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About Fabulin

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  • Birthday January 17

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    In Exile

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  1. One minute a day keeps others away 😎
  2. There is this interesting topic on reddit about the outputs of various classical composers. https://www.reddit.com/r/classicalmusic/comments/5kb08u/how_many_hours_worth_of_music_did_each_composer/ I wonder how long would it take to listen to everything by JW. What do you think? More than 200 hours?
  3. Fabulin

    The Lion King (Jon Favreau)

    I hope they orchestrate and record some of the original score with more involvement/precision this time. When sadness is meant, violins could go Itzhak Perlman on Schindler's List. When the choir sings the stampede, they could do it as they would Verdi's Requiem. P.S. In other words... Alan Silvestri's Mummy Returns? 😅
  4. In terms of repeating without much variation, compositions like Duel of The Fates or Sleeping Beauty Waltz can get on my nerves sometimes. In fact, the latter I can only enjoy in the Rachmaninoff piano version or as a tuba quartet. The original induced the Clockwork Orange syndrome on me because every time I wanted to listen to it, I heard the same thing over and over again. A dozen times for every want of hearing it once. Repetitiveness with variations can go on for as long as the melody's potency allows; still I have not yet heard a piece where the composer could come up with more than a couple minutes of them anyway. When it comes to themes in film music... it depends heavily on the creativity with instruments and on other music that can distract my memory. Zimmer's Spirit: Stallion of The Cimarron's main theme for example is a bit too repetitive because it is played in few variations and with no other themes able to capture my attention strongly enough to make me forget about it even for awhile. Han & The Princess theme in ESB, on the other hand, is played maybe even 15-20 times, but with the score length of 120+ minutes it usually has several minutes of captivating music in between (on average) and then it is played in different ways (instruments, tempos, accompaniments).
  5. If my question has been thoroughly answered in earlier threads, could someone point to them? The search system isn't that helpful.
  6. I wrote down the interview by Gustavo Dudamel from 2015. For the purposes of this thread, I quote it: “I was very fortunate as a kid for the influences that I had and the opportunities that other people may not have had: my father was a professional musician, he worked in the CBS Orchestra in New York City in the 1930s and 40s; his friends were all musicians in the orchestra, so I thought “when you grow up you become a musician—that’s the only thing… the only kind of adult that I knew. And he used to take me to the radio rehearsals occasionally, I would sit there 8, 10-years old and of course I wanted to do that and tried to learn from these things… (…) I grew up in the ambience of music and so I had so many opportunities, because my parents, to have good teachers, to have an opportunity to play here, to write there and so on that the other children would never have, so I certainly have had a very good and very fortunate start”. “When I was a little kid I used to go to the movies not often, but I loved the action movies and I love the swashbuckling sword fighting because I always thought “that’s the most exciting music”. “In my career as a composer, on film, I have very few opportunities for this kind of swashbuckling action”. I did have an experience with Steven Spielberg at the end of E.T. where music was about ten minutes for the last reel, the children are escaping from police very quickly and I’ve made several takes and I could not make it fit to film—the orchestra was playing away, I tried to do timing (…) so finally Steven said to turn the film off “you play the music the way you want to play it and I will re-edit the film to it”—which he did. I wish I could do it all the time. (…) The performance of the orchestra animates the film in a way that the film cannot live without music—it’s true, really cannot—we try to take the music away and it looks dead. I think it is safe and correct to say that”.—John Williams, 2015 From this interview I concluded, that: 1) His early life opportunities remind me of those that the very best composers had (a musical parent, musicians visiting the house, well picked teachers, opportunities for precocious presence in professional circles as an observer, early career start opportunities). Early time spent on exposition and figuring things out = through the roof 2) He grew up in the golden age of TV, Radio and possibly Film music, with it's ubiquitous big bands, fanfares, merrie melodies and other extravagances. Moreover, considering his volume of all-encompassing musical experience, while most merely adapted to it, he could be said to have been born into it. Influence on taste = lush and melodic, from "a more civilized age" 3) He also mentioned that early work for Newman, Hermann and Waxman—and having a direct connection with the heavyweights of their times is a pattern nearly universal for the future top-greats in just about any craft, art or scientific discipline. => personal inspiration/striving to impress the greats? tick! 4) He loves swashbuckling/adventure/energetic/playful music and actually cherishes composing it. I suppose most composers feel more ambivalent about such things, especially when well into their 40s or older. He is just energetic enough to do it. 5) The directors, especially Spielberg, Lucas and others following suit, who wanted the grand and the melodic gave him great, tasty temp tracks and well-articulated micromanagement 6) Due to his earned reputation, he received above average schedules and other advantages, including top orchestras to deliver what he has been asked for. Film scoring occurs to me, due to the short time frame, to be like an exam with a limited time. Getting bonus time on exams, with all the accumulated advantages that I mentioned earlier, is a gg. (remember how much time to work did Shore get on LOTR? and how it stands compared to his other music as a result?) I do not know much about other modern composer's lives, especially when they were under late 20s, but his biography screams a dark horse and consequently "the champ"
  7. I find the profanity of the unfolding conflict truly distressing. The ability to sew together bellowing and screeching monsters of complexity that look good on paper... Hey, I also like Corigliano 🥂
  8. That sounds arcane. Would you be so kind to share the names of some of those greater masters? Or is it a bluff of "there likely is somewhere..."
  9. He shot you down, Lang Lang One thing is certain: the contrasts in the score whenever Tchaikovsky's inventions end and James Newton Howard's begin will be painful to hear. Still I think the movie will be enjoyable... (Keira Knightley + Tschaikovsky? The day I heard about it was a good day.)
  10. So as not to repeat the previous answers: Victory Celebration (this is the ecstasy you are looking for) Luke's Nocturnal Visitor (innocent playfulness + hope + comfort)