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  • Birthday 12/06/84

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  1. It's MATESSINO. Not "Mattessino".
  2. Huge walls of sound effects in action sequences in modern movies make the music almost go unnoticed, so why would JW bother to write in the style of SW / ESB?
  3. You are strongly recommended to listen to the whole work. The 6th symphony by Tchaikovsky is among the two or three best pieces of music ever written.
  4. As much as I also would like to get my teeth on the CDs very quickly, this is just fantastic news in view of similar future releases. Let's be patient, it will be worth it!
  5. Instead, that's exactly how I feel... I would be interested only in complete releases of HP1, HP2 and HP3. Extremely interested in those and E.T. . But I would not spend 1 dollar for any of the other scores in the HP franchise.
  6. E.T., because I would like to have EVERYTHING from this score, including alternates and all the concert pieces. Also, since it is clear that it is one of JW's own favourites, it should not be difficult to get the thing done.
  7. "For myself I know that, as long as I can summarize my experience in words, I would certainly not make any music about it." (Gustav Mahler, 1896).
  8. For a couple of seconds I had been thinking it would be the complete score...!
  9. Right. Buon compleanno, Maestro Morricone!
  10. Giacchino ---> Dijakkino (if I understood correctly what you mean)
  11. Never. He wrote it to select a new race of wind players with unlimited lung capacity. Those who cannot play it will die in the attempt. I was starting to suspect that it could be for English Horn because of the rather typical triplet figurations in the 4th, 5th and 6th staff (it reminds of a similar passage from Rossini's William Tell Ouverture, with slightly different intervals), but I had no clue at all that it was from Tristan. I only remember the prelude and Isolde's death song from that opera!
  12. I also thought the same (also because of the key), but I didn't find a passage like this in the score... anyway, it looks like something that Richard Strauss could have composed (maybe from an opera?), or maybe Wagner... (but then, in most editions one would expect to find German markings...)
  13. When you say that you don't like a theme, you mean that you don't like the concert arrangement, or really the theme itself? They are two very different concepts, and while I generally like all of JW's themes, I am not a huge fan of many of his concert arrangements, in other words I prefer the way he uses the themes in the film scores to the way he presents them to the audiences in concerts or in dedicated CD tracks (although Imperial March, DOTF and Anakin's theme are among my favourite concert arrangements - Anakin's theme should have been a bit longer, though).
  14. I didn't buy the scheduling conflict as well. Suppose you DO have a scheduling conflict: between a SW score and anything else, who would not choose the SW option? If your goal is to let people hear your music and make money out of it, SW is the greatest opportunities for anyone. If the French source is reliable, Desplat has been working on SW for more than one year, so he must have at least sketched a lot of stuff, maybe even the whole score. Apart from any comparison between Desplat and Giacchino or whoever else, what makes me sad is that a great professional such as AD might work for so long and have his score binned, with no immediate chances to let anyone hear it. But again, this has happened in the past to North, Goldsmith, Herrmann, Yared... Independently of the merits of the music (in principle, a score can be rejected simply because it is bad), in such cases they should just allow the rejected composer to publish at least a suite from his score, maybe some time after the movie opening, so that it can be performed by orchestras.
  15. Without taking any responsibilities, I try to translate with what I know from French and a bit of help from google-translate (maybe some French-speaking people could improve this): Just one month ago, AD declined the offer to work on a French feature movie alluding to his full-time immersion in the project Rogue One. His involvment seemed total, and nothing would let you think that he would leave the project. "In the middle of a working dinner, he would not stop leaving the table to answer to calls coming from Disney from Los Angeles. It was a huge pressure", confides a source close to the case. Desplat's departure seems all the more abrupt and betrays great turmoil backstage: "On a Star Wars, you just don't change composer three months before the film opens with a snap of fingers, it's unbelievable! Complex contracts were binding both parties ... Either Disney fired him, or he is throwing in the towel because he had enough and does not understand what Disney wants, but there was surely some clash." Some rumors, here also insistent, show a shift in Rogue One toward a more "light" tone. This would explain the fatigue of the composer, forced to readjust everything at the last minute. "Writing the score, recording, booking a symphony orchestra ... all this takes time. It is impossible to redo everything from scratch!" they tell us. "Disney is bound to keep some of Desplat's score, he has been working on this project for more than a year, I do not see how they could do otherwise. In any case, it is a huge surprise and they must be very, very late. It would not surprise me if some heads would eventually fall. It smells like a little sabotage. " this correct?