Quintus

Coincidentally, the official tie-in album is on release. I didn't even know there was one, until I just saw the commercial for it on British tv. http://www.amazon.co.uk/exec/obidos/ASIN/B...0826386-8968412 So who is gonna be racing down to their local store for this? :roll:

How was it? Anyone else? It was amazing. The highlight being The Lighting of the Beacons, closely followed by "To the bridge of Kazad-Dum!" and The Last March Of The Ents. It was a full house and we had the best (and most expensive) seats in it, the orchestra was basically 10 feet away from us and we were slightly raised over it - perfect view. The renditions sounded near identical to the ost's, well they would do seeing as it was the LPO playing. Oh and the female/male/childrens choirs were absolutley stunning. The Revelation of the Ringwraiths being particulary powerful. And it was a sombre house when the young boy soloist sang at the fall of Gandalf The Grey. Just beautiful. Its just a shame that Mr Shore didn't address the audience, but a minor quibble. But I'm still waiting for Williams to return to the Barbican You know, I'm getting kind of sick of this. Show me one score more complex in character development on a grand scale than his trilogy. just ignore them gkgyver. They are blind to the masterpiece of powerful, cultural and epic film scoring.

I think 98 refers to the sequel. Have you not seen it? Its quite good, but Ladies in Lavender is a better movie.

Yeah agreed. Oh and I'm from the UK (Liverpool) too.

Its okay man. I once told someone it was a Tuesday, when it was in fact a Wednesday. Don't beat yourself up over it.

Both orchestras have performed some truly stirling music for the maestro, but when it comes to all out perfection, I find the BPO to be the orchestra of choice for cue/theme renditions. Although I absolutely adore the LSO's recordings, I prefer the BPO's versions of The Raiders March and pretty much all the Star Wars stuff. An exception would have to be the Superman theme, which the LSO utterly nailed. Though thats not to say the BPO's take on it isn't up to scratch, indeed its very good. But for me Williams' music seems to be most at home when the BPO is under his baton. Which kinda makes sense actually.

Nah, I already saw it in the Royal Albert Hall.

It's a great little movie directed by Charles (The doctor in Alien3) Dance. The music is played often on LyricFm (Ireland's equivalent of ClassicFM). Holy shit, I remember that movie now. It was on release last year I think, it looked like a quaint little retirement flick. Was its score really that good? I'll be damned if it deserves the No.3 spot (higher than freaking Star wars!) no matter how well written it is.

Thats twice in one day

I haven't even heard Ladies in Lavender. Should I have?

I'd say it is safe to assume that yes.

Um, I believe it was published either yesterday or the 29th. Its the result of an all-day radio broadcast which counted them down on the 29th.

http://www.classicfm.com/index.cfm?nodeId=5690&sw=1024 Nice to see they got the No.1 spot right I disagree with Gladiator being positioned so highly. I'd have put it at No.3 with Starwars ahead of it. Let the bitching begin...

Ottman's work certainly seems on the money after listening to those snippets. Can't wait for this!

No, he does a superb job of them: March Of The Villains. The Basket Game. Nocturnal Activities. No Ticket.

Metal.

For once, I actually prefer James Horners action packed score over Goldsmith's quieter suspense effort. The LSO's percussion deserves a special mention as it is absolutely top-notch in Aliens. Oh and I think it was the first time I'd heard Horner's clanging metal fetish, though it suits this particular film superbly.

http://www.youtube.com/watch?v=5pYJL3sWJ6I If you listen carefully you can hear Ottmans spin on the Williams love theme.

Just noticed Stefancos' enlightening (and true) Goldsmith signature: "If you are scoring a scene for a man on a horse galloping away - you don't score the gallop but you score the fear of the rider." Jerry Goldsmith. But if you are John Williams you score both

Ecstasy of Gold, or The Superman fanfare - the one that plays when he rips open his shirt and not the one that says the word. Off the top of my head of course.

Although Williams certainly has his own distinctive sound, I find it difficult to pin him down to a particular style. And that is a good thing, a measure of his talent. He is capable of adapting to many styles and not just limited to the one. As brilliant as John Barry is, all of his music sounds like it was written in the sixties. Thats his style. Which I happen to like. Just a side note: John Barry's strings are my favourites in the scoring business. Soooo soothing they are

Celebrating the birth of his first child down the pub!

Exactly. Many, many years ago. Of this I'm glad I'm only saying all this shit because of the comments made within the work in progress autobiography. Goldsmith's comments just seem a little bitter to me, thats all. Regardless - the great man is still a scoring god in my eyes.

Does that include Laurel and Hardy films? No, not at all. In fact you would think its a given considering their pay packets. But what do I know.