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Disco Stu

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Disco Stu last won the day on May 24

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About Disco Stu

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    JWFan, when the walls fell
  • Birthday 09/12/1987

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  1. It's a shame the Today show has slowly shed almost of its Williams music over the decades, but it also makes sense as the show has slowly shed any connection to being a serious news show over the decades. The music he originally wrote for Today doesn't fit the lighter chat show tone it has now.
  2. The one Zimmer did for ABC World News Tonight is so bad. They should've stuck with the classic Kalehoff. CBS has never had especially effective musical themes. Not even Horner's.
  3. I would love to see a single release of highlights from Goodwin's Marple scores.
  4. Of course his line about abandoning the old dichotomy came before his humiliation on Crait, which I have to imagine will be a pivot point for his character.
  5. No Bond score needs the specialty label treatment more than Kamen's. Barry can wait.
  6. What if it's finally a proper release of Michael Kamen's Licence to Kill for the 30th anniversary? Their Bond releases have both been Black Friday and both David Arnold, but Kamen's score would certainly be very exciting for me as a 500th release.
  7. I certainly don't have a problem with programmatic music, I'm here on a film score forum after all. My personal favorite is still Copland, and the majority of his works that are "in the canon" are programmatic in some fashion, although those are not always the works of his that speak to me the most. As for the Zappa thing, that seems different to me. That seems more like seeking external inspiration in the creation of music, rather than explicitly saying the music is meant to represent an external object or substance. Also, an improvised solo is different than a planned out formal composition. To achieve the sort of elevated mental state needed for that kind of performing, I say imagine whatever you need to imagine to get you there. However, I do think composer program notes are often..... bad. Even for the "absolute" composers active today. Here's another example that bothers me from Sebastian Currier. They get in their own way I think.
  8. Something about contemporary music that makes me feel lost at sea is the search for external formal inspirations. I suppose it's an evolution of the symphonic poem, but it comes off as silly and kind of desperate. Here's an example of what I mean from a composer who I actually think is reasonably talented. But dude....
  9. What's up with this trend of composers becoming kind of obsessed with instruments as special effects? Like getting weird non-traditional sounds out of traditional instruments. I'm all for finding new ways to use them, but maybe.... have something to communicate or express doing that?
  10. Nelsons taking it slightly faster than my preferred interpretation (Slatkin) but the orchestra is singing beautifully. Filled with nobility and tenderness. But wait for dat boisterous scherzo! The orchestra sounding a little more clumsy here and way too slow. The scherzo movement can be tricky to get right, it should sound a bit hectic but not comic. I know they'll pull off the delicate trio in the middle though. The grand climax of the scherzo sounded amazing though. All is forgiven for whiffing on the opening of the movement! The opening of the 3rd movement, so mysterious. Copland's most private and introverted moment in the midst of this symphony that's all about community and connection with fellow man. I love the balletic section in the middle. Holy moly the 3rd movement came off so beautifully. Just an amazing piece of music that. But it's time for that finale. Let's do this! The development section of the finale is so quirky and so Copland. His orchestration style is unmistakeable. The piccolo that introduces the recapitulation/coda after the dissonant climax of the development. Just a perfect choice. Oh fuck yes, they played the original 1946 version with the restored 10 bars. I guess that's the standard version now. I'm very very happy about that. I got goosebumps at the end there. Nelsons really convinced me tonight, he is a worthy interpreter of my favorite music.
  11. Listening to the concert from Tanglewood. Goodness, Grieg followed by a Schumann encore just makes me sleepy. They're playing Mendelssohn in the intermission. Still 19th century so not really my wheelhouse, but more my style than what came before.
  12. This is from a music review published in 1949. I sincerely hope the author did not survive to the era of minimalism, I'm not sure he could have handled it
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