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Harry Potter 7CD Collection - MUSIC discussion

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Because a score never stands on its own, it's always written for a movie. If a score truly has to stand on its own, you'd have to rework every cue so that no one noticed it accompanied a scene.

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Right. It's not Arcane Sorcery Suite No. 2, Op. 213 by Williams, it's a commercial album of the music of HP2 you buy because you liked the film.

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11 minutes ago, Jurassic Shark said:

What about suites of music from ballets? Aren't they valid?

 

As far as I am concerned, no, they aren't! They could have made sense before the recording age: when people could listen to music only at live concerts, I can see why composers had the need to make short presentations that could be inserted in concert programs (also as an advertisement for the larger work). But not nowadays, no. 

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Just now, Jurassic Shark said:

Then you're not valid!

 

:)

 

Well, I cannot think of a single example of a ballet suite that I consider a valid substitute for the whole work, if that was the meaning of the question.

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From my perspective, there's room in this world for soundtracks and film scores. Sometimes people want to hear some music from a film in a familiar album-like format. Other times, people want to be able to study the entirety of a film score in its original form. They're both valid; I've fallen into both categories, depending on the day and the film. The only tragedy has been the vast commercial preference for soundtrack albums. Those have a larger audience, but it's tough when it's the film score itself you're interested in but you can't get it. Even so, LLL and Intrada have been doing a great job of balancing out that equation so that we can all be happy.

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But wouldn't you say people are only more interested in OSTs because it still takes 20 years because we only finally get the complete package? You can't expect people to still maintain the same interest after all that time (I do regret it, though).

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4 minutes ago, Datameister said:

From my perspective, there's room in this world for soundtracks and film scores. Sometimes people want to hear some music from a film in a familiar album-like format. Other times, people want to be able to study the entirety of a film score in its original form. They're both valid; I've fallen into both categories, depending on the day and the film. The only tragedy has been the vast commercial preference for soundtrack albums. Those have a larger audience, but it's tough when it's the film score itself you're interested in but you can't get it. Even so, LLL and Intrada have been doing a great job of balancing out that equation so that we can all be happy.

 

Well said!

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10 minutes ago, Jurassic Shark said:

Not valid as a substitution of the whole work, but a valid listening experience on its own.

 

Well, then even a single piece can be a valid listening experience on its own. What I meant is that, if I can get the whole thing, I don't need having a compilation of chosen "best pieces", because I prefer to judge on my own what my favourite pieces are, in a large multi-movement work. In almost all the ballet suites that I can think of (e.g., Tchaikovsky, Prokofiev, ...), many of my favourite pieces were left out in favour of things that I would have dropped, and this applies also to many OSTs. 

29 minutes ago, Jurassic Shark said:

Then you're not valid! But your OCD certainly is...

 

:)

 

My OCD is certainly much more valid than yours!! :)

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In my experience, OST edits are usually just there to makes things shorter, not better.  And unique "arrangements" (I assume you mean concert arrangements?) are pretty much always on the expanded releases too

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The way the CoS/Children's Suite Wondrous World changes sound quality, overall sound and stereo panning for the definite worse suddenly for the end insert is still very jarring to me.

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1 hour ago, Score said:

 

Well, I cannot think of a single example of a ballet suite that I consider a valid substitute for the whole work, if that was the meaning of the question.

 

Stravinsky, The Firebird

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But you can say that about anything! If I put my entire music library on shuffle, it would still be a valid listening experience! My point is, why do you need a truncated version of a score to be forced upon you in which you had no say? Just listen to what you want to listen to.

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No, it's tracked music in the film, not recreated for this set. The score as recorded thus has no Voldemort statements at all.

 

Yet another clue this dude has no clue what he's yapping about and y'all should just ignore him.

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9 minutes ago, Holko said:

No, it's tracked music in the film, not recreated for this set. The score as recorded thus has no Voldemort statements at all.

 

Yet another clue this dude has no clue what he's yapping about and y'all should just ignore him.

 

Well, you guys who want the complete score as used in the film, wouldn't you also want the tracked music, in its correct chronological place? :)

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Seems you missed me whining for a good while how the LLL presentation has an insert meant to replace an intended tracked cue's opening just hanging in the air. For my phone I did recreate all of CoS's tracking, look in my CoS thread for a breakdown and videos (if they're still up)!

 

This is also a unique case since the tracking doesn't replace any prior written cues due to director changing his mind too late, but nothing was ever recorded for these (mostly) crucial beats and sequences!

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1 hour ago, Jay said:

In my experience, OST edits are usually just there to makes things shorter, not better.

Sometimes they do make things better.

Especially when it merges similar-sounding short tracks from different parts of the movie.

On their own, they might not make much of an impact; but grouped together, they can.

 

Even some of the micro-edits do work well.

But more often than not, they're silly and cut out the best bits.

Shame, really.

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Desert Chase and its replication on the Concord is proof to me that JW loathes his own music and should be kept as far from it as possible once recorded!

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A perfect release strategy would be that 2 albums are released when a film comes out. An OST and a complete release so people can choose their preferred edition. That way nobody would have to wait 20 years to hear that music that was buried in sound effects and missing from the OST.

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4 hours ago, bollemanneke said:

CC has now updated his HP2 review and had to overhaul it completely because he stupidly decided not to watch the movie and only review the OST in 2002

How am I gonna live after that? 

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6 hours ago, bollemanneke said:

CC has now updated his HP2 review and had to overhaul it completely because he stupidly decided not to watch the movie and only review the OST in 2002, more proof that OSTs really are good for nothing. He also still says Lockhart's track is unlistenable, doesn't understand why the tracked Voldemort reveal wasn't on the LLL set and even claims the HP2 opening music has a unique version on the OST.

 

For what it's worth - the new album made enough of an impression that he's updated CoS to 5 stars from its earlier 4 stars. 

 

So clearly, he thought that the LLL release represented the score in a fuller light.

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On 12. Juni 2019 at 5:37 PM, Alex said:

So is CC talking out of his a*** here or..?

7CA7D26B-59BF-4869-AE4B-EFAC808CAB50.png

 

He is right.

That does not mean, however, that he isn't talking out of his ass.

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I actually like both. But I am a pick-and choose kind of guy, and as a whole I prefer a lean, get-to-the-meat, curated listening experience, so the OST usually does the trick for me - in terms of presentation a score in a listenable fashion.

 

But I like expansions as much as the next guy. And when it comes to JW, too much is never enough.

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I loved the OST releases for Sorcerer's Stone and Prizoner, however I found that these releases to be the best presentation for me.

 

I sold on the OSTs in lieu of this set, and never looked back as they say.

 

But the OST arrangement / editing etc. are definitely top notch.

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