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The Five Tones

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  1. The Five Tones

    Who is your favorite film composer?

    I have solo tickets to the Toronto Symphony doing SW OT and TFA live to picture in 2019-20, if anyone's going to that. I mostly go to weird, modern, small scale stuff when I can, but try not to miss too many JW film nights or modern stuff at the TSO.
  2. The Five Tones

    Who is your favorite film composer?

    If the Europeans can have their meetup, so should we! I would love a trip to Montreal but can probably only afford the subway in Toronto, lol. And I liked some of Solo, less than Rogue.
  3. The Five Tones

    Who is your favorite film composer?

    1. John Williams 2. Bernard Herrmann 3. Jerry Goldsmith After that, the number is very small or only one or a passing interest/fan from a distance for other composers, but a few honourable mentions for specific titles: Michael Giacchino - Star Trek (2009), Rogue One (huge subject matter bias with these two, obv) Philip Glass - Koyaanisqatsi, Mishima, Kundun, Naqoyqatsi, The Hours (and all his concert and stage music work through the 1980s and much but not most afterwards) James Horner - Star Trek II: The Wrath of Khan Cliff Martinez - Solaris (many listens) Michael Nyman - Prospero's Books and The Piano Leonard Rosenman - Fantastic Voyage Lalo Schifrin - THX 1138 Toru Takemitsu - Ran Hans Zimmer - Inception, Man of Steel and Interstellar Star Trek the Original Series by Alexander Courage, Fred Steiner, Gerald Fried, et al Trinity and Beyond (The Atomic Bomb Movie) by William Stromberg, Lennie Moore and John Morgan I don't really have much of an interest in many of the top mainstream composers of the past 30 years, not to disparage anyone but nothing has called to me. Kind of agree with this: How is the late Jóhann Jóhannsson not a voting option? Never mind none of us seem to support any non-white male composers...
  4. Probably not underrated in film or scoring history (that ram's horn at 1 min is so iconic!) but maybe some of the youngers don't know it. What JW was doing in 2002 with The Chase Through Coruscant and Anderson's Great Escape remind me of this in terms of tempo and meter. Some of the cue/scene below
  5. Partly it is taste in genre/period, partly no time and partly the dynamics of having three kids (see "no time") that may watch these films and I avoid the occasion because I won't have a proper experience, and then never get around to my own viewing... that happened with Tintin. The other day the wife took all three kids to see E.T. at a repertory theatre and I actually wasn't able to go and was almost upset they were being introduced without me there. Bought it when it came out? Earthquake, CE3K, Jaws 2 and Dracula (can't remember what others in the series) all came out in 1990 on VS when I was working in a record store (different one than where I met JW). While I was thrilled at first, even then the releases were underwhelming in terms of sound quality and annotation and I could never have dreamed of what MM/LLL were going to be putting out in the 2010s (not to mention more recent FSM before that and Intrada). That Airport music is quite frenetic, almost something that belongs in an earlier stage of the narrative not the climax. Ouch, that line about Lincoln freeing the slaves again. Jaws definitely has its Korngold moments, its Debussy moments and its Stravinsky moments - both Le Sacre but also Pulcinella - otherwise there's more Herrmann in its sound than anything else. The ability to put those all together and make it cohesive is pure Williams, but there are also fully-formed Williams-isms here and there. Compare the first 12 seconds above with the first 25-30 seconds below - or play/repeat them simultaneously for that long. Same gesture, same key, and almost blend as one sound... from two completely different and differently sized orchestras! The technique may be late Romantic but the stamp is all his. It also just struck me now (though I must have always known) that the melody at the beginning of Ben Gardner's Boat is later the permutation of Yoda's Theme heard in his death scene in ROTJ, and also very, very similar to Seven Years in Tibet with both the melody and the descending parallel minor chord; same descending chord is in the Kamino music from AOTC... and what else? Anyway, we could make a whole other thread about that as an extension of his obsession with the added sixth minor chord, but to me it's evidence of the mature, dyed-in-the-wool Williams in Jaws.
  6. Heard some of it live by the Toronto Symphony, it was nice.
  7. Now I don't feel bad for not watching War Horse, Tintin or BFG! But I haven't really gone near the scores either. Old and fussy JWFanner.
  8. Courage relied heavily on the B-theme in IV. Given it is a permutation of the A-theme, the Clark (House of El?) motif and more distantly the Love Theme, I see it as a connector, a more internal version of the character that represents his nobility, integrity and all that good stuff. With no express function. But there is a sense also that the fanfare represents the moral journey of the character, inasmuch as it evokes ("intertextually" as Matessino might write) Nietzsche's Übermensch / R. Strauss's Zarathustra / Herrmann's Klaatu / Clarke's Starchild and all that metaphysical stuff. Makes sense the March would be the human side, dreams of flight, American exceptionalism, Olympic ideals, all that. Instead of the soul-searching of Late Romanticism, it draws from the earthy dotted rhythms of Beethoven's 7th.
  9. The Five Tones

    Favorite Star Wars finale and end credits music?

    1. ESB : : 2. ANH : : : : 3. TFA (Luke's theme on the celesta always gets me)
  10. Probably easier if the earlier three don't have to compete with the above two... Black Sunday is an amazing quasi-minimalist work, esp. Nurse Dahlia, etc. and the first of the Matessino restorations where I was really floored by the sound quality. Its fugue connects it to the similar one from Jaws (and the military theme from CE3K) it's but a much darker, tauter score. I might put it above Towering even without a standout main title. I always love when JW does more with less, melodically speaking.
  11. Towering Inferno. They are all three quite different from one another. He really established his gothic angst mode with Poseidon (the First Act Finale from Fiddler is a pre-echo). Earthquake's jazz funk feel gives it an appeal beyond his core work (maybe taking a tip form Herbie Hancock's score to Deathwish earlier that year). He reaches another level of maturity with Inferno, I feel. One really wishes that these three films could've been captured at the level of technology possible by Minority Report, War of the Worlds and Munich, where dynamic levels and the ability to discern subtleties of orchestration are everything. The underscore in the earlier films isn't that fun to listen to until it punches beyond the grain and distortion.
  12. The Five Tones

    How do you rate The Terminal?

    3, 3. Based on one theatrical encounter at the time of release, and not since other than hearing the track on The Ultimate Collection once last year. Not my sweet spot.
  13. I consider the LLL editions definitive for the most part. I'm not really concerned about 100% completeness, alternates, film inserts, etc. but I do appreciate the inclusion of the original album program where appropriate and necessary (best example being E.T.) I listened to everything in the poll except EotS at least once last month, plus Poseidon, Fury, CE3K, 1941, SPR and numerous other non-LLL OSTs and expansions. I have several thousand CDs and LPs and only 10-15% are film music; JW punches way above considering most repeat listens are years apart if at all.
  14. Maybe. I'm a professional musician who has worked with audio/remastering for over 30yrs, so as they say I ain't playin' B
  15. Was in the mail this evening and listening now - sounds better to my ears, maybe more of the hall in there, better detailed than the '98. Subtle differences.