7:24 oh god I love that theme, so haunting. That melody could have been played on french horn, but the oboe (clarinet?) gives it a more antique quality. probably my favorite use of that cue was for Losira's final message in That Which Survives. Tangent: the fan-made series Star Trek Continues (on YT) did a wonderful, bittersweet sequel to this episode ('Pilgrim Of Eternity') w/Michael Forest reprising his role as Apollo. The closing scene is worth the price of admission.
@@davidpage9355 your mileage may vary- when they're on point, it's terrific. 'The Fairest Of Them All', their sequel to 'Mirror, Mirror' is outstanding. 🖖
"The bow arm should be bare...." And THEN SOME. Thank you Bill Theiss, thank you! You're right of course, "Final Battle" and "End of Apollo" are masterful. With remastering of both sound and audio, we can again fully appreciate Steiner's emotional score, and Michael Forest's moving performance. I've always admired how he and the director weren't afraid to show this powerful, muscular "man" crying in anguish and loss. One of the times when TOS gets me totally choked up.
Another great job David. I'm surprised you didn't mention Steiner's work on "Charlie X" being adapted here. But also, my favorite score from this episode is "Apollo's Temple #2" -- it's such a beautiful part.
Thanks! Fred scored 29:07 of music for this episode, so forgive that I had to leave some things out! The "zap" stingers adapted from Charlie X were brilliantly utilized - plus the stunt shooting when Scotty is blasted by Apollo. I must have re-watched that a hundred times.
Hi Dave, I love your channel. I’ve had so much fun exploring the music of Star Trek with you. I almost hate to mention it but 99% of Star Trek fans mispronounce the name of the episode, “Who Mourns for Adonais.” It is not Adonis. It is pronounced “Adonai”or “Adonaius.” The title comes from the poem Adonais by Percy Shelley and basically means “who mourns for the gods?” Keep up the good work and I’ll look forward to future videos.
I was driven here by a reference in “These Are The Voyages-Season Two.” Outstanding “deep dig” into the music of Star Trek. Looking forward to looking around the rest of your videos.
Thanks Craig. Glad you found your way here! Current project is Duning's score for "Return To Tomorrow". Just about done transcribing the "Kirk's Philosophy" cue. Masterpiece.
@@CaptainHarris-ip2kg Except that you stated it “reminds you of Bernstein’s score for JATA”. You should have inserted Bernard Herrmann in place of Elmer Bernstein. The cue is closely allied to Herrmann’s cue for the winged god Mercury as Jason looks on during his transformation, I will admit that.
This was the composer's favourite of his Trek scores you say? That's up against some stiff competition, but Apollo's theme does take the prize - it's one of those episodes that is really elevated to a higher plane by the music - rather like Gerald Fried does for Catspaw, but this is a better episode to begin with so rather than nearly saving the episode, it turns it into something truly memorable - still not one of the all-time greatest episodes but well worth watching, the concept is, in the words - well, word - of the show's most memorable character, fascinating. Steiner's theme for Apollo with those open fifths was reused a lot - more in season 3 than in this season. But, like Gerald Fried's fight theme from the next/previous episode (depending on whether you go by production or airdate order), it was also a big influence on future Trek scores - in this case, Jerry Goldsmith's Klingon theme in the movies! Also if my ears aren't mistaken, that bit when Apollo was demonstrating his power was reworked into an establishing cue in season 3, the "upside down" one I described elsewhere. You say Steiner did a partial score for By Any Other Name - I'm going to say right here and now, I've always noticed that the credit for that episode read "composed and conducted" but I've never been able to identify what the new music was for that episode. - Liam
On "By Any Other Name", the Steiner cues begin on the planet where they first encounter Rojan and the gang. The Kelvan Theme, the Neutralizer stingers. The CD collection shows total time of 12:28 for the Steiner cues. Whenever one of the Kelvans used the belt neutralizer, there's a real fast xylophone/piccolo 7-note ascending passage that was new for this episode. It's only about a dozen cues.
@@davidpage9355 ah, I see, thanks. I wonder if I just mentally thought of that as a sound effect rather than a music cue. I need to watch it again. Actually I should probably watch the whole original series again as there's one other, much more serious, blind spot in my recognition of the incidental music but I'll get to that on the proper video. - Liam.
Well, I just stumbled upon you. You are brilliant as a professional musician. I was always blown away by the music of the original series and loved how it stands alone even without the script. It’s pure music. But I have a question if you can help me articulate something I always have felt that the music of subsequent Star Trek Episodes and movies never were able to capture the essence of the original soundtrack to me everything after Star Trek, sounds like Star Wars to me the music is really cheesy and useless, can you articulate the exact reasons why Star Trek excelled as a musical vehicle compared to the pale comparisons of subsequent Star Trek reboots and movies??? I can’t find the right words
Hey, thanks for the comments, and I will clarify that I am not a professional (meaning making my living as a) musician. Nothing but admiration for those who do! Your question comes up a lot, and it's interesting that so many have had the same observation. There are several issues in play that I've learned. Re: TNG, Bob Justman. who produced TOS, has said in interview that Rick Berman, who went on to produce TNG, felt that the new show, the new ship much later, the new cast, and approach to story telling was so different that he insisted the music be more subdued than the original. So it was intentional, and Justman (who was good friends with Berman) rightly deferred to the new style. That pretty much set the pattern for whatever came after. There were some good musical moments but by and large music was part of the set, rather than the cast.. if you know what I mean. It was also a new era of production. Pre-1980 (or so) musician union rules allowed TV producers to re-use recorded music in later episodes of the same season (see my video on "Tracking" for more) So, in that era the composers knew that it was likely their music would be used in multiple episodes, and I think that gave rise to a higher sense of dramatic scoring and greater creativity. After 1980 the union rules changed, and the practice of "tracking" ceased - new music had to be composed and recorded for EVERY episode, and I think this gave rise to a mass-produced approach to the music. The composers had to produce so much they really couldn't focus on quality or creativity - and it wasn't what Berman wanted anyway. Does that make Berman a bad guy? No, it was just his artistic sense for what the show needed. The music could well reflect the difference in the two captains - Kirk was dramatic, over the top, physical. Picard was reserved, intellectual, artistic. And so the music goes. My take on it, anyway.
@David Page Ha Ha 😄 I'm still chuckling at the reading of my comment in the opening! What a great response! At 12:08 you flashed a card that read "season two continues" and I thought for a moment that you were going to start commenting on the music of Star Trek Continues where Apollo returns. If you haven't checked it out already, you might like to.(ruclips.net/video/3G-ziTBAkbQ/видео.html). At least a couple of the episodes featured original music written by Juliard professor Andy Farber. The final episode is a brilliant mix of Star Trek themes from the whole gambit of TOS tv and film and beyond!
Hey there. So glad you enjoyed this. I will slow down at some point long enough to take in the "... Continues" series. I've heard nothing but positive, and Prof. Farber has been good enough to reach out to me. I'm honored!
"Who Mourns for Adonais" was not an episode I wanted to see a second time. It's premise is that a god or gods were real, which is against the humanist message of Star Trek. Similarly, the episode "Plato's Stepchildren" refers to ancient aliens visiting Earth, but apparently just to observe and not to build the pyramids or give us culture, so it's not as bad. Perhaps more similar is the episode "Requiem for Methuselah" who was an immortal who lived the lives of famous artist and composer, which is also a slap in the face to their achievements.
Very powerful music that still pulls at the emotions. This music was the engine of that Ep.
7:24 oh god I love that theme, so haunting. That melody could have been played on french horn, but the oboe (clarinet?) gives it a more antique quality. probably my favorite use of that cue was for Losira's final message in That Which Survives. Tangent: the fan-made series Star Trek Continues (on YT) did a wonderful, bittersweet sequel to this episode ('Pilgrim Of Eternity') w/Michael Forest reprising his role as Apollo. The closing scene is worth the price of admission.
I've been wanting to check out "..Continues" for some time. I hear great things all the time! Thanks.
@@davidpage9355 your mileage may vary- when they're on point, it's terrific. 'The Fairest Of Them All', their sequel to 'Mirror, Mirror' is outstanding. 🖖
"The bow arm should be bare...." And THEN SOME. Thank you Bill Theiss, thank you!
You're right of course, "Final Battle" and "End of Apollo" are masterful. With remastering of both sound and audio, we can again fully appreciate Steiner's emotional score, and Michael Forest's moving performance. I've always admired how he and the director weren't afraid to show this powerful, muscular "man" crying in anguish and loss. One of the times when TOS gets me totally choked up.
Another great job David. I'm surprised you didn't mention Steiner's work on "Charlie X" being adapted here. But also, my favorite score from this episode is "Apollo's Temple #2" -- it's such a beautiful part.
Thanks! Fred scored 29:07 of music for this episode, so forgive that I had to leave some things out! The "zap" stingers adapted from Charlie X were brilliantly utilized - plus the stunt shooting when Scotty is blasted by Apollo. I must have re-watched that a hundred times.
Hi Dave, I love your channel. I’ve had so much fun exploring the music of Star Trek with you. I almost hate to mention it but 99% of Star Trek fans mispronounce the name of the episode, “Who Mourns for Adonais.” It is not Adonis. It is pronounced “Adonai”or “Adonaius.” The title comes from the poem Adonais by Percy Shelley and basically means “who mourns for the gods?” Keep up the good work and I’ll look forward to future videos.
'Apollo's Theme' has got to be my favourite in the series it is so evoking of a distance past and other worldly.
I was driven here by a reference in “These Are The Voyages-Season Two.” Outstanding “deep dig” into the music of Star Trek. Looking forward to looking around the rest of your videos.
Glad you stopped by!
I've always thought this was a missed opportunity for the ST franchise. Who were The Gods?
That Apollo theme is one of my fave Start Trek TOS music cues.....I like how it's been used for other great episodes, like The Cloud Minders.
Love your channel! Great work on Star Trek especially (my favourite)!
Thank you! Working on more now. Hope you stop by again!
"Dilithium crystals that powers much of the music of Adonis."
"Facinating" choice of words Dave and so true.
Whom Gods Destroy has some of my favorite music when they restore Garth's sanity at the end.
I just discovered your channel. I’ve been listening to my LaLa Land Records collection for a couple years and look forward to learning more here ❤
Thanks Craig. Glad you found your way here! Current project is Duning's score for "Return To Tomorrow". Just about done transcribing the "Kirk's Philosophy" cue. Masterpiece.
Great stuff
David, thanks for a great start to my Friday!
My pleasure!
11:28 Reminds me of Bernstein's score for Harryhausen's Jason and the Argonauts.
Bernstein? As in Elmer Bernstein? The film was scored by Bernard Herrmann.
@@historybuff66 I know, that's why I said it reminded me of it.
@@CaptainHarris-ip2kg Except that you stated it “reminds you of Bernstein’s score for JATA”. You should have inserted Bernard Herrmann in place of Elmer Bernstein. The cue is closely allied to Herrmann’s cue for the winged god Mercury as Jason looks on during his transformation, I will admit that.
@@historybuff66 Whatever.
If you heard "Row Row Row your boat" and said it reminded you of the Beatles, would you need to say what song?
@@CaptainHarris-ip2kg What an asinine and altogether pointless response.
This was the composer's favourite of his Trek scores you say? That's up against some stiff competition, but Apollo's theme does take the prize - it's one of those episodes that is really elevated to a higher plane by the music - rather like Gerald Fried does for Catspaw, but this is a better episode to begin with so rather than nearly saving the episode, it turns it into something truly memorable - still not one of the all-time greatest episodes but well worth watching, the concept is, in the words - well, word - of the show's most memorable character, fascinating.
Steiner's theme for Apollo with those open fifths was reused a lot - more in season 3 than in this season. But, like Gerald Fried's fight theme from the next/previous episode (depending on whether you go by production or airdate order), it was also a big influence on future Trek scores - in this case, Jerry Goldsmith's Klingon theme in the movies!
Also if my ears aren't mistaken, that bit when Apollo was demonstrating his power was reworked into an establishing cue in season 3, the "upside down" one I described elsewhere.
You say Steiner did a partial score for By Any Other Name - I'm going to say right here and now, I've always noticed that the credit for that episode read "composed and conducted" but I've never been able to identify what the new music was for that episode.
- Liam
On "By Any Other Name", the Steiner cues begin on the planet where they first encounter Rojan and the gang. The Kelvan Theme, the Neutralizer stingers. The CD collection shows total time of 12:28 for the Steiner cues. Whenever one of the Kelvans used the belt neutralizer, there's a real fast xylophone/piccolo 7-note ascending passage that was new for this episode. It's only about a dozen cues.
@@davidpage9355 ah, I see, thanks. I wonder if I just mentally thought of that as a sound effect rather than a music cue. I need to watch it again. Actually I should probably watch the whole original series again as there's one other, much more serious, blind spot in my recognition of the incidental music but I'll get to that on the proper video.
- Liam.
Well, I just stumbled upon you. You are brilliant as a professional musician. I was always blown away by the music of the original series and loved how it stands alone even without the script. It’s pure music. But I have a question if you can help me articulate something I always have felt that the music of subsequent Star Trek Episodes and movies never were able to capture the essence of the original soundtrack to me everything after Star Trek, sounds like Star Wars to me the music is really cheesy and useless, can you articulate the exact reasons why Star Trek excelled as a musical vehicle compared to the pale comparisons of subsequent Star Trek reboots and movies??? I can’t find the right words
Hey, thanks for the comments, and I will clarify that I am not a professional (meaning making my living as a) musician. Nothing but admiration for those who do!
Your question comes up a lot, and it's interesting that so many have had the same observation. There are several issues in play that I've learned. Re: TNG, Bob Justman. who produced TOS, has said in interview that Rick Berman, who went on to produce TNG, felt that the new show, the new ship much later, the new cast, and approach to story telling was so different that he insisted the music be more subdued than the original. So it was intentional, and Justman (who was good friends with Berman) rightly deferred to the new style. That pretty much set the pattern for whatever came after. There were some good musical moments but by and large music was part of the set, rather than the cast.. if you know what I mean.
It was also a new era of production. Pre-1980 (or so) musician union rules allowed TV producers to re-use recorded music in later episodes of the same season (see my video on "Tracking" for more) So, in that era the composers knew that it was likely their music would be used in multiple episodes, and I think that gave rise to a higher sense of dramatic scoring and greater creativity.
After 1980 the union rules changed, and the practice of "tracking" ceased - new music had to be composed and recorded for EVERY episode, and I think this gave rise to a mass-produced approach to the music. The composers had to produce so much they really couldn't focus on quality or creativity - and it wasn't what Berman wanted anyway. Does that make Berman a bad guy? No, it was just his artistic sense for what the show needed.
The music could well reflect the difference in the two captains - Kirk was dramatic, over the top, physical. Picard was reserved, intellectual, artistic. And so the music goes. My take on it, anyway.
@David Page Ha Ha 😄 I'm still chuckling at the reading of my comment in the opening! What a great response!
At 12:08 you flashed a card that read "season two continues" and I thought for a moment that you were going to start commenting on the music of Star Trek Continues where Apollo returns. If you haven't checked it out already, you might like to.(ruclips.net/video/3G-ziTBAkbQ/видео.html). At least a couple of the episodes featured original music written by Juliard professor Andy Farber. The final episode is a brilliant mix of Star Trek themes from the whole gambit of TOS tv and film and beyond!
Hey there. So glad you enjoyed this. I will slow down at some point long enough to take in the "... Continues" series. I've heard nothing but positive, and Prof. Farber has been good enough to reach out to me. I'm honored!
"Who Mourns for Adonais" was not an episode I wanted to see a second time. It's premise is that a god or gods were real, which is against the humanist message of Star Trek. Similarly, the episode "Plato's Stepchildren" refers to ancient aliens visiting Earth, but apparently just to observe and not to build the pyramids or give us culture, so it's not as bad. Perhaps more similar is the episode "Requiem for Methuselah" who was an immortal who lived the lives of famous artist and composer, which is also a slap in the face to their achievements.
I think your perspective is harebrained and puerile. And not just on this video.