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Showing content with the highest reputation on 26/10/21 in all areas

  1. I honestly adore this score and have studied it in as about much depth as one can... looking at the track list and track lengths I'm hoping for a few things and based on how it looks / the track list, I'm guessing Disc 1 is the Silva release (with remastering and 2 new tracks) and Disc 2 is the OST (with remastering and 2 new tracks). Disc 1 -"Main Titles" and "The Goblins" (disc 2 presents 'The Goblins' isolated unlike the Silva release) -"My True Loves Eyes" and "The Cottage" (same on both releases really) -"The Unicorns" is a combination of two tracks: 'Jack Surprises Lilly' and 'The Unicorns' both of which have alternates. IF Disc 1 is the SILVA and Disc 2 is the OST, then this will present BOTH versions of 'Jack Surprises Lilly' but neither will have 'The Unicorns' alt. 'Jack Surprises Lilly' (track 07 on the OST) has a different opening than the Silva release (track 03). One's more energetic while the other has a sustained moment. 'The Unicorns' has a section of about 15 seconds that's a repeated / choirless section that was on a boot sourced from the DAT tapes around the 3:45 mark in the combined track. It would make this compiled track over 8 minutes which it isn't so I think it's not included. -"Living River" / "Bumps and Hollows" / "The Freeze" - This is three tracks (per the names). Typically, the ending of "Bumps and Hollows" into "The Freeze" (approximately 45 seconds) heard on the DAT boot is omitted on the released albums. It's mostly synth swells and repeated throbbing synth so It seems to be omitted for that reason. -"Darkness Arisen" is out of order (it should be after "The Armour / Oona's Secret") Good to finally have THIS in original quality!!! Its only been on the DAT tape boot. It would be heard when Darkness speaks with the Goblins to confirm they killed the unicorn(s) plural (but they hadn't killed the mare). -"The Fairies / The Riddle" There's an alternate or more probably an extension to "The Fairies" in the film which seems to have been lost which is really disappointing tbh... maybe one day we'll get lucky and they'll find the tapes. The Silva also has a different ending to "The Riddle" than the OST so we should be getting both of these if they did what I suspect. -"Sing The Wee" i kinda wish we knew more about how this was to be heard in the film (or that it existed in one of the cuts). -"Playmates" now THIS track intrigues me! Best I can tell it is THREE omitted cues. It's firstly a cue for when Brown Tom fights off the Goblins with his frying pan (and thinks he got shot). It sounds (based on the sample) like it THEN goes into "Hall of Columns" next BUT there's about 30 seconds left which makes me think it's also the cue for when they set the mirrors later in the film (only about 30 seconds). This TRACK ALONE will up the amount of new music by three cues I suspect!!!!! -"Forgive Me" not much to say but it seems to be complete -"Faerie Dance" there are technically 2 main version of this cue, then an alternate additional solo violin mix of 1, and lastly the mixing of the voices heard in the film. I'm hoping that the alternate at the end of Disc 2 is the Film alternate and not just the alternate violin mix of the album version heard on the DAT boot but they're the same length so I'm thinking maybe not... but we'll see! -"The Armour" not much to say but seems complete. -"Oona / The Jewels" are the bookends to "Hall of Columns" which is in the new music on Track 08. -"The Dress Waltz" this confuses me... it was one of the biggest points of contention I had with the boots which is this misunderstanding that there was an alternate. It's not so much an alternate composition as an alternate presentation. You see, after this beautiful waltz queue, Goldsmith goes a bit nuts with the throbbing / crashing synth sound as Darkness steps out of the mirror. This "extension" is omitted / faded out on the albums and is often marked as an alternate when included. Based on the track length noted on Disc 2, I'm thinking it's going to JUST be the full track (with that new section) although I will be HAPPILY wrong if its a true alternate! -"Darkness Falls" is a combination of a few tracks again. 'Darkness appears' which is right after "The Dress Waltz" which is just gorgeous (the film uses a choirless version which is just as haunting). Next you'd then have 'Setting the Mirrors' which is a new cue I think is on that new track, then the rest goes through to the destruction of Darkness. *If anyone is interested, the music used in this section of the UK cut / Directors cut is a mix of music from Psycho II (also by Jerry Goldsmith) and music from Slugs The Movie by Tim Souster). -'The Ring' is another cue I wish we would get lucky and find the masters for because the film has a very beautiful version that reminds me almost of a finale to one of the Williams's disaster films but then goes into this beautiful harp rendition of "True Loves Eyes" that feels very 'Poltergeist' and is just gorgeous. The alternate version we have is a bit bigger and is a rendition of "Bumps and Hollows" instead. -"Reunited" as with the alternate version of the previous track, there seems to be an unreleased alternate for a vocal-less continuation of "True Love's Eyes." It then picks up with the version we hear on the albums just after the vocals. Another cue I fear is lost to time... I'm glad we have the alternate as it includes the singing and such but so sad that the score wasn't preserved better :-/ All in all, I think this'll be a great upgrade on what we have! It includes 4 new tracks (by my count 5 new cues and one expanded cue possibly new cue!?)
    6 points
  2. Thank you for the comments on my theme analysis. This is the first time I've read them. I wrote this seven years ago now... And in 2020 I had updated the text when the expanded edition came out: http://jameshorner-filmmusic.com/legends-of-the-fall-expanded-edition-our-exclusive-review/ I had fun to put logos for each theme and also I had made a commented tracklist which is visible here and downloadable in PDF format: https://www.patreon.com/posts/36204977 The B theme is indeed heard 10 times during the first hour of the movie. But it is completely absent during the second hour. It comes back only during the very last scene.
    5 points
  3. FYI, the director who did the Vienna concert also did the direction for the Digital Concert Hall. I think he also did the Tanglewood concert of the Violin Concerto premiere.
    4 points
  4. APOLLO 13 - JAMES HORNER My favourite Horner score. I don't listen to it often, for that reason. But I'm drunk, so I need it. Many moments to behold. The lonely, plaintive opening version of the theme... and the glorious, full-blooded iterations in the final couple of cues. And all the stuff in between. The incredible The Launch, the thrilling Master Alarm (the best version of that particular structure he's used before), the haunting The Dark Side Of The Moon... it's all sublime. One of the best Horner scores, and one of the best scores of the 90s. I love it.
    4 points
  5. Not mutually exclusive possibilities, of course... To me, it seems as though Zimmer thinks he's in the Bene Gesserit, using The Voice to command the viewer to FEEL THE AWE!!! But instead I just find it brash and obnoxious.
    3 points
  6. Any chance we could crowdsource the funds to hire Hans Zimmer throughout 2023 so that he's not available for Dune: Part Two?
    3 points
  7. So, after a quick analysis from the "Digital Concert Hall" footage I can confirm as follows: -They used mostly the saturday concert (exceptions are: Leia's Theme, Some applauding audience footage is used from friday) -Mistakes were corrected (e. g. the intro from "Far and Away")
    3 points
  8. Indeed. It's top-10 Jerry, for me. No, I'm not joking!
    3 points
  9. Link (LLL) by Jerry Goldsmith A terrific and fun score. I can't get tired of it...
    3 points
  10. Some quick snaps of the fall palette from an autumnal weekend well spent "up north"... The colours alone are enough to make this my favourite time of year (and we really get some of the best of it up here, I think). Hope everyone is doing well!
    3 points
  11. ASM has a lot of good things in it. And Horner was one of them.
    3 points
  12. No JW interview, some rehearsal footage is in the bonus interview. The video footage is already a thousand times better than the Vienna recording. So many interesting angles of the musicians (many close ups; harp, celeste etc.). It's much more lively. I think it's 256 Kbit/s, 48 kHz/24 bit in stereo AAC (very high quality). https://help.berliner-philharmoniker.de/hc/en-us/articles/202775228-What-audio-video-formats-are-used-to-broadcast-the-concerts- The big boxsets they released have a bluray, yes. Again: Andrea Zietzschmann, general manager of the BerlinPhil said in a radio interview (14.10.21) they "hope to release something for a large audience" and "they're currently working out how to release it". As I understand it, additionally to Digital Concert Hall. Just relax, I'm sure they make an album release, however this is the most official information about it we got, at the moment :)) Man, people who attended the first concert we're in for a treat with Princess Leia's Theme, the flutist is fantastic! Strings sound so warm and smooth. John is smiling throughout the concert and, as some mentioned here already, he appears to be so relaxed and comfortable. The orchestra is also fantastically responsive to his conducting, now that I can see more than his back, haha. What a fantastic concert.
    3 points
  13. Hi! Some of you may know that Eddie Karam was Williams's trusty orchestrator for a long time. Karam gave a talk in 2013 for The Academy of Scoring Arts where he discussed his life in music, his work with various composers (Williams, Mandel, Horner, etc.), and gave some very funny anecdotes. I don't think a thread about this video has been made before, so here are the comments he made regarding Williams. Meeting John Williams: Orchestrating Williams's music: Dividing work between himself and Conrad Pope: "Crystal Skull" story
    2 points
  14. Tallguy

    Villeneuve's DUNE

    Because it's one of the most amazing films ever made. The remarkable thing is that with all of the budget, technology, and even effects, nobody has been able to match its grandeur. Not even the sandy movie this thread is about. Oh, and having a Peter O'Toole handy is helpful. And nobody has one of those. That is my absolute favorite shot of the movie. It makes the audience an actual observer rather than trying to make them a participant. The camera is simple and economical. It's the rest of the scale of the shot that is bonkers. It's like the anti-Peter Jackson. You're insane. Or we just disagree. But I'm fairly certain you're insane. I can't stop listening to both the score and the sketchbook. (Haven't been able to get into the Art and Soul.) I'm working my way through it at home. It's still gorgeous. It's all the good things from when I saw it in the cinema. But now my brain is a little quieter, I'm not holding my breath for every misstep or variation from the book. I can really appreciate it for its own sake. There is the scene when the Atreides troops charge into battle and are obviously lost. I was surprised when this time it brought a tear to my eye.
    2 points
  15. Chen G.

    Villeneuve's DUNE

    There's some truth to what you say. For example Bakshi's Part Two of The Lord of the Rings was well on its way to being made - Part One had made a decent $30.5 million against ~$11 million budget, after all - but it was going to have to be made on a tighter budget, so Bakshi threw in the towel and that was that. Of course, that was made in a completely different time and under different circumstances. I'll give it a few days to at least see Warners echo Legendary on this matter, but I no longer seriously doubt that we'll see Part Two; and that's a very good thing for cinema.
    2 points
  16. Yes, very strange. It' stupid to have separate videos for each title and not the full concert in one video. I really hope they put out a blueray...
    2 points
  17. Part 2 announced
    2 points
  18. Since Lawrence of Arabia in the theater a few years ago was the greatest moviegoing experience of my life
    2 points
  19. Yes! Its vibe is so perfectly suited for Halloween time. Silly spooky fun.
    2 points
  20. It's more a question of acoustics and quality for me. Apparently, Williams was also invited (repeatedly) to Hollywood in Vienna and declined. Those concerts are more pop spectacles with light shows, projection, and grotesquely amplified sound (and often grotesque arrangements, too) than "proper" concerts. Waldbühne concerts are also amplified (the closest Viennese pendant would be the "Sommernachtskonzerte" by the Philharmoniker at Schönbrunn, where they first performed the Star Wars suite unter Welser Möst all those years ago). It's not that I get offended by Williams or his music being in a setting like this, but that I'd rather have my "important" concerts in a proper concert hall.
    2 points
  21. I'm guessing a lot of it comes down to the infrastructure that's been put in place in the hall by the management. Perhaps the Berlin hall just had a better setup for placing more cameras and in better spots than the hall in Vienna?
    2 points
  22. I thought the direction was absolutely superb on the live broadcast. He clearly knew the music and was well prepared with the cameras.
    2 points
  23. Horner's career phases roughly went like this: - 1980 - 1986: highly ambitious young whiz with excellent academic credentials who was hungry for diverse work - 1986 - 1994: alignment towards more commercial fare and emotionally straightforward writing, with a beginning penchant for self-citation - 1994 - 2003: his most successful phase, where he cribbed himself and his temp tracks like there was no tomorrow and, last but not least, a slick, manipulative *fairy tale* style that treated even real-world narratives as if he were scoring myth (Titanic, Legends of the Fall, Braveheart, Apollo 13 and Perfect Storm attest to that), he must have been on to something, it's the period when many people fell in love with him 2003 - 2015: the comedown, with his over-emotive style being more and more out of sync with current trends, thus a return to less grandiose and showy approaches that only occasionally generated much interest So what you describe as 'bigger than it is' is really a reflection on commercial Hollywood movies of that era: streamlined, afraid of controversy, hungry for worldwide success (which mandated less and less rough edges, but an excess of audience-friendly sugarcoating). I love some his scores from that era, but i get sick when i hear them in combination with the movies they are associated with (the animation scores and the occasional Sneakers excepted).
    2 points
  24. More likely it was ghostwritten by his cat…when it stepped on the keyboard….
    2 points
  25. Musicianship debates aside, when it comes to everything that surrounds the concerts, I get the impression that Vienna received Williams more wholesomely than Berlin. +not trying to invite Williams to the Waldbühne (I am not sure if they have an equivalent of it) +principals didn't opt out of the concerts in contrast to Berliner Pops manouver, known in corporate dyplomatic parlor as "giving a priceless opportunity to young scholars" +much more publicity (even such little things as photos from an instrument-signing session) + a television reporter present and a television broadcast vs. an obscure Berlin radio broadcast +more and warmer reviews +quick announcement of a release +release in countless formats +commissioning of a piece from Williams +an interview Even the BPO Digital Concert Hall description is in the spirit of the old German distinction between U-Musik and E-Musik, moreso than those surrounding the Vienna concerts. Of course a release can still happen for Berlin, there might be an interview yet to surface, and the Berliner Phil might have commissioned something as well, but there are question marks beneath each of those for now.
    2 points
  26. Goddamn, there are some weirdos on this board.
    2 points
  27. Yes, I think I'll agree with that. Also.. a shoutout to the Re-entry & Splashdown cue: As in the film, the first four minutes is literally waiting for something to happen, and Horner scores it beautifully. It's incredibly tense but also so so emotional. It could have been just four minutes of a tremolo string line keeping us waiting but he modulates and tempers so creatively and beautifully to keep the interest up, with that snare drum always there. And then the eventual release...
    2 points
  28. Sweet! I REALLY hope that this concert will be released on CD and/or Blu-Ray. In fact, make it 4K Blu-Ray with Dolby Atmos!
    2 points
  29. It's easy to understand: Because that's how it was written and how it's supposed to sound. If a film score is written like this and doesn't sound like it on album, it's a bad recording (or rather, a bad mix).
    2 points
  30. 2 points
  31. I thought these concerts had been cancelled.
    2 points
  32. LEGEND Original Film Soundtrack composed and conducted by Jerry Goldsmith For the first time in an expanded version. 16-page booklet, liner notes by Jeff Bond. Remastered 2-CD edition limited to 2000 copies. In collaboration with Silva Screen Records Ltd, Music Box Records presents, for the first time in an augmented and remastered version, the soundtrack to the film by Ridley Scott Legend (1985) composed and conducted by Jerry Goldsmith (Alien, Basic Instinct). This heroic fantasy film tells the story of Lili (Mia Sara), a young and beautiful princess, coveted both by Jack (Tom Cruise), a young man close to nature, and by Darkness (Tim Curry), a true incarnation of evil, who dreams only of plunging the world into an eternal night by killing the two protective unicorns. Performed by the orchestra and choirs of the National Philharmonic Orchestra, the ambitious score, influenced by Ravel and Debussy, once again highlights the richness of writing and the complexity of one of Jerry Goldsmith's finest music. . The composer has created a score of complex harmonies and orchestrations, supported by elaborate and inventive synthetic textures, and fairy-like and impressionist choirs for a work combining beauty with darkness. For this new edition carefully remastered by Christophe Hénault, the first CD (entitled "The Film Score") offers all the music of the film and the second disc (entitled "Remastered Original Soundtrack Album") takes up the program of the original album which featured a selection of tracks from the soundtrack. This album also includes two unreleased tracks and two other tracks in alternate versions. This present edition, limited to 2000 copies, includes a 16-page booklet including a text written by Jeff Bond who collected the memories of sound engineer Mike Ross-Trevor on his collaboration with Jerry Goldsmith. DISC 1 - THE FILM SCORE 1. Main Title / The Goblins (05:47) 2. My True Love's Eyes / The Cottage (05:05) 3. The Unicorns (07:54) 4. Living River / Bumps and Hollows / The Freeze (07:22) 5. Darkness Arisen* (00:45) 6. The Fairies / The Riddle (04:54) 7. Sing the Wee (01:09) 8. Playmates* (03:17) 9. Forgive Me (05:14) 10. Faerie Dance (01:53) 11. The Armour (02:18) 12. Oona / The Jewels (06:43) 13. The Dress Waltz (02:49) 14. Darkness Fails (07:29) 15. The Ring (06:30) 16. Reunited (05:20) *Previously Unreleased Total Time CD1 • 75:07 DISC 2 - REMASTERED ORIGINAL SOUNDTRACK ALBUM 1. My True Love's Eyes (05:05) 2. The Riddle (03:42) 3. Sing the Wee (01:09) 4. The Goblins (03:44) 5. The Dress Waltz (02:46) 6. The Ring (06:28) 7. The Unicorns (07:55) 8. Bumps and Hollows (05:00) 9. Forgive Me (05:14) 10. Reunited (05:21) BONUS TRACKS 11. Faerie Dance (Alternate) (01:53) 12. The Dress Waltz (Alternate) (03:02) Total Time CD2 • 51:49 Total Time Album • 126:56 https://www.musicbox-records.com/fr/cd-musiques-de-films/11031-legend.html
    1 point
  33. jojoju2000

    Eddie Karam on Williams

    That just makes JW even more admirable. Like he is truly top of the line.
    1 point
  34. There's an easier solution, y'know: find a way to get the Twitterati to "cancel" him. Its a bit mean, sure (I mean, Hans seems nice and all...) but it gets the job done.
    1 point
  35. Aren't the action setpieces in LAWRENCE... meant to be as they are; to offer a sort of detached quality to what's on screen? KINGDOM OF HEAVEN? Don't waste your time with the theatrical version. As Chen says: As good as it is, it can only hope to fall prostrate, and worship at the altar of the magnificence of LAWRENCE OF ARABIA.
    1 point
  36. Brundlefly

    Villeneuve's DUNE

    If you think that you should definitely go see it a second time. Don't get blinded by the grandeur as you did when seeing Tenet. Thus far, this movie stood out for me among every other arthouse film this year. It's not empty, it's not megalomatic. It might be the most important film for our global society right now. Just the right film by the right director at the right time.
    1 point
  37. Mostly because they have seen that movie as kids / teens, an age when you are much more impressionable. Same reason you hear a lot of them also talk about Star Wars and Blade Runner. In a few decades the new generation will probably reference the works of Nolan, Denis etc.
    1 point
  38. Bilbo

    GAME OF THRONES

    🤣🤣🤣🤣🤣🤣🤣
    1 point
  39. Holko

    GAME OF THRONES

    HttYD3 was 2019 too... everything collided and crashed!
    1 point
  40. THE RIVER CAM - ERIC WHITACRE An unashamed Vaughn Williams impression attempt but still very lovely.
    1 point
  41. There is an editing issue at the beginning of Adventures of Han: the first couple of seconds of the video are repeated. The audio is ok. And for some reason the spoken introduction to Jurassic Park is missing.
    1 point
  42. Scott Mendelson from Forbes thinks this is the most Zack Snyder-ish movie from Marvel: https://www.forbes.com/sites/scottmendelson/2021/10/24/eternals-review-marvel-angelina-jolie-salma-hayek-chloe-zhao/
    1 point
  43. I love both symphonies, and I've always been happy with Karajan's 60s recordings of both. Yes. The 9th (despite Janowitz, although to be fair the soloists hardly make an impact except in a few places) is the one where I'm not too fond of Karajan's version. The Szell is usually my pick.
    1 point
  44. It is. https://www.digitalconcerthall.com/en/concert/53783
    1 point
  45. "Hey John, there are a bunch of snobbish critics who hate your music and think that you should not be allowed to perform in Europe." "I know, but they are all dead."'
    1 point
  46. 1 point
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