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Showing content with the highest reputation on 01/05/22 in all areas

  1. 5 points
  2. well its May now so they need to get on with it! Its going to be an expensive 2nd part of the year!
    4 points
  3. 2 points
  4. My guess is that these three are part of them for sure: Born on the Fourth of July Amistad The Patriot
    2 points
  5. Wow! Thanks for that, @Omen II! There is so much fantastic stuff to choose from. I've never had any complaints about any Chandos recording. In point of fact, I've just ordered the Dutilleux Symphony nos. 1 and 2 (The Double) from Chandos. Fun fact: I used to live in the same town in which Chandos is based
    2 points
  6. I'm quite saddened that Netflix didn't really make a FYC score for Yoko Kanno's Cowboy Bebop. Having seen the show, I'm aware that it wasn't that great so I understand them not endorsing it for awards, but the music was one of the highlights along with the main cast. Having unreleased music in FYC form, at least for an entire episode like Amazon Prime does for its shows nowadays , would have been much more helpful to deal with the unpleasant job of manually splitting and come up with over a hundred made up titles for the (near) complete score of the season they posted on YouTube... At least, I'm happy it got out in some form and that we've got more than just the OST...
    2 points
  7. I think I'd rather listen to an old piece by Boulez than another symphony from the Philip Glass factory
    2 points
  8. Not a track named The Final Confrontation?
    2 points
  9. Yes, I have it on good authority, these are the five releases: 1. World Premiere Recordings A new 2CD recording of Williams' unreleased concert works, on Deutsche Grammophon - featuring the Berlin Philharmonic, conducted by Williams. First disc contains revised editions of Symphony No. 1, the wind quintet and the piano sonata. Also a few shorter pieces, like A Toast!, Fanfare for Michael Dukakis and Fanfare for Ten-Year-Olds. Second disc contains the clarinet concerto and Seven for Luck, featuring original soprano choice Kathleen Battle who now feels mature enough to perform it. 2. THE RARE BREED / THE PLAINSMAN As alluded to above, this western twofer is now finally ready to go. Both beautifully curated for listening, easily fitting on one CD. 3. ALCOA PREMIERE THEATRE The master tapes have finally been retrieved, so this 4CD set contains suites from the best episode scores from the series, including "Jeeney Ray" and "A Moment of Decision". 4. THE SECRET WAYS Williams first "serious" film score gets a premiere release, wonderfully remastered and curated for listening in a solid 45-minute programme. 5. STORIA DI UNA DONNA After years of lobbying, Mike has finally convinced Williams to release it. Williams has also prepared a wonderful curated selection at 50 minutes. Artwork by Jim Titus, liner notes by myself.
    2 points
  10. I also remember hearing a short solo guitar rendition of the main theme. - perhaps near the end? That last time I saw it was when it was released, but as I play guitar, that little rendition grabbed my attention.
    1 point
  11. The promo gets most of the way to correcting the OST's problems (loads of missing cues and mostly unneeded rearrangement) but still has a lot of alternates and the overall sound isn't right. Hopefully a new edition would present the film takes and fix the sound.
    1 point
  12. That's what he says! And it's on Platinum! I know it has some Gershwin but Glass?
    1 point
  13. DOWNFALL first time on bluray! Amazing film. Masterful in every way. Maybe, could have been a bit shorter. Btw it's cool seeing this again after years of watching " "Hitler Rants parodies! Nice to see the original context of "Fegelein, Fegelein! Fegelein!" and " Stalin!"😄
    1 point
  14. I wonder if they could somehow reissue the JP or TLW expansions as a tie-in for the next Jurassic film, considering the original cast are returning. Would releasing the scores individually be considered a "new" item and not subject to the 5000 unit restriction? Or if they just added OST tracks to the assembly would that be sufficiently different to the previous version? Would be doubly awesome if they could expand JP3 at the same time. No idea why that score hasn't been expanded yet, considering the paltry OST and resurgence of the franchise in recent years.
    1 point
  15. WIth perhaps one of the fifth Williams release
    1 point
  16. Hopefully we get a May flyer today
    1 point
  17. I never really figured out what exactly Atmos does, but my understanding was that the basic idea is that it's not limited to a fixed number (and positions) of speakers (e.g. 5.1 or 7.1), but rather has "virtual" sources that can be freely positioned, which are then downmixed live to whatever physical speakers you have (including ceiling mounted speakers, if you have them). (But I may be completely off on that)
    1 point
  18. I’m not an expert. Far from it. But my understanding is that Atmos uses your ceiling to either bounce sound off the ceiling or to have dedicated in-ceiling speakers to create a bit more immersion. 5.1’s “surround” speakers are more just “there” without the ability to direct the sound in a more enveloping fashion. I may be oversimplifying, but that is my understanding of it. Great detailed answer to my question @Marian Schedenig Thank you. I will be paying more attention in my next listen.
    1 point
  19. Ok, here's a question, for all those who have Dubly Atmos: what are the differences between a musical score in Atmos, and it being in 5.1?
    1 point
  20. Oops! My bad. He's recorded the Fauré, but not (tmk), the Mozart.
    1 point
  21. There's also Johnston's Brideshead Revisited for less than £2. For such a price I found it was high time to... revisit it.
    1 point
  22. I've long been recommending Gardiner's 1987 recording. Ever since we last sang it (some 10 years ago) and I compared various versions, it has been my clear favourite: While we're at it, Gardiner's Planets are outstanding, too!
    1 point
  23. The Blu-rays of the Vienna I and Berlin concerts both have an Atmos track. Sadly the Berlin mix is rather lousy (at least the stereo and regular surround mixes are; I suppose there's a small chance the Atmos track could sound better, but at least the 5.1 downmix on my amp doesn't), but the Vienna surround mix (at least the regular one which I can play directly) sounds very much like it really did in the concert hall.
    1 point
  24. Camulodunum! Did you misbehave when you were in the army?
    1 point
  25. yeah that was one of the worst ost decisions of all times.
    1 point
  26. It's definitely not complete. There's a gorgeous elegiac cue towards the end of the film that is notably absent.
    1 point
  27. The regular european release is without narration already. And to my knowledge it is complete already and even contains various cues, that were not used in the film. Sound is good. So, I wouldn't know, how to expand that one.
    1 point
  28. I'll take out Dutoit's recording and re-evaluate Gardiner's. Regarding Faure: Lisa Beckley, the soloist on Naxos' recording conducted by Jeremy Summerly, is simply stunning.
    1 point
  29. My go-to recordings is Marriner's on Philips.
    1 point
  30. I just finished season 2 of Lower Decks. It’s really great, once it figured the tone out and decoupled itself from Rick and Morty. And holy moly, the score is amazing!
    1 point
  31. In a strange way the staggered release of music from the Star Wars Universe has accompanied me all my life. At 11 years old I begged my old dear to buy me the Cassette tapes of Star Wars and Empire for Christmas 1980 and she looked at me as if I was crazy. "What are you listening to that for?" said my equally horrified Granny on Xmas day. A year later I saved up and bought "The Adventures of Luke Skywalker" audio tape on RSO from "Casa Cassettes" record store on Sauchiehall Street here in Glasgow Scotland. Even though it played like a video of snippets of the movie but with no visuals I played that tape to death. Used to listening to the shockingly truncated original album for Empire for years I was astonished to find the Double LP (which I never knew existed) in a second hand shop when I was 19. I devoured the unfamiliar new cues. A few years later in 93 when I was a 2nd year student at the Royal College of Music in London I was stunned when by chance I saw the Arista box on display at Tower Records in Piccadilly Circus. Remember this was before the Internet which now allows one to source virtually anything. I splurged and bought the thing straight away out of funds from my student grant. The circle was complete by the time the complete OT scores were released in 97. I was over the moon. Then of course singing the prequel music kept me in thrall through to my 35th year with the release of ROTS . Now in addition I have the sequel scores to memorise and learn. Whilst Opera was clearly the cultural apex of the 19th Century with Wagner at the helm, movies have been the standard benchmark in terms of entertainment for the past 100 years and I believe Williams continuing output for Star Wars is the virtual "Ring Cycle" of our times.
    1 point
  32. How to Steal a Million The Rare Breed/The Plainsman 1CD Daddy's Gone a Hunting Valley of the Dolls (Pop Score?) Jane Eyre (tapes are gone though) Story of a Woman (although it has been nixed by Williams) The Screaming Woman (even though its only the End Credits I believe) CBS Playhouse Saturday Adoption (1968) Total rarities. The complete score for How to Steal a Million would be an absolute gem.
    1 point
  33. I have them, but Jaws, CE3K, ET, and Jurassic Park should never go out of print. They’re “legacy” scores that in their complete form should always be available to new fans, who might then be “motivated consumers” who seek out others from the list. (There are others, like Superman, that aren't on that OOP list, that I would consider perpetual availability titles) I’ll be happy no matter what. This is great news. It will be hard for me to resist reissues I already own if they tweak some little thing.
    1 point
  34. Mike said that reissues were coming, AND ALSO 5 new expansions/premieres on top of those In terms of JW scores that already got the MM treatment but are now OOP, the list is: 1966 - How To Steal A Million (2008 Intrada) 1969 - Goodbye, Mr. Chips (2006 FSM) 1972 - The Cowboys (2018 Varese) 1975 - Jaws (2015 Intrada) 1977 - Close Encounters of the Third Kind (2017 La-La Land) 1977 - Black Sunday (2010 FSM) 1976 - Family Plot (2010 Varese) 1978 - Midway (2011 Varese) 1978 - Jaws 2 (2015 Intrada) 1978 - The Fury (2013 La-La Land) 1978 - Dracula (2018 Varese) 1979 - 1941 (2011/2015 La-La Land) 1982 - E.T. (2017 La-La Land) 1982 - Monsignor (2019 Intrada) 1984 - The River (2020 Intrada) 1990 - Stanley & Iris (2017 Varese) 1992 - Home Alone 2 (2012 La-La Land) 1993 - Jurassic Park (2016 La-La Land) 1997 - Rosewood (2013 La-La Land) 1997 - The Lost World (2016 La-La Land) That's more than I was expecting, wow! All of those scores deserve to be in print again for new fans to discover, IMO!
    1 point
  35. II'll keep my expectations low. Penelope, the Deluxe Edition John Goldfarb complete. Cinderella Liberty, the lost recordings The Long Goodbye, Alternate takes Spacecamp OST re-re remaster (no unreleased music) Hahahahahahahahahahaaha! We now have more chances of being nuked to smithereens before any of those are released
    1 point
  36. Yeah, Raimi always has great scores in his movies and he knows when to throw it to the front and let it carry a scene. And he is also a director who likes to have a main title sequence in his movies, where a composer like Elfman always shines (all his Burton movies or even Raimi's Spider-Man trilogy)
    1 point
  37. In a surprise turn of events, Crumbs is gifted Thor's unused copy of the expanded soundtrack, only to discover the second disc is missing because it was "too complete".
    1 point
  38. I've basically thrown away the whole idea of the importance of first impressions except for their own sake. I don't think it's ever mattered whether or not I got the most peaceful listening experience or remained spoiler free for a movie or whatever. Sometimes it's fun just to do it but if I'm excited enough for something that it actually takes willpower to resist then I'd really rather not torture myself. I don't believe in delayed gratification as a virtue when it comes to listening to music or watching movies the right way. I've discovered too many favorites in random circumstances and I'm inevitably disappointed when I get all ceremonious about something.
    1 point
  39. It is possible to listen to a film score as pure music, and without having seen the film that it supports. Of course, by doing that, it becomes something different.
    1 point
  40. This is not a DH update, but we were able to meet the maestro himself yesterday! He came to Juilliard for a conducting session where we played Superman March, theme from Jurassic Park, and Adventures on Earth. I was lucky enough to play piano/celesta, and Molly (who was in town to see his Carnegie concert the night before) was turning pages for me. So the short version is: both of us were in the room with JW and it was thrilling! And yes we did give him a flash drive with GOF, OOTP, and HBP on it. Basically we wrote him a thank-you letter for everything his music means to us, and presented highlights from the project as a fan gift (along with the knit JW). The project content was in an envelope so we don't know what he thinks or if he's heard it but we're just happy to have expressed our appreciation in some way! -BP
    1 point
  41. The fact that Double Trouble never comes back (except for the end credits) after the middle of the film and score is utterly baffling to me.
    1 point
  42. -Dobby's theme is barely there in the film at all because the first big statement is unused (because it really doesn't fit the scene) . And as for his last scene you just hear a very brief and disguised statement of the theme. -Lockhart's theme only appears in three of his many scenes (and they are straightforward reprises, without much variation) -The Chamber theme is the big offender, because it should've been used instead of the three-note motif from PT every time it appears. But even if I get why some of the themes where not more frequently used (Dobby or Fawkes only appearing in a handful of scenes), the fact of the matter is that the film has no new clear thematic identity and keeps reprising material from the first film. And not just thematic material, but straight copies of underscore. (and of course, the fact that most of the climax uses tracked music....)
    1 point
  43. Maybe a major theme that appears in the movie more than a couple of times or for a few seconds? Look, I'm not complaining about the quality of Fawkes or Chamber, but given their significant concert expansions and prominent spot in the end credits you'd be forgiven for thinking they'd be featured more heavily in the movie. As I said, the Stone theme could've been replaced in every instance with the Chamber theme, and also used for scenes depicting Harry's struggles with Parselmouth etc. Fawkes' theme is basically a more whimsical friendship theme and could easily have taken the place of anything present in the uplifting or hopeful scenes. Yeah I get it's for a phoenix that only appears twice in the film, but it's a great theme and deserved better. As I said, missed opportunity. Imagine if we'd only heard Hedwig's Theme in the scene with the letters arriving and then never again in the whole film.
    1 point
  44. ‘Elegy for Cello and Orchestra’ is an adaption of material from the ‘Regaining a Son’ track from ‘Seven Years in Tibet’. It’s one of my very favourite JW concert pieces.
    1 point
  45. Stunning performance, but it sounds like Williams got a phone call just as he was about to get up to pee, was asked to write something for David Geffen Hall's reopening, didn't know it was closed in the first place, then wrote the whole thing before getting up and finally peeing.
    1 point
  46. I especially love 0:40 - 0:47. It's just typical planing chords stuff, but it gets me everytime. I like how the bass line moves down an octave but lingers on the subtonic first.
    1 point
  47. How fabulous is this! I think he is donating his originals, he will keep the copies of all of them in his own library. I mean they are on paper, they can be scanned so he can have copies Also for all those idiots writing shit about him. Please! They can be as bitchy as they like. The guy has made a shit ton of money and done so doing what he loves. And BTW, when I was at Trinity College of Music in London studying post grad composition, they complained not only about Williams, but about Puccini, Rachmaninoff, Tchaikovsky, etc etc. Anyone who wasn't innovative or ahead of their time. I got sent out of the class one time because I argues the professor to death. He had "written" a piece called musical chairs in which any number of players would sit in a circle. One person would play something randomly and you would see how it changes as it goes around the players. So I said "I'm sorry, you want to complain about Tchaikovsky and Williams when you didn't even write a note and you call this a composition? You can't even write a toenail's worth of music of any of the composers you all like to complain about, Get a life!" It's all jealousy in the end. This man will be forever in the history books while many of his contemporaries, and pretty much all of the people who complain about him will be forgotten.
    1 point
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