Star Trek: Final Season of Picard Treats Fans With Musical Easter Eggs

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“Star Trek” fans are still talking about the soundtrack for the final season of “Picard.” This is because of its generous symphonic score. stephen barton And Frederik Wiedmann “The Journey” refers to many themes throughout the 57-year history of movies and TV shows.

Barton, who composed the music for seven of the 10 episodes and collaborated with Wiedmann in the finale, says the idea came from showrunner Terry Matalas. “We talked a lot about ‘Star Trek’ from the very beginning, where we grew up together. It was a moment in the series where we could take a step back and look at the whole picture and say, how can we honor that?”

Wiedmann says Matalas has an “incredible, vast knowledge” of “Trek” music. “He’s just as enthusiastic about the soundtrack as we are – which ultimately helped us tremendously because Terry had a very clear idea of ​​where to go with the music.”

Jerry Goldsmith’s themes for “Star Trek: The Next Generation” (first written for “Star Trek: The Motion Picture” in 1979) and 1996’s “Star Trek: First Contact” are ubiquitous, but “The” There are also excerpts from James Horner’s music in the movie. Wrath of Khan” (1982), Leonard Rosenman’s “The Voyage Home” (1986), Goldsmith’s “The Final Frontier” (1989), Cliff Eidelman’s “The Undiscovered Country” (1991), Dennis McCarthy’s “Generations” (1994), Goldsmith’s “Voyager” theme (1995), and of course Alexander Courage’s original 1966 “Trek” adoration.

While these musical Easter eggs were fun for fans to recognize, there was also a great deal of original music to be written. Orchestras ranged from 70 to 82 players per session.

“It’s just a huge effort,” Wiedmann says, “because everything had to be composed and recorded every two weeks by a large orchestra.” Actually, that’s why it was brought in. Barton wrote four and a half hours of music for the first six episodes and, as he put it, “I had just died.”

Barton composed themes for the USS Titan, the ship Picard (Patrick Stewart) and Riker (Jonathan Frakes) command in their quest to confront the variables that threaten Starfleet; A family motif for Picard, Crusher (Gates McFadden) and their mysteriously empowered son, Jack (Ed Speleers); and a darker piece representing the plot.

Matalas commissioned Wiedmann for three of the final four episodes, but the connection was nearly unsuccessful—”that monumental, life-changing email” went into a spam folder, as Wiedmann put it. By chance, Matalas contacted the composer’s representative and immediately put him into service.

Wiedmann’s contributions include a seven-minute neoclassical piece for the evil Vadic (Amanda Plummer), music for Borg, and a motif for Jack and Picard.

As a result, the two composers wrote and recorded more than seven hours of music in four months, and both consider this a high point in their careers. “’Next Gen’ was the show I grew up with, and it’s an absolutely insane honor to be entrusted with this show,” says Barton.

Wiedmann adds: “When you set out to be a film composer at the age of 12 or 13, your only dream is to work on ‘Star Trek’ or ‘Star Wars’. This is as good as can be.

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