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ChrisAfonso

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Everything posted by ChrisAfonso

  1. Not at all, it has been performed here multiple times, and is one of JW's most cherished compositions, same as elsewhere. The film, like others (e.g. Downfall, The Pianist, etc.) that depict this period in a serious way, is well regarded. It's the comedic handling of the subject matter that makes us squirm uncomfortably in our seats, like buddy-Adolf in Jojo Rabbit. And the story made it into the Berlin programme booklet at least, as the final punchline of the text
  2. Counterpoint: He recorded an album with Alexandre Desplat, half of which consists of film score arrangements I'd hope getting away from his studio for a while and visiting new places does refresh his creative impulses!
  3. Most of this has already been mentioned, but I have to second the strong recommendation for the 1999 "Glöckner" cast album. Sure, the German vocals need some getting used to, but musically it's just so far superior to the reworked '15 version of the show! I was hugely excited when the US cast album got released (finally, the musical with its original lyrics!) and then quickly deflated when listening to it and noticing that a) many great new songs from the '99 version were cut or lessened, b) the orchestra sounded a lot smaller, and c) they tried to make up for that by amping up the drum kit and piano, which (at least for me) makes it sounds even smaller and "poppier". The incredible ending to Quasimodo's "Wie aus Stein" (Made of Stone) alone makes it worthwhile, no comparison. I haven't heard the 2017 German album, but have seen the new show in Berlin - musically it's the same as the 2015 US one. A good musical in its own right (and some of the new songs are worthy additions), but the '99 version is just so much better. (on the original topic: mightily looking forward to the Legacy Collection )
  4. I'd argue that the answer greatly depends on how you define "elegant" - if you mean "refined and colourful, ever changing orchestration and subtle motivic integration", this would fit more with Williams's output. But if you define it as "use the simplest fitting means to achieve maximum effect" (a.k.a. the Mozart way), this fits better with the music of Goldsmith. (Or as he is reported to have answered the question of how to write good music: "You put something on the top... something on the bottom... and something in the middle.")
  5. "the best" is hard to say - it's worth getting both the original 70s version on Varese Sarabande, and the 2000s version recorded by Gil Shaham on DG, as they're sufficiently different both in some details of orchestration and development, as well as recording sound (dry vs lush). This is a great recommendation (and thanks for pointing out the Copland, have to look into that)! The book version of Bernstein's YPC played a big part in opening up my musical education. On the main topic of the new concerto, there's not a lot to say that wasn't already said I was a bit lost (especially during the first movement) during the first watch, but on subsequent listens it quickly becomes more familiar - especially the beautiful last movement! Worthy addition to the Williams concert canon.
  6. I had the same thing some time ago, trying to pay in Germany with an Austrian bank account, and found out that the number of digits differ between countries (D: 22, AT: 20 - no idea about Norway). In short, theoretically IBAN should be international, but practically it isn't with every payment provider.
  7. I personally wouldn't mind if they put out a nice release by themselves, if it's anything like this: Incidentally, the above set has almost all of that in one box (CDs, BD-audio, BD-video).
  8. Yes, works fine - bought and watched it two days ago. I liked the concert very much, especially for hearing a new interpretation of Heidi, and Adventures of Han My only quibble would be that some pieces have a really slow tempo (for my taste) - but that may be a result of the spaced out seating making it more difficult to tightly play together (?) Well worth the $9 for the week-pass!
  9. These passages get stranger the longer you look at them. What you describe is actually the same passage from "Rescuing Sarah" (3:18), up to 3:42 (3:52-4:15 in "Horning In"), respectively 3:54 (3:34-4:08 in "Ripples") in the sheet music, but only "Horning in" contains bars 110-112 as written - the other two have an extra prominent line in the horns that doesn't show up anywhere in the written score. "Ripples" b114-115 (3:44-3:46) has the horn rips omitted that are heard in the other two places. (Rescuing Sarah 1:15-1:21 is a similar, but different passage) I'm curious where the "Passages copied due to performance problems" story comes from? - I'd guess it takes less time to rehearse a passage and do a few more takes than to change the score around, copy and distribute the parts again. Also the "scribbled out" bars before and after the copypasted segment look like they didn't contain anything beforehand and were already laid out that way to line up with the page breaks of the inserted bars. Without any additional inside knowledge, this looks like a planned repetition to me, e.g. to adapt to a re-cut film scene.
  10. Doesn't this motif even open the first track of JP3? This is such a signature sound for JP (also featured strongly in the moments leading up to the "theme" part in Journey to the Island) that for me it's as evocative of dinosaurs as the low e-f ostinato is of sharks...
  11. Actually, the viola concerto is publicly available from Hal Leonard, as are most of the other concertos. It's the violin and cello concertos (along with the Flute and Clarinet) that are unpublished, despite being around for a long time, and seemingly have to be specifically requested for renting - which may be due to his repeated revising of those, and thus not wanting to pin down one "definitive" published edition? (I'd love to get my hands on the violin concerto sheets one day)
  12. I remember trying to take a cassette recorder to a repeated cinema viewing to try and get a recording of the climactic burning oil scene music, which I missed sorely on the rudimentary CD , but for the life of me can't remember how that turned out... suffice to say, a comprehensive release of this score would be most welcome!
  13. Thanks so much Maurizio and Tim (and all your guests), this was an awesome conversation to listen to and a fine way to spend an evening! So many great stories, especially hearing David Cripps tell the Leia's theme anecdote (I wonder, was his horn colleague worried about his well-being, or would he have liked to get a shot at it himself? ).
  14. He got around that by just calling the Main Title "Fanfare"...
  15. Indeed - and the hardback casing is very sturdy (if only DG had put the Mutter/Williams/Vienna discs in some of those). Of course there's not really any new information in there for die-hard Williams aficionados, but for anyone else (the real target audience for a "spotlight" album, I guess) it's very nice to have an extensive overview of his career, paired with a few comments by notable collaborators and himself, and some cool "concept art"-like paintings/drawings relating to several of the scored films. Also a nice painterly filter applied to all of the photos... they really wanted to art it up
  16. Out of curiosity I tried my hand at another one of the unrecorded cues (but a much simpler one): Total Logic (Early Version) (mockup) (No video, though)
  17. Ordered. I have too little Rozsa... and the violin concerto is great, can't complain about more use of those themes
  18. So that's 46:16 (including source music) of music in the film, if I calculated correctly... plus 14:43 of album-only cues, makes 60:59 total, of which 34:12 appear on the album, which leaves 26:47 of unreleased music.
  19. I find this connection a bit far fetched, it's really only three notes in the middle of the phrase, and the gesture/movement of the piece is completely different (Puccini is more static, a grandiose statement, whereas Williams is full of energy and forward drive).
  20. I'm hoping for an eventual album with the two violin concertos and treesong (runtime permitting). Technically it would qualify, being an extended work for soloist and orchestra in 3 movements (side note, are you confusing Treesong with Heartwood? Since the latter is for cello, and in one movement). But a composer is free to call his works what he likes, and "concerto" also carries some connotations of scope, so he may see Treesong as more of an impressionistic (in a loose sense of the word) fantasy or meditation, compared with the more ambitious scope of e.g. the first violin concerto.
  21. I love the samplemodeling brass. Using a fader (or mapping to modwheel) for dynamics/expression works fine, but I've found it's much more fun (and yields more "natural" curves) to use a breath controller (which also frees up your hand to input e.g. vibrato via modwheel in the same pass).
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