opens with heraldic trumpets reale fanfare and a diminuendo usher a beckoning quote of the Love Theme by oboe tenero. We close with a prescient coda of the Love Theme. youtu.be/ry3YS3I8k0s

The glass slipper. Bronislau Kaper

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MusicOfMovies @panchovertigen.bsky.social · 20/09/2026

The most iconic theme is a dirty and gritty theme for orchestra, wailing guitars and darkly insistent pianos, which gradually emerges into a strident melody that many may see as a forerunner to the theme he wrote for Quentin Tarantino’s The Hateful Eight. youtu.be/1fDsMlMSiks

Città Violenta. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 19/09/2026

The themes are mostly arranged for banks of strings, with the lead melodies alternating between viola and cello. The layering of the string section is gorgeous – there numerous are echoes of Alfred Newman’s vibrato-rich biblical scores. youtu.be/FugMnBagVxc

Murder in the First. Christopher Young

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MusicOfMovies @panchovertigen.bsky.social · 18/09/2026

For his soundscape, Victor Young blended oriental and occidental musical sensibilities, and anchored the film with very inspired themes. The Love Theme offers a string borne romanza, which speaks to the love between James and Anne. youtu.be/s8XyjAz9lbs

The Left Hand of God. Victor Young

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MusicOfMovies @panchovertigen.bsky.social · 17/09/2026

This score sees Morricone embracing his romantic side, no more so than in the opening titular song, a soft, gentle, idyllic piece for voices, guitars, and percussion backed with strings, and which contains a lovely interlude duet for piano and oboe. youtu.be/B9iGmVj0VS8

Una breve stagione. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 16/09/2026

Pino Donaggio's magnificent music supports the film, with melodic themes and rhythmic string music for the suspense scenes. An example of this is the Main Theme, a beautiful melody of a romantic and sensual character, with wonderful piano notes. youtu.be/jiY0v2imsm4

Blow Out. Pino Donaggio

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MusicOfMovies @panchovertigen.bsky.social · 15/09/2026

“Main Title” opens with three consecutive chords grave with timpani strikes. We enter the film proper ominously with “A Rainy Night” where a dramatic kinetic galloping motif propels a carriage. A foreboding musical narrative unfolds the third cue. youtu.be/q0AFyZBGp_0

The Virgin Queen. Franz Waxman

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MusicOfMovies @panchovertigen.bsky.social · 14/09/2026

The “Main Title” offers a driving piece that pairs guitars, woodwinds, and thunderous strings, into which are inserted an anarchic, array of bizarre choral outbursts and sound effects. This score is one of Ennio Morricone’s best non-Leone western. youtu.be/l_redVsP6hw

Un exercito di 5 uomini. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 13/09/2026

Franz Waxman in the Opening Credits offers a saxophone led frenetic jazz piece with dazzling orchestration. We close the credits on a freeform trilling flute dancing over drum strikes crowned with horns dramatico. Lisa offers a romanza cantabile. youtu.be/xBgwp95aM1c

Rear Window. Franz Waxman

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MusicOfMovies @panchovertigen.bsky.social · 12/09/2026

The opening cue “Main Title/The Caravan” acts as an overture of sorts, introducing several of the score’s main themes one after the other. The main theme for Mowgli is a majestic and long lined theme that speaks to the nobility and heroism of his character youtu.be/q7mTMnM22qQ

The Jungle Book. Basil Poledouris

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MusicOfMovies @panchovertigen.bsky.social · 11/09/2026

“Nuddu” (Someone) is a delicate, intimate piece for guitars, classical strings, and a whistled melody by the great Alessandro Alessandrini. The conclusive “Ancora Più Dolcemente” (Even More Sweetly) is much more upbeat, a tropical bossa-nova rhythm. youtu.be/hdPAUTWqeAc

Un bellissimo Novembre. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 10/09/2026

The Main Theme is long lined and empowered with declarations by heraldic, unison French horns, answered with a reprise of two soli oboes before shifting to strings energico with woodwind adornment. For Susie we are graced with sublime strings and woodwinds. youtu.be/9BDwVeZDhvA

The Kentuckian. Bernard Herrmann

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MusicOfMovies @panchovertigen.bsky.social · 09/09/2026

“Générique Début” is a beautiful piece and score highlight. Delerue introduces Claire’s Theme, which plays against dark currents of suspense as she deals with the repercussions of her stolen purse that contains an old love letter from the President. youtu.be/XawQb19kq7M

Le bon plaisir. Georges Delerue

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MusicOfMovies @panchovertigen.bsky.social · 08/09/2026

“Titoli” is a nice piece of laid back jazz – conventional, but pretty – and this style of writing continues combining keyboards and subtle guitars with strings, pianos and brushed snares, charming and appealing, notable for its breezy and jazzy main theme. youtu.be/jgUUlqsmS1c

Senza sapere niente di lei. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 07/09/2026

Goldsmith's original main title music offered classic romanticism, a grand testament to the mystery and awesome wonder of outer space. This juxtaposition would contrast and intensify the subsequent horror and terror that would unfold. youtu.be/TkrKu0Hb3Qg

Alien. Jerry Goldsmith

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MusicOfMovies @panchovertigen.bsky.social · 06/09/2026

The main theme actually contains three distinct parts; a pastoral Americana for tender oboes; a vigorous interlude for light fanfare-style brass figures and then the melody carried gloriously by the full orchestra. A new proof of Thomas Newman’s style. youtu.be/MydHy4AcO3c

Little Women. Thomas Newman

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MusicOfMovies @panchovertigen.bsky.social · 05/09/2026

Ennio Morricone takes us to the heights of musical ecstasy, showing us levels of beauty that we had previously only fantasized about. It opens with a fabulous piece, Il Mito Del Male, which sounds like it should accompany the creation of Frankenstein’s monster. youtu.be/DX0AZZ0iNOc

L'ultimo dei Corleonesi. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 04/09/2026

In “River” Alexandre Desplat provides a virtuoso piano element, illustrating the endless movement of water. The orchestrations are clearly steeped from the light and airy xylophone and glockenspiel runs, harp glissandi, giving the score a pleasing tone. youtu.be/aTQZw2RD-3Q

The tree of life. Alexandre Desplat

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MusicOfMovies @panchovertigen.bsky.social · 03/09/2026

“Établissement Thermal” opens the score with a wondrous flowing waltz that transports us to another time and place. “Générique” continues the waltz like sensibility as tutti strings emote a wondrous flowing melody that makes you start dancing. youtu.be/JlrcT7orJEc

Guy de Maupassant. Georges Delerue

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MusicOfMovies @panchovertigen.bsky.social · 02/09/2026

Ennio Morricone’s score is very much rooted in his 1960s jazz style, and offers a series of soft, intimate instrumentals for orchestra and jazz combo. The main theme "The absolute natural" gets passed around between bass flutes, Hammond organ, and strings. youtu.be/CMysvbKVA0o

L'assoluto naturale. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 01/09/2026

Larry Groupé intentionally eschews the clichéd Deep South sound of the Cajun dueling banjos-style music that one often expects to hear in films in this setting. The “End Credits” simply recapitulates the main themes of the score in a longer version. youtu.be/Bu_bpTNbMQA

Straw Dogs. Larry Groupé

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MusicOfMovies @panchovertigen.bsky.social · 31/08/2026

The Overture is a classic march that opens with a heroic fanfare stated first in the upper register and then repeated mid-range over militaristic timpani. The Main Title is a stunning piece in that it’s powerful and complex theme animates the entire score. youtu.be/iDK_XltHBDA

The Black Hole. John Barry

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MusicOfMovies @panchovertigen.bsky.social · 30/08/2026

Larry Groupé intentionally eschews the clichéd Deep South sound of the Cajun dueling banjos-style music that one often expects to hear in films in this setting. The “End Credits” simply recapitulates the main themes of the score in a longer version. youtu.be/Bu_bpTNbMQA

Straw Dogs. Larry Groupé

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MusicOfMovies @panchovertigen.bsky.social · 29/08/2026

The Overture is a classic march that opens with a heroic fanfare stated first in the upper register and then repeated mid-range over militaristic timpani. The Main Title is a stunning piece in that it’s powerful and complex theme animates the entire score. youtu.be/iDK_XltHBDA

The Black Hole. John Barry

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MusicOfMovies @panchovertigen.bsky.social · 28/08/2026

Ennio Morricone’s score for the film is one of his more subtle ones, presenting a series of relaxing lounge music jazz tracks for orchestra, vocals, and jazz combo. The great Edda Dell’Orso lends her unmistakable voice to “Alla Serenitá,” the main title. youtu.be/UWKrPhKG-JM

La donna invisibile. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 27/08/2026

This theme is in reality Captain Nemo, our story’s anti-hero. It animates the score and helps to provide the film an important gravitas, beginning powerfully with a grand and portentous statement of dramatic heraldic horns. youtu.be/vRQgTMfR2_8

2000 leagues under the sea. Paul J. Smith

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MusicOfMovies @panchovertigen.bsky.social · 26/08/2026

The Générique Début opens with a prelude of woodwinds repeatedly pulsing against string sustains until a solo saxophone playing over plucked bass and shifting string sustains introduces the blues tinged and jazz flavored Main Theme. This is a fine opening. youtu.be/BZaiQTUlSNg

Descente aux Enfers. Georges Delerue

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MusicOfMovies @panchovertigen.bsky.social · 25/08/2026

The main theme appears in “Fräulein Doktor on Board the Ship” and then in “Fräulein Doktor at the Hotel.” This is truly one of Morricone’s most beautiful themes, in which strings and piano and harpsichord combine in the most gorgeous of ways. youtu.be/wimrAkZte3U

Fräulein Doktor. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 24/08/2026

The opening cue, which introduces Tintin’s undulating motif, is influenced by his progressive jazz style, including an accordion, harpsichord, muted clarinets, tubular bells, and lots more besides. It reminds listeners that Williams was a jazz man. youtu.be/sKagkxBUK3E

The adventures of Tintin. John Williams

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MusicOfMovies @panchovertigen.bsky.social · 23/08/2026

The powerful “Overture” opens with the rhythmic drive and frenetic energy of the Rebellion Theme. We segue into a presto paced rendition of the Natasha’s Theme, which sustains the energetic pacing of the piece. Then we flow into the sumptuous Love Theme. youtu.be/CTjSvvT92WU

55 Days at Peking. Dimitri Tiomkin

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MusicOfMovies @panchovertigen.bsky.social · 22/08/2026

This is one of the most obscure soundtracks of Morricone’s entire early career. It builds from a cheerful, slightly comedic piano riff to encompass renaissance-style brass, dancing strings, and chimes, in an uplifting and uncharacteristically jolly way. youtu.be/sO3Y5lueGTk

H2S. Ennio Morricone

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MusicOfMovies @panchovertigen.bsky.social · 21/08/2026

In the opening cue, “Dartmoor 1912”, the music gradually emerges from a delicate, flighty flute solo into a warm and enveloping string refrain of the first theme, which seems to represent the tranquil location of the film’s opening reel. Classic Williams. youtu.be/Pmq1cUR1dxo

War Horse. John Williams

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MusicOfMovies @panchovertigen.bsky.social · 20/08/2026

“George Smiley” is a soft, introverted jazz piece for a solo piano, solo trumpet, string wash, and brushed percussion and there’s a hint of Alexandre Desplat in “Islay Hotel” in the way insistent, rhythmic clarinet notes combine with the piano and strings. youtu.be/-aZoIwpYyUI

Tinker Taylor Soldier Spy. Alberto Iglesias

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