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tannhauser

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  1. True - it's the only major live-action adaptation. But the point I was making was that Star Wars started life as a film with a score, and everything else that's happened grew out from that. Middle Earth existed long before Jackson or Shore came along, and many other composers had a bash at it in the meantime.
  2. Because Star Wars started with Williams' music as part of its very fabric - and everything evolved from that. That's quite different to the case of Shore's work on Peter Jackson's films, which although by far the largest in scale and scope, nevertheless sits in the context of many musical interpretations of Middle Earth by other composers, such as Stephen Oliver, Donald Swann, Leonard Rosenman, Johann de Meij to name but a few. I personally do not wish to hear any of Shore's music in this new adaptation - it should have its own identity conceived by a new composer.
  3. Caught a bit of this on Radio 3 today https://www.bbc.co.uk/programmes/m0002mq7 Its really good! They play the Main Title, Luke and Leia, The Asteroid Field, Imperial March, Cantina Band, The Forest Battle and the Throne Room and End Title Particularly enjoyed Cantina Band, they were more authentic in the instrumentation and performance style than most live renditions I’ve heard. Also nice to have an audience that doesn’t burst into inane ecstatic applause after each movement, like you usually have to suffer at film music concerts. Nice to see them respecting this suite as the serious symphonic repertoire piece that it is.
  4. tannhauser

    New Podcast! The Baton: A John Williams Musical Journey

    Hey Jeff, great work on this podcast. I'm really enjoying listening to it, and look forward very much to hearing future episodes!
  5. The Jurassic Park track is available to listen to on Amazon Music Wow, I like this a lot more than the recent LSO recording. Probably says something about the difference in quality of the conductor for each release.
  6. New York, 1957 The Adventures of Tony The Shark Theme The Immigration Scene America (and the dream doesn’t go on) Remembering Officer Krupke and Finale
  7. tannhauser

    Across the Stars for Anne-Sophie Mutter

    Why is she playing the Cunegonde theme from Bernstein’s Candide?
  8. tannhauser

    The Hog Chase

    "Best track of all time" seems a bit hyperbolic for some decent mood-setting music. I'm not sure what's so innovative?
  9. The trailer cue is now available to listen to here!
  10. Great point! It's about time Williams did a Middle-Earth score 😉 Thank you. I can't deny that HS is one of my biggest influences as a composer, and for this trailer score, there are certainly some of his trademarks present, with the choral elements, divisi high strings and minor third relations. I hope to steer away from this style somewhat when it comes to the actual score however.
  11. Yes, certainly! Thanks for your interest 😊
  12. Hello folks, Was going to put this in the Composer’s Thread, but I really want to bring the film to your attention and not just the score! Fog on the Barrow Downs is a new Tolkien “fan film” which is currently in post production. “Fan Film” really sells it short I feel, as the quality and passion that has gone into this film is extremely impressive. It’s an original story set in Middle Earth, written and directed by my friend Patrick Robinson, who is also undertaking acting, costume and prop design, cinematography, sound design and visual effects and almost everything else. I will be composing the score, and have written the cue for this trailer. I told him he really needed a better composer than me, but he’s quite insistent that they’re all dead! Without further ado, here it is! I hope this whets your appetite for an interesting little excursion into Middle Earth!
  13. tannhauser

    John Williams and West Side Story

    Much more interested in this than another Star Wars film!
  14. tannhauser

    John Williams and West Side Story

    Listening to the West Side Story movie version soundtrack again. It's horrible! What were the arrangers thinking when they decided to rewrite the prologue, throwing in little smatterings of "Cool" and the Ballet music here and there? Also the horribly over-sized orchestra detracts so much from the tight, spiky score. No wonder Bernstein hated it. I trust Williams and Spielberg will be more intelligent and respectful to the music!
  15. tannhauser

    John Williams and West Side Story

    I hope Williams is involved in this. I can't think of a better person to oversee the music, conduct the sessions, and adapt where necessary. However, I wonder if they will go down the pre-recorded route. I feel the modern approach to film musicals is interesting, where the singers sing on set with a live piano accompaniment relayed to discreetly concealed headphones, allowing them to shape the vocal performance with their acting, and the accompanist following their interpretation. The orchestra then replaces the piano accompaniment in the sessions. This worked well for the recent Les Miserables film, but would it be feasible with a score as complex as West Side Story? Either way, I'm very excited for this adaptation!
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