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karelm

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karelm last won the day on January 25

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About karelm

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  1. Thanks. I learned alot about acoustics from hearing how it sounded from the room. For example, in loud passages like this, you don't really hear much beyond the immediate rows next to you. I would virtually hear none of the strings if brass is at triple forte and above and percussion smacking next to you. So you have little idea how it actually sounds, how loud you are compared to everyone else, etc. Brass instruments have a bore which is like an internal nozzle for jet fuel (you're air stream) and the wider the bore, the wider/more diffuse the tone. The narrower the bore, the more focused and penetrating the tone is. I was playing very loud and thought I couldn't be heard because I could barely hear myself because I'm behind the instrument rather than in front of it. So I would sort of overplay. Then I hear in the room, damn the sound travels and is very penetrating. Luckily, the conductor doesn't mind low brass and its idiomatic to exciting theatrical music such as this. I could have played this passage with much less effort and achieved a similar result. Also interesting, the timpani right behind me is dragging. It is VERY VERY difficult to play when someone loud right in your ear is playing the wrong tempo. You can't hear the rest of the orchestra and can barely see the tiny conductor from so far back but ultimately that is all you have to go on is that timpani is off so ignore him and focus on the sight of the conductor and hope it's correct though the guy playing in you ear is late. In looking back at the video, I can see his colleague (the very fine musician, James Wyman) is signalling to him "faster, faster...don't drag" non verbally. Haha.
  2. Super fun one to perform too! Here I was playing it with the Baltimore Symphony Orchestra and was maybe one foot away from the bass drum during it's ending thwacks. Quite jarring to have that concussive force rattle your body up close like that! I'm the loud rising/falling bass trombone part really coming through at the end. Unfortunately, the bass drum wasn't picked up by my phone. Frequencies were too low for a phone's mic I guess.
  3. JW predicted Brahms as also amongst the best? Was he in the top five of the poll? There are virtually no composers who would consider him in their top 5. He is Dvorak good. Very good but not top of everyone's list. If you asked composers who their favorites were, the same names keep showing up and Brahms is not one of them. He is an audience favorite, not a composer favorite. Beethoven, Bach, Wagner, Mahler, Sibelius (more advanced composers) keep showing up! I don't think I've ever met a composer who thought Brahms was one of the greatest...one who inspired them to become a composer.
  4. So, so many but probably the one that always connected the most with me viscerally was Clash of the Sabers (aka The Duel) from ESB. First the high clusters opening which is VERY JW. It's one of those things that in two seconds, I know it's JW. Then probably the most sinister version ever of the Empire. I feel this cue is so full of desperate loss, crushing defeat, mixed with hope and yearning plus superb playing by LSO! Struggle, hope, and villainy in extremes. The absolute precision of the brass section is stunning. I told David Cripps this and after a pause he responded with a childish smile, "Damn, we were good." But musically it is so freaking sophisticated, chorals, fugato, atonality, clusters, harmony, bold lyricism, etc. JW was firing on all cylinders. It just builds and builds in emotion and intensity and is probably the cue I've always compared his very best moments to. It ends desperately distorting the lyrical melodies almost to their breaking point but the goal is out of our hero's reach and the music so perfectly captures this. But I remember hearing it in the theater for the first time in 1980 as a kid and it is permanently etched in my memories so it's very possible part of my adoration of this is the special memories. I think what also makes it so effective is before and after we get such great dramatic music with the Carbon Freeze and Losing the Hand. Though you only asked for one, I'll cheat and say Asteroid Belt is honorable mention. Maybe E.T. flying - the first time "the Theme" comes in big. There are so many examples but those were some special call outs.
  5. David Newman said the scoring sessions for Star Trek The Motion Picture were very intense. He would be a good one to interview too. At the time he was a studio violinist, I don't think he had made the switch to composing yet.
  6. Very good point, the comment might reveal more about Beltrami than Goldsmith. I also think Beltrami had a bit of a chip on his shoulder because he studied classical music at Yale and that might have been a source of conflict that Beltrami felt unjustly criticized and Goldsmith felt he needed to be humbled as a young kid with a chip on his shoulder. Very, very possible. Chris Young also mentioned that Goldsmith wasn't the most personable but that doesn't really matter. He was edgy, that I get and I don't think that is disputable. Some will take that the wrong way and others don't mind it as much. I sat next to Joel Goldsmith and Jerry's widow (I think her name was Carol but going off memory so not fully sure) at a tribute concert and they were such genuinely sweet people with naturally positive dispositions. His widow was very kind, lovely, and so warm. I recall Joel was gravely obese and profusely sweating but genuinely sweet. I was really sad that he died maybe a year or months later. Did you ever read the fragments of the memoir his daughter wrote about Jerry? It was very honest and full of his opinions, frustrations, and interviews she was making as he was dying, etc. I felt his character really came through and he even talked about JW. Unfortunately, I don't believe it was ever published and she might have removed what she released. Maybe you should track her down and interview her. I hear very positive comments from the musicians who performed for Jerry. He was greatly admired as an artist.
  7. I adore Goldsmith so much, one of my favorites. He was a teacher at USC where I went to school but before my time. Marco Beltrami talked about him as a mentor teacher and said he was quite bad at it. He was first and foremost a musician, not a mentor, not a teacher. In contrast, some composers are brilliant at inspiring others. Goldsmith wasn’t that. Copeland was. It is up to the student to learn from these crusty characters and take the abuse and not all of us are up to that. As for me, I have no problem dealing with crusty types if they are a musical genius. It’s worth it to get their input. Also very worth hearing is how they crafted some of their brilliant scores like Planet of the Apes. When in a collaborative mode, Jerry is brilliant! I think POTA is a perfect example.
  8. I prefer Horner because of his use of a magical lydian mode and the ending oscillation between G A major triads plus and glittering textures, he emphasizes adventure and awe...story and movie magic whereas Goldsmith's emphasis is on bravado. That's fine for an action film but Horner's fits movies in general.
  9. I don't think he's referencing Egypt themed film scores, more like he's using trumpets as heralders of impending doom, the fate motif which was what Mahler and Beethoven did. I just extrapolated that they've had similar roles of death, destruction, doom for millennia. Coincidentally ancient Egypt too. The reason why I don't think he's referencing Egypt as much as impending doom (as in angel of judgement type of stuff) is he uses this in The Fury too like here...it's a militaristic mythical doom calling card he's using appropriately I would add (in both scores): It's his doom motif. He uses it in the carbon freeze of Han Solo too but in strings here: Who, dear sir, will record the samples used to sound realistic if it's not highly trained musicians? Hahahahaha. Irony.
  10. A really good and accurate mockup but my desk started shaking and sparks came from my computer...I could feel my face starting to melt so I stopped it, was that supposed to happen? The e flat clarinet would pierce a bit more around 1:38 and some of the low end could be more pronounced near the end. Great work though! That is an interesting idea. Do note that Mahler's trumpet here is a "fate" trumpet signaling doom. Which is an homage to Beethoven's "Fate" motif from Symphony No. 5, basically this trumpet fate thing literally goes back thousands of years. Trumpets were "war" instruments in Pharaonic times. These are the actual King Tut war trumpets found in his tomb.
  11. Suite from Final Fantasy: The Spirits Within
  12. Star Wars, 1977. I was five. Mind blowing! I still remember it vividly. One could say it had a big impact.
  13. Do jazz musicians make better classical composers?
  14. I think they might mean it more as a mainstream score. Think of it how "The Jazz Singer" from 1927 is consider the first film with sound but sound was in film from 1908. Jazz Singer was a major distributed film from Paramount (or what would become Paramount) so became the first mass produced Hollywood production with sound though sound existed in film earlier in some form. Maybe "first jazz score" is somewhat like that. I can ask John Burlingame about this but I have his book on my shelf which might also explain. I think these are generally gray lines where to identify a "first" isn't as easy as it might seem.
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