Jump to content

Leaderboard

Popular Content

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

  1. you mean three scores with one Stone?
    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. £199.99 is a bargain.
    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. 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
  12. WIth perhaps one of the fifth Williams release
    1 point
  13. 1 point
  14. Hopefully we get a May flyer today
    1 point
  15. 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
  16. I didn't mind the applause, I didn't even notice anything unusual with it. I'd have to re-check and try to compare with my memory how accurate that is mixed. My issue is with how the orchestra is mixed. When I went to Berlin, I was for some reason under the impression that the Philharmonie was supposed to have bad sound, and was surprised and stunned (and later learned that it is rightfully renowned for its acoustics). Yet I've heard various, often reasonably modern, recordings from there that just sound off, balance wise, e.g. with a try orchestra and a cavernous choir sound (even for live recordings), or unbalanced instrument groups (like percussion that doesn't just sound too loud but too up front). Perhaps despite its great live acoustics, the hall isn't easy to record? In any case (and I've been long meaning to post this in the Berlin concert thread, but never could be arsed), my issue with this particular recording was the balance. It sounds very different from how it sounded live (at least from my two seats on the two days I attended, which were both in front of and rather close to the stage, so I don't know how much it differs at different spots in the hall). For one thing, while on the Vienna Blu-ray you get the orchestra in the front and the luxurious Musikverein ambience and reverb in the rears, the Berlin surround mix sounds like you are surrounded by the orchestra. Hearing the strings from behind isn't what you'd expect from a traditionally set up orchestra, and certainly isn't what it sounded like on the day. Curiously, bass isn't half as massive at it was live (it's stunningly massive when you're there). But instrumental details on the recording sound emphasised and de-emphasised in curious ways that are neither natural, nor logical in context of the compositions, nor similar to how the same pieces were recorded for their OSTs or elsewhere. The main offense is the piano, which at least during the final third or so of the concert is the piano. Perhaps it was overbalanced from the start, but I started noticing it somewhere in the second half and then couldn't unhear it anymore. Williams has the piano as a supporting instrument and member of the orchestra in most of his orchestral pieces (I've long been a fan of hearing it in the Imperial March and The Asteroid Field). But on the Berlin Blu, it is mixed almost like a solo instrument. Which is a problem when it doesn't play anything more interesting than straightforward chords in a steady rhythm. As a result, Throne Room sounds like a piano concert, but one written by a composer who just learned to play the piano a few months ago (i.e. it actually makes it seem like a bad composition). I know a few others have commented on the same issue, but perhaps because of collective burn out after the Vienna hype, two years of the pandemic and the Berlin hype and three day live excitement, I don't think we've ever had more than a handful of detailed reviews of this release. In any case, the stereo mix unfortunately seems to be the better one in this case. But as I said, the Vienna surround mix is an impressively close approximation of the real deal.
    1 point
  17. Oops! My bad. He's recorded the Fauré, but not (tmk), the Mozart.
    1 point
  18. I meant that as a positive thing - one of my neighbours has it coming. Under the artistic name of Fauré?
    1 point
  19. 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
  20. 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
  21. It's actually pretty cheap: https://www.discogs.com/fr/sell/release/6771911?ev=rb
    1 point
  22. 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
  23. My priorities are Hook, Terminal, Amistad and Patriot. But as last year showed, Mike can easily help make me fall in love with even the scores I don't know at all.
    1 point
  24. Yes indeed. You'd also want Hogwood's recording for the singing of Emma Kirkby. There's lots of other good recordings of this great work, and many different versions of the completion, so it doesn't hurt to have several recordings.
    1 point
  25. My go-to recordings is Marriner's on Philips.
    1 point
  26. 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
  27. 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
  28. 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
  29. 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
  30. Daddy's Gone A-Hunting and Storia di una donna (Story of a Woman), please.
    1 point
  31. 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
  32. 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
  33. 1:04 - 1:24 - some of the most intense 20 seconds JW ever wrote!
    1 point
  34. 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
  35. Indeed, it's much worse. The latter is alright, the former atrocious!
    1 point
  36. NEW PODCAST EPISODE! 'SUPERMAN IN CONCERT' PODCAST SPECIAL PART 1: INTERVIEW WITH ANTHONY GABRIELE The unforgettable superhero film Superman: The Movie is making a long-awaited comeback with the world premiere of John Williams‘ stirring musical score performed live to picture by the City Light Symphony Orchestra conducted by Anthony Gabriele in the splendor of the spectacular KKL Luzern concert hall in Lucerne (Switzerland) on April 29, 2022. SUPERMAN is the latest of the classic John Williams’ film scores being presented in this 'In Concert' format and, after two years of postponement due to Covid pandemic, it’s finally having its long-awaited world premiere. Conductor Anthony Gabriele talks with The Legacy of John Williams about the music of Superman, how it sits into the filmography of John Williams, the many virtues of Richard Donner’s film and its stirring score, the challenges of conducting live to film, and the uniqueness of Maestro Williams’ overall opus. This is the first of a two-part podcast special dedicated to the world premiere of SUPERMAN IN CONCERT. Listen to the full episode to discover the guest of Part 2… https://thelegacyofjohnwilliams.com/2022/04/25/superman-in-concert-podcast-special-pt1
    1 point
  37. I don't like Temple of Doom. I like things that are in it. But I really don't care for the movie. I L-O-V-E The Last Crusade!
    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. "thank you, you'll be hearing from my lawyers." ~ JW
    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. One day I'm gonna make my own HP3 OST and see what I can come up with for 70 minutes.
    1 point
  42. 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
  43. -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
  44. Anthony

    The Custom Covers Thread

    Some quick and dirty covers I made for (mostly) obscure James Newton Howard thrillers that I couldn't find decent covers for.
    1 point
  45. Hoping for an opening credits sequence to let Elfman run loose. MCU movies tend not to have them, but there have been notable exceptions.
    1 point
  46. ‘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
  47. 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
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.