Doug Adams
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Posts posted by Doug Adams
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5 hours ago, Tom said:
Laugh if you wish, but I’ve already been interviewed for Williams’ obituary by a couple of major newspapers. (This was years ago, so there’s no new prognosticating involved. Just how these outlets operate. It’s still jarring to get the call.)
- Brando, Manakin Skywalker, Yavar Moradi and 3 others
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7 hours ago, Jilal said:
The LTP score (the current version, at least) matches the Bad Dates track on the Concord album as well as what's heard in the film, and so does the performance by the BP I heard last Sunday. They played nothing beyond bar 7.
The CSO played the full cue at Symphony Center, then the abbreviated version at Ravinia the next year. Must have been revised in the interim.
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4 hours ago, Jilal said:
There's nothing in the LTP score which matches Doug's description (it should be in between Don't Touch That and Discovering the Script, but there's nothing to be found there).
I went to the BP concert yesterday, and it was an awesome experience!
It was my first time hearing JW's music performed live, so I was really stoked, and Brossé and the BP definitely delivered beyond my expectations. One minor quip: I thought the trumpets sounded a bit dull at times, definitely not as piercing (edit: or crisp, perhaps) as I would have liked. Maybe it had something to do with the venue or their placement in the orchestra (they were sitting right in the middle of the orchestra—I was expecting them to be seated more to the right). Or perhaps it had something to do with the kind of trumpets used. This is just a minor quip though, as I was thrilled throughout the whole concert—hearing JW's iconic score performed live (in particular all that ballsy stuff for the brass section!) really made me feel things I'd never felt before. Brossé is a masterful conductor too, as he manages to let the music breathe (much like JW himself) by ignoring some of the less important hitpoints, still hitting all of the more important ones in the end.
It's the last four bars (or so) of Don't Touch That.
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5 hours ago, Bellosh said:
Yeah it's definitely a stretch. I'm the last person on this forum who should be saying that bit is his theme too lol. I know nothing of music.
As far as that podcast...it was the FSM podcast. I haven't been able to find it online for a while (luckily I have it saved to my ipod). The link on FSM's forum is broken.
@Doug Adams any possible link to that podcast?
Was it this, perhaps?:
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1 hour ago, Tydirium said:
“One … and-a-three” is four notes.
One = 1
and = 2
a = 3
three = 4
As you said elsewhere, the first measure is indeed three notes… but nobody would ever think “Indiana Jones” without including the fourth note that lands on beat 1 of the second measure.
Quite right. I apologize again for my extreme lack of sleep.
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25 minutes ago, Jay said:
Isn't that 2 notes?
Lol thus ends my adventure in sleep-deprived posting! Sorry!
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32 minutes ago, Doug Adams said:
Sorry. Clumsy fingers. The next note falls in bar two.
I should also mention I’m talking about the timpani part, which is what I usually play.
I’m gonna stop posting now! Lol
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Lol I advocate for EVERYONE learning to read music. But I’m a zealot. And still jet-lagged!
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Just now, Doug Adams said:
First measure is three notes.
Sorry. Clumsy fingers. The next note falls in bar two.
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First measure is three notes.
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Not to wade into the modern minefield of Lucasfilm discussion, but isn’t KK referring to the opening trombone figure? (One … and-a-three.)
That conjures Indy in just three notes, doesn’t it?
I’m jet-lagged and only watched the video once. So I apologize if I misinterpreted.
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On 10/1/2023 at 5:29 PM, thestat said:
Loved the score in the film - I thought it had great presence. The orchestral colours shine through magnificently. From the opening credits to the final despair, wonderful Shoreian bleakness.
As Doug Adams has suggested the film uses some of the rejected King Kong score, I wonder if this piece was the love theme for the Jackson epic. It would not sound out of place (and most of the other material is familiar - but still suitably dissimilar - from Silence of the Lambs, Smaug, The Score - however, I cannot place this theme elsewhere in Shore's catalogue):
I'm afraid that nothing in Pale Blue Eye has any relation (articulated or otherwise) to Shore's KONG score. I don't remember making that suggestion, but I apologize if I said something misleading.
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3 hours ago, Jay said:I think that since the Prophecy is the cue for the prologue sequence, which covers the events of the Second Age, and then the 3 locations Shore wrote the melody into FOTR directly are the Argonath statues, and then the crumbled statue and Seat of Seeing at Amon Hen - all of which are from the Second Age - it could be as simple as a theme Shore created for Second Age's grandeur or something like that. So it makes perfect sense to appear in fragmented form in The Prophecy and then get a full statement when Frodo is among Second Age ruins. And conveniently, the One Ring was created in the Second Age as well, so the theme was more easily turned into a Ring Theme than a different melody might have been.
I thought we decided that Shore's commentary must have been recorded when the original version of the cue was synced to picture, instead of the re-written cue?
Jay is correct.
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I have a theory that the softer choir mixes in the CR are the result of the 5.1 surround mix being directly baked down to the stereo mix. With the chorus primarily in the rear speakers in the DVD mix, they lost a lot of presence in the stereo. I'm not speculating on whether or not this was a choice or an oversight. Well ... I *am* speculating, but I'm not writing it here!
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8 hours ago, Chen G. said:
No mention of Shore, I’m sorry to say…
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39 minutes ago, Tom Guernsey said:
Interesting, the Hooten recording is certainly very good indeed and I like, the other recording paired with works by Kevin Kaska. Definitely a shame he didn't get to this mysterious Viola Concerto! Has anyone ever heard it?!
The Viola Concerto is criminally underrated!
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- Monoverantus, blondheim and Once
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John Williams & Anne-Sophie Mutter with The Chicago Symphony Orchestra. October 22nd 2024
in JOHN WILLIAMS
Posted
Generally when a piece such as this is commissioned for a particular performer, that performer is the only artist allowed to play the piece in public for a certain amount of time. I don’t know that that’s the case here, but it very well could be.
At any rate, I’ll be at the Chicago concert. If anyone here attends, come say hi!