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Slipped Disc’s second seasonal single – bigger than The Snowman?

We’ve been listening to Ilan Eshkeri’s theme song for The Snowman and the Snowdog, the snugly-awaited sequel to Raymond Briggs’s Christmas classic. The song, sung by Andy Burrows, is rated in some quarters as superior to Howard Blake’s Walking in the Air.

Take them side by side. See what you think.


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Comments

  1. Nothing in Ilan Eshkeri’s song is as interesting to me as Howard Blake’s Walking in the Air. The first time I heard Walking in the Air I was captured, moved to investigate its origin and compelled to hear it many times over. I don’t get that pull from Light the Night. It is personal taste, not a critique of music composition, yet, if one piece compels me to listen to it and another does not, something, at the very least for me anyway, is working musically, artistically and aesthetically in the selection I want to hear again and again. Commercially it would effect whether I’d want to watch The Snowman and the Snowdog. It was hearing Walking in the Air that took me to the video of The Snowman.

  2. Gerald Novak says:

    Don’t know what it says about me, but first thing I thought of was comparing the opening of the new one to this:

  3. I found the musical score bland, forgettable and surprisingly amateurish. It had none of the grace and elegance, melodic sweep, haunting quality and emotion of Blake’s original score, and it sounded at times like orchestrated doodlings or improvisations. Much of the music I hear in contemporary TV and film (with some notable exceptions in European cinema) does not seem to possess the same quality of musical idea, harmonic richness, and sophistication of counterpoint and orchestration that was considered quite normal at one time in commercial music. I suspect in this case, the pressure to simplify and to do something “so called” contemporary and appealing to a younger audience, rather than just commissioning a really wonderful score, is what has led to this. Indeed, the music, to my ears, actually sounded dated – which I am sure was the last thing that the producers wanted. Have people really forgotten what great film music sounds like?

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