The Adventures of Tintin MUSIC Discussion thread

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CONTAINS POSSIBLE SPOILERS!!!

The Adventures of Tintin the Secret of the Unicorn – An analysis of the Original Soundtrack Album

Here is a thematic analysis of the soundtrack album. Feel free to comment and those who have a better knowledge of the music please make correction suggestions. I am sure this will need revising after the movie is released but this is what I gathered from a good number of listens of the OST album.

The following is a track-by-track review of the music which contains some possible spoilers concerning the plot. Also there are several places where I am making guesses about the possible dramatic implications of the music but I note here that I have not seen the movie yet so those are just pure speculation on my part.

My first few listens of this score were a pure joy, just relishing in the colour and power of a new Williams score but then I began to find the layers and complexities and Maestro’s great interplay with the themes and ideas he has crafted. It has all the spirit of adventure, the charm and wit, the comedy and the youthful energy one could hope from a JW score.

First of all what was apparent from the first listen was that Williams has provided this adventure with a lot of themes. Colorful, goofy, eerie, noble, heroic and ominous, this score has it all. The unifying attribute in these melodic identifications is that they are relatively short each, offering the composer a chance to juggle several of them in one scene in quick succession and he does that extremely adeptly. Aside from the main ideas which number around 10 the underscore never descends to mundane fare but retains aural interest throughout with either incidental melodies or interesting orchestral moods. Sense of humor and fun is very much all encompassing in this score.

Secondly the orchestration and instrumentation of the score is colorful and quite unique even though the stardard ensemble employed is a large symphony orchestra. Williams utilizes accordion, piano, clarinet and saxophone with unusual frequency to a great effect. Accordion e.g. provides local colour and humour but also surprisingly functions in supporting role creating subtle textures underneath many of the tracks. Piano provides Snowy’s character his fast gait and underscores the more humorous moments and adds cold eerie edge to the suspence music. Saxophone retains very little of it’s jazzy sound most people associate with it outside the track Adventures of Tintin but rather joins the rest of the woodwinds, lending its husky tones to mystery, intrigue and action but most importantly becomes the musical voice for Captain Haddock in many scenes.

The Themes:

1. Tintin’s Theme: A straight forward adventurous leaping melody consisting in its basic form of 5 note opening phrase and a complementing 6 note phrase. Williams extends the melody further during Tintin’s journey, the character earning the lenghtiest fanfaric development during his chase of the falcon. In the grand tradition of leading hero’s themes it is optimistic, youthful and positive.

2. Tintin’s Secondary melody: A close relative to the main theme this melody is a bit more playful, curious and probing with a dose of humor to it, perhaps to do with Tintin’s investigations throughout the film. It also complements the main theme and provides a slightly more danger laced take on the young reporter's escapades.

3. The Unicorn Theme: The musical identification for the eponymous ship that is at the center of the film is almost like a darker musical mirror image of Tintin’s main melody although mostly of the 5 opening notes, linking indelibly the treasure and the hero. This is longest thematic idea Williams wrote for the score, mysterious, a bit ominous and ranges from subtle to operatically grandiose during the course of the adventure. There is a definite "McGuffin" feel to the theme as it evokes feelings of long ago mystery, legend and adventure in one stroke, the ocean vessel being a goal of Tintin's and Haddock's journey but also an artifact in itself. The composer creates a subtly nautical atmosphere to some of the variations in the flashback sequences, the theme backed up by a slowly swaying orchestral writing. It could be said that the Unicorn theme is the second central theme along with Tintin’s which is fitting since it is at the center of the mystery in the film and appears throughout the score up to the last moment in the Finale.

4. Snowy’s Theme and Chase Motif see track 2 for a further analysis.

5. Captain Archibald Haddock: Haddock, the drunkard sea captain, who is often down on his luck, inebriated and foul mouthed but a stalwart ally to Tintin receives a sea shanty styled melody in which saxophone and other woodwinds play a major role in most of its appearances. This theme ranges from the buffoony drunken renditions as we first meet the character who has given himself to drink and self pity to noble and warm as the character goes through the adventures with Tintin finding his thirst for adventure and leaving spirits alone for a while.

6. The Thompsons’ Theme: Waddling and bumbling melodic identification for Interpol’s most inept pair of detectives is pure comedy in its back and forth swaying style, a little march that succeeds in being a bit pompous and officious but this effect is diluted by the dandified ungainliness of melodic idea, enhanced by the instrumentation, often presented on woodwinds and accordion.

7. Red Rackham’s Theme: A rhythmic march-like idea that battles with Sir Francis’ Unicorn theme in the film. Dark, insistent and threatning, the ostinato finds ever expanding orchestration and drives the pirate battle forward with relentless drive.

8. The Treasure Theme: An eerie exotic sounding motif that is keyed to the treasure of Red Rackham.

It makes several appearances throughout the score on solo flute under a cold sparkling mark tree effect as if to illustrate the glinting of gold and treasure.

9.Bagghar Theme: The Middle Eastern locale where part of the adventure takes place receives an exotic theme of its own that appears a few times in the film. On the soundtrack it appears twice the second reading a grand and opulent one performed by the whole orchestra in the best Williams travelogue fashion. There is a slight resemblance between the Treasure Theme and Bagghar theme that links the treasure and the location where Tintin goes to find the answers to the mystery of the Unicorn.

10. The Dueling Theme: Another pirate battle theme, which is perhaps not a fully fledged theme but rather music for the scene where Red Rackham and Sir Francis Haddock face each other in a duel. All the dexterity, agility and tension of a sword fight is captured by the aptly quick and kinetic motif that is busy and energetic. Williams elaborates this material further in the piece called The Adventure Continues which is the finale of the End Credits. It represents in a way the sea faring music of the old Hollywood, Williams own take on sophisticated balletic dueling music, a spiritual cousin to the works of Korngold, Steiner and Rózsa.

11. Scrolls/Secondary Mystery motif: A secondary sleuthing motif revolving around the investigations that Tintin undergoes to unravel the secret of the Unicorn linking perhaps to the mysterious Scrolls that hold the clue to the ship’s whereabouts. Very much a natural continuation of the Unicorn theme, which it usually accompanies this melody consists of a small figure that rises and falls in curious and exploring fashion, winding ever onwards towards a resolution it never seems to find.

12. Mystery Solving motif: Rhythmic and adroit little motif mainly on woodwinds and pizzicato strings follows Tintin's mystery solving in the film. It is whimsical and curious depicting our hero's quick thinking while he trails after the mystery of the Unicorn.

13. Sakharine/Karaboudjan danger motif: A threatning short motif for Sakharine and the crew of Karaboudjan that is after both Tintin and Haddock is featured a few times on the ship before our protagonists escape. On the album it is heard only on Escape from Karaboudjan.

Track-by-track analysis:

1. The Adventures of Tintin:

Jazzy and light, full of rather masked appearances of Tintin's main theme although it is repeated a few times quite distinctively. The music accompanies a classic Saul Bass styled main title in which our eponymous hero goes after a villain, giving chase while the credits roll and introduce elements from various Tintin comic books, offering a small 3 minute Tintin adventure of its own. The piece is energetic, rhythmic, mischievous and has a nervous edginess to. It is orchestrated for saxophones, drum kit played with brushes subtly providing a beat, and orchestra with harpsichord making regular comments, the music having a feel of intrigue and quick wit at the same time. The music opens with a curious small thematic idea (0:00-0:03), which seems to form the backbone of the whole piece. This is then developed further, the leaping motif scampering curiously forward like the eponymous reporter after a scoop, the sharp harpsichord mirroring here perhaps the sounds and typing of the type writer.

At 0:34 Tintin’s Main theme is heard for the first time on quirky harpsichord here still without heroic connotations. A sudden stop with a tubular bell solo comes as a unusual surprise after 1 minute mark underscoring a Vertigo like shot of Tintin falling down into a spiral, muted trumpets and accordion adding further unique colouring. At 1:38 accordion starts a quasi improvisation on the previously mentioned leaping motif from the beginning of the piece which is then actually repeated at 1:50-58 with clearer melodic contour.

This flows through a jazzy interlude to the Tintin main theme again in 2:16 and in quick succession to the leaping thematic idea that is repeated twice (2:22-2:46). This quirky and nervous motif quite oddly, despite being quite distinctive in this piece, disppears from the rest of the score which perhaps illustrates the singular nature of the prologue music. And before the piece ends Tintin’s main theme makes a quick appearance on quirky muted trumpet (2:48) and harpsichord dances into a dexterous and good humored ending, the adventure concluded, the villain captured and the treasure reclaimed. Yet this musical adventure is just beginning.

The piece presents Tintin's main musical ideas in an inventive suite where you can really say the composer was Tinker-tin to his heart's content. Closest comparisons stylistically are the Knight Buss from POA and Catch Me If You Can with its deft and dexterous passages. A great way to open the album, leaving people intrigued for more.

2. Snowy's Theme:

Williams captures the quick, agile and not to mention fast thinking Tintin's best canine friend Milou (or Snowy) with an excited up-and-down figure for strings and fast solo sections for piano that receives an extended concert performance here with Gloria Chang on piano.

This piece recalls the flow, energy and enthusiasm of Williams’ most famous scherzos, Maestro spinning effortlessly a feather light orchestral dash full of heart and energy.

The composer provides Snowy with two figures, the first is the excited up-and-down motif and the secondary idea consists of a string ostinato and a slightly nervous and tense sounding string motif that can be heard here at 1 minute mark which features prominently in a couple of chase sequences in the score that. In this concert version of Snowy's theme pizzicato strings, delightful piano passages and of course light woodwinds present a bouncy dance that is a fast dash that leaves a smile on your face after you have heard it. This is truly a theme that captures the spirit of adventure and the dog to a T.

The piece is featured in the film as the first part of the End Credits.

3. The Secret of the Scrolls:

The piece opens with the Unicorn theme most uniquely voiced by dusky saxophone with gentle piano accompaniment that has an air of pure mystery. This flows into the swaying Secondary Mystery theme at 0:24 which complements the Unicorn theme, first heard on solo flute and accompanied by accordion and then explored on double basses. These two themes are repeated back to back and suddenly Snowy's theme pops up on flute and accordion (1:33), orchestra dashing through a sprightly variation of it before a subtle quote of the Tintin Main theme (2:16-2:26) which is quickly over taken by the Unicorn theme on saxophone and string section again (2:29-2:46). Accordion and flutes with shimmering synthetic accompaniment in the background follow quickly with the Secondary Mystery theme (2:46) which ends the piece with the sense of unanswered question, the secrets still unlocked.

4. Introducing Thompsons and Snowy's Chase:

Thumping low piano chords march with clarinet and accordion in a slightly jazzy, lazy mode presenting a rather befuddled Theme for the Thompsons which suits their characters extremely well, being a mix of self important pomposity and comedy. Clarinet interjects and the theme continues on tuba and low woodwinds a bit more pompous.

Then a clarinet and accordion interlude appears, almost a brief dance to the beat of a drum kit, offering perhaps a moment of local colour to the escapades of the bumbling detectives. From this befuddled dance a new thematic idea appears at 1:11, a bouncy and playful variation of Secondary theme for Tintin himself that is repeated at 1:29 only to end soon in queasy strings that lead into a rather masked reading of the Unicorn theme.

Then at 1:48 the previously mentioned Secondary Tintin melody returns, here joined by the Mystery Solving motif at 1:57-2:10 suddenly lead into dramatic deep brass chords that clearly announce trouble at 2:16 and start off a chase sequence featuring Snowy. His theme makes a spirited appearance, the music here making it clear that Tintin needs his help, the Snowy's secondary string idea of the theme transformed into an urged action motif that peppers the track with suspence as well as dexterity of the animal as the main idea plays on the dog's indomitable spirit to save his master and Snowy gives chase, the Secondary Tintin theme making a quick appearance at 2:59. Colorful orchestrations dot the whole pursuit, catching what must a lot of on-screen sync points. The closing of the track reprises the dramatic ponderous brass chords as we obviously reach some dark conclusion when they appear towering threatningly ahead and ending the music abruptly.

5. Marlinspike Hall:

The Secondary Tintin theme heard in the previous track returns here in murky mysterious guise on double basses as if to announce that there is some sleuthing to be done (0:00-0:14). Horn figures wander smokily around in a dark atmosphere until a quick threatning passage suddenly pops up with staccato brass and screaming strings but Snowy's theme comes to the rescue once again at 0:55-1:11, dispelling the sense of dread with its sprightly character and light dazzling orchestrations. At 1:18 Williams repeats the Secondary Tintin theme on pizzicato double basses and clarinet which gives away to a sense of suspence and finally at 1:50 to the Unicorn theme on horns, woodwinds providing accompaniment, saxophone lending its voice to the arcana as suspence mounts, the Mystery Solving motif 2:14-2:24 accentuating the sleuthing until Tintin's Main theme appearing in quick fragment (at 2:31), the score going into more exploratory suspence music that is colorful and atmospheric. At 3:20 a fast and rhythmic brass and strings take on the Secondary Mystery motif makes an appearance followed by exclamatory horns as if something bad was happening to our protagonist.

6. Escape from Karaboudjan:

Pizzicato basses rise into a quick accordion and orchestra reading of the Secondary Tintin theme (0:00-0:05 and 0:11-0:16) that leaps over to quick strings sawing away furiously and to the first heroic rendition of Tintin's Main theme (0:18) here tempered by the brevity of the appearance. The string and brass material continues fast and furious with woodwind section making classic Williams runs, Snowy's theme flitting amidst the quick paced score (0:41). A heroic and busy rendition of Tintin Main theme sounds, the music full of urgency and triumph (0:49), reaching its fullest variation yet. Brass screams, cymbals crash, relentless strings continue mercilessly and a muted trumpet version of Tintin Main theme appearing in their midst, obviously underscoring rather dire straits (1:23). Flutes and xylophones strike up a quick alarm (1:43) and the orchestra grows into a fantastic dramatic full orchestra crescendo of turbulent trumpet and horn exchanges when Tintin, Snowy and Haddock are about to be run over by Karaboudjan. The string section continues to keep up the drive playing suspencefully, informing that Tintin and Haddock are not in the clear yet, the tension slowly giving away as Tintin's Main theme rears its head on relieved flutes (2:19). A rhythmic motif on stopped horns, what seems to be a temporary identification for Karaboudjan/Sakharine, briefly menaces our protagonists and a new exotic theme for Bagghar plays (2:46) informing us most likely of the destination of Karaboudjan but the horns soon interrupt continuing their pinched and menacing musical idea for Karaboudjan/Sakharine until a crescendoing cymbal crash calms the situation down, the music rumbling into a murky finish, leaving Tintin, Snowy and Haddock to an unknown fate.

7. Sir Francis and the Unicorn:

Dark deep brass and low strings rumble but are surprisingly met by a cool sheen of synthetic chorus (0:09-0:24) like an appartion manifesting from the past. Oboe soloes over plodding low string figures until a sizzle of cymbal leads us to the mysterious slowly stirring strings and a solo horn sings out the Unicorn theme that is slowly taken up by the rest of the orchestra and the theme rises to operatic proportions with pounding timpani, cymbal crashes and brass fanfares, the slow swaying of the music certainly having a nautical feel to it. Here Williams has created a quintessential sea faring motif with mythic connotations very well capturing what I assume is a mirage type of reminiscence that Haddock experiences in the desert.

A flute rendition of the Unicorn theme at 2:02 (revealing a close connection between the Unicorn theme and Tintin’s own musical identification since it is difficult to read whether the theme here is a light and bright reading of the Unicorn or a darker reading of Tintin’s theme) is interrupted by a purposeful, rhythmic strings and brass march of Red Rackham’s pirate theme at 2:14, starting what sounds like a sea battle in music form, Rackham’s theme and Unicorn theme alternating as if to tell us which side is winning at any given moment. The Rackham string material is insistent and kinetic, growing in intensity, the brass, woodwinds, timpani and strings having each their own moment in the fracas. You can easily picture a sword fight to this music, the brass making old fashionedly unabashed swashbuckling exclamations, timpani backing them up. The rhythmic Rackham motif flows into a wonderful variation of the Unicorn theme at 2:54 full of drama and pathos. But yet again Rackham’s theme comes back to the fore and continues at 3:06 with brass section backing the string motif with fanfares and wicked playing. The Unicorn theme answers again at 3:40 here embellished with percussion and unique rhythmic woodwinds. Something of a intermediate motif between Rackham’s angular and Unicorn’s flowing idea plays for a moment as the battle rages on until melodramatically deep chords and an eerie quote of the Unicorn theme (4:46), almost like a mirage disappearing, sweeps us to an ominous finish.

8. Captain Haddock Takes the Oars:

Tremoloing high strings follow saxophone as it performs a befuddled and broken up version of Captain Haddock's theme. At 0:39 in a swaying sea shanty style the contra clarinet, accordion, strings, selected woodwinds and tuba repeat this rather inebriated sounding theme that has a certain swagger, comedy and determination to it, yet another deft musical portrait. The orchestra repeats Haddock’s theme and then Tintin's main theme makes a small helpful sounding appearance at 1:41 when the music starts to rise into a alarmed crescendo, presumably for Haddock's drunken antics in a life boat.

9. Red Rackham's Curse and the Treasure:

The rhythmic motif I assume to be the Red Rackham's theme (from track 7) returns threatningly and is soon joined by a new menacing string motif. This gives away to an exotic, eerie flute rendition of the theme of Red Rackham's Treasure under the shimmer of mark tree at 0:46 but the moment quickly passes, dramatic brass chords rising, quoting subtly the Unicorn chords heard at the end of track 7, Captain Francis coming to challenge the pirate.

A new theme takes hold of the score at 1:20, a classically flavoured string based motif, lithe, athletic, nervous, rhythmically intense, strings making quick licks full of suspence until with woodwind trills and horn section opening the material further Williams presents at 2:20 Dueling theme (not a theme in the strictest sense since it is confined to this scene in the film yet it is further developed by Williams for the End Credits. See track 18 The Adventure Continues) in the string section that follows the classic form of the yesteryear of Hollywood sea faring epics, being melodically captivating yet rhythmically oriented. Here the music seems to capture the sharpness and dexterity of the duel between these two seafarers. Every orchestral section contributes to this melody, strings providing the basis, woodwinds and brass giving each a rendition of the melody of the theme in turn, cymbals accenting the melée at regular intervals to comment on its twists and turns. Suddenly this light but kinetically charged piece is interrupted for a moment as if for a decision or quick contemplation until at 3:41 the Unicorn theme makes another ghostly appearance which builds into a string and brass lead crescendo full of tragedy, the Unicorn theme sounding on pained horns at 4:18. Cold and eerie piano notes grow into the Red Rackham's Treasure theme again at 4:39 on flute under the same mark tree haze as before but this time followed by timpani and cymbal crash as Unicorn theme is performed thunderously for what must be the demise of the great ocean vessel.

The rhythmic and suspenceful Dueling Theme continues after this tugging insistently at the listener, carrying with it the Red Rackham's Treasure theme at 5:14, which repeats in the same cold orchestration of flute and mark tree but this time building into a grand crescendo of the Bagghar Theme full of exoticism and opulence, cymbals crashing, brass and string joining in a great celebratory rendition evoking foreing lands and Middle Eastern exoticism in the best spirit of Indiana Jones adventures.

10. Capturing Mr. Silk:

Woodwinds, clarinet the foremost, accordion and muted trumpet offer a rather comic air to the opening of the piece, Captain Haddock in a new predicament. And soon enough Haddock’s theme appears at 0:47 on saxophone and flutes, quite unsteady on its footing, piano, bassoon and clarinet underlining the precarious situation as drunken Haddock has lit a "wee fire" in the life boat to keep Tintin warm.

At 1:17 muted brass, piano and accordion all perform with a wry smile the Thompson and Thomson theme again, officious but awkwardly befuddled accented by off-beat drum hits. Williams develops the material, clarinet going on a longer comedic solo with accordion and bassoon before the piano, and the already much utilized clarinet and accordion return to finish the track to the good natured waddling of Thompsons’ theme. With this comedic dash it most certainly remains a mystery if they ever capture the elusive wallet thief Mr. Silk.

11. The Flight to Bagghar:

Saxophone begins a jumpy humorous rhythm, presenting a climbing little motif which appears throughout the track, joined soon by fast string and woodwind runs and the rest of the orchestra. Williams builds up a rapidly forward lunging comedic ballet of sorts with Haddock's theme on the saxophone alternating with the orchestral forces as the score propels what must be a bumpy ride through the air, made apparent by the queasy brass and strings that give the flight its unsteady feel. At 0:50-1:03 a new swaying sea shanty styled motif appears briefly on humorous accordion as if to illustrate Haddock's goofy antics and possibly drunkedness that soon gives way to Tintin's Main theme at 1:13 where it makes a fleeting optimistic appearance as our main character offers us a show of his flight prowess, his knowledge of flying limited to having interviewed a pilot once after all.

But soon the music again dances forward with Haddock's theme appearing regularly, heroic brass fanfares punctuating the adventure as jittery string writing receives slightly more dire cast. Despite these arduous circumstances Haddock's thematic idea prevails and trumpets and saxophone climb and dip into a deft orchestral hit that closes the piece with a musical wink of an eye.

Williams never forgets the comedy of the moment and has composed here one of those humorous pieces that only he can, projecting this humor through the orchestra and getting away with it due to his unique skill and writing providing us a wonderful orchestral romp in the process.

12. The Milanese Nightingale:

Harp and expectant tremoloing strings present a delightful and elegant violin solo that conjures up romance and a touch of high society, being almost like an homage to the style of the film music masters of the Golden Age so sweet and unabashed it is. Strumming of guitar and accordion with muted trumpets enhance the air of elegance further, offering opulent and urban stroll music with Parisian flavour. Another string solo dances forwards, waltzing in the string section warm and glamorous but stopped short by a sudden intrusion of an ominous reading of the Unicorn theme at 1:16. Tintin is still has a mission to accomplish.

13. Presenting Bianca Castafiore: A stately opening presents our opera diva with an orchestral prelude from the cavatina of Gioachino Rossini’s opera The Barber of Seville. Soprano soloist of the highest caliber Renée Fleming then standing in for the famous opera soloist of the Tintin's world, Bianca Castafiore, sings Je veux vivre from Charles Gounod’s Romeo et Juliette to a rather drastic effect, the finale of the piece inducing shattering glass and chandelier sound effects as she brings the house down so to speak. It is a somewhat appropriate inclusion in the film because of her appearance but the effect a bit less funny on the album for the casual listener even if it brings smile to your face as a sonic gag if you know the personality of this particular song bird.

14. The Pursuit of the Falcon:

And then we are off to chase after a bird of another kind. Williams extends, tongue firmly in cheek, the operatic comedy as he weaves quickly the Je veux Vivre melody into the orchestrations of the opening of this thrilling action set piece. But soon solo flute flits back and forth between orchestral sections, assuming the role of the fleeing Falcon in this rapid chase through the streets of Bagghar, Williams presenting the fast animal an instrumental idenfitication instead of a clear melodic one. Strings take foreground enhanced subtly by marimba, providing momentum and nervous energy, brass offering needed bursts of power and adding dramatic punctuation as the heroes follow the villains on motorbike.

At 1:15 a new leaping fanfare sounds in the brass heralding the heroics of our protagonists, the timpani and deep rhythmic brass and strings presenting a dire hammering motif that sets after them, the leaping fanfare idea reprised at 1:36.

Snowy's theme gives a steady rhythm and thematic continuity to the piece as the motoric up and down figure of the theme is woven into the momentum of the music, beginning at 1:53. The heroic fanfare for our main characters sounds comes back yet again at 2:02, the string writing intensifying all the more after this. At 2:22 a bright rapid fire fanfare sounds and Tintin's Secondary theme follows on deeper orchestral forces as if to announce that he is firmly after the bird and the bad guys. The rapid fanfare and Tintin's Secondary theme continue to punctuate the hunt for the elusive avian when the score plunges into skillfull fast string playing of Snowy’s chase motif. Soon Williams brings us back to the flute idea for the Falcon at 3:16 where the virtuoso flautist does amazing job with the material. Orchestra takes the idea up briefly from the flute but as Tintin catches up his theme makes an attempt to catch the Falcon at 3:36. He is stopped short by a mounting brassy and percussive orchestral crescendo.

Then brass and timpani push the music into a new gear at 3:54 where the orchestra rolls relentlessly forward, the pace quickening, flute solo of the Falcon appearing in the middle of the tumult as our protagonist is hot on the trail of the bird. When Tintin is finally victorious the orchestra rewards him and us the listeners with the most extended and developed heroic fanfare treatment of Tintin's main theme at 4:16 the music blossoming joyously into a grand rendition of the theme.

This celebration of victory is suddenly cut short as momentum ceases and fades into deep strings in 4:36 and timpani blasts pound, woodwinds making a subtle quote of the opening of the Secondary Tintin motif at 4:46, repeating it with snarling horns and timpani backing but the tension shifts into a sudden dramatic and brassy exclamation of Tintin's main theme at 5:13 complemented by cymbal crashes that ends the piece with a sense of finality in its last soft notes on flutes and tubular bells which seems to signal that the adventure is not over yet.

15. Captain’s Counsel:

Tentative woodwinds and deep pizzicato try to form Haddock's theme, flute snatching the opening of it, here somber and emotional, Williams changing its characteristic comic stance into a one of friendship, thoughtfulness and rueful sadness. As the strings offer support, the flute succeeds on the second try to voice Haddock’s theme, warm, comforting and hopeful, horns leading into a delicate reading of Tintin's main theme on muted trumpet and clarinet. Mystery Solving motif appears with renewed spirit at 1:36-1:49 on its customary woodwinds and pizzicato strings, and muted brass, suddenly accordion marching in with the Thompsons’ theme at 1:49 and hopeful brass swell and low strings leave us with a feel of anticipation. All is not lost.

16. Clash of the Cranes:

Woodwind run and likewise furiously racing strings start things off energetically, presenting an action motif, snarling and growling brass and heavily hitting timpani and cymbals hammering away in what must be the most creative duel in ages. Williams offers a heavy, almost mechanically plodding angular motif for the crane fight, each side of the orchestra presenting hammering blows, Tintin's theme sounding intense and determined amidst the battle (0:34). Williams underscores both the duel and the fist fight where Haddock fends off Mr. Alan, his treacherous first mate while trying to capture Sakharine. Snowy comes to the aid once more and his theme dazzlingly scampers forward, embellished by heroic bright brass (0:44) as he topples a few thugs with a well places box. The mechanic swinging string motif of the cranes returns but is soon joined by another musical idea, the equally rhythmic Red Rackham's theme from tracks 7 and 9 (0:58) which grows in intensity as it rises to a brass and percussion laden crescendo that does not bode well to any of the participants in this melée as a mounting deep orchestral crash silences the battle for a moment, Haddock flying out of the toppled crane. Low register woodwinds and strings seem to proclaim tragedy but Snowy's theme or a slightly altered variant appears again from the orchestra (1:52), now more like in Snowy's first chase on track 4, a hint of danger in its orchestration, harpsichord a unique sharp color here as Haddock and Sakharine face each other off in a real duel, the music illustrating the sharp edge of the confrontation.

The similar humorous rising, leaping chords that charted Haddock's and Tintin's flight on track 11 return at 2:20 and sure enough Haddock's theme is not far behind (2:32-2:43) backed up by chirping flutes, the captain gaining upper hand in the fight, throwing bottles of alcohol on his nemesis. A sudden eerie musical moment follows, a ghostly reading of Haddock's theme making a quick appearance as Sakharine taunts his enemy while trying to burn the scrolls but with triangle’s clear glint and harp the intrepid and optimistic Tintin's theme returns on accordion and clarinet and the protagonist snatches the precious papers from Sakharine's hands. So as the bad guy is finally defeated Tintin's theme is soon repeated on muted trumpet and harp, accompanied as ever by Snowy's bouncy thematic idea, Thompsons' theme making a closing statement for the escapade with resounding orchestral hits.

17. The Return to Marlinspike Hall and Finale:

The Unicorn theme on saxophone over tremoloing strings brings us back to the mystery of the ship here suddenly dispelled by an optimistic appearance of first Tintin's and then Snowy's themes full of energy, flitting from saxophone to flute to clarinet, Williams spinning it through the orchestra with deft skill. After cold expectant string lines we transition to a noble horn statement of Haddocks' theme (1:24) that is coupled with a short quote of Tintin's main theme on flute and clarinet.

As the trio goes on exploring the house of Haddock's ancestors dark rumbles from piano and the orchestra follow (1:50-), high strings complementing the music of extreme ranges, woodwinds in full musical exploration mode here, slowly but surely closing in on some secret as they rhythmically plod forward, strings accompanying tentatively. At 2:35 solo oboe sings out a unique lyrical melodic line full of mystery and beauty with strings and shimmeringly cascading harp backing it subtly, lower strings repeating the idea when all of a sudden the Unicorn theme appears yet again in the very same enigmatic spirit in 3:08-3:20, flute taking its customary role as the soloist for this particular theme, slightly eerie but alluring.

Horn line (3:21) clearly related to Haddock's theme yet having a sense of antiquity is followed by a somber reading of that particular theme on flute but the music quickly encounters the Unicorn theme (3:42), the secrets finally unravelling perhaps.

Glinting cold piano and strings weave into the texture of the score, welcoming Red Rackham's Treasure theme that eerily raises its head with solo flute in the shimmer of the mark tree at 4:08 it's most common guise. It's companion one might say, the Unicorn theme follows with wistful longing on horns, the theme's melody actually transforming into the lyrical one heard beginning at 2:35 on oboe. At 4:38 rhythmic high string figure supports a determined Haddock's theme on saxophone as the music builds, something decisive happening, the Unicorn theme dancing again to the fore, repeating as the swaying string figure now augmented by brass blossoms into a fateful sounding full ensemble crescendo, announcing clearly that the adventures might not be over yet, Williams presenting a sort of To be continued in musical form.

18. The Adventure Continues:

Williams has written an extended concert arrangement of the fast and agile Dueling theme heard on track 9 which according to reports serves as the final part of the End Credits (The other material in the credits being the reprised track Sir Francis and the Unicorn (track 7) and Snowy's Theme. While not one of the major themes of the score it imparts a sense of drive and adventure, evoking the swashbuckling spirit of our heroes' escapades. It could be said it prepares the listener for another adventure to come. The original Dueling theme is embellished and developed through the orchestra, the piece containing several false endings, almost like pauses in a duel. Here Williams adds certain contours of the Tintin’s main thematic idea subtly into the mix, most prominently the rising leaping figures associated with our heroes in the middle section of the suite. This piece ends the album with a satisfying note yet leaves you wanting for more of these adventures if not for any other reason than to hear a new Williams score of this spirit and magnitude.

© -Mikko Ojala-

[Joe Brausam 221]

When I heard the first samples for this score I was disappointed in it. After hearing the full OST twice now my opinion has changed quite a bit...this score wipes its ass with KotCS!

It's really pretty good, and I love how many different styles are represented in the score. Many of the cues are a lot of fun and are benefitted by what I think is very clear and clean harmonies and orchestrations. The music isn't too heavy at all, everything that needs to be there is and there is very little extraneous writing. It's just really refreshing. It sounds like Williams had fun writing this, it has so much energy!

Unfortunately there isn't anything in there that really sticks in my head though, unlike the War Horse trailer which stuck in my head almost immediately. I'm still looking more toward War Horse than Tintin, but I will say my expectations for this score have been exceeded.

[crumbs 14,891]

I can't get The Adventure Continues out of my head! It's just so colourful and fun!! Saying this score wipes its ass with KOTCS is an understatement.

[Quintus 5,454]

Incanus, that was... epic.

Excellent work.

[BLUMENKOHL 1,081]

I present you the Blumenkohl Listening Pleasure Meter 8000 XPS LTE HD Quad Core Super Rater 9700Pro Ultimate Edition

Each track rated out of 100.

[BloodBoal 7,541]

[Jay 39,584]

The Adventures of Tintin sure seems to be the track getting the most mixed reviews... what's some people's favorite is other people's least favorite

[TownerFan 5,210]

Just a few words for now, as I have very little time--I hope to express more elaborate thoughts in a future post.

I'm totally jazzed about this score. I don't know if this is the result of three and a half years of absence from film scoring scene, but it's clear that Williams poured a lot of enthusiasm into this venture. There are very few composers who are able to give me the same sense of pure joy and excitement like Williams does and he succeded another time with me.

It's a delightful score, almost with a Mozart-ian touch in it, while being extremely well-crafted and thought-out at the same time. At 80 years old, Williams is still having a lot of fun at his job and this joy is clearly evident in every note. Even the usually great LA session players seem to give something more in their playing.

Any kind of comparison with the majority (if not the totality) of his contemporary peers into the film score world is absolutely useless--Williams plays into a league of his own and we should probably held him up along classical masters like Prokofiev, Shostakovich, Copland and Bernstein, or top film composers like Korngold, Rozsa, Herrmann, Waxman and Goldsmith.

I'll let to other more opinionated fellows express the marvel of single cues or the usual minutiae analysis.

All I will say for now is: Thank you Maestro. You're still the greatest.

[Romão 2,322]

I absolutely love those two first tracks. In Adventures of Tintin in particular, I'm particularly fond of that little quirky motif that gets stated twice, at the 1:25 mark and again at the 2:03 mark

[Jay 39,584]

Took me a while to get what melody you were talking about before I realized your version must have 4 seconds of silence at the start of track 1. Yea, that little melody is fun!

[crocodile 8,539]

It's a very good track, that first one. I'd like it to be a main title. Would set up the mood nicely.

The only thing that's "wrong" with the score is that it lacks the central concert piecce that would showcase the main theme in its entirety. It doesn't bother me really all that much (or at all, to be honest), but it would help a lot of people. Other than that, the score and album are fantastic. Not a single dull spot. Which is a terrific feat even for Williams.

I can almost understand what other people meant when saying Indy 4 wasn't inspired. As compared to this one, it was rather bland, yeah. Tintin has so much colour and energy that it's impossible not to like. Unless, you don't like that kind of genre. But then nothing will help you.

I'm so glad I didn't kill myself before I heard that!

Karol

[TownerFan 5,210]

Yes, I would add also that it's a fantastic album--it flows beautifully (yes, even the opera track) and it leaves you wanting to hit the play button again.

I think we should enjoy and remember this when it'll come the inevitable time when we'll cry out for an expanded release...

[crocodile 8,539]

It's too short though. So many ideas and energy that to stop it after 60 minutes is... just... wrong.

Karol

[Jay 39,584]

It is the main title!

[crocodile 8,539]

Excellent!

I read people discussing how some of the themes blend into each other and feel similar. Unicorn's theme seems almost like an inversion of Tintin's own theme. I wonder why Williams chose to do that.

Did I mention how I like the two dueling themes? Brilliant idea.

Karol

[Jay 39,584]

Thanks for your post Incanus, wonderful as always. I especially enjoyed your description of each theme at the beginning

[Romão 2,322]

Took me a while to get what melody you were talking about before I realized your version must have 4 seconds of silence at the start of track 1. Yea, that little melody is fun!

You're right! I hadn't even noticed it

[Muad'Dib 1,867]

This a truly wonderful score. Everytime I hear it, I can't help but smile and feel the joy that Williams must have felt while writing this score. I imagine its music like this that makes Johnny feel younger, and it shows!

I love the fact that Williams went "all-in" with the orchestrations. In most modern live-action films, composers don't seem to be allowed to use certain instruments, but here Johnny was given full reigns of the orchestra and took advantage of it like nodoby else could do. Apart from the already mentioned middle-eastern instruments, the saxophone and others, I could spot a whip, some crazy percussion and a pipe organ!

All the tracks are excellent, ranging from different styles without ever sounding jumpy. Williams can go from epic pirate music to exquisite mickey-mousing like nobody else could do. He's a true blessing to the world of music.

To summarise, this is a BRILLIANT score, in par with Johnny's best writing of the past decade, or even better.

PS: And I love The Adventures of Tintin. Probably because I love Johnny's jazz writing

[Darth Crossfader 577]

[King Mark 3,729]

I'll be the first to say then I'm a bit underwhelmed by the whole thing.

First off I dislike Track 1, it seems like a knock off of the CMIYC main theme, and I am already not a fan of that theme

Tintin's theme , which is the best motif/theme in the score, lacks a concert arrangement

As for the rest of the action cues, I find all the typical Williams orchestrations are there (and closer to his 80's style of writing than the 2000's) , but lack something (strong thematic passages?) and I find most of them unmemorable. There's a few fleeting moments of Williams awesomeness but that's it.

I prefer RotS and KotCS to this score . The Jungle Chase (in it's complete form) is a superior action cue to anything in Tintin

[crocodile 8,539]

I'm absolutely out of depth, KM. Didn't expect that you, out of all people, wouldn't like the score.

Karol

[Quintus 5,454]

I prefer this to the three Potters, AotC, RotS and KotCS combined.

[King Mark 3,729]

I want to hear the unreleased music in the film before I form a definitive opinion

My opinion of ROTS changed GREATLY from the OST to the complete score

[Incanus 5,816]

Thanks for your post Incanus, wonderful as always. I especially enjoyed your description of each theme at the beginning

Thank you Jason and others as well.

I think your thematic list and my track-by-track analysis completement each other quite nicely. I try to express the musical dramaturgy in words (a lot of guessing in the mix concerning the exact plot) while you have made a clear list of the appearances of the themes.

It is almost redundant to repeat but I adore this score which has been playing almost non-stop since I first heard it. Such charm, wit and fun. I am glad Williams got a chance to express himself in so grand fashion as he does in this music. I think this is one of Maestro's most balletic scores, the music dancing away with effortless abandon, themes intermingled with such ease and flow.

[King Mark 3,729]

I prefer this to the three Potters, AotC, RotS and KotCS combined.

Some of the pirate music in Sir Francis and the Unicorn , especially starting at 2.17, sounds MVish and to me could have been composed from one of these generic trailer music companies. It's one of the first time I can say that of a Williams passage

[crocodile 8,539]

...

Karol

[publicist 4,647]

I prefer this to the three Potters, AotC, RotS and KotCS combined.

Why is that? It's not that TINTIN is a big change of pace to either POTTER or KOTCS.

[Sandor 846]

...

Roald

[Incanus 5,816]

I prefer this to the three Potters, AotC, RotS and KotCS combined.

Some of the pirate music in Sir Francis and the Unicorn , especially starting at 2.17, sounds MVish and to me could have been composed from one of these generic trailer music companies. It's one of the first time I can say that of a Williams passage

Don't worry KM, you'll always have War Horse.

[Quintus 5,454]

I prefer this to the three Potters, AotC, RotS and KotCS combined.

Some of the pirate music in Sir Francis and the Unicorn , especially starting at 2.17, sounds MVish and to me could have been composed from one of these generic trailer music companies. It's one of the first time I can say that of a Williams passage

And it irritates me that you think that. It sounds nothing like MV output at all. It sounds like JW action brass, the stuff he's written for years and years. I've never heard timbre of that quality in a MV or RC score. Here, I can hear the room in which the musicians are sitting as they play. Show me an MV score where you can pick up on such a thing. You can't.

You're talking out of your arse. You've been left disillusioned by the last ten years of film music and it's affecting your judgement.

[Romão 2,322]

KM's least favorite song in the world:

[publicist 4,647]

And it irritates me that you think that. It sounds nothing like MV output at all. It sounds like JW action brass, the stuff he's written for years and years. I've never heard timbre of that quality in a MV or RC score. Here, I can hear the room in which the musicians are sitting as they play. Show me an MV score where you can pick up on such a thing. You can't.

It sounds just like good 'ole post-LAST CRUSADE writing, i agree.

[Jay 39,584]

King Mark,

Your problem is that you are focusing too much on what isn't there instead of what is. You are wondering if the unreleased music is better, you are disappointed in a lack of a concert arrangement of a specific theme from the film (When there are already THREE concert arrangements on the CD). And you are comparing all these specific passages to other scores.

Instead you should simply be enjoying it for what it is. Just listen to the 65 minutes we have and enjoy that. Worry about unreleased music and what could have been later.

[King Mark 3,729]

Well, I hope it grows more on me upon more listens

But it didn't knock my socks off on the first impression

[Quintus 5,454]

I prefer this to the three Potters, AotC, RotS and KotCS combined.

Why is that? It's not that TINTIN is a big change of pace to either POTTER or KOTCS.

I'm not slagging those scores off, by the way. I just LOVE the quirkiness of this Tintin score and the mystery theme (Unicorn) floats my boat in a way nothing in those other scores ever did. Oh and Haddock's music tickles my fancy as well.

And then you've got that groovily witty piano bass line in the Thompson and Thomson writing. Ooo, what else...

[Romão 2,322]

Well, I hope it grows more on me upon more listens

But it didn't knock my socks off on the first impression

A great deal of great music usually doesn't

[King Mark 3,729]

I'll report again when I listened to it a full 5 times

[Jay 39,584]

That's fair. I've certainly been disappointed on things on the first listen and grew to like them. I had assumed you had listened to it more than once by now

[Quintus 5,454]

I've only listened to the entire album once. But I've played my favourite tracks plenty of times.

[Sandor 846]

That's fair. I've certainly been disappointed on things on the first listen and grew to like them. I had assumed you had listened to it more than once by now

I had that with HP1... I now consider it a top 10 JW score.

[Darth Crossfader 577]

This is an awesome OST. I must have listened to it dozens of times now and i find it to be amazing!

[King Mark 3,729]

Twice, but on my ipod not in the best listening conditions

I'll give it a more critical listening

[Quintus 5,454]

I just can't wait to see the movie now, because I have a feeling there's gonna be some awesome variations and extras in there which might just take this score to the next level.

[Darth Crossfader 577]

I just can't wait to see the movie now, because I have a feeling there's gonna be some awesome variations and extras in there which might just take this score to the next level.

+1

Can't wait for Sunday!!

I LOVE Clash of the Cranes, it's an awesome track.

[King Mark 3,729]

In a way I hope all the good music is on the OST

Because I suspect what was left off will never, ever be released

[Darth Crossfader 577]

Don't worry guys, i will make a complete report Sunday after i have seen the film.

[Quintus 5,454]

I remember Avatar omitted one of my favourite cues from the ost.

[King Mark 3,729]

Don't worry guys, i will make a complete report Sunday after i have seen the film.

Can Jason unlock my friggen thread now?

[publicist 4,647]

It's perfectly good John Williams...he even refrains from the xylophones in the action music.

Some of the more underscore-y tracks/moments do not engage me much, but what can you do for boy-sneaking-around-for minutes-in-darkened-manor scenes.

There's one thing, though: it feels incomplete, as if all the ideas presented needed more breathing space and are somewhat cut off before they could get their moment in the sun.