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Posts posted by ChrisAfonso

  1. 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.")

  2. "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).

    4 hours ago, karelm said:


    It's hard to tell where you are in a piece when it is completely brand new to you.  You might enjoy Aaron Copland's "What to Listen for in Music" or Leonard Bernstein's Young People's Concerts tv shows from the 1950's and 60's which are on youtube and very well explained walk through of elements of music and some masterpieces.  Classical music doesn't always come quickly or easily but rewards effort.


    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.

  3. 8 hours ago, Steve said:

    I think digital concert hall is not sold by DG. But I could be wrong.


    8 hours ago, Marian Schedenig said:

    DG has a long standing association with the Berliner Philharmoniker - much closer than the occasional one with the Wiener, I believe. I would expect at least 95% of the Berliner Philharmoniker recordings in my collection are DG releases.


    I personally wouldn't mind if they put out a nice release by themselves, if it's anything like this:







    8 hours ago, bollemanneke said:

    Yes, but that still doesn't merit a 1CD, 2CD, Blu-Ray, vinyl and combo pack release. Unless they release the crap all at once and I can just buy the best one available from day one.


    Incidentally, the above set has almost all of that in one box (CDs, BD-audio, BD-video).


  4. 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!

  5. 57 minutes ago, Jay said:

    OK here are the spots in The Lost World score where they re-used passages they knew the musicians could play instead of whatever JW originally intended

    1. 3-09 Spilling Petrol and Horning In [5M3/6M1 Part II Horning In] 3:52-4:01 ≈ 3-13 Rescuing Sarah [8M2 Truck Stop] 1:15-1:21
      • This was originally written for 8M2, in bars 110-122.  You can see in the 5M3/6M1 Part II sheet music that:
        • page 1 (bars 1-4) is fine
        • page 2 (should be bars 5-8) actually only has bars 5-7, then the original bar 8 is scribbled out
        • page 3 (should be bars 9-12), the original bar 9 is scribbled out and then you can see the obvious photocopying in of bars 110-112 of 8M2, though the percussion part of bar 8 is different (and the bar numbers are changed to now be bars 8-10)
        • [...]
    2. 3-13 Rescuing Sarah [8M2 Truck Stop] 3:18-3:29 ≈ 4-01 Ripples [10M1 Rialto Ripples] 3:34-3:44
      • This was clearly written for 8M2 and later repurposed into into 10M1


    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.

  6. 1 hour ago, Falstaft said:

    Then again, who could forget the assortment of monstrous growls and grunts like this that are so important to the distinctive texture of Jurassic Park.

    Monstrous Growls - Full Score.png



    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...

  7. 40 minutes ago, Tom Guernsey said:

    A shame that Naxos haven't got round to recording the Viola Concerto given the favourable comments it's received. Maybe there isn't a published performing edition? I would have thought it would be a pretty good seller alongside their other Williams concerto recordings (several of which are also premier recordings). The Horn Concerto is terrific though.


    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)

  8. 9 hours ago, TSMefford said:

    Just popping in to say that I, too, would love an expansion of all three Free Willy scores, but especially the 2nd. It’s due time for it!


    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 :unsure:, 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!

  9. 47 minutes ago, BB-8 said:

    The booklet is of very high quality.


    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 ;)

  10. 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.

  11. I'm hoping for an eventual album with the two violin concertos and treesong (runtime permitting).


    2 hours ago, Thor said:


    He's done plenty of cello pieces beyond TREESONG without them being called concertos. I'm guessing there would be parameters in play in order to call it that?


    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.

  12. 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).

  13. If you already have a score done in Sibelius, you often can get a really good result by just using Noteperformer, with almost zero effort. Of course a "real" mockup with good sample libraries can sound a good bit better (and more "3-dimensional"), but takes a lot more time and work.



    Do you feel comfortable recording it from the start at your DAW?


    An important consideration for me is that writing a cue in a notation program vs starting by inputting one line after the other in the DAW has a big effect on the music that comes out - it's a clumsy way to put it, but for me notation leads to more things planned out as a whole, while composing-in-DAW leads to a "one thing, then the next thing, then the next thing" approach (whether the things are counterpoint, harmony, or whatever).



    What about if it's in quick tempo with lots of small note values?


    If it's really too hard for my (mediocre) piano skills, I may slow it down while recording. But usually I like the imperfection that comes with real-time input (especially for things like woodwind doublings in runs), and rather break it up into multiple passes (e.g. one or two groups of 16th notes at a time - position fingers on correct keys beforehand ;)) if it's too much to handle in one go, plus a bit of judicious square-pushing in the piano roll afterward - usually no automatic quantization, which messes with built-in delay of different samples anyway.  

  14. Just got around to watching this yesterday, and enjoyed it very much - Many thanks to all involved! I also wouldn't have minded if it had been twice as long ;) So many great stories everyone had to tell. I thought that it really added something to have a bigger group of guests there, which allowed many recollections to be augmented by additional viewpoints and experiences.

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