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A champagne bottle is seen spinning through the blackness of endless space as a gentle, ethereal theme accompanies its journey. As the strings and voices swell to a crescendo, the bottle strikes the hull of the U.S.S. Enterprise-B, and the legendary Alexander Courage fanfare heralds the launch of both the mighty starship as well as the opening of STAR TREK GENERATIONS. The seventh in a long line of successful features based on Gene Roddenberry's classic television series, this film unites the two most famous captains of the U.S.S. Enterprise: James T. Kirk (William Shatner) and Jean-Luc Picard (Patrick Stewart).
Two generations are brought together by one man's obsession with a place called the Nexus, a heavenly universe where linear time has no meaning. Captain Picard meets Dr. Soran (Malcom McDowell), a 300 year old El Aurian scientist rescued from a ravaged stellar observatory. By manipulating a powerful ribbon of energy, Soran means to gain entry to the Nexus, stopping short of nothing but universal destruction to achieve his goal. It is a story of good vs. evil as Picard and Kirk must prevent Soran from destroying an entire solar system, thus killing millions. It is also a story about coping with personal tragedies as Picard receives distressing news from Earth. Finally, it is a story involving personal growth, as Data (Brent Spiner), like the Tin Woodsman of Oz, at last finds a heart in the form of a newly installed computer chip.
For this film, composer Dennis McCarthy has delivered a score with a wide range of textures and emotions. There is pulse-pounding excitement when the Enterprise-D battles a renegade Klingon bird of prey and when Captain Kirk saves the Enterprise-B from destruction by the energy ribbon (Outgunned, Kirk Saves the Day). There is a soft, tender movement accentuated by choir as Picard, after entering the Nexus, finds himself sharing Christmas with the family he has always desired but never had (A Christmas Hug).
In addition to his large compliment of strings, woodwinds and percussion, Dennis utilizes many musical effects involving synthesizer and waterphone (a jug-like instrument with several protruding pipes along which the player runs a violin bow). For the cue Time is Running Out, a soft choir highlighted by waterphone is heard as Soran catches sight of an old acquaintance tending bar.
Deck 15 features a somber version of Dennis' theme for STAR TREK GENERATIONS with elements of Alexander Courage's familiar STAR TREK fanfare.
Dennis brings it all to a close with To Live Forever, where Data, having found his lost cat Spot, cries tears of joy. Picard and Riker, meanwhile, survey the wreckage of the Enterprise-D; and as they are beamed aboard a rescue ship, a powerful reprise of the Courage fanfare heralds the promise of new adventures to come.
Dennis McCarthy
Many of us reach an apex in our lives, that moment when the limitless possibilities of a bright future open wide, signifying that our reward for a job well done is at hand. For composer Dennis McCarthy one such moment came when he was assigned to score STAR TREK GENERATIONS. In what is an undeniably stellar career, he has garnered the respect of his peers as one of the business and most talented composers working in television today. When the time came to select a composer for the first feature film based on the multi-award winning series STAR TREK: THE NEXT GENERATION, director David Carson and producer Rick Berman had to look no further than one of their own.
Over half the scores for the show's 178 episodes were composed by McCarthy, who had been with the series from the first episode "Encounter at Farpoint: (GNPD 8012). Composing over 80 hours of music in the show's seven years on the air, he was rewarded with Emmy nominations for "Yesterday's Enterprise" (GNPD 8031), "The Child", "Half Life" and "All Good Things." The coveted statuette became his for "Unification, Part 1" (GNPD 8034). In creating the musical voice for STAR TREK GENERATIONS, McCarthy and director Carson wanted a score that would stay true to the feel of the original series, while at the same time reflect a much larger scope. Since this was a story that would be played out on giant screen in thundering digital sound, McCarthy could bring forth a new level of intensity.
The resulting score for STAR TREK GENERATIONS has set a new standard for STAR TREK. He has assembled 95 of his best musicians (more than twice the orchestral compliment of a regular TV episode), many of whom have been longtime associates. Adding a gigantic choir and extra time for mixing the film and album, the walls didn't just come tumbling down, they exploded!
After so many years working in television, feature film composing is a new and exciting challenge for this veteran composer. Dennis began his career in 1980 scoring ENOS, the spin-off from the successful series THE DUKES OF HAZZARD. Work on the sitcoms PRIVATE BENJAMIN and GOODNIGHT BEANTOWN soon followed.
Dennis' first science fiction genre project was scoring the second half to the mini-series "V: The Final Battle." His music had impressed the producers so much that when "V" went to series, Dennis was assigned to score all 19 episodes. A suite from "V" is now available on "Super Scary Monster Party" (GNPD 2240).
It was his work on "V" as well as episodes of CBS-TV's THE TWILIGHT ZONE that brought him to the attention of the producers of STAR TREK: THE NEXT GENERATION. Over the ensuing years he would go on to score episodes of MacGYVER, MANCUSO: FBI, LIFESOTRIES, PARKER LEWIS CAN'T LOSE, ISLAND SON, and TINY TOONS. His telefilm credits include SWORN TO SILENCE, DADDY, LEONA HELMSLEY: THE QUEEN OF MEAN, KALEIDOSCOPE, OVERKILL, TONYA AND NANCY and SLIDERS, all while alternating episodes of STAR TREK.
Evolution is a part of life however, and the time has come for Dennis to spread his wings and soar in his new role as a feature film composer. With a man of his talents, the possibilities are limitless. — David Hirsch
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