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ocelot
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Posts posted by ocelot
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On 3/4/2018 at 1:07 PM, Josh500 said:
Just went to that on iTunes. Window to the Past is also different. One of my favorite themes Williams has ever written.
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In your boudoir again?
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1 minute ago, Stefancos said:
Have I ever told you I loved you, Ocelot?
Daily! Get out of the closet already, lol
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OK then I have it. Calling @crumbs lol
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I received .wav tracks. Would that be lossless?
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My favorite hall to record in!!!!!! I love that sound there! It was an old church. I’ll be getting this as I love having different readings of the same things but yeH, why choose those things?! Would love to have heard them do some TFA and TLJ.
On 3/3/2018 at 10:41 PM, tmarps said:The LSO in 2018 and 1977 is regarded as the pinnacle of the symphonic sound, and that’s down to the prestigious and extremely talented performers within the orchestra. The members of the LSO are the creme de la creme of the country’s orchestral talent, so it’s not like the standard of the LSO would get worse, because only the finest players are selected to join the orchestra. Another reason the LSO sounds so magical is because they are always so busy and playing all the time, so are forced to know their colleagues very well and form a remarkable relationship with each other. This was the same in 1977; the LSO have that wonderful sound because they know their follow players well and are always performing and rehearsing together.
Very true but you can also say that about the Philharmonia Orchestra in London, the RSO, the Vienna Phil, The Berlin Phil etc etc
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and a skimpy white bikini swim trunks as bottoms!
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On 2/24/2018 at 12:11 PM, Omen II said:
I am feeling strangely envious of those of you who will be experiencing a concert at the Royal Albert Hall for the first time. By modern standards the building is too big for a concert hall, acousticians will tell you there are too many seats, some parts of the circle have restricted views, the sound of some sections of the orchestra can get lost depending on where you are sitting, the ladies usually have to queue for the toilets in the interval, etc. etc.
Yet despite all that, the place just has a sense of magic and a character that far outweigh its few shortcomings as a concert hall. It is such a magnificent building, built by the Victorians who did things like this properly. Although I have been there dozens of times, I never fail to feel a growing sense of excitement when I first glimpse the building as I walk through Kensington Gardens to a concert. When you walk inside the building it is as if the music of all the great musicians who have performed there over the years has permeated its very walls, like the prayers of generations of the devout in our great cathedrals. The hall's circular shape also makes it a surprisingly intimate venue - you can turn your head away from the stage and clearly see the faces of most of your fellow concertgoers as if you were all sitting round a table to celebrate some special family occasion.
There are other concert halls where the sound, the view and the facilities might be superior, but I can think of no better place than the Royal Albert Hall in which to see John Williams and the London Symphony Orchestra perform.
So true and it's probably the one place I have seen orchestras more than anywhere else. Love that place no matter if the sound isn't quite as great as anywhere else
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1 hour ago, Richard said:
Personally, I'd be very interested in this, and to accompany you, but, please...wear a shirt
No skimpy bikini shorts then? But how am I to get JW’s attention?!?!
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On 2/17/2018 at 12:02 AM, Jack said:
Damn it's already sold out !!!!!!!!!!!!!!!!!!!!!!!!! ☹️
I might have an extra ticket for you or someone else who doesn't have one but I will know closer to the time.
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On 12/27/2017 at 10:32 AM, Jack said:
Any love for Sense8?
I'm about to start watching it.
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On 2/16/2018 at 4:59 PM, pete said:
Not necessarily. He might have written the new arrangement afterwards in December or in January.
That's true, I guess what I meant is the end credits version would have been recorded.
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On 2/14/2018 at 11:39 PM, artguy360 said:
It's possible but I personally can't imagine JW intended for a piece of music that so strongly reflects his concert music sensibilities to ever play in a feature film, even over the end credits. This new arrangement features very little of the accessibility and straightforwardness of his film music nor the speed and momentum of his usual approach to SW end credit suites or medleys. The end credits to TLJ are pretty messy though so I could imagine that the current end credits music not reflecting JW's original intention.
Not quite though. Just because he composed this doesn't mean that this CONCERT Version was the intended use of it in the end credits. He would have composed the end credits version and this concert arrangement. There is no way in hell that the news of him composing something for Carrie Fisher for the end credits was a simple piano solo of a part of her theme with no accompaniment.... That's just ludicrous.
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For those who are thinking that this piece is going to be Han's theme in the Solo movie, are you guys out of your mind? (at least that is what I think I read in some posts, if not my bad) He is WRITING a new theme for Han and do any of you think Disney would just allow Williams or anyone to just play it randomly in a concert before the movie is out. The first inklings of the theme will be in a trailer if not left for the movie itself. Come on! I'm hoping you guys are joking lol.
Plus this was for sure already recorded at the TLJ recordings.
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Yes I'll be there of course, its at the Albert Hall.
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Also, Williams does not give the directors mock ups to listen to. He talks to them, he takes on the project, and then you see him at the scoring stage. He does at first play the themes to the director and then is left alone to score. Most directors now want to be "part of the whole thing" and that is not Williams way. Which I admire. Composers nowadays are treated like shit. And any idiot with samples and a keyboard and without being able to read or write music can call themselves a film composer and come out with sounds that serve the purpose of the scenes. It's quite sad actually.
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Firstly, this is badly played. They aren't in tune in many places and not very in sync playing, so I can't wait for a really beautifully played and well balanced version to listen to. Structurally it is sound and beautifully arranged.
I said this in another post. About a month or so after the passing of Carrie Fisher, they mentioned that Williams was writing a tribute for Princess Leia for the end titles. I bet this was it but they then decided to just include that little piano moment instead.
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21 minutes ago, Docteur Qui said:
Each to their own and all that, but I should clarify that I don't have an inherent problem with Mickey Mousing, particularly in light-hearted films and scenes. But a fight scene like the one above could have come across as cheesy if Williams hadn't have made the decisions he did. Either way you look at it, we can agree that he nailed it this time round.
Oh I agree totally!!! If the Mickey Mousing here hadn't been totally angry and crunchy, it would have been totally cheesy! That's why I love how he does it!
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21 hours ago, crumbs said:Absolutely, there's a bucketload of original music that's unreleased, including heaps of variations on TLJ's new themes, that Williams omitted from the OST in favour of older material (like multiple variations on Yoda's Theme and Leia's Theme). Ironically this is a complete 180 on Williams' usual methodology with sequels, where he seemingly goes out of his way to omit older material and focus on the new.
Admittedly he's always been inconsistent in this regard, happy to include note-for-note reprisals (like Qui-Gon's Funeral, The Duel or The Throne Room in ROTS or Revisiting The Ark in KOTCS) but omitting the interesting variations on older material like Padme's Funeral or They Weren't You, Honey or The Waterfall.
It's a little disappointing the Desperation Theme gets such little love on the OST. Further showing its versatility, here's a touching variation as Leia farewells Holdo:
Then there's some fantastic unreleased material either side of Chrome Dome, including an incredible version of Rose's Theme as Finn & Rose escape the Supremacy:
Williams' writing here is note-perfect, especially the dark music as Phasma gives her final glance to Finn. I feel the OST doesn't give the most accurate impression of the film's complete score, with an unusually heavy focus on older themes rather than new ones.
Yaaassss!!!!! (Sorry, the gay came out of me) Ha! Aaaand it's back in, And Scene!
21 hours ago, Docteur Qui said:"Chrome Dome" really is something special joined to the visuals. I've never much enjoyed Williams hitting sync points so frequently in some of his cues (that whole Mickey Mousing thing) but something about this cue is different. I think it's because the harmonies and orchestrations are so heavy and brutal, it makes the music take on a gravity of its own and you can feel every swing and hit of the fight. That last chord especially just hits so hard.
It's hard to describe, but it's a similar thing in "A New Alliance". Separate from the visuals the music doesn't work so well; it's so disjointed and uneven. But on-screen it fits incredibly well with the fight between Rey, Kylo and the guards.
I think his Mickey Mousing is fantastic. I'm hating this new thing of scoring against the film over and over. It's a fantastic thing to do... at times..., but I think it's also lazy as if certain composers cannot do anything but write a wet blanket's worth of sound, but I agree that there is something unique in Chrome Dome. Love the harmonies and orchestrations there as well.
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I have TLJ on Repeat now as with TFA. I just wish one particular person would eventually make it longer for me.... It's the size that counts!
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19 hours ago, wooten said:
Kind of reminds me of the droid army themes from TPM as well.
It’s throughout this cue, but the clearest part starts about 0:31
Now that is what I call action music where the orchestra is having fun and flying all over the place!!! One of the best cues ever. The spark is cool, but nothing compared to this. However, remember, it makes sense to have it be associated to some degree to the Imperial march because Luke is Vader's son and Kylo is his grandson and part of the "New Empire" so to speak. The third note lands different in The Spark and that is the key of it not being totally the Imperial March, same family, different guys! God why isn't this ever played in Concert, I would be hard throughout!
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BFG to me is a brilliant score. It honestly stands on it's own. The impressionistic feel to it is lovely and there's so much in there in orchestration. I can understand why people don't gravitate to it as much as say The Post or even Star Wars because it is flighty in a way. Harmonically is also goes all over the place which I love but people seem to prefer easier to listen to pieces these days as I have stated before. With the pop sound of Zimmer and his ilk coming into fashion in the last 10 years or it has dumbed down Epic sounding music to a big degree (IMO although musically it's not my opinion, it's just fact). And don't come at me again for saying something like this, I honestly don't care! I also like easier to listen to pieces sometimes, lol! Take TLJ for instance, the end of The Spark is most people's favorite moment and really it's a simple section where it rests on the tonic and repeats notes ad nauseam. It's a great moment but frankly, it's just "easy listening music".... I Love it but way prefer where Williams is really modulating and flying all over the place and showing off his compositional skills and the orchestra is showing off it's virtuostic playing which there is a lot of in most Star Wars, The BFG and other adventure score that Williams writes.
I would love to hear the new rendition of Han Solo and The Princess. You know. He had stated last year that he wrote a new piece for Princess Leia fas a tribute or the end titles. I can't believe it was just the simple rendition of Leia's Theme on Piano that we heard. That is not writing, that's just the first statement simply played on piano, which was lovely in itself anyway. I wonder if this was what he had originally written and they changed their mind and decided to go with the piano bit. Which would also explain why the end titles don't sound like a completely written out section of music but a collection of cues.
Williams donates all his scores to Juilliard
in JOHN WILLIAMS
Posted
How fabulous is this! I think he is donating his originals, he will keep the copies of all of them in his own library. I mean they are on paper, they can be scanned so he can have copies
Also for all those idiots writing shit about him. Please! They can be as bitchy as they like. The guy has made a shit ton of money and done so doing what he loves. And BTW, when I was at Trinity College of Music in London studying post grad composition, they complained not only about Williams, but about Puccini, Rachmaninoff, Tchaikovsky, etc etc. Anyone who wasn't innovative or ahead of their time. I got sent out of the class one time because I argues the professor to death. He had "written" a piece called musical chairs in which any number of players would sit in a circle. One person would play something randomly and you would see how it changes as it goes around the players. So I said "I'm sorry, you want to complain about Tchaikovsky and Williams when you didn't even write a note and you call this a composition? You can't even write a toenail's worth of music of any of the composers you all like to complain about, Get a life!" It's all jealousy in the end. This man will be forever in the history books while many of his contemporaries, and pretty much all of the people who complain about him will be forgotten.