star trek voyager music composer

Soundtrack Information

Star Trek: Voyager Collection

La-La Land Records

Release Date: February 28, 2017

• Star Trek: Voyager (1995) [TV Series]
• Paul Baillargeon
• Jay Chattaway
• Jerry Goldsmith
• Dennis McCarthy

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La-La Land Records and CBS present our final collection of music from the STAR TREK television universe, STAR TREK COLLECTION – THE FINAL FRONTIER , a thrilling four-CD presentation with a bounty of previously unreleased music from STAR TREK: THE NEXT GENERATION, STAR TREK: DEEP SPACE NINE, STAR TREK: VOYAGER and STAR TREK: ENTERPRISE. Travel at warp through some of your favorite musical moments in the STAR TREK television saga! Produced by Ford A. Thaxton, James Nelson, Mark Banning and Lukas Kendall, and mastered by James Nelson, this special 4-CD collection contains a 44-page booklet with exclusive liner notes by writer Randall Larson and stellar art design by Mark Banning. This deluxe release of musical gems from four of the most celebrated sci-fi television series of all time has a total running time of more than five full hours and is limited to 3000 units.

The complete box set totals over five hours of  Star Trek music, including material from  Star Trek: The Next Generation ,  Star Trek: Deep Space Nine ,  Star Trek: Voyager , and  Star Trek: Enterprise — with some long-awaited tracks finally coming to fans and collectors, such as the frequently-demanded “End Game” music from “Azati Prime” on Disc 4.

Here’s the full breakdown on the new collection, available today.

DISC ONE includes, for the very first time anywhere, “lost cues” by Jerry Goldsmith written, but never recorded, for STAR TREK THE MOTION PICTURE, performed here by renowned composer Joe Kraemer. The rest of Disc One features cues from STAR TREK: THE NEXT GENERATION by composers Dennis McCarthy and Jay Chattaway, including music from such episodes as “The Dauphin,” “Time’s Arrow Part 2,” “Lower Decks,” and more. *  *  * STAR TREK: THE MOTION PICTURE Music Composed by Jerry Goldsmith; Performed by Joe Kraemer. Orchestrations (tracks 2–4) by Arthur Morton. 1. Preludium (alternate, arr. and orch. Fred Steiner) (1:36) 2. Total Logic (early version) (3:01) 3. Pre-Launch Countdown (early version) (0:42) 4. Body Meld (early version) (3:16) STAR TREK: THE NEXT GENERATION 5. Star Trek: The Next Generation Main Title (Season 2) (1:40) Music Composed by Alexander Courage and Jerry Goldsmith Arr./Cond. Dennis McCarthy; Music by Dennis McCarthy JUSTICE 6. New Planet*/First Hugs/Dance Break (2:39) – Contains “Theme From Star Trek (TV Series)” by Alexander Courage 7. God (1:55) THE DAUPHIN 8. A Taste (1:27) THE ENSIGNS OF COMMAND 9. Aqueduct (2:47) Recorded September 8, 1989, at 20th Century Fox THE MOST TOYS 10. Zapped/Requiem (3:37) 11. El Yucko (3:00) IDENTITY CRISIS 12. Hickman (2:46) 13. Geordi (4:17) HALF A LIFE 14. Star Birth/Burial Plot (5:19) REDEMPTION, PART I 15. Battle Royale (4:08) 16. Worf’s Goodbye (2:41) TIME’S ARROW, PART II 17. Nicks of Time* (3:52) PHANTASMS 18. Data’s Dream (1:39) 19. Salvadore Data (2:53) ATTACHED 20. Still Friends (1:57) FORCE OF NATURE 21. Kablooie/Don’t Touch That Warp (3:16) GENESIS 22. Jurassic Worf (3:58) Music by Jay Chattaway HERO WORSHIP 23. Android Bonding (2:03) 24. Androids to the Rescue (3:38) LOWER DECKS 25. Waiting for Sito/Sito’s Wake (3:59) FIRSTBORN 26. Klingon Opera (instrumental) (4:04) – Dennis McCarthy 27. Star Trek: The Next Generation End Credits (Season 3, short version) (0:48) – Music Composed by Jerry Goldsmith, Arr./Cond. Dennis McCarthy Total Disc Time: 78:33

DISC TWO showcases music from STAR TREK: DEEP SPACE NINE by composers Dennis McCarthy, Jay Chattaaway, David Bell and Paul Baillargeon and features tracks from various episodes including “Blood Oath,” “Take Me Out To The Holosuite,” “Rocks And Shoals,” and more! *  *  * STAR TREK: DEEP SPACE NINE 1. Star Trek: Deep Space Nine Main Title (Seasons 4–7, alternate mix) (1:55) Music Composed and Conducted by Dennis McCarthy SANCTUARY 2. Sleepy Space Flute** (2:31) BLOOD OATH 3. The Fortress/Battle Prep/ To the Death/Pariah (8:06) – Dennis McCarthy THE WAY OF THE WARRIOR 4. Hammered (4:13) – Dennis McCarthy ARMAGEDDON GAME 5. Runabout Switch/Coffee Break (5:34) – Jay Chattaway DEFIANT 6. Run Noisy, Get Caught/Officer or Terrorist (9:38) – Jay Chattaway THE BEGOTTEN 7. Birth and Rebirth (3:59) – Jay Chattaway CHRYSALIS 8. Chrysalis Song (0:53) – Jay Chattaway 9. Love Lost (3:31) – Jay Chattaway VALIANT 10. Rough Start/Meet Red Squad (4:43) – Paul Baillargeon 11. Squad Montage (2:34) – Paul Baillargeon 12. Giant Hunters/Abandon Ship**/Decide for Themselves (8:27) – Paul Baillargeon **Contains “Theme From Star Trek: Deep Space Nine” by Dennis McCarthy TAKE ME OUT TO THE HOLOSUITE 13. Federation National Anthem (1:00) – David Bell ROCKS AND SHOALS 14. Plummeting Into Planet (2:19) – David Bell 15. Laughing at Trouble (1:20) – David Bell 16. Parley With Doomed Patrol/Not My Life to Give Up (4:17) – David Bell SACRIFICE OF ANGELS 17. Opened a Hole in Their Lines? (1:56) – David Bell 18. Kira in Corridor Combat (1:57) – David Bell 19. Prelude to White Flash/White Flash Prophets (4:25) – David Bell 20. Welcome Back Captain/Garek & Kira in Infirmary (2:40) – David Bell 21. Star Trek: Deep Space Nine End Credits Seasons 4–7, alternate mix) (1:04) Music Composed and Conducted by Dennis McCarthy Total Disc Time: 78:11

DISC THREE highlights tracks from STAR TREK: VOYAGER by composers Jay Chattaway, Paul Baillargeon and David Bell, including music from the episodes “The Darkling,” “Flashback,” “Real Life” and others! *  *  * STAR TREK: VOYAGER 1. Star Trek: Voyager Main Title (1:55) Music Composed and Conducted by Jerry Goldsmith DISPLACED 2. Nyrians Take Over/Chakotay Sabotages (6:27) – Jay Chattaway ONE 3. Seven’s Daily Routine/All by Myself/Sleepwalking (1:52) – Jay Chattaway 4. 17 Hours to Safety/Beating the Loneliness (5:54) – Jay Chattaway COUNTERPOINT 5. Kashyk’s Departure (2:12) – Jay Chattaway THE DARKLING 6. Doc’s Soliloquy (0:40) – Paul Baillargeon MELD 7. Tuvok Slams Cart (3:29) – David Bell 8. Tuvok Attempts to Execute Suder/No More Mind Melds (3:20) – David Bell FLASHBACK 9. Tuvok’s First Hallucination (1:53) – David Bell 10. Klingons Other Side of Galaxy/Tuvok and Janeway Meld/First Flashback/Energy Wave Hits Excelsior (3:48) – David Bell 11. Sulu: Intruder Alert/Our Last Chance—Concentrate!/Be Nostalgic for Both (5:19) – David Bell UNITY 12. Chakotay Attaches Power Conduit/Chakotay Phases Tuvok (5:06) – David Bell FLESH AND BLOOD, PART I 13. Doc Snatched (2:44) – David Bell EYE OF THE NEEDLE 14. Possible Way Home (1:50) – Dennis McCarthy DEADLOCK 15. Inexorable/Surprise, Surprise! (6:33) – Dennis McCarthy INFINITE REGRESS 16. Naomi the Detective (0:56) – Dennis McCarthy SURVIVAL INSTINCT 17. The Outpost/Realizations (4:13) – Dennis McCarthy 18. Rebellion/With Family (4:42) – Dennis McCarthy REAL LIFE 19. Ugly to the Max(Klingon teenager source) (2:34) – Dennis McCarthy 20. Dad School/Where’d He Go? (2:17) – Dennis McCarthy 21. Tom Dooley/El Plan-O/Hangin’ On (3:23) – Dennis McCarthy 22. Belle’s Death (3:59) – Dennis McCarthy 23. Star Trek: Voyager End Title (1:19) Music Composed and Conducted by Jerry Goldsmith Total Disc Time: 77:47

DISC FOUR features selections from STAR TREK: ENTERPRISE by composers Dennis McCarthy, Kevin Kiner, Paul Baillargeon, David Bell and Velton Ray Bunch, including tracks from the episodes “Silent Enemy,” “Marauders,” “Cold Front” and more! *  *  * STAR TREK: ENTERPRISE 1. Archer’s Theme (Unused Main Title) (1:24) Music Composed and Conducted by Dennis McCarthy DAMAGE 2. Hijackers/No Choice (5:30) – Dennis McCarthy & Kevin Kiner BORDERLAND 3. Slaves Are Loose (2:34) – Dennis McCarthy & Kevin Kiner ROGUE PLANET 4. Alien Hunters (3:07) – Paul Baillargeon MINEFIELD 5. Damage Report (3:14) – David Bell SILENT ENEMY 6. Aliens Return/Aliens on Board/Cannon Fire (7:18) – Velton Ray Bunch MARAUDERS 7. Klingon Defense/Deserted Colony (5:09) – Velton Ray Bunch 8. Hand to Hand/Klingon Trap/Ring of Fire (5:26) – Velton Ray Bunch JUDGMENT 9. Duras Tells His Story/Archer Tells His Side (5:23) – Velton Ray Bunch HARBINGER 10. Recap/Red Cloud (5:02) – Velton Ray Bunch 11. Jealous Fighter/Alien Attack (2:56) – Velton Ray Bunch THE COUNCIL 12. Recap/Into the Chamber (5:19) – Velton Ray Bunch HOME 13. Vulcan Wedding (1:32) – Velton Ray Bunch UNITED 14. Recap/Rigellian Attack (2:23) – Jay Chattaway COLD FRONT 15. Searching for Silik/Conduit Brawl/Space Diver (6:21) – Jay Chattaway THE SEVENTH 16. T’Pol Gets Her Man (2:44) – Jay Chattaway VANISHING POINT 17. Bombs (3:01) – Jay Chattaway ANOMALY 18. Osaarian Showdown (4:19) – Jay Chattaway AZATI PRIME 19. End Game (3:57) – Jay Chattaway 20. Archer’s Theme (End Credits) (Dennis McCarthy)/ Paramount Studios Logo (Lalo Schifrin) (0:50) Total Disc Time: 78:50

The new  Star Trek Collection — The Final Frontier legacy score collection is available now at La-La Land Records’ website for a retail price of $59.98; early purchasers will receive copies signed by composers Dennis McCarthy and Kevin Kiner at no additional charge (while supplies last; autographs not guaranteed).

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See ‘Star Trek: Picard’ Season 3 Orchestra Pay Homage To Jerry Goldsmith, With Score From New Composer

| August 3, 2022 | By: Anthony Pascale 41 comments so far

Since the big Comic-Con reveal , Star Trek: Picard showrunner Terry Matalas has been discussing and teasing the upcoming third and final season, which features the return of the main cast of Star Trek: The Next Generation . And since our last update, he has continued posting, including a little preview of some of the music, which will pay tribute to the work of late composer Jerry Goldsmith.

Goldsmith love in Picard season 3

Over the weekend Matalas shared a short video of music being recorded for Picard season three at the Warner Brothers Scoring Stage in Burbank, CA.

All about that Goldsmith love! #StarTrekPicard Season 3 score. @ComposerBarton @freddiewiedmann pic.twitter.com/t5Y5oB7Lj4 — Terry Matalas (@TerryMatalas) July 31, 2022

Matalas called out the “Goldsmith love” referring to how the music evokes “The Enterprise” theme from Jerry Goldsmith’s Oscar-nominated score for Star Trek: The Motion Picture . Goldsmith himself would evoke this theme in the scores of future Star Trek films including the three TNG-era films he scored ( First Contact , Insurrection , and Nemesis ). Goldsmith is also known for the main theme for Star Trek: The Next Generation , which was taken from his main theme from Star Trek: The Motion Picture . The legendary composer has been credited in a number of Picard episodes that have used elements of his music, including his Emmy-winning theme from Star Trek: Voyager .

Earlier in July. Matalas revealed that season three of Picard will honor Goldsmith’s work “in a big way.”  He also confirmed they will be paying homage to Goldsmith’s TNG theme.

Let’s just say that Season 3 of #StarTrekPicard will honor him in a big way… 🤫 https://t.co/bqtHoT0RQ0 — Terry Matalas (@TerryMatalas) July 22, 2022

New composer

Matalas’ tweet links to two new composers for Star Trek: Stephen Barton and Freddie Wiedman, who both now list Picard among their work. Barton is the main composer for season three. Matalas worked with Barton on his previous series 12 Monkees . He is also known for his work on a number of video games, including Star Wars Jedi: Fallen Order , for which he was nominated and won several awards. Frederik “Freddie” Wiedmann is providing some additional music for season three. Wiedmann’s credits go back over two decades, including live action and a lot of animated work, garnering him a number of Annie Awards nominations and an Emmy win.

Barton also shared an image from the season three recording, revealing they are using an 80-piece orchestra, which is on the larger side for a television show. He tagged both Matalas and Picard editor Drew Nichols who attended the scoring session.

Conducting 80 of the finest orchestral musicians in the world, at WB with @TerryMatalas @DruicedUp pic.twitter.com/jaCTB28C7S — Stephen Barton (@ComposerBarton) July 28, 2022

Matalas did not mention Jeff Russo, who has composed the themes and music for both of the previous seasons of Picard . It is not known what role, if any, he will have in season three.

Find more  Star Trek: Picard news and reviews at TrekMovie.com .

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That sounds wise. Barton and Wiedman obviously replacing Jeff Russo… I’m not opposed to that. I have mixed feelings about Russo’s work. He has his moments. I like his original PIC theme and the imperial mirror universe theme from DSC, but his scores are half-baked and bland in parts.

He’s especially bad with including well-known themes from other shows. They always sound a tad off, almost fake… I don’t what it is exactly, but… So I guess Barton and Wiedman will do a better job honoring the classic scores.

Hello, Garth. I’m not opposed to that, either. The question remains is this: will we still hear Jeff Russo’s opening and closing theme tunes or not?

Good question.

Have to agree. Some of Russo’s work is actually pretty good — his Season 1 “Picard” theme was moody and elegiac, very appropriate for a show about a former hero in his declining years. But Season 2 was a total mess, and his episodic work is spotty and mostly not all that memorable. Nami Melumad’s compositions for “Strange New Worlds” have at least been more colorful and fun, as befits the show. I still wish they’d use a variety of composers to best suit the needs of the episode a la TOS, but I suspect those days are long gone.

It’s embarrassing to admit, but I’ve rarely even noticed the music on these recent series, except to dislike most of the title cues — exception being when they reference Goldsmith cues, which seemed to happen a lot toward the end of Ps2. When I do take notice, it is usually to think, ‘just another Marvel wall of noise,’ because melody seems absent, or buried. I guess that’s my biggest problem with the last couple decades of scoring — a memorable cue seems a thing of the past. Then again, I play Goldsmith, Barry, Williams, Bernstein and various other late 20th Century film composers in the car and in my office all the time, so basically any comparison is going to favor those gems.

It’s not embarrassing. Most of the music is pretty bland and forgettable. The only reason the SNW theme works is that is has the melodic heart (even if in a minor key) of Courage’s theme.

Well, film music is a strong interest of mine, and I’ve always used it as an inspiration for my writing. I used to live in the Bay Area, and KFJC had a terrific 3 hour soundtrack show in the 80s and early 90s, hosted by a guy named Robert Emory, which was spectacularly entertaining and informative, and his catch phrase was something about listening to what you watch, which kind of always informed my take on movies.

They wouldn’t just play title tracks like THE SCORE does (am not a fan of that program even though it is local up here in NW public broadcasting … though apparently popular nationwide, is error-ridden (the John Hurt sounding guy claimed Deep Space Nine was a base set on a planet, to give you an idea of how little research is done), and the cheapness of usually playing from compilation CDs rather than originals has always been evident.

Basically ever since PATTON when I was a little kid, I paid attention to film music (and took special note when CHINA SYNDROME and a lot of 70s era Lumet didn’t use any music, which is a neat trick when so many flicks rely heavily on underscore to make up for what they don’t deliver in-camera.)

I remember how struck I was the first time I saw NETWORK and realized that it had no score (except for the deliberately awful theme music for “The Howard Beale Show”), not even tracked contemporary pop music. And it worked really well, for that particular kind of film.

Getting back to TOS, one of the things that has convinced me Bob Justman was its unsung MVP was his unerring instinct for selecting composers whose style would best suit a particular episode. So far as I can tell, the man had a hand in just about every given aspect of Trek’s production; it’s amazing to me that he found any time to sleep at night.

NETWORK is the first movie where i consciously noticed the lack of music (2nd viewing), but then Bridges’ THE CHINA SYNDROME was the one that was a huge wakeup call to me to take note, because that seems like a movie which shouldn’t be able to work as well as it does w/o underscore. VHS was coming in then, so I quickly noticed a lot of Lumet films, going back to FAIL-SAFE, succeeding sans score.

I have often figured that doing a soundfx only mix for a space film, cutting from sound inside to silence outside, was the way to be both honest and suspenseful, but few have really managed or even dared try. GRAVITY apparently has a no-music version, and i wish I liked the movie more, because I’d probably give it another try (not knocking it, but after 3x in theater — the last movie I ever saw multiple times in a theater — the thrill is largely gone, except or the wonderful space VFX.)

It’s a very contrary situation for me, because I also love film music so dearly … recently I’ve rewritten the ending of an old script based on an unused cue from Goldsmith’s EXTREME PREJUDICE, and it got me very excited about screenwriting again, to the point that I think I’m going to try to finish off my ‘formation of ILM’ script and send it out (swore I wouldn’t try to write anything fun till I got that out of the way, many years and ADHD diagnoses back) and jump right back into my old CRITICAL ORBIT universe, even though FIREFLY has eclipsed some of what I wanted to do back in the early 90s when I was on fire with the writing, before I fell into the journalism-only rut.

“I guess that’s my biggest problem with the last couple decades of scoring — a memorable cue seems a thing of the past.”

This! A thousand times, this! And I think it started with TNG. I know your comment isn’t confined to Star Trek music, but I remember reading an interview with, I think it was McCarthy, where he tried to use a recurring theme and was told in no uncertain terms that “We don’t do that here.” That was such a crime, because the music of Trek until that point had been one of its true high points.

It seems like bland music spread from Trek to pretty much everywhere. Even John Williams’ score for the new Star Wars trilogy only had a couple of memorable cues.

Thanks, Rick Berman!

The closing theme of the season one final would have been the perfect maintheme for the series.

I wonder: If Russo is actually sidelined now, maybe this is the reason we haven’t gotten a soundtrack release for DSC S4 yet… I don’t know, just a thought.

Bet you $10 that little 10 second snip we heard will be played during the reveal of the Enterprise-F.

I was thinking exactly that.

It sounds like Picard S3 will be very cinematic. I love Jeff Russo’s work. I listen to it all the time in my Star Trek Into Music playlist, but if these two guys want to give Trek a shot, then I wish them all the best. Looking forward to S3 of Picard!

Why re-arrange perfection?

To make it fit the mood of the scene? Not every scene using that theme would benefit from a (as Nick Meyer put it) “rum-te-tum-tum” march.

Hopefully, they restore the Season 1 theme, or replace it. The changes to the theme for Season 2 were not great, yet I came to love Season 1’s theme.

My guess is we’ll hear dialogue about a USS Goldsmith in season 3. And/or the opening credits theme will include the famous TNG/TMP fanfare — seasons 1 & 2 had different themes played during credits, no reason not to expect a new or new-ish season 3 theme as well.

Anyone know when the soundtrack to Strange New Worlds will be out? I keep thinking it will be any day…

Yeah, it’s really a nuisance. It was “announced” for laze June / early July. Now it’s early August! I need this so much… Damn it, I need it! :-)

Great to hear Jerry Goldsmith is sharing the limelight in Season 3! Star Trek Voyager theme is one of the most beautiful themes ever written. The remix his son Joel did on a compilation CD, along with the Deep Space Nine theme and others, was a great interpretation as well. Of course the Motion Picture/Next Gen theme was truly at it’s best over the end credits of ‘First Contact’ orchestrated by the master himself. .

That “First Contact” theme…. I’ve left a note with my living will stipulating it get played at my funeral. Such a heart-felt, emotional piece. I get teary-eyed whenever I hear it played. And will again in about 30 seconds when I pull it up on YouTube.

i feel what you mean. i guess i watched FC as often as possible just BECAUSE of that main touching, eerie main theme. a masterful piece of music for all times.

Joel Goldsmith also did fantastic Work over on Stargate. And he died way too young …

Its weird but I always thought Jeff Russo’s music would have been the exact kind of music that Rick Berman wanted for his shows, bland, stoic, wallpaperish. I did enjoy his main themes but his episodic music to he honest aren’t very memorable. Hopefully these new guys can infuse some more energy into the music and it looks like they are on the right track by incorporating the great Goldsmith themes.

And you’re probably right :-D

My feeling grows exponentially that Terry Matalas indeed TRULY loves TNG the way I, and many others do!!!! Seems like finally the right man took the helm… The only one thing left I hope is that he also feels that TNG is only truly TNG when Data is included ..

I would love to know, what his actual involvment in season 2 was. He only has writing credit for the first and half a wrting credit for the second episode, though he was technically showrunner.

Given, that those were the only somewhat decent episodes of the season, there’s a chance, Season 3 might not suck. But I’m really not exited for it.

He said on twitter a few months ago that he essentially left the day-to-day on season two about halfway through to work on season 3. Akiva pretty much ran the show for season 2

It seems that he left day-to-day production halfway through season 2. However, the season was developed, and many (or even all) scripts were written long before that. So he probably didn’t oversee filming and post production, but I’d argue that most of the problems many fans seem to have with season 2 are not with the execution, but rather with the story/scripts. And that’s where he probably was involved.

Serialized shows these days are very much developed as a group effort by the writers’ room. Sure, individual scripts are still written by individual writers, but they were probably hashed out by committee. Now, I don’t know how detailed this “breaking the season” is but the major story beats in each episode all probably clear before any one writer sits down to type out a script.

I guess that’s one of the reasons many writers are also credited as (executive) producers these days. Everyone contributes to every episode even if they aren’t credited as writers.

That’s not really “nowadays” … Hollywood has been doing it this way for more than 20 years. Without crediting anyone and everyone as producer.

And with new Trek it happened more than once that there might’ve been a plan but they changed it halfway through the season (DSC S2) or had to add whole storylines in Post or through reshoots (PIC S1) … and I wouldn’t be surprised, if something like that happened in PIC S2 as well. This just doesn’t feel like any thought went into this.

So maybe the difference is that they are now starting to actually credit people for their work? I’m not sure why some fans obsess so much about the number of producer titles. These shows involve a lot of creative talent. They always have. Why is it a problem if some people who might have previously been mentioned only in the end credits now receive a more prominent credit in the title sequence?

As for Picard season 2: Akiva Goldsman doesn’t have any writing credits on the middle part of the season either. He shares credit with Matalas on the opening episodes and has co-written the season finale. So it seems like neither Matalas nor Goldsman want to take credit for the middle part of the season ;-) What’s interesting is that most of the middle part was written by people who had never worked on Star Trek Picard (or any Star Trek) before. Episode 3 was co-written by a writers’ room assistant from season 1, and episode 8 was co-written by Kirsten Beyer (co-creator of Picard). But aside from these two everybody else credited as writing episodes 3 – 9 seems to have been new to Trek. They basically handed off the whole season except for the opener and the finale to a team with no prior Star Trek writing experience.

As someone who LOVES TNG on such a grand level I really want to believe that too. I was very excited when I heard he was coming in for season 2 and especially after how disappointed I was with season 1. I told myself if nothing else it has to be BETTER than first season (which was already a super low bar) and it felt worse! Yeah he loves TNG and this era of Star Trek but season 2 was not anywhere close to a love letter to the show, put it that way.

For the first time, ever, I was depressed watching a Star Trek show, because it hurt to see them get this show so wrong after so much fanfare. I was OK if the Kelvin movies or Discovery didn’t win me completely over, but those were different. They were new entities, zero attachments. So even if they disappointed me (which they did lol) it wasn’t the end of the world either. You just shrug it off and just hope it improves in the next go around. But Picard was my childhood. The show and character represented beyond just another Trek show and was part of my life for a long time. So it just really hurts when they didn’t get it right in either season for me. I’m really crossing my fingers for season 3, ALL the characters are back so it means even more to so many of us; but I’m still very nervous about it

Glad they’re finally getting rid of Russo. He did some great Work on other shows but his Star Trek Work was just so derivative and forgetable.

Looking at all of Kurztman Treck, it’s only really Chris Westlake who gets the music right. Though Giacchinos Theme for Prodigy is pretty great, too.

I absolutely LOVE and adore Nami Melumad’s work. So it’s not just Westlake. Russo is the only weak spot of the new era and even he isn’t with merit.

without of course :-)

Rewatching that clip and revisiting pieces of Picard’s season 1 score leave me with just one wish… that they’d quote more than 8 notes of the theme…. go ahead and play the damned thing! I’m not saying for 6 minutes like in “The Motion Picture”, but let us hear that beautiful music!!!

Could be penny-pinching. I’m not sure what the rules are exactly but they have to pay royalties to the original composers when they reuse older music. Maybe the amount they have to pay depends on how much they quote. I think Nami Melumad (composer of Prodigy and Strange New Worlds) once mentioned in an interview that she would sometimes sneak in little pieces that evoke previous scores but keep it short enough or slightly different from the original so they wouldn’t have to pay.

I’m not 100% positive here, but I’d think that if you pay for a song, you pay the same for 8 notes as you’d pay for the whole shebang.

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Book, film, composing

Biography, reception, and presentation of Jay Chattaway’s work hits the M.V. Film Center.

Movies and music have long gone together. Before the “talkies” of the 1920s, a piano or organ player improvised, matching the action on the silver screen. Today, film scoring is embedded in the moviemaking process. It’s a complex art that takes months or even years to master, and involves the composer, the conductor, and the performers — sometimes even a full orchestra. There are a few formal programs for musicians who want to learn the art of film scoring. But it is possible to find a way into the business through connections, nonfilm projects, through building relationships and growing a reputation. That is the path Jay Chattaway took, and it is beautifully detailed in a new biography.

That biography, written by Terri Potts-Chattaway, is titled “Journey to the Inner Light: The Life and Musical Voyage of Jay Chattaway — ‘Star Trek,’ Jazz, and Film Composer.” Author Terri Potts-Chattaway is a former Hollywood producer and “alum of the school of ‘Star Trek,’” as she likes to put it; she is also Jay Chattaway’s wife. 

The book is a lively read that captures Jay Chattaway’s transformation from a small-town Pennsylvania boy to the Emmy-winning composer. Nominated seven times for an Emmy, Jay won in 2001 for his musical score for “Star Trek: Voyager.” Chattaway is also a noted music arranger. You’ve no doubt hummed one of his most famous tunes, such as the theme to the movie “Rocky” — which also earned trumpeter Maynard Ferguson a Grammy nomination. 

The book draws its title from his most-requested piece of music, “The Orchestral Suite from ‘The Inner Light,’” variations on the score of an awardwinning “Star Trek” episode. He conducted the work with the London Philharmonic at Royal Albert Hall for the 2015 premiere of “Star Trek: The Ultimate Voyage.” (Chattaway will conduct again this summer at the Star Trek Convention in Las Vegas.) 

This is Potts-Chattaway’s first book-length publication, though she’s published articles and poetry, and keeps a lively blog about her life in sailing. As both biographer and spouse, she walks a delicate line in her new book, as she conveys the ups and downs, the achievements and roadblocks Jay has encountered. Writing about one’s spouse would be challenging enough, but when that person has led an unusually varied and creative life, the challenge increases. That Potts-Chattaway writes with clarity and energy and avoids sentimentality is a testament to her skill as an author. The book is a great read for Trekkies, music lovers, or anyone with a creative dream, curious about how to make it reality. 

On Saturday, June 29, at 4 pm, Jay and Terri will join Richard Paradise, MVFS director, onstage for the presentation “Where Does the Music Come From?” They’ll discuss the creation of music for film and television, and show many film clips, “which will take the audience behind the scenes of a ‘Star Trek: Voyager’ television episode, complete with an orchestral recording session and a viewing of a segment of that score with picture,” Jay says. Following that, an Emmy-nominated segment from “30 Years of National Geographic” will be shown first without music, then with music, and Jay will talk about what inspired the music for the segment. Jay’s “wolf theme,” from Stephen King’s film “Silver Bullet,” will also be part of the show, which will conclude with “a beautiful compilation of scenes from ‘Star Trek’ films and television episodes” scored with Jay’s best-known piece, “The Inner Light.”

This event is part of the MV Film Society’s Filmusic Festival, one of the M.V. Film Society’s most popular annual events, and is the first part of what could be considered “Film Score Day.”

At 7 pm, following the Chattaway event, doors will reopen for a feature film about another film music composer, Ennio Morricone, known for scoring films like “Cinema Paradiso,” “The

Untouchables,” and “The Good, the Bad and the Ugly.” Together, the Chattaway event and the film “Ennio” offer a rare chance to get an inside view on how film plus music equals magical film-watching experiences. In fact, Chattaway credits Morricone as an influence on his work: “Ennio’s techniques helped make me aware that a composer doesn’t need a hundred musicians to solve the musical equation of scoring a film … What a great coincidence that ‘Ennio,’ the film … will follow our presentation at the Filmusic Festival.”

Doors open at the M.V, Film Center at 3:15 pm on Saturday, June 29, with a wine reception and book signing by Terri Potts-Chattaway, and Jay Chattaway. At 7:30 pm, there will be a screening of “Ennio.” The day’s events are part of the Filmusic Festival at the M.V. Film Center. For more information, please visit mvfilmsociety.com , and read “And the beat goes on” in this week’s MV Times.

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The Music of Star Trek

The Music of Star Trek is a reference book focusing on the composers and music of the various Star Trek series and films.

Summary [ ]

• 1 Daniels (Crewman)

David Bell (I)

Music department.

IMDbPro Starmeter See rank

• Contact info
• 7 wins & 3 nominations total

• 1995–2001 • 33 eps

• 1984–1991 • 81 eps

• 2001–2003 • 7 eps

• 1994–1999 • 24 eps
• 33 episodes

• 24 episodes

• 54 episodes

• composer: additional music (1995, uncredited)

• additional music

• composer: theme music
• 26 episodes

• 12 episodes

• music: "Lonely Heart's Club A" (uncredited)

• music: "Lonely Heart's Club A"
• music: "Silly Season A" (uncredited)

• music: "Lonely Heart's Club (a)"
• music: "Lonely Heart's Club"
• music: "Lonely Hearts Club (a)" ...
• 13 episodes

• music: "Lonely Heart's Club" (uncredited)

• music: "International Network" (uncredited)

• music: "Solo Effects 70"
• music: "Solo Effects 72" (uncredited)

• music: "Slapstick Effects 26"
• music: "Slapstick Effects 65"
• music: "Slapstick Effects 27" (uncredited) ...
• writer: "We Can Make It Over"

• music: "Crocodile Tears A", "Silly Season A" (uncredited)

Personal details

• David H. Bell
• April 17 , 1954
• Middletown, Ohio, USA
• Other works He directed the John Kander and Fred Ebb musical revue, "And the World Goes Round", at the Marriott Theatre in Chicago, Illinois with Alene Robertson and Rick Boynton in the cast. The crew included Terry James (musical direction).

Did you know

• Trivia David H. Bell and Keith Harrison Dworkin's musical, "The Boys from Syracuse", at the Drury Lane Theatre in Oakbrook, Illinois was nominated for a 2009 Joseph Jefferson Award for New Work or Adaptation-Musical.

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Published Jun 21, 2024

How the Picard Season 3 Soundtrack Unlocks All of Star Trek

For World Music Day, let's look at how Picard's final score stretches across the entire final frontier, from familiar themes to deep sonic cuts.

StarTrek.com

The music of the Final Frontier is one of the most grounding aspects of the entire Star Trek phenomenon. Rather than sounding overtly futuristic, the musical world Trek has always been the opposite — old-fashioned and classic. When Nicholas Meyer hired James Horner to compose the music for The Wrath of Khan , he asked for a score that was "nautical, but nice." This single phrase perhaps best describes a large swath of famous Star Trek scores; the music is rooted in an antique style, combined with a buoyant sense of optimism. The music of Trek looks forward, partly, by looking back. In real life, Star Trek scores have been played at the commissioning of space shuttles, at least one U.S. Presidential Inauguration , and on March 11, 2024, Jerry Goldsmith's themes from Star Trek: First Contact were played during a ceremony in which Sweden was inducted into NATO.

Sometimes, it seems the classical music of Star Trek is oddly more pervasive in everyday life than Star Trek itself. Yes, there have, of course, been examples of non-classical music in Star Trek ; from Steppenwolf's "Magic Carpet Ride," to Enterprise 's "Faith of the Heart," Kirk blasting The Beastie Boys' "Sabotage," and, in 2023, musical theater and pop stylings throughout " Subspace Rhapsody " in Strange New Worlds . But, for almost six decades, classical scores have been the sonic glue binding the Trek universe together. From Original Series composers like Alexander Courage and Sol Kaplan, to Jerry Goldsmith and James Horner in the classic films, to Dennis McCarthy in The Next Generation era, Michael Giacchino 's scores for the Kelvin Universe films, to Jeff Russo in Discovery and Chris Westlake in Lower Decks , Nami Melumad on Strange New Worlds and Prodigy , each Trek score often contains a piece of another. But, perhaps more than any orchestral Star Trek event to date, the soundtrack for Star Trek: Picard Season 3 bridges various eras simultaneously, but also created edgy, new directions for Trek scores that had never been tried before.

The Picard Season 3 score — composed by Stephen Barton and Frederik Wiedmann— is a rosetta stone of nearly all of Star Trek music, ever. Here's your guide to why this 2023 score is so unique, how it's the perfect place to start your Star Trek musical education, and why, if you haven't already, consider spinning this one on vinyl .

"All Good Things…Must Come To An End"

"The Last Generation"

While it's somewhat obvious that Star Trek: Picard Season 3 is a direct follow-up to Picard Season 2, a huge thrust of the series is also a coda to the era of The Next Generation TV series and four feature films. So, throughout this score, there are various musical references to the hugely famous main theme from Star Trek: The Next Generation composed by Jerry Goldsmith. But, within this musical cue, there's an Easter egg to 1979. As many fans know, the immortal TNG main theme was actually first composed by Goldsmith for the film Star Trek: The Motion Picture . And while the bombastic march opens that film, and every episode of TNG, a slower more ballatic version of the theme was created for the classic track "The Enterprise ," in which Scotty and Kirk view the newly refitted ship for the first time.

'The Next Generation'

In Picard Season 3, this dreamy arrangement of the TNG/TMP theme is on full display in the back-to-back tracks "Hello, Beautiful" and "Leaving Spacedock," in which Picard and Riker take a shuttle to the U.S.S. Titan -A, and we hear the gentle strings of "The Enterprise " from 1979. However, as this musical moment continues, and Commander Seven takes the Titan out of spacedock, a new musical theme emerges, which showrunner Terry Matalas has called " The Titan Theme, " since it plays in many instances in the series that focus on the scrappy starship itself. And yet, by the end of Picard Season 3, the Titan becomes a new version of the Enterprise . So, when Riker and Picard roll-up on the Titan and hear the TNG/TMP main theme, it's not just a neat Easter egg, the music becomes a foreshadowing element that helps tell the story.

Deep Cuts Reveal Myriad Star Trek Legacies

"The Next Generation"

Just as Beverly Crusher sends Picard a transmission as a myriad codec, the Picard Season 3 soundtrack contains a myriad of references to all sorts of other Star Trek music. Some of these cues are somewhat obvious. The end-credits for the series borrows from the First Contact main themes, first introduced in 1996, while Jeff Russo's arrangement of the TNG main theme, crafted for Picard Season 1 and Season 2, still exists as part of the brief title card at the top of each episode. But, once you start digging into the episode-by-episode tracks, deeper cuts start to reveal themselves, ever so slowly.

In "Old Communicator," ominous woodwinds play as Picard riffles through his stuff, to find his TNG-era red uniform. These notes are reminiscent of Ron Jones' music for " The Best of Both Worlds " in The Next Generation , reminding us of that time Jean-Luc lost a uniform just like this when he was assimilated by the Borg. But, for composers Barton and Wiedmann, this is just the first of many musical cues from the past.

"The Bounty"

When the Titan arrives at the Fleet Museum in the sixth episode, " The Bounty ," we get a track called "Legacies," which has rapid-fire sonic Easter eggs like no other piece of Star Trek music before or since.

As Seven and Jack observe the various ships in the museum, each one gets his own theme; for the Defiant , we hear Dennis McCarthy's main theme for Deep Space Nine , for the movie-era Enterprise -A, an arrangement of the Alexander Courage TOS theme, and as Seven waxes nostalgic about the U.S.S. Voyager , a triumphant and bittersweet rendition of the Jerry Goldsmith main title from Star Trek: Voyager plays. Impressively, these musical cues are packed into three minutes and fifteen seconds, meaning "Legacies," tells the story of four starships, through music, in a very short amount of time.

Did we say four ships? Yes! Because in addition to the Defiant, Enterprise -A, and Voyager , the medley of "Legacies" eventually concludes with Leonard Rosenman's 1986 themes from Star Trek IV: The Voyage Home . And that's because Jack realizes that the captured Klingon Bird-of-Prey, which Bones christened the H.M.S. Bounty all those years ago, has a cloaking device that the crew of the Titan can use. And so, this wonderful nod to Rosenman's music not only references The Voyage Home , but also moves the present tense of the story forward.

That Cinematic Feeling

A Musical Legacy: Scoring the Final Season of Star Trek: Picard

On the liner notes to Picard Season 3, Terry Matalas specifies that the score for this season was designed to remind fans of the big, epic music from the films. Even though this was a season of a TV series, the sound of Picard Season 3 is cinematic. "I knew early on that Picard Season 3 needed to sound like the great Trek film scores that came before it," Matalas writes in the liner notes. "[When] I was five…the track 'The Enterprise ' was imprinted onto my brain."

And so, in collaboration with composers Barton and Wiedemann, Matalas steered the music of Picard Season 3 into a massive tribute to the entirety of previous Star Trek film scores. This was accomplished by the sonic Easter eggs we've just pointed out, but this feeling also exists more broadly throughout the entire soundtrack. The dark track "Dominion" isn't one that contains any sonic Easter eggs, but is unique to this soundtrack, as is the heroic hero theme for the Titan , heard in "Leaving Spacedock" and throughout the all ten episodes of the season.

But, the brilliance of the Picard Season 3 soundtrack isn't that it simply checks-off various Star Trek musical boxes. Instead, it seamlessly blends the old with the new. In "Legacy and the Future," longtime fans will be reminded of Denis McCarthy's tender music from 1994's Star Trek Generations , but as the track builds, we move from the immortal Alexander Courage fanfare, and into the new , future-facing music created for the Titan , which is destined to become Captain Seven's ship, the Enterprise-G , boldly headed into the future.

And so, the Picard Season 3 soundtrack isn't just a series of nostalgia hits. Its music allows us to revisit stories from across the whole timeline of Star Trek , but, also, imagine an unfolding new future, full of wonder, hope, and adventure.

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Ryan Britt is the author of the nonfiction books Phasers on Stun! How the Making and Remaking of Star Trek Changed the World (2022), The Spice Must Flow: The Journey of Dune from Cult Novels to Visionary Sci-Fi Movies (2023), and the essay collection Luke Skywalker Can’t Read (2015). He is a longtime contributor to Star Trek.com and his writing regularly appears with Inverse, Den of Geek!, Esquire and elsewhere. He lives in Portland, Maine with his family.

In addition to streaming on Paramount+ , Star Trek: Picard also streams on Prime Video outside of the U.S. and Canada, and in Canada can be seen on Bell Media's CTV Sci-Fi Channel and streams on Crave. Star Trek: Picard is distributed by Paramount Global Content Distribution.

Giant Freakin Robot

The Worst Star Trek DS9 Episode Almost Scared Off The Franchise's Best Writer

Posted: June 26, 2024 | Last updated: June 26, 2024

The Worst Star Trek DS9 Episode Almost Scared Off The Franchise’s Best Writer

While not every Star Trek fan agrees, most in the fandom consider “Move Along Home” to be the worst Deep Space Nine episode ever made. The episode was awful enough that many in the show’s crew agreed that it was a stinker, including Ronald D. Moore. He was arguably the best writer and producer of that era of Star Trek, but when he watched this episode before joining DS9, he found himself “wondering if everyone had lost their minds.”

An Episode Everyone Wants To Forget

To understand what makes “Move Along Home” so bad, you need to know a bit more about what the episode is about. After Quark tries to scam some visiting gamer aliens (no, really), he must play a new game while several others on the station are stuck inside and instructed to simply “move along home.” This leads to seemingly life-or-death stakes for those inside the strange game, but the episode ends with the surprising revelation that all of this has been safe and harmless entertainment for everyone involved.

The Episode Was Confusing To Everyone

Ronald D. Moore came to Deep Space Nine after The Next Generation ended, and he watched the entirety of the spinoff (then only two seasons) before joining the show. Like most of us watching at home, Moore was confused by the various storytelling decisions of “Move Along Home.” His conclusion was simple: this was an episode put together by a crew of crazy people.

Chutes And Ladders

Sadly, Ronald D. Moore didn’t elaborate on what he found most baffling about this episode, but we can take a few guesses. For example, the game they play in “Move Along Home,” Chula, is essentially just a three-dimensional version of Chutes and Ladders. This alone makes it hard to take this episode seriously, and the only thing that could have been more embarrassing was watching everyone play Monopoly (although a game where you have to pay rent and taxes while narrowly avoiding jail does sound like Quark’s worst nightmare).

One Of The Writers Of The Next Generation Finale

Another common criticism of this episode is that the “it was all just a dream” ending was a complete disappointment. This more or less confirmed that everything that happened in the episode (including some deeply stupid singing) happened for no reason. Such a shallow episode was always destined to offend Ronald D. Moore, someone who made a career out of creating high-stakes Star Trek episodes with appropriately dramatic payoffs.

Back when “Move Along Home” first aired, Moore was still working on The Next Generation. He toured that show’s set in 1989, dropping off a script so good (it was “The Bonding”) that he got hired as a staff writer. Moore eventually became a producer of the show and even won a Hugo Award for co-writing the series finale “All Good Things.”

Moore Wrote For DS9 For Three Seasons

In other words, he was a pretty big deal when TNG ended, and he joined DS9 as a producer and writer. However, watching “Move Along Home” briefly made Ronald D. Moore question the sanity of the staff that he was about to join. This didn’t keep him from joining the show for three seasons, but he would eventually grow tired of Trek, abruptly walking away from Voyager because he couldn’t tell the kinds of dark, ongoing stories that he felt the show’s plot demanded.

Went On To Launch Battlestar Galactica

He may have joined Trek as a wet-behind-the-ears writer, but Ronald D. Moore ended up defining arguably the best era of the franchise across three different shows. This gave him the experience to create the Battlestar Galactica remake, a series that is among the very best sci-fi ever put on television. For that reason, we’re glad that he could look past the awful quality of “Move Along Home” to instead see the potential of this new show and its very different cast of characters.

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