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I think the point is is that the subject matter contains opportunities for a wide array of characters and emotions touched by Don Giovanni's ruthless desires, which results in a variety of musical possibilities. Mozart categorised it as a comic opera (i.e. a comedy as opposed to a tragedy). Also, don't forget that, whilst e.g. the love duet between Don Giovanni and Zerlina sounds "happy" on its surface, there is a sinister subtext to the whole thing, since it's merely Don Giovanni trying to trick Zerlina for his own gains. So Mozart's music is reflecting the "surface level" seduction, and leaves it to the audience to deduce the subtext. Whereas a more, let's say, "modern" composer would probably focus on bringing out the subtext more in the music, or would focus more on the psychologies of the persons involved, with occassional rumblings of the double basses/timpanis or whatever... You've reminded me of one of my favourite pieces for piano, Liszt's Réminiscences de Don Juan. It starts with the graveyard scene, then the love duet (and variations on it), and ends with the Champagne aria. It's undeniably an "optimistic" piece, even though the aforementioned love duet takes up most of the running time! (It's also a bloody nightmare to learn.....)

I think what they're saying is that he (or Da Ponte) did deliberately work that uneasiness into the plot and the music. And his final descent into hell is clearly depicted as just punishment, at the very least because Giovanni, given several chances, refuses to repent. The final tableau (a device found in all three of the Mozart/Da Ponte operas) gives the whole affair a happy moral end because the "hero" was rightfully punished. I disagree that it's not dramatic, by the way. Despite the overall buffo styling, there's certainly a lot of darkness in it (just listen to the overture), and the finale can be staged pretty dramatically (although I've seen ridiculous versions like one where Giovanni, aged dramatically (why?) goes into a plexiglas cage for his final descent and bursts into a splash of blood… problem is, because the cage is soundproof, he has to be microphoned and played via speakers for his final lines…) …nevertheless, his behaviour is certainly even more appalling from our current POV than it was for Mozart, Da Ponte & Co. But then that's true of pretty much every narrative piece of art older than (at most) a couple of decades and based on such types of conflict. I just re-watched Hitchcock's Rebecca the other day and didn't find the first half easy to watch, because it wasn't at all clear to me how much of it is deliberate in portraying a toxic relationship and how much, at the time, was merely "romantic drama".

No, I'm not saying this. Mozart and Da Ponte's judgement on Don Giovanni is very clear from the fact that the character is carried to hell at the end, and from the final ensemble piece "Questo è il fin di chi fa mal..." (= "This is the end of the wrongdoers..."). The point is about the way the authors chose to tell the story, by means of a "dramma giocoso" rather than just a "dramma". And the idea that you could treat such a topic in a (mostly) cheerful way is typical of the century when Don Giovanni was composed. Think of another opera of the 19th century featuring another vile predator: Rigoletto, by Verdi (composed 1851). The character of the Duke of Mantua has many traits in common with Don Giovanni (it is also said that Verdi had thoroughly studied the score of Don Giovanni before composing Rigoletto). The consequences of his (and not only his) actions on the main character are quite terrible, and the opera ends tragically. And there are no real moments of comical relief during that opera, although the main character is a court jester - the point, in that case, is to show the tragedy in the life of that man. A very different mindset with respect to Don Giovanni: Don Giovanni is a product of the Classical period of music, while Rigoletto fully belongs to Romanticism.

Beyond the choral aspect and the ample use of folk instruments, Shore has a very specific sound orchestration-wise: he tends to have a lot of different instruments in the same register doubling lines. That alone sets him apart from most film and TV composers: his way of thinking of the orchestra in "ranges" rather than in "colours", resulting a rather heavy, "rough" sound; which is to say nothing of his fondness for aleatorics and clusters and other modernist techniques. I actually think that was the thing that most readily hit audiences when they first heard it: that it wasn't yet another late-Romantic-styled score. It has its own unique soundscape. Ontop of that - and this is absolutely where you should watch Monoverantus' channel - structurally his use of the leitmotif technique is much more thorough than what you see in other scores: its not a quilt of repeated musical reminiscences, which is what I expect of Bear's score, but rather a network of connected leitmotives that change their associations, their musical character, their connections to other motives and indeed their function within the piece and, in changing, relate to each other. By The Return of the King, it becomes difficult to tell individual themes apart anymore: they blur into each other completely, which is certainly not something I expect of any TV score.

1:25-1:27. The Desert Chase is already perfect but this 2 second moment underscoring Indy looking down onto the truck is something I look forward to every time this track starts.

I never expected Shore to take on the whole show. I just doubt that would have been remotely within his current working capacity and the needs of the show. But these snippets really sound like generic EPIC video game fantasy music.

In that case @Manakin Skywalkerwill have our backs 😂

Starting to?

15 takes of every cue or bust I have to say, I'd be perfectly fine with an 'assemble-it-yourself' release like this. It'd certainly give me something to do on those rainy afternoons

Why this section from 00:50-01:15 was cut from the album arrangement, I have no idea. Those stabs from the celli and brass as Brody collects his gear to begin climbing the mast. And then... somehow the strings feel so strained and tired as the Orca sinks. The strings and harp pair so well with the shot of the sunlight seeming to wane.

That’s a guilty pleasure for me. But I’m probably if an age where that dated pop sound is comforting to me. So which Star Wars Main Title Raw Take is your favorite alternate? I'm having a hard time choosing one. Take 20 has the strong cymbal crash without the brass. Take 16 has the delightful emphasis on the swirling woodwinds. Take 17 has the really strong timpani beats around the 1 minute mark.

I guess I'm a bit more of a moderate here, because I really don't think we can tell before we've seen the show.

This 2 are basicly to only scores + Moana that I had from Mancina. The first Planes is great!

Give "Planes" a listen then. A much, much better score than you'd expect for a direct-to-DVD Disney movie. The sequel score is basically more of the same, with my main regret being that the main title track wasn't a completely new recording, but instead the original track with a few newly recorded overlays.

Not to worry, I actually went back and listened to the film again, and this is the order I found: 2. THE SEA BEAST 8. THE HUNTERS CODE 10. JACOB INTO THE SEA 1. PRELUDE TO THE SEA [START-0:48] 6. CAPTAIN CROW 4. SOMEDAY [0:28-END] 9. ONE MORE TRY [0:40-END] 9. ONE MORE TRY [START-0:40] 15. WEAR IT DOWN 13. RED [0:46-END] 12. LITTLE BLUE [0:50-END] 7. THE FIGHT OF THE GIANT CRAB 16. BLUE AND MAISIE 4. SOMEDAY [START-0:28] 1. PRELUDE TO THE SEA [0:48-END] 12. LITTLE BLUE [START-0:50] 5. JACOB EVOLVING 14. GWEN BATTERBIE [0:30-END] 14. GWEN BATTERBIE [START-0:30] 3. KING AND QUEEN 11. CROW'S BETRAYAL 13. RED [START-0:46] 17. MAISIE'S SPEECH 18. WHEREVER THE WIND TAKES US END CREDITS SUITE: 6. CAPTAIN CROW [EXTENDED VERSION] 1. PRELUDE TO THE SEA [START-0:48] 9. ONE MORE TRY [0:40-END] 13. RED [0:52-END] 15. WEAR IT DOWN [1:57-2:44] UNRELEASED TRACK It appears that Mancina arranged the album for a better listening experience, moving around the music from the action-focused first half of the movie, and combining several disparate cues into complete tracks. There is also some great music missing from the album, such as the regal and patriotic first arrival at the king and queen's palace, as well as the percussion antics of the rope-swinging sequence on the beach. Overall, this is a very solid score by Mancina, with a blend of vibrant swashbuckling, intense action, and a lovely emotional heart. It's certainly a worthy successor to Moana, and I hope he continues writing for animated movies.

ParamountPlus should change their name to StarTrekPlus and just be done with it.

Today, from my Discogs database, I listed all the CDs I purchased from Specialized labels over the years. Quartet Records is an essential specialized label. I recommend all these titles (for those who are still in print): 2021 Jerry Goldsmith - Basic Instinct 2021 John Williams - Images 2021 Howard Shore - The Silence of the lambs 2020 Ennio Morricone - The Thing 2020 Jerry Goldsmith - Total Recall 2019 Nino Rota - Romeo & Juliet 2019 Jerry Goldsmith - The Great Train Robbery 2017 Jerry Goldsmith - The Russia House 2015 John Williams - The Long Goodbye 2015 John Williams - Tom Sawyer

5:43 of this in the film pairs so well with the blast of the train horn chugging along in the background of the shot. The sound design here is oh so so good.

Saying up to date is starting to feel like a chore.

After really getting to sit with this release for a while, I’m very interested to see what material (if any) James Newton Howard will adapt into his score for the Willow series. There’s at least a handful of motifs from Horner’s score that would still be relevant to this new story I bet. But I won’t get my hopes up too much. These days it’s usually a token statement of a main theme and studios think that should do it. But Howard seems like a more thoughtful composer and I feel he’d do a bit more than a passing reference. Either way, Howard in “fantasy mode” is always something to look forward to.

Summer Shocks! Jerry Goldsmith - Twilight Zone: The Movie - Expanded Score James Horner - Star Trek II: The Wrath of Khan - Expanded Score Ennio Morricone - The Thing - Remastered Score Jerry Goldsmith - Poltergeist - Expanded Score

In a way, it's the Starship Troopers of its time.

Amongst Girl On The Fireplace's many joys is the 'My lover ... the King of France. Oh yeah? Well, I'm a Lord of Time', the genuine jump-scare when the Clockwork Droid snatches at the Doctor from under the bed where it's lurking and the almost Bond-esque jump through the mirror on horseback (followed by the 'Wahey! Check me out!' wink he gives Madame Pompadour). This is the sort of Doctor Who ... well, SWAGGER I hope RTD can bring back. Enough with series arcs so confusing the showrunner feels an explanatory 15-minute YouTube video is necessary, episodes that are writer's agenda-pushing first and story second and specials watched by fewer people on the night of broadcast than a repeat of Antiques Roadshow.

So many great tracks already mentioned, but I alway enjoy Children’s Suite for Orchestra - Although never intended to be included in the movie, these arrangements are precious. The E.T. Adventure - It doesn’t really have the same character as the film soundtrack but I do think this is a historical and important piece.

Does it need that much 'knowing' to infer exactly that from label's release politics of last 20 years (or indeed the much bigger dvd, 4k, 8k et al. market)? It's an open secret in the entertainment industry that a good deal of income is generated by repackaging and it's the last bit of business that is actually left in releasing movie scores by a handful of beloved composers. It practically feeds on hoarders, who can't resist the 'order button' impulse. All the rationalizations for it are window dressing, and both Intrada and LLL have thankfully cut down the marketing bullshit in recent years. I mean, sure, when there's a sucker out there who is willing to triple-dip on James Horner's 'Clear and Present Danger', a routine job with a few real highlights (Milan, Intrada, now LLL), or even on 'Patriot Games' (!), let them have it. Re-buy Star Wars the fiftieth time and die a happy man!

Maybe it would also help to make a movie that, ehm, doesn't suck? From what could be gathered after that thing came out, nobody but Lucas actually thought the screenplay or story was any good. And then you ask yourself, what kind of leverage can the guy who made 'Attack of the Clones' actually have?

Speaking of Indiana Jones

There’s a great re-recording on Tadlow if you want to check out the score. Although LLL did a fine release of the original tracks. Oh and there’s a short re-recording version on Varese with Elmer conducting the Utah Symphony coupled with music from the Commancheros. I know what you mean about something like Kings Row though, something like that you really need a re-recording to enjoy the score to its best advantage (even if the existing re-recording is not complete).

I’d never read this Variety article promoting Crystal Skull in Feb 2008before https://www.vanityfair.com/news/2008/02/indianajones200802/amp “When Ford and Spielberg both rejected the idea, Lucas dug in. He hired screenwriter after screenwriter to make his MacGuffin the linchpin of a new Indy story. “So this went on for 15 years,” he says. “And finally we got to a point where everybody said, ‘Look, we’re not doing that movie.’ And I said, ‘Well, look, I can’t think of another MacGuffin. This is it. This works. I knowthis works.’ And then we stopped. I just said, ‘O.K.,’ and that’s about the time I started Star Wars again. But then Harrison was kind of interested. And I said, ‘I won’t do it unless we can have that MacGuffin. Without the MacGuffin, I will not go near this thing.’ ” “Whatever, Lucas is convinced he won’t please everyone. “I know the critics are going to hate it,” he says. “They already hate it. So there’s nothing we can do about that. They hate the idea that we’re making another one. They’ve already made up their minds.” At least the legions of Indy geeks will be pleased, right? “The fans are all upset,” Lucas says. “They’re always going to be upset. ‘Why did he do it like this? And why didn’t he do it like this?’ They write their own movie, and then, if you don’t do their movie, they get upset about it. So you just have to stand by for the bricks and the custard pies, because they’re going to come flying your way.” I admire Lucas’ desire to stick to his guns and fight for an idea…But damn. It seems to be more outta vanity (hehe) than a genuine belief that it was THE best idea for the story. Beating a very dead horse I know. But it’s interesting to see these comments in a puff promotional piece. It’s just heartbreaking to relive the anticipation and excitement for this movie, knowing how it didn’t quite live up to the hype. For me, with the bar so low, Mangold has his work cut out for him. 5 will be a great Indy film. And I cannot wait 😊

I really liked Us score. Will check this out. Karol

In case anyone didn't know, Quartet's having a big sale with 30% off all in stock products and if you buy 8 or more albums, they're even throwing in free shipping worldwide. Probably a good time to pick up The Long Goodbye if you don't already have it. I finally did!

Apologies if this has been posted here before and I missed it, but I just stumbled upon this hour-long Korngold documentary by Leonard Slatkin. I got to 8:54 and saw a familiar face.

That's a great explanation of the glass shot. It struck me as an odd thing to focus in on. But it makes sense! I'd be surprised if the date thing hadn't been thought about - they know fans look at the most intricate details, and this seems like a pretty obvious one to double check.

More snippets from Comic Con

In 7 weeks a new film with a brand new John Williams score in it will be screened to an audience. Amazing.

I'm not a very big fan of the Sauron piece - it doesn't seem to have that memorable aspect that Bear displays in Outlander. But at least one person has said they now have no interest in the show based entirely on the composer, and unfounded assumptions about what they will write. That's what I meant by closed-mindedness. Apologies to Nick, but I'm just stating what I see, which is generally a negative attitude towards franchises going into the hands of new composers before anyone can fairly judge what they've done.

Uh, did we listen to the same track?

That doesn't make any sense at all. This is the same Lucasfilm that just let Intrada expand Willow. It's the Lucasfilm that's released 10 separate albums for The Mandalorian, 2 albums for The Book of Boba Fett, 3 albums for Season 7 of The Clone Wars alone and of course expanded albums for Solo and Rogue One. Recently, they even dug into their vaults to assemble an album for KOTOR II which let's be honest, average Star Wars fans weren't clamoring for. The idea that they'd just sit on the 14 potentially lucrative John Williams scores they have in their vaults has become utterly laughable. As far as I'm concerned, it's no longer a question of "if" there will be more definitive Star Wars and Indiana Jones albums in the near future. It's now just a matter of when they'll get released and how definitive they'll actually be when they do.

The McCreary tracks aren't terrible, but don't feel very Tolkien at all. And sounds like McCreary is abandoning the original themes.

Feel like there were a few factors that went into this. Fewer "wipes" in general, maybe more notable interior than exterior locations, less planet-hopping built into the narrative...compared to the prequels, especially, I think probably more variety in how they were cutting between story threads, sometimes they'd just do a hard-cut in for example. There's that stuff in Last Jedi where Poe's mutiny and Finn/Rose undercover are edited and scored as basically continuous action. Whereas I think Lucas settled on a pretty uniform "stop the scene, wipe to a grand establishing shot" for a ton of transitions in the writing and editing as he went along. You can look up the count of the wipes in each episode lol, the sequels each are under 20 while the OT averages around 40. Meanwhile Ep III has 102.... But I feel like whenever the sequels set Williams up for a few seconds on a big exterior, especially going in from a wipe, he'd do a little something. Probably the best of these from each movie imo.

Like all Moross, his Flute Concerto is just sunny and delightful. One of the most distinct voices in American music.

VFX crews should unionize!

I don't understand what's weird. When they made the last album, they didn't know the cue titles, so they made up their own Now, they found the cue titles, so they used them.

From the official product page https://quartetrecords.com/product/the-pink-panther-final-chapters-collection-3-cd/

...except the score for FITZWILLY