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ChrisAfonso

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Everything posted by ChrisAfonso

  1. I've only really dug into The Towering Inferno yet, but that alone already made the set worthwhile for me - the main title is an all-time classic (which I previously only knew from that old RealAudio sample page...), comparing the vastly different score/OST mixes is really ear-opening, and although my attention tends to wander off a bit during some of the more low-key cues of the score, there are a lot of outstanding highlights. Earthquake seems a good candidate for listening when in a mood for fun, quirky music. Poseidon seems to be the most challenging score of these to really get into. But I'm glad to have them all at my disposal for when curiosity strikes
  2. That was an interesting conversation to watch, thanks for doing it! Sadly there were a few audio dropouts in the recording...
  3. What Jay is probably thinking of is the moment in Ark Trek, where the second half of the medallion theme does appear as the b section of the Ark theme, creating a single moment of unity of the two themes. Following your interpretation, this could be seen as the point in the story where the raw power of the Ark and the corrupt ambition to use it finally come together?
  4. Why not both? I'd hope they make more if this sells well.
  5. Here's also a small look behind the scenes: This album is a great listen! Materia Collective is putting out awesome VGM arrangements time and again (like the fully orchestral "Hero of Time" OoT concept album a few years back).
  6. They have a high bar to match for sure, but with Druckmann being involved and after seeing what Mazin achieved with Chernobyl, they might just be able to.
  7. Unexpected! This used to be one of my favorite Williams scores back in the day, but I never felt that anything essential was missing from the OST... looking forward to the samples!
  8. That is actually a rare case that I don't mind so much, because the cue was dialled out of the original arena scene and so was used for the first time in the temple scene. What's bad about it is the fact it's repeated twice in a very noticeable way...
  9. I'd guess even though he will not get paid a share of the nonexistent sheet music rental or purchase, he gets performance royalties from the usual performance rights organizations?
  10. That's interesting, because I've heard the exact opposite reasoning - that the cellos project better towards the audience when they sit in the middle (good when they have a lot of melodic lines), and thus someone else has to sit on the outside. Whether that's the violas or second violins will then depend on the preference for having antiphonal vs homogeneous violins. Which one's true, no idea - depends on the hall, maybe.
  11. I would be thrilled if he'd come back next year with a programme of, say for example, the Geisha suite, Five Sacred Trees, and a lengthy suite of War of the Worlds film cues. Something completely different. Of course for an occasion like this first Vienna concert ever it absolutely makes sense to do a best-of selection containing all the favorites (thankfully with quite a few welcome surprises thrown in the mix!). But in general it seems to me that the common program selections for concerts with film music are akin to every Beethoven concert containing the first movement of the fifth symphony and ending with the Ode to Joy. (Slight tangent following:) I've heard more than once from more classically-minded listeners that (regardless of the musical quality) the music for e.g. Indiana Jones were very monotonous with only the same theme being repeated over and over - and being surprised to hear that in the actual score the Raiders March is used very sparingly and the variety of music is much greater. That's a thing that I hope the proliferation of live-to-projection concerts helps with, making more of the audience aware of the actual scope and musical diversity within the score.
  12. This weekend was quite an experience! Hard to put into words. On Saturday I had a stalls seat, which was great to watch Williams work his magic (I loved how he often didn't do that much and let the musicians play, but added little gestures here and there to shape a phrase or an accent) and see the energy with which the musicians played. On Sunday I was in the standing area, which meant I couldn't see much, but this had the upside of being much more able to just lean back and take in the sound of the music (which was great even way back there under the balcony) without getting fixated on all the little details catching my eye the day before (watching how certain things are played, how the players react to the conducting, etc - which is its own kind of fun, but woods and trees and all...). And the sound really was magnificent! The pieces that moved me most were Hook (the magic of the beginning of the concert, and realizing this was actually happening), Close Encounters (just this sublime journey from chaos to triumphant harmony), Sabrina (how so many people can produce so intimate a sound, especially in the melancholic middle section), and War Horse (that aforementioned brass chorale!). And I was really happy they included the Duel from Tintin, which is just great fun with all it's twists and turns, especially with Mutter coordinating the wild bouncing bows passages with the violin section! I greatly enjoyed meeting a lot of fellow film music friends after the concerts, even if only briefly, and sharing this moment of history (which it surely is)
  13. Hope everyone arrived smoothly or will in the next hours! This will be a day to remember!
  14. This. But in truth, it's a close finish with a lot of contenders.
  15. I really love this piece, there's a real sense of melancholic resolve conveyed. It does everything for me that "The Rebellion is Reborn" falls short at. The character of the theme in the second half reminds me a bit of Brahms.
  16. Just listened to the new episode and enjoyed it a lot! Many thanks to Maurizio, Tim, and Mike to offer us this new peek behind the scenes, and great discussion of music old and new
  17. Is Nevada Smith related to Indiana Jones? ... Seriously, I've never heard (of) any of these, will be sure to check out the samples next week.
  18. I'll just join the pack... One of my favorite scores from my youth, and 3 Williams scores I never heard yet (other than a main title or two)
  19. After the first full listen (to this set in particular, but also the score in general after many years (on cd or in the film)), the thing that caught my attention the most was the different (shortened) beginning of "A New Beginning" (no pun intended). As the preceding cue ends on an A-major chord, the first few bars of this cue seem to imply an A-minor tonality, with the sparse accompaniment and all, before the arrangement becomes fuller and reveals that the beginning was actually meant as F-Major (maj7). Compared to the album version, which via the longer intro makes the tonality clearer from the start, this initial ambiguity adds nicely to the melancholy character of the cue.
  20. For everyone who's a Musikverein member, apparently you can buy additional tickets today (I reached the limit yesterday with 4 per concert, but was able to buy another ticket today).
  21. Yes, they seem to be the same. I got a few standing room tickets for Sunday at 8€ apiece (in addition to expensive seats on Saturday).
  22. When I bought that seat I knew beforehand that I'd trade in a balanced sound image (and good-angled view of the screen) for a close-up perspective of the orchestra, so I got basically what I signed up for - I really enjoyed the top-notch performance, only occasionally paid attention to the movie on the screen, and due to the perceptive filter of hearing the music relatively up-close and direct vs the dialogue and effects with a lot of reverb it was as close as I expect to get to hear the full score performed live as standalone music. Due to sitting directly behind the last 1st violin stand this felt almost like a fly-on-the-wall situation in a scoring session for the movie, what with seeing the musicians work through their music up close, having a side-frontal view of the conductor (who really gave the impression of being on top of things the whole time, no matter how intricate the tempo/rhythm/hitpoint syncing got, but it's no secret Brossé is a master at what he does), noticing a lot of details in the orchestration I never noticed before (though in one instance laid bare by the missing synth ;)), and observing at which points various players started to break a sweat, started to watch the movie (surely a sign of a multi-bar rest), or heaved a small sigh of relief after finishing 15 minutes of nonstop action music The audience in general seems to have enjoyed the concert - when it started I was bit worried about the (understandable - not everyone comes to these with as critical an eye/ear as us ;)) enthusiasm of the people in my immediate surroundings - lots of loud whoops and ongoing applause when the music started, even singing along to the fox fanfare and main theme, but it calmed down and the athmosphere in the room felt good, laughs in a few (appropriate) places, but otherwise everyone was listening and watching attentively (and there were none of the usual droves of people getting up as soon as the credits start). All in all, Raiders 3 years ago remains the best experience I've had in the ROH acoustics-wise - like Marian said, in the boxes directly opposite the stage you get a good centralized image, and as far as I recall the film audio was actually turned down a bit compared to the music, especially during action sequences without much dialogue, leaving the orchestral sound seem very natural in the room and not really sounding amplified at all. I'd be interested to know how much the film/orchestra-balance is predetermined and meant to achieve a cinema-like blend, or if the engineer in the hall is able to mix it according to their personal taste...
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