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  1. Good enough for me. Thanks a ton!
  2. Who played oboe in the Return of the Jedi recording sessions? Anybody happen to have the answer?
  3. "Meet my ghostwriter for The Last Airbender." "E.T. phone homo."
  4. Milton Babbit dies on Saturday and now John Barry a mere day later... Why do great composers always seem to die in clusters?
  5. Oh, thank you so much!! I didn't know that! and it's complete free? hard to imagine! Yup, totally free. A really nice service they provide and something I wish more publishers would pick up on. As for Barber if you're looking to really dig into his catalog I'd say there really aren't any duds to be found. However (and I base this on absolutely nothing but the nature of your original request) I would shy away from his Second Symphony and his Essays for Orchestra. All great pieces, but far more modernist in their approach. Some others of his work that may interest your are his Summer Music and Medea and certainly give his First Symphony a listen all the way through.
  6. You can get access to just about everything by Barber using the free Schirmer on Demand, which is basically G. Schirmer's online score perusal service. Go to http://digital.schirmer.com/ and follow the directions and you should have unlimited access to a ton of great stuff including a lot of John Corgliano's works as well as Elfman's Serenada Schitzophrenia.
  7. A few things come to mind. Erich Korngold's Symphony in F. The 2nd and 3rd movements in particular. The 2nd is a brilliant whirlwind scherzo that only lets up to get interrupted by a heroic theme for the horn. Simply electrifying from beginning to end. As for the 3rd movement, if you're looking for music that evokes a child lost in a magical forest, then look no further then this. Samuel Barber's First Symphony. This is actually all written to be one continuous movement so some recordings reflect that while others break it up across multiple tracks. What may be of particular interest to you is the slow 3rd section, which begins with an achingly beautiful oboe solo over strings that would also be a good candidate for that lost in the magical wilderness sound. While we're on the subject of Barber, if you aren't familiar with his Overture to School for Scandal, then definitely check it out as well. It's a brisk and exciting work with a slower section toward the end that has one of the most instantly singable themes I've ever heard.
  8. Heartbeeps. I've tried several times. Never get further than 3 or 4 tracks in. John Goldfarb, Please Come Home! I keep this around only to show the occasional person how awful Williams could be in his early career. The Lost World. I keep this around to remind myself that John Williams is completely capable of phoning it it. The rest get pretty frequent play.
  9. Any movie scored by Williams that nobody has heard of. Except Heartbeeps.
  10. I'm going to agree that all in all the wide-release movies this year were pretty disappointing, particularly in the music department. Edge of Darkness - still can't get over John Corigliano's replacement, even for someone as great as Shore. Alice in Wonderland - liked the tracks that prominently featured the main theme but it, like the movie it accompanied, was a turgid mess Clash of the Titans - as rarely an epic mythology-based film comes out I was livid at how generic and unlistenable the score to this one was Robin Hood - another film I excepted great things from, especially given the director, sadly another boring wash of musical wallpaper Prince of Persia - etc The Twilight Saga: Eclipse - etc The Sorcerer's Apprentice - etc Be it a wasted opportunity or a composer I respect not quite delivering, there just wasn't a lot this year that excited me. The only scores I've enjoyed this year are Last Airbender, HTTYD, Inception, Kick-Ass, and Dinner for Schmucks. And for me the only knock-out was HTTYD. Clearly I need to hunt down this Ghosterwriter score though.
  11. This is disgustingly self serving, but... Every film I've ever scored. Edit: So obscure they're not even worth mentioning.
  12. Being a child of the 80's I've wasted entire days just listening to music from this site. Also, a friend of mine put me onto this track from the StarCraft 2 soundtrack. Get past the opening few seconds of homage and it gets incredibly awesome. The first slow theme even feels a bit Goldsmith-y. Sadly I don't know whose actually responsible for this. http://www.youtube.com/watch?v=kJA5mc3pCBE
  13. On a whim played through the Harry Potter and The Halfblood Prince game and was amazed at how much better the score was than Hooper's. James Hannigan demonstrates more talent in the first 30 seconds of this track than the entirety of Hooper's tragically underwhelming score. Game sucked, but that's another matter entirely.
  14. It's come to my attention that many of my favorite scores by many of my favorite composers happen to be within the feature length animation genre. Powell - How to Train Your Dragon, Bolt Giacchino - The Incredibles, Ratatouille, UP Goldsmith - The Secret of N.I.M.H. Horner - An American Tail, Land Before Time Desplat - Fantastic Mr. Fox Zimmer - Lion King, Prince of Egypt Hisiashi - Miyazaki films Thomas Newman - Finding Nemo David Newman - Anastasia Coulais - Coraline Kamen - Iron Giant Silvestri - A Christmas Carol JNH - Atlantis Elfman - Nightmare Williams - ...Mr. DNA? There's a certain willingness to accept unique musical approaches and Romantic-era music sensibilities within this genre that I just don't find to be the case in most other genres anymore. Where does this willingness come from? The directors? The inherent need to sell the oft fantastical settings? Its a strange albeit welcome habit of Hollywood and I'm curious what everyone's thoughts are on the subject.
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