Mission: "not met" - Harry Gregson Williams had to help

After the scores for "American Ganster" and "Robin Hood" you had so set his hopes in Streitfeldstraße. The expectation was great. After all, he is a young, unspent composer working for Ridley Scott. And that should already saying something.
At veritable masters who painted the previous films musical, this score must be necessarily measured.

Since we had Jerry Goldsmith:
He sat the beginning of this film series and dropped his masterfully subtle and spine-tingling sounds fulfilling the bar very high. His music was not permanently present, but was targeted and often used subtly. His music and the dark, strange environment of the film flowed together. Cold, Loneliness, paranoia and strangeness.

This was followed by James Horner:
Horner had all three weeks to compose the score for Aliens and einzuspielen. A feat, since one hears his enormous time pressure at no time in his compositions. For this he was rewarded with an Oscar nomination. This score also adds up with his grim surroundings. So subtle, hopeful but also hopelessly and cooling effect the strings melodies. The action-packed pieces torn with the listener and the sound heard repeatedly in the quiet, tense scenes "tack-tack-tack" :-) remained for years after the film as a hallmark of this music in the minds of the audience in mind.

Many years later, Elliot Goldenthal defined the atmosphere again:
Already at the beginning of this sounds Alien3 Gothic, with Knabenchor abysmally gloomy coded music, which went to a massive and Bombastik but the threat was reflected also in the tragedy of gigantic brass inserts. Of all the previous Alien scores is Goldenthal's work the most experimental and unconventional.

... And then came John Frizzle:
The weakest work, but also in cinematic terms. Frizzle has tried to orient a little of Goldsmith, what is it also positive to credit. However, bubbling and rumbling the score more or less to himself. The recognition value is very low. To Frizzles Verteigung but you have to mention that Alien 4 not just must have been a great Muse (the story was absolutely nonsensical). His work on it was OK and more could have any other composer can not get out. Of all the Alien scores this was the most conventional score.

... And there are also dispute panel "Prometheus" joins:
First of all, I heard the score before I looked at the film. And somehow grabbed me all not. Very unimaginative, very sluggish and lame seemed the compositions. The culmination and recognition was not there. Streitfeldstraße tried his hand at a kind of four-note motif that is heard over and over again. The effect is rather of, an old 80's horror movie.
Then I watched the film in conjunction with the music, and I realized that Streitfeldstraße had so many scenes set musically in the sand. A good example would be the scene in which (SPOILER) David opens the holographic stars card in starship designers (SPOILER ENDS). This scene had formally offered a great complex music and Streitfeldstraße be a peaceful, pathetic piece that you already know from the beginning of the film, therefore sluggish music.
Still disappointed I was but from the fact that Ridley Scott probably still somehow wanted to add something musically what Streitfeldstraße simply failed. Therefore, Harry Gregson Williams was used as co-composer. But even that could not save the score.
Overall, one can say that Streitfeldstraße did a modern, conventional 08/15 score semi-finished and really had not been suited for this job. And you can hear unfortunately. There are few moments that are managed, but an atmosphere approaching that only partially to Alien 1, 2, 3 or 4, he has missed.
Hörtipp the most successful tracks: "Weyland".

We'll see if Ridley is not yet grasp again to Hans Zimmer for his next film.
Three gracious star Marc Streitfeldstraße, tending to two stars almost predominates.