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Yoda Longbottom

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Everything posted by Yoda Longbottom

  1. I still lack the 1996 MCA expanded and 2002's SACD print that is a must considering how much I love this score...
  2. I know, I can't believe how young I was those 10 years ago when I started here! I'll be returning more often. Gosh I hate it that people have to grow old. At least Some of us (Maestro) would deserve to live forever though! Hopefully the next Nobel Prize will go to the one who finds a gen to achieve immortality. Tell me about it! Which one are you playing? I love the original MCA CD that I got -- ironically -- at a used CD store for a dime in 2000.
  3. Happy birthday Maestro! For me, you are the greatest living composer of music for films and concert halls. Here's to you....! P.S. Despite everyone's predictions, I have a feeling you are going to win another Oscar this year... Roman
  4. Happy birthday Mr. Williams, good health and may you retain your youthful zest for writing more great music! Roman.-)
  5. I was born in the year of Fiddler on the Roof (March 31, 1971). Roman.-)
  6. If it's Silva's with COPF, I will probably get it. Some score tracks they did in the past are excellent additions to the originals. Did you hear the Indiana Jones Trilogy album?
  7. It's winter with tons of snow here and the mood I'm just plain reflects the sleepiness of the things around and on my way to work and back home I'm playing "Presumed Innocent" recently, totally sleepy score, it's calmingly beautiful. My favorite track? The whole album sounds like one long track, which is rather welcome in this case, but seriously, it's "Barbara's Confession".
  8. I have this old set of components: CD player DENON 1050 Amplif. AudioLab 8000LX Speakers Shan Aztec 300 And I listen to mp3's albums in my SE K750i on Senheiser HD 407 headphones. I don't think we can beat Marian's set!
  9. Could it be The City of Prague Philharmonic? They release thru Silva Screen...
  10. There's still a lot of music I think we can coincide on. But he's mentioned his view of today's world has changed since so this might be it, too. Isn't it his girlfriend behind the change?
  11. Ray, aren't we slowly losing another admirer here? Williams or any other composer can surely stumble from time to time, but it seems like you haven't been really impressed with much of Williams' output in recent years, which I think isn't all that just Williams not doing his best anymore. In the run of years since 1997 he has composed some truly great stuff, the best he could do and if you still find yourself somewhat unfulfilled, Williams music might not be awing you any more. What happened to that good Ray of the years gone?
  12. Do I smell a bit of sarcasm behind…? I truly think this year has seen Williams at the best of form and it only confirms that the busier the schedule, the better the scores. How about six per a year..?
  13. It wouldn't be out of place to release long albums as double-disc sets while keeping the price. Composers would't have to worry about the length of the cues to fit on one album but most importantly there would be no reason to call some cues "unreleased" anymore. Plus you get the time for tea break between the two discs. Still I don't see whether Horner re-arranges and re-records the music for score albums or what he pens for the movie is in that form already.
  14. He was sued? Is it due to call in justice when it comes to music? Strange.
  15. Okay, depends off each individual score album. Braveheart – definitely not a symphonic structure, not even close to that. The climax for the main theme comes in the middle of the score, and some ideas hinted at at the early parts never get really developed until very end. Legends of the Fall – perhaps as close as it gets, but again, main idea gets to the heartbreaking rendition quite too early on. Willow – this one would work as a symphonic poem rather than standalone symphony, but again the themes are not well developed to keep the listener in tension. Absolution comes too soon. Titanic – the first half of the album starts promisingly well, delivering proper amount of hints at all the themes, but after it gets past the first half it gets a bit lost and ideas are presented out of order. It wouldn't work. Land Before Time – leave the song in the middle out and I have no complaint here. A perfect presentation of ideas, well structured. Shame this close cousin to Willow never got the attention it would deserve. I haven't heard Glory outside the movie. How does it work on album?
  16. Aren't symphonies supposed to have a structure within? Horner seems to want to beat Zimmer's Crimson Tide on every other occasion with the track times.
  17. I only heard about the Enemy at the Gates so I can't confirm. Put in Titanic soundtrack, skip to track 10 and forward past the 6th minute or so and listen closely.
  18. Ever since 1998, the first thing I listen to in the first minutes of the New Year is always something by John Williams. I believe this gives him some kind of strength and verve. Do you find it any weird? Possibly maybe. :oops: Roman
  19. Oops, I never really noticed that. Thanks. I will listen to both works the minute I get home today.
  20. In The Perfect Storm there is a sequence that is a note-for-note copy of Prokofiev's Romeo and Juliet. In one Titanic's death scenes, there is a straight lift from Williams' Schindler's List. In Braveheart, there is a love theme varied into a 30 second part so very similar to Maurice Ravel suite, the name of which I can't recall. I'll add it later. Some refer this part similar to Holst's Venus, but it has more similarities with that specific Ravel's work. I will specify its title, I just can't recall it at the moment. I believe there exist more evidence of such "borrowings". But they don't bother me at all. Like when I popped up Sibelius's symphony and found the first movement to be so reminding of Seven Years in Tibet, I got outflanked. But when Williams borrows, he does so with elegance. He usually flirts with less-known works so it is not that easy to spot such similarity suppose yu're not that much accustomed to classical music. Roald, try to listen to Ravel's "Tzigane" sonata and you'll hear another Williams classical score. Will you recognize? Roman
  21. 1997 is the winner for now, but I still haven't heard any note from Munich. I believe 1997 was also the busiest year in Williams carrier. 2002's has perhaps the "weakest" score out of all listed. I haven't listened to CMIYC for months now and there's really nothing special about it to draw me for repeat listen. Yet I'm often coming back to MR. Chamber of Secrets is another one I don't listen to much either. The 1st and 3rd HP scores are much better in my opinion. 2005's roses to be his mightiest in years. I love WotW and Geisha, both utterly different and so rewarding, and I think the Sith is the best of the prequel scores, so even if Munich would be a bad score, which it seems it isn't, I really may change my mind in a few months and 2005 will stand out above all else as being the best. 1974 brought The Towering Inferno, my ultimate favorite of his seventies works, but I am not any familiar with Conrack neither Sugarland Express, so I can't pick this as my favorite year. I I don't like the score to Earthquake that much either. 1972 – should be the best year of the 70's. Images is timeless and Williams is frequently returning to techniques used in this score, The Poseidon Advanture is great too. Of the Cowboys I have only heard the overture. So I can't cast my vote upon 1972's since I know half as much as I should.
  22. Didn't Shore promise to make a 3-movement symphonic cycle out of each LOTR score? That's what I have really been interested in for long now. But instead, some another bunch of previously unreleased cues was put on another set of CDs. Did he find out LOTR fans wouldn't perhaps give a dime for the symphonic translation, them rather craving for more and more unreleased variations on what's long been available? I hope Shore isn't composing new material to sell it as another unreleased set of cues. Because what I did, to my big shame, is that I believed Mr. Shore's words and as time went I got rid of the three standard score releases hoping to get what he promised.
  23. Even if you concurred on 99 scores out of 100 with her, you both may have totally different opinion on this particular one score. I have not yet found a person with whom I would be in absolute unanimity as for the film music. We, the soundtrack lovers community, are pretty choosey people with only as many unique views as there are DNA variations to be made. Roman – who thinks Horner's The Land Before Time is among his very best deeds.
  24. James Horner must be mesmerizingly infectious. The last remains of my will to listen to anything new by James Horner got washed away after buying and listening to "The Missing". I don't say I don't believe you, Morlock. But there were so many positive comments across the fan base towards "The Missing" score that I couldn't resist and got the score. I was so angry when I listened to it that it's beyond my craft to depict it fittingly here. I found "The Missing" to be such a blazing deja-vu that I just gave up on new stuff from James Horner.
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