star trek nemesis soundtrack

Star Trek Nemesis (soundtrack)

Overview [ ].

Jerry Goldsmith's penultimate completed score before his 2004 death ( Looney Tunes: Back in Action being his last) finishes out the TNG -era films with a bang... of sorts. Touted as Goldsmith's most "aggressive" effort to date, the score for Star Trek Nemesis delves into darker and certainly harsher action/adventure music than any other Star Trek score. Composed with a similar mix of electronic and traditional orchestral elements, Nemesis features far more subdued synthesized instrumentation than heard in Star Trek: Insurrection , with bracing percussive elements taking center stage. Playing a much more ethereal role in this score, the synthesized elements are comparable to Vangelis' Blade Runner , though more integrated with the live orchestra.

Themes from earlier Goldsmith Star Trek incarnations such as the now standard Enterprise theme ( Star Trek: The Motion Picture ) and the "adversity" or "Busy Man" theme ( Star Trek V: The Final Frontier ) return, while, for the first time Worf 's Klingon theme (also from The Motion Picture and Star Trek V ) is strangely left out. New material, of course, representing Shinzon and the Remans is heard, based on a five-note motif that carries throughout the film, culminating in a beautiful concert performance during the end credits suite.

Unlike Goldsmith's previous Star Trek compositions, Nemesis grapples with the darker thematic content in the film and generally strays from the softer emotions like those evoked in The Final Frontier and even First Contact . The score acts as an almost neutral party, playing to full bombast during exciting action sequences, but remaining relatively detached during such delicate moments as the Riker / Troi wedding and Data 's wake .

Another unique aspect of Nemesis is the use of Irving Berlin's " Blue Skies ", integrated into the film's finale, though ultimately fleeting. Bookending Shinzon's theme and Data's "final fight" is a traditional rendition of Goldsmith's end credit theme, performed with slightly less vigor than earlier versions, possibly a reminder of the melancholy nature of this "Generation's final journey" and Goldsmith's own final contribution to the Star Trek legacy.

Track listing [ ]

The commercial soundtrack release of Star Trek Nemesis contained a sampling of the music used in the film. Below is a list of the tracks made widely available.

• 1 Bell Riots
• 2 Daniels (Crewman)

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Star Trek: Nemesis Soundtrack [ 2002 ]

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Star Trek: Nemesis (Music From The Original Motion Picture Soundtrack)

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The score to Star Trek: Nemesis represents a significant milestone in the career of composer Jerry Goldsmith. As the tenth addition to the long-running Star Trek movie franchise, Nemesis is the composer’s fifth return to Gene Roddenberry’s fantastical universe. Teamed with director Stuart Baird, with whom he has more recently collaborated for Executive Decision (1996) and U.S. Marshals (1998), Goldsmith provides a versatile score that contrasts the unsettling machinations of the villainous Shinzon with the heroic pursuits of a defiant Federation, incorporating musical glimpses that invoke the memory of the Starship Enterprise’s finest moments over it’s 23 year voyage of cinematic discovery. The album begins with an exploration of "Remus", the Romulan sister planet. Unearthly synthetic textures and a subdued trumpet solo provide an air of wonder as a condensed statement of Alexander Courage’s theme for the original television series firmly establishes the audience in familiar territory. The music unremittingly drives forward with a strident, manipulative motif for celli and French horns, underpinned with timp ostinato and syncopated electronic percussion. Wonderment, though, is soon replaced by overtones of menace as "The Box", a horrific device that Shinzon uses to seize political control of Romulus, is introduced. For this, Goldsmith juxtaposes the slow decay of low-pitched electronic pads with a suffusing dissonant crescendo, finally converging the dying ferocity into a hideous triumphal march. With a change of dramatic scenery comes a transformation of instrumental texture in "My Right Arm". Quiet contemplation, particularly exemplified by a poignant oboe solo, signifies the betrothal of two long-standing members of the Enterprise’s crew. However, this fanciful mood is quickly shattered by the re-adjustment of Enterprise’s course in "Odds and Ends". Chilling drones and the recurrent chromatic descent of further inhuman sounds precede one of the film’s set-pieces, a drive across harsh desert terrain to recover the scattered remains of a synthetic life form. For this sequence, the composer provides yet more harmonically-rich thematic material as well as a subversive motivic correlation with the ominous "Remus". Goldsmith cements the key thematic fabric that binds the rest of the presented score together as Lt. Commander Data "Repairs" the newly-recovered android. Here he introduces two connected motifs, the first a moving tutti passage for unison celli, for Data. The second a highly-contrapuntal motif for cello, with malevolent portamenti markings, and accompanying electronic ostinato. As these ideas concede to further atmospheric underscore, Goldsmith then transforms this secondary idea into a disturbing motif for brass before the cue’s diminutive resolve. Following this, the album continues with "The Knife", a cue that incorporates restrained underscore and symbolic bell chimes, synonymous with the enigmatic Shinzon and first heard at the opening of "The Box", whose presence further infuses "Ideals". The final portion of the score features some of the most engaging action music that the composer has ever written. Goldsmith’s discordant brass motif from "Repairs" now re-appears, resolving the pensive nature of the cue’s uplifting opening and satisfying a tense plot point of great significance that is reflected in the all-out action of "The Mirror". In a worthy homage to the success of Star Trek space battles of old, Goldsmith revisits compositional ideas from Star Trek: The Motion Picture as can be heard in "The Scorpion". A highlight of the album, this cue is propelled by its compound meter, angular string arpeggiations, and threatening low brass, before its familiar, optimistic conclusion. However, this optimism soon gives way to doubt as "Lateral Run" commands apprehensive electronics and a full-bodied compliment of brass to pave the way for a re-statement of pivotal thematic material. Only the deceivingly passive orchestrations of "Engage", which climax in a militaristic frenzy, remain before the composer delivers one of his most outstanding cues, "Final Flight". Whilst Picard and Shinzon vie for the fate of mankind, brass flourishes and a return of the strident motif from "Remus", here scored solely for cello, break way to a final statement of the Reman’s motif, a masterful interplay between the coupling of lower brass and percussion against the rousing imitative discourse of French horn and first violins. Like Jean-Luc, Goldsmith plays his trump card decisively, scoring Picard’s final move as an exceptional act of valour in a mass of primeval tone-clusters, striking percussive triplets, and melodic heroism. As "A New Friend" casts a hopeful eye over the proceedings with the return of the poignant oboe solo first heard in "My Right Arm", "A New Ending" closes the album in reflection. Contrasting the events of the film’s finale with the endearing legacy of the Starship Enterprise, the album concludes in a blaze of glory led by Goldsmith’s own Star Trek fanfare. The score to Star Trek: Nemesis is, without a shadow of doubt, one of Jerry Goldsmith’s finest and most intricate contributions to his body of work. It rightfully deserves much acclaim and stands as a testament to his ability to read film in a way that few contemporary film composers can. Nemesis is a score filled with many great qualities and, given Goldsmith’s ability to compose idiomatic melodic material which is dexterously-phrased, it challenges the talented studio musicians to deliver a great performance, which engineer Bruce Botnick captures perfectly (and here an acknowledgement of the Paramount Scoring Stage’s marvellous acoustics is due). I should add also that the composer’s use of electronic instrumentation in this score shows a great maturity, as opposed to incongruity. Such timbres are well-suited to providing both an accurate depiction of the film’s soundscape as well as resounding dramatic impact that, whilst cannot always be reproduced outside of a film, do not make for anything less than an enjoyable listening experience. I realise that my comments regarding this score are not shared, and most probably will never be, by the vast majority of Goldsmith’s critics, many of whom have already had much to say about this score despite the film not yet being on general release at the time of writing. Indeed, it is very likely that the many supporters of the composer who read my comments will duly welcome them in a vein that is more reverential of the individual than of this achievement. However, I wholly stand by them as I for one was not expecting the bold assertions made in announcing this soundtrack album’s release, by Varèse Sarabande, to ring true. Thankfully, I was wrong. Glen Aitken 5

Star Trek: Nemesis [Music from the Original Motion Picture Soundtrack]

Jerry goldsmith, (digital download - varèse sarabande #), main album:.

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Release info, allmusic review, track listing.

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Star Trek: Nemesis (Music From the Original Motion Picture Soundtrack)

January 1, 2002 14 Songs, 48 minutes ℗ 2002 Paramount Pictures, under exclusive license to Varese Sarabande Records

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Star Trek: Nemesis (Music From The Original Motion Picture Soundtrack)

Jerry Goldsmith

14 SONGS • 48 MINUTES • DEC 10 2002

• TRACKS TRACKS
• DETAILS DETAILS

Jerry Goldsmith was one of the most prolific film and television composers, with almost 200 scores to his credit, as well as being a consistent award winner in both mediums. His music is omnipresent in the American psyche, most notably in one of the creepy themes from The Twilight Zone. Unlike many film composers, he had few immediately identifiable traits; instead, he seemed to subsume his identity to that of the film and its moods. He did not, however, avoid innovation; some of his experiments with music for science fiction films, such as the adaptations of standard orchestral instruments for the score of his 1968 The Planet of the Apes, were on the leading edge of innovation when he created them.

He studied theory and composition with Mario Castelnuovo-Tedesco and later, composing for film with Miklós Rózsa. His first job in entertainment was as a typist with CBS Television, but his talent was soon recognized, and he first wrote music for radio serials and later, the themes for several famous shows, including Perry Mason and The Man From UNCLE. 1952 saw his first film score (uncredited) for the Marilyn Monroe vehicle Don't Bother to Knock. In 1960, he began composing for Revue Studios, where he wrote the music for Lonely Are the Brave, now considered a classic score. He followed this with successes such as Stagecoach, Planet of the Apes (which he conducted while wearing one of the ape masks), Patton, Chinatown, and his first score to win an Academy Award: The Omen (1976). In 1979, he wrote his first Star Trek film score, and in 2002, he wrote another, Star Trek: Nemesis. During the '80s and '90s, he wrote for such blockbusters as the various Rambo films, Basic Instinct, L.A. Confidential, and the animated film, Mulan.

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Soundtrack Information

Star Trek: Nemesis - Vinyl Edition

Limited Edition of 750 Copies

Varese Sarabande

Release Date: September 14, 2018

Conducted by Jerry Goldsmith

Format: Vinyl

• Star Trek: Nemesis (2002)
• Jerry Goldsmith

Purchase Soundtrack

• Official Site

Track Listing

Related albums.

Star Trek Nemesis: The Deluxe Edition Limited Edition of 5,000 Copies Varese Sarabande Club (VCL-1143 / VCL 1213 1143)

Released: January 6, 2014

Format: CD (115 min)

Star Trek: Nemesis Varese Sarabande (302 066 430 2)

Released: November 26, 2002

Formats: CD, Digital (48 min)

Varese Sarabande: A 30th Anniversary Celebration Varese Sarabande (302 066 900 2 / VSD-6900)

Released: April 15, 2008

Format: CD (309 min)

Jerry Goldsmith: His Final Recordings Varese Sarabande (302 066 788 2 / VSD-6788)

Released: February 13, 2007

The Star Trek Album Silva America

Released: 2003

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Star Trek: Deep Space Nine

Star Trek: Deep Space Nine (1993–1999) is a science fiction television series based on Gene Roddenberry ’s Star Trek , created by Rick Berman and Michael Piller , and produced by Paramount Pictures .

Emissary [1.1]

Past prologue [1.3], a man alone [1.4], babel [1.5], captive pursuit [1.6], q-less [1.7], the passenger [1.9], move along home [1.10], the nagus [1.11], vortex [1.12], battle lines [1.13], the storyteller [1.14], progress [1.15], if wishes were horses [1.16], the forsaken [1.17], dramatis personae [1.18], duet [1.19], in the hands of the prophets [1.20], the homecoming [2.1], the circle [2.2], the siege [2.3].

- Krim, to Benjamin Sisko and Li Nalas

Invasive Procedures [2.4]

[Sisko is blocking Verad Dax's escape]

Cardassians [2.5]

Melora [2.6], rules of acquisition [2.7], necessary evil [2.8], second sight [2.9], sanctuary [2.10], rivals [2.11], the alternate [2.12].

Dr. Mora Pol: You are truly a remarkable life-form, Odo.

Armageddon Game [2.13]

Whispers [2.14], paradise [2.15], shadowplay [2.16], playing god [2.17], profit and loss [2.18], blood oath [2.19], the maquis, part i [2.20], the maquis, part ii [2.21], the wire [2.22], crossover [2.23], the collaborator [2.24], tribunal [2.25], the jem'hadar [2.26], the search, part i [3.1], the search, part ii [3.2], the house of quark [3.3], equilibrium [3.4], second skin [3.5], the abandoned [3.6], civil defense [3.7], meridian [3.8], defiant [3.9], fascination [3.10], past tense, part i [3.11], past tense, part ii [3.12], life support [3.13], heart of stone [3.14], destiny [3.15], prophet motive [3.16], visionary [3.17], distant voices [3.18], through the looking glass [3.19], improbable cause [3.20], the die is cast [3.21], explorers [3.22], family business [3.23], shakaar [3.24], facets [3.25], the adversary [3.26], the way of the warrior [4.1], the visitor [4.3], hippocratic oath [4.4], indiscretion [4.5], rejoined [4.6], starship down [4.7].

(Quark and Hanok are trying to disarm an unexploded torpedo)

Little Green Men [4.8]

The sword of kahless [4.9], our man bashir [4.10].

Bashir presses the button and floods the world

- Falcon and Hippocrates Noah; after Bashir destroys the world

Homefront [4.11]

(Joseph has cut his finger)

Paradise Lost [4.12]

Crossfire [4.13], return to grace [4.14], sons of mogh [4.15], bar association [4.16], accession [4.17], rules of engagement [4.18], hard time [4.19], shattered mirror [4.20], the muse [4.21], for the cause [4.22], to the death [4.23], the quickening [4.24], body parts [4.25], broken link [4.26], apocalypse rising [5.1], the ship [5.2], looking for par'mach in all the wrong places [5.3], ...nor the battle to the strong [5.4], the assignment [5.5], trials and tribble-ations [5.6].

(We see Quark, in much the same situation that K-7's bartender was left in, with one tribble perched on his head and hundreds more scattered throughout the bar)

Let He Who Is Without Sin... [5.7]

Things past [5.8], the ascent [5.9], rapture [5.10], the darkness and the light [5.11], the begotten [5.12], for the uniform [5.13], in purgatory's shadow [5.14], by inferno's light [5.15], doctor bashir, i presume [5.16], a simple investigation [5.17], business as usual [5.18], ties of blood and water [5.19], ferengi love songs [5.20], soldiers of the empire [5.21], children of time [5.22], blaze of glory [5.23].

(Trying to fight off the Jem'Hadar, Eddington is mortally wounded)

Empok Nor [5.24]

In the cards [5.25], call to arms [5.26], a time to stand [6.1], rocks and shoals [6.2], sons and daughters [6.3], behind the lines [6.4], favor the bold [6.5], sacrifice of angels [6.6], you are cordially invited... [6.7], resurrection [6.8], statistical probabilities [6.9], the magnificent ferengi [6.10], waltz [6.11], who mourns for morn [6.12], far beyond the stars [6.13], one little ship [6.14], honor among thieves [6.15], change of heart [6.16], wrongs darker than death or night [6.17], inquisition [6.18], in the pale moonlight [6.19], his way [6.20], the reckoning [6.21], valiant [6.22], profit and lace [6.23], time's orphan [6.24], the sound of her voice [6.25], tears of the prophets [6.26], image in the sand [7.1], shadows and symbols [7.2], afterimage [7.3], take me out to the holosuite [7.4], chrysalis [7.5], treachery, faith, and the great river [7.6], once more unto the breach [7.7], the siege of ar-558 [7.8], covenant [7.9], it's only a paper moon [7.10], prodigal daughter [7.11], the emperor's new cloak [7.12], field of fire [7.13], chimera [7.14], badda-bing badda-bang [7.15], inter arma enim silent leges [7.16], penumbra [7.17], 'til death do us part [7.18], strange bedfellows [7.19], the changing face of evil [7.20], when it rains [7.21], tacking into the wind [7.22], extreme measures [7.23], the dogs of war [7.24], what you leave behind [7.25].

Dukat burns Winn alive. However her death is enough of a distraction for Sisko to hurl himself, Dukat and the Book in the fire caves; Dukat and Book are destroyed; Sisko ends up in the Celestial Temple and talks with his mother.

• U.S.S. Defiant (NX-74205) dedication plaque.
• Avery Brooks – Benjamin Sisko
• Nana Visitor – Kira Nerys
• Alexander Siddig – Doctor Julian Bashir
• Colm Meaney – Chief Miles O'Brien
• René Auberjonois – Constable Odo
• Cirroc Lofton – Jake Sisko
• Armin Shimerman – Quark
• Terry Farrell – Jadzia Dax [Seasons 1–6]
• Michael Dorn – Lieutenant Commander Worf [Seasons 4–7]
• Nicole de Boer – Ezri Dax [Season 7]

External links

• Star Trek: Deep Space Nine quotes at the Internet Movie Database
• Star Trek: Deep Space Nine at StarTrek.com
• Contrary to a comment from NY Comic Con, Michael Piller and I pitched our ideas for DS9 to Gene, and he gave us his enthusiastic approval.
• We pitched the concept and characters. We didn't lay-out 7 years of story arcs. It was far too early to know where it was going.
• Rick Berman, Twitter, October 13th 2014.
• Rick Berman, "Berman Refutes Sirtis Assertion That Roddenberry ‘Hated’ Star Trek: Deep Space Nine" Adam Cohen, October 13, 2014.
• I think Deep Space [Nine] was the show that really took Star Trek as far as you could take it. You have the original series which is a sort of a landmark, it changes everything about the way science fiction is presented on television, at least space-based science fiction. Then you have Next Generation which, for all of its legitimate achievements is still a riff on the original. It's still sort of like, ok, it's another star ship and it's another captain – it's different but it's still a riff on the original. Here comes Deep Space [Nine] and it just runs the table in a different way. It just says ok, you think you know what Star Trek is, let's put it on a space station, and let's make it darker. Let's make it a continuing story, and let's continually challenge your assumptions about what this American icon means. And I think it was the ultimate achievement for the franchise. Personally, I think it's the best of all of them, I think it's an amazing piece of work.
• Ronald D. Moore , 'Ending an Era' featurette Star Trek: Deep Space Nine – Season Seven DVD, interview dated December 10, 2002.
• Marina Sirtis "Berman Refutes Sirtis Assertion That Roddenberry ‘Hated’ Star Trek: Deep Space Nine" Adam Cohen, October 13, 2014.
• J. Michael Straczynski "Is This The Smoking Gun Proving Deep Space ine Ripped Off Babylon 5?" Ryan Britt, TOR.com , Feb 26, 2013.
• George Takei , Exclusive: GEORGE TAKEI THANKS FANS FOR 40 YEARS OF 'STAR TREK' - PART 2 Sean Elliot, IF Magazine , interview 11/20/2007.
• Joss Whedon , Angel TV Preview , Entertainment Weekly published in issue #727-728 (12 September 2003).

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