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Showing content with the highest reputation on 16/03/17 in all areas

  1. Have you not seen the track list for his score to 'The Light Between Oceans?' Music Composed by Alexandre Desplat 1. Letters 2. Tom 3. Jyn Erso takes flight 4. The Dinghy 5. Isabel 6. In God’s Hands 7. Reused Rogue One [No.128] 8. To Resent 9. Janus 10. A Wonderful Father 11. Suck it Disney 12. Path of Light 13. The Return 14. Hannah Roennfeldt 15. Still Your Husband 16. Yeah This Is From Rogue One Too 17. Sue Me 18. To Be Loved 19. The Light Between Oceans
    5 points
  2. I just finished listening to the whole album; My favourite track (despite it having had earlier release) is quite easily Dry Your Tears, Afrika. I'm disappointed by Hymn to the Fallen - its truncated form here doesn't do it any favours, and I still think the performance and sound mix from the Saving Private Ryan original album is unbeatable. I almost laughed listening to Viktor's Tale. It's the modified Signature Edition version, with some extra percussion added and the accordion removed. The clarinet performance thankfully avoids any 'squeaks' that various amateur performance I've heard seem to be plagued by. Emily Bernstein (who performed it on the original album, and who I hear sadly has passed away since then) performed the definitive version of this. I'm glad that Marion's concert version theme now exists, it's nice and sweet; Pleasing to hear also is the new recording of Escapades, as it almost equals my favourite recording of this (which incidentally was by a non-America, non JW conducted orchestra). The other tracks - Mutt, BFG, Lincoln, Minority Report, Munich, and War Horse are all (of course) flawlessly performed and recorded, but I'm at a loss as to why such relatively recent works needed re-recording. I could write a list of pieces that I think would have been more deserving of a new album treatment like this, but in the end, I'm grateful that Spielberg and JW wentto the trouble of this one. So, I just wish to express my deepest thanks to them for bringing this to us!
    3 points
  3. I just hope they're original and not cut-and-paste jobs. I'm expecting 8 to have a reprise (and hopefully some sort of reworking) of "Leia's Theme". If he does end up doing 9, whatever it ends up being it'll probably be a tough first listen...
    3 points
  4. She is one of the biggest babes in the classical world!
    3 points
  5. This was an obscure 1963/1964 television show, a spin-off of BEN CASEY, that lasted one season. Williams did one episode of the show, which you can read more about on Jeff's site: http://www.johnwilliams.org/compositions/television/breaking-point In any case, I just found the episode on Youtube in its entirety: Enjoy!
    2 points
  6. Gravity is a cool flick, but the impact will probably be lost without the visuals I think - crazy special effects and shot composition in that film, not a lot of dialogue
    2 points
  7. OMG OMG OMG!!!! The whole album just became available for streaming on Apple Music here in Australia. See in a bit peeps.
    2 points
  8. I saw her in concert but forget what she played though she was intoxicating. In the pre-concert talk she mentioned a passion for wolves (unless I am mixing her up with someone else). Separately, I have been a life long fan of Bach's Chaccone in D minor for violin finding it one of the most sublime compositions. Bach was just amazing. I remember learning the prelude and fugue in C for piano and realizing how much more difficult it was to perform due to the right/left hand equality. I really struggled with it. His music is versatile. I frequently perform the cello suites arranged for bass trombone and have arranged some of his seminal keyboard works for various forces ranging from solo trombone (toccata and fugue) to full orchestra (Passacaglia and Fugue in c min). No questioning he's one of the titans of western music.
    2 points
  9. Are you trying to say to us that the music of this score is played... by... humans?
    2 points
  10. Simple question. The Jedi Steps and Finale is widely considered one of the best end credits suites Williams has composed, seamlessly weaving themes written across four decades into a dazzling 9 minute track that stands alongside his best work in the Star Wars series. At 85, and showing no signs of slowing down nor abandoning the Star Wars series, do you believe John will top this suite in The Last Jedi or Episode IX? And if so, why?
    1 point
  11. This B-phrase tune epitomizes Tchaikovsky's gift for melody and melancholy.
    1 point
  12. Every band has a specific amount of things to say. Some have less to say than others. In certain cases, they have one quick expression in them at that's it.
    1 point
  13. Not in Notting Hill, it isn't! Hipster music at its worst. It has nothing to say, and it has no idea how to say it. It's the same with that "one day like this a year'll see me right" band, whatever they're called.
    1 point
  14. 1 point
  15. John Williams - Harry Potter and the Sorcerer's Stone John Williams - Minority Report John Williams - Catch Me If You Can
    1 point
  16. Mumford & Sons were great at first. Then they changed their style/formula and it all went a bit shit. They found a lucrative niche and they binned it!
    1 point
  17. crumbs does it on purpose as he knows I'll be ready to pounce upon it every time!
    1 point
  18. It would be pretty awful to just read the analysis of the funeral music without having the actual track available in Shore's intended form.
    1 point
  19. "A Mary Sue is an idealized and seemingly perfect fictional character, a young or low-rank person who saves the day through unrealistic abilities." (Wikipedia) I don't really see how Thrawn fits that mold. He's certainly a character written to have extraordinary abilities of deduction, but being skilled isn't the same as being a wish-fulfillment cypher for the showmakers/viewers. Sherlock Holmes is a master of deduction, but nobody considers him a Mary Sue. Like Darth Vader and Palpatine before him, he's a Star Wars villain - which means he will be a very powerful threat to the heroes, until he is undone. He just exhibits a different kind of power than a Force user. Luke, Ezra, and Rey are closer to Mary Sues, if we want to use a loose definition of that phrase (although I've always considered Mary Sue to be much, much more severe of an example than "unlikely hero") For better or worse, the Thrawn that is in the show is the same Thrawn character-wise that was in the dumb books.
    1 point
  20. There's gonna be heaps of material for Volume IV in just a few years... The Post Edgardo Mortara Ready Player One Indiana Jones V (Two concert suites?) War of the Worlds (Suite) The Lost World (Concert version) Artificial Intelligence (Two concert suites) Ivanka's Theme (Concert version) Stargazers from ET Amazing Stories That's already a solid album. EDIT: Judging by @azahid's post, looks like the infamous 3 were intentionally omitted. Hmph. Interesting that all three of these scores are available in complete form (legitimately and otherwise) and Williams very recently approved both TLW & AI as complete releases. Maybe, after thoroughly reviewing these scores in the last year or so, he simply decided he wasn't interested in revisiting them further for this compilation?
    1 point
  21. Hopefully the latter! Best case scenario is that we get expanded/complete releases before/with the book.
    1 point
  22. It would be a really nice touch if he ended the TLJ credits with Leia's Theme in the same vein he ended TFA's credits. Intertwining Rey's, Luke's and the Force theme together with that gentle orchestrators was a brilliant closer. I just hope he doesn't revert to a cut-and-paste job, even if they're typically well done (Hook, Azkaban, etc.) He probably spend weeks doing the finale suite for TFA but it was well worth it (and he kept tinkering with it even after sessions finished, so he was clearly invested in the piece).
    1 point
  23. Well he and I are not alike at all. He's gay, he probably doesn't like Trump, and he slams a score that's better than everything except ID4. Annnnnd... he's pregnant.
    1 point
  24. Wait, The Jedi Steps lose to Yub Nub, Victory Celebration and Augie's Municipal Band for you??
    1 point
  25. I don't think the TFA end credit is THAT great. Pretty good. Fun to rock out to, definitely. But it doesn't give me the same feelings the other six scores do. I can't explain it.
    1 point
  26. I tried learning to play that once. The jumps starting at 7:30 are a bitch, though... Speaking of jumps, Alkan's "Symphony for Solo Piano" looks like fun to play: But that's only the 4th movement. The rest of the symphony is worth checking out, too.
    1 point
  27. All lyrics will be provided. But the score will only be analyzed in the form in which it was originally composed by Shore.
    1 point
  28. Sorry to hear about the bad day friend. But you couldn't pick a better song for solace. That one always gets me a little emotional.
    1 point
  29. To end what has been a really, really bad day, I needed this.
    1 point
  30. yes, I was the one. But you didn't miss it. You responded to me in that thread. By the way, it would be nice if you had a similar general TV thread here with links to individual series threads, like at FSM.
    1 point
  31. Then I must know them all... And I'm one of those three people
    1 point
  32. As much as I adore the Williams piece, gotta go with Strauss. One of the best openings in all of music.
    1 point
  33. I still think it's pretty amazing we're getting a Volume 3 of the Spielberg/Williams series. I almost gave up hope to see it done for real. So paint me giddy as a schoolboy I totally respect JW's right as an artist to rework/revise/rewrite any of his works for film or concert hall. It's his own music so he can do anything he feels it's good for it. But sometimes his choices are kind of puzzling when it comes to these things, as in this specific circumstance (another one is the trimmed version of "Luke and Leia" he now performs regularly). It surely speaks about his vision of the old saying "A work of art is something never finished, only abandoned", but also as another example of how much he sometimes scolds himself a tad too much for the music he wrote at an earlier time
    1 point
  34. It's for people like us who enjoy hearing a new recording of a work they know by heart.
    1 point
  35. The Empire Strikes Back Indiana Jones and the Temple of Doom Star Trek: The Motion Picture Star Trek: Nemesis Batman (1989)
    1 point
  36. Probably the greatest musical performance I'm aware of.
    1 point
  37. Here's some official cue titles taken from an ACE Repertory listing (Includes unreleased music):
    1 point
  38. Wow this must have been one of the JW projects Mike M. teased. I'm very excited for this. I didn't even know Pete N' Tillie existed. I'm loving how much JW music we've been getting lately.
    1 point
  39. Yes, two different studios but doors were not knocked down really because Varese has perpetuity rights to Stanley & Iris, so it was just a matter of going to Universal for additional tracks to license as you would do with adding existing songs to a score album release. With it being for the same composer/director collaboration and too short to release on its own, Universal agreed, but it all had to be prepped first so Mr. Williams could hear it and okay it, which he did. Pat Sullivan and I worked on this release together and it turned out very well. Mike M. http://filmscoremonthly.com/board/posts.cfm?threadID=119169&forumID=1&archive=0
    1 point
  40. I'm not the biggest fan of the TDKR score, but boy does it have some ballsy moments. The Bane material might be as close to Stravinsky as Zimmer will ever get. The detuned strings at 2:46, especially infectious.
    1 point
  41. I almost never do this, but after having heard a few tracks off "Rogue One" 's soundtrack, I really need to vent: This isn't just bad. It's ugly. And I think the reason is sadly obvious: Giacchino's attempt at pastiche in such an iconic musical universe can only showcase his own shortcomings. It would have been an ungrateful task even for much better equipped writers, but as it stands, it simply sounds like a fan score. There's no point in dwelling on the awkwardly constructed themes, the inelegant emulation, the artlessness of it all... Giacchino was hired to write an apology, not a film score, and it shows. I feel very, very bad for him. Not for him not being a composer of Williams' caliber (few ever were), but rather for him being asked to put it so blatantly on display .
    1 point
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