Perhaps most disappointingly, the score’s recurring main theme – an eerie piece for quietly morose piano chords and a la-la-la children’s choir – is obviously modeled on Lalo Schifrin’s 1979 score for The Amityville Horror. What I can say is that, from a historical perspective, Pet Sematary is an important score. May 30, 2019 Leave a comment Go to comments. Whether it was his inexperience at the time, or lack of support from the studio, or some other reason, I don’t know, but Pet Sematary just seems like the work of a less talented composer, or at least one still finding his feet and finding his voice.Having said that, there are still some moments of merit. Cues like “Hope and Ordeal” and “Death Do Us Part (Rachel Hugs Louis)” try to offer the audience a little bit of a human connection, allowing us to empathize with the loss and grief at the core of the story, but even here the music retains a cold, ominous tone that maintains the overarching sense of horror. There are two brief action cues, “Rachel Against Time” and “Rachel’s Blow Out,” which make use of rampaging string and piano lines, metallic percussion, and an energetic rhythmic beat to add some life to the proceedings. “The Return Game II (Louis and Gage)” is outlandishly creepy, a nightmarish combination of stingers and screaming strings, which at times become almost painful via their high harmonic range. Special Thanks to Mary Lambert, Tim Zinnemann, Sam Schwartz, John Corigliano, Julie Taymor, Chuck Martin, and The Gang at Avenue L and 8th Street Original Review by Jonathan Broxton.

THROWBACK THIRTY. Although it was most likely a temp-track request from the film’s producers, the lack of originality from a composer who is universally lauded for just that is frustrating indeed.The main theme occurs in several cues, most notably getting an extended performance in the opening cue “The Pet Sematary,” where it is clearly intended to evoke the sound of children mocking and haunting us from beyond the grave. As the score develops it comes back several times. However, for me, in terms of actual music, it remains a disappointment.Fill in your details below or click an icon to log in:

Goldenthal was just starting out as a composer and this was one of his first big assignments. What’s interesting about Pet Sematary, though, is that the score contains very little of the music we associate with Goldenthal today, and never really indicates the type of composer we all now know he would become.The score is mostly a showcase for a large amount of horror dissonance, filled with shrieking strings, ominous pianos, and some subtle electronic sound design, but whereas in a lot of composers’ early scores you can hear the genesis of the composers they would eventually become, that isn’t really the case with Pet Sematary. PET SEMATARY – Elliot Goldenthal. View credits, reviews, tracks and shop for the 1989 Vinyl release of Pet Sematary Original Soundtrack on Discogs. New Submission PURCHASE. Elliot Goldenthal's Pet Sematary record was his first mainstream film score. One example of this is PET SEMETARY, which received a score from Elliot Goldenthal. Every composer has to make their film music debut somewhere, and (if you discount those two very early works) for Elliot Goldenthal it was here. ELLIOT GOLDENTHAL mm.