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Dixon Hill

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  1. Like
    Dixon Hill reacted to crocodile in What Is The Last Score You Listened To? (older scores)   
    While travelling from Vienna to London:
    Memoirs of a Geisha Suite, War Horse, Lincoln, The Adventures of Tintin, 1st Violin Concerto, Angela's Ahes Suite (with narrator), War of the Worlds, Jaws (original album). All of that pretty much non-stop.
  2. Like
    Dixon Hill reacted to TownerFan in Howard Shore's The Desolation Of Smaug (Hobbit Part 2)   
    All the people who work for these kind of big studio productions are obliged to Non-Disclosure Agreement, so it's perfectly understandable they cannot go into details. It's great that Conrad Pope is sharing pictures and comments about his involvement, though. I think it's very kind on his part to take time to read and reply to almost anyone who writes to him asking questions (which sometimes are closer to bothering!). He's a true gentleman.
  3. Like
    Dixon Hill reacted to KK in Howard Shore's The Desolation Of Smaug (Hobbit Part 2)   
    I love the aleatoric stuff and think its one of the most defining aspects of the LotR sound. I also find it one of the most fascinating components of modern concert music.
  4. Like
    Dixon Hill got a reaction from SafeUnderHill in Howard Shore's The Desolation Of Smaug (Hobbit Part 2)   
    "The idea was to be a symbol. Howard Shore could be anybody. That was the point"
  5. Like
    Dixon Hill reacted to WilliamsStarShip2282 in Orchestras that call for submissions of new works?   
    heed the words of the great Bartok...
  6. Like
    Dixon Hill got a reaction from WilliamsStarShip2282 in Orchestras that call for submissions of new works?   
    Competitions can be worthwhile, if you win. But that whole world has a set of its own politics and problems, and everything I've ever heard from composers, teachers, and my own instincts tells me to stay away from them.
  7. Like
    Dixon Hill reacted to Sharkissimo in Datameister's Cue Analysis Thread   
    You mean Em9#11#13? It reminds me of Debussy's 'tonal saturation' in Jeux.
    As an aside, I've always loved the hot, steamy sound of this signature chord, and wish it was used more during the trilogy. It's got one other appearance later in the film in the untitled R11P1 (dubbed 'System Ready') - it's the final chord, measure 12 to the end. Here Ludwig's suggestion about it being an extended chord really rings true. Here's the voicing: E in octaves then G-B-C#-D-F#-Bb.
  8. Like
    Dixon Hill reacted to #SnowyVernalSpringsEternal in Sherlock (BBC)   
    His Reichenbach ep is great though
  9. Like
  10. Like
    Dixon Hill reacted to Luke Skywalker in Howard Shore's The Desolation Of Smaug (Hobbit Part 2)   
    Kelsey grammer for Williams biopic, please!
  11. Like
    Dixon Hill reacted to Jay in What Is The Last Score You Listened To? (older scores)   
    Michael Giacchino - LOST (Season 1,2,3 OSTs)
    Inspired by the discussion in the TV thread recently I dug these out and listened to them all. While I like this music, it truly isn't until seasons 4-6 for me that these scores became unbelievably good. All my favorite themes are from those seasons I think, which makes sense as the plot started advancing then as well as the emotional journeys for many characters ended. From these early seasons I enjoy most the cues featuring the Departure Theme and Desmond's Theme. And of course the Traveling Theme, but even that gets it's best variations in the later seasons.
  12. Like
    Dixon Hill reacted to crocodile in Max Steiner Award 2013: James Horner in Vienna   
    It was an enjoyable concert. In the first part they played some music from s-f films: A short piece from Metropolis by Godfried Huppertz. We got to hear a Star Trek medley, consisting of snippets of different scores: Alexander Courage's theme with chorus, a snippet of Goldsmith's Enterprise cue and Voyager theme, Rosenman, Eidelman and they ended on the very end of Giacchino's end credits (the order is probably a bit off). Then they played Mychael Nyman's Gattaca and John Williams' soprano-led Where Dreams Are Born from A.I. (exactly the same as the album piece), which has been performed apparently for the very first time. Ildikó Raimondi's rendidtion was solid, but not exactly spectacular (probably a bit too strong). And the first part ended with the slightly abbreviated end credits from David Arnold's Independence Day. It lasted less than an hour. I liked it, but there was something missing - probably because so many of those pieces were quite short and it seemed slightly all over the place.
    The second part was much longer (probably around 90 minutes and dedicated exclusively to Horner. They opened with his brilliant Universal fanfare, which I might even prefer to Goldsmith's, and then played a suite from Star Trek II: The Wrath of Khan, which was basically the Courage material from the overture, seguing directly into the end credit material with the omission of Spock theme, sadly. Next, a piece was a from Braveheart which, at least partially, was taken from end credits (with solos on uillean pipes).
    A slightly longer medley of themes presented the themes from Willow (main theme), A Beautiful Mind, Apollo 13, The Mask of Zorro and The Rocketeer (fittingly ending on a rousing hornerian climax from that very score). Again, good stuff, but all the segments were really brief. The last short standalone film score piece of the evening was The Ludlows from Legends of the Fall.
    What followed were two centrepieces of the evening - the longer suites from both Avatar and Titanic. The first one was actually very effective, using penny whistle (I thin) and flute solos, some interesting live percussion effects and chorus. I must be quite a challenge to perform this music live, given that the actual score had endless layers of synthetic effects and stuff like that. But it worked. They performed some bits from Jake's Flight, The Bioluminescence of the Night, Scorched Earth (just that Willow-like fanfare) and some passages from War (including that cool fanfare near the start which was recorded originally exclusively for the album). And then Titanic, which seems to be a variation on some of the suites performed before - Sissel's vocals performed by opera soprano (a very different kind of performance), Southampton segment with the actual chorus (sounds much better, trust me) and then it ended with what can be heard in the final suite on Back to Titanic album with two themes played contrapuntally (or very similar to that piece, anyway).
    At that point Horner was to pick up the Max Steiner award and when he was approaching the scene, they were playing the Spider-Man theme. And here is a major disappointment - it was probably the only opportunity to hear it without all the synths and modern percussion. But you couldn't hear it, because the audience were clapping all the way through. What I can say, though, is that it is actually a very strong tune indeed, certainly among the best modern superhero themes (if not THE best).
    Anyway, Horner is getting the award and gets emotional. Crying almost. And they call him "the finest contemporary composer" (I'm not sure I heard "one of") and "Vienna's son" (apparently hid dad is from there). And the endless applause. At this point it turned into too much of a drama and schmaltz. But then again, this show is called Hollywood in Vienna so maybe that's the point. In any case, Horner indeed seems to be a very quiet and shy person. But, from my experiences with meeting other musicians, they mostly all are.
    Two of Horner's songs were also performed: one from An American Tale and one from Land Before Time (which was the final piece performed that evening). Both were extremely cheesy, especially the latter where the singer Deborax Cox was walking in between the aisles and at one point holding the composer by hand... You get the idea.
    While it's easy to be cynical about Horner and his place among film music giants, especially with all the cheesy awarding ceremony, it realized how big of a part he played in formation of my film music tastes. There's no denying he's got quite an output and the concert clearly showed that he could be just as successful in a concert hall as Williams or Goldsmith. At least in terms of broad audiences' appeal.
    All in all, an enjoyable evening. The playing was certainly competent and the musicians managed to convey that Hollywood swagger, which is not that obvious to achieve by a concert orchestra (not typically, anyway). Finally, I got to meet some fellow JWFans in person - Marian, ChrisAfonso, publicist. And some other people - Tim Burden (just briefly) and Thor (whom I will see again on Monday). Which was quite surreal, but really nice.
    Pity there was no chance to get any autographs or pictures. A bummer, to be sure...
    Oh and there is another thread dedicated to this topic, lemoncurd. You can find it here.
    EDIT: I just read an audio stream of the concert will be available to listen from tomorrow.
  13. Like
    Dixon Hill got a reaction from WilliamsStarShip2282 in Orchestras that call for submissions of new works?   
    Yeah, definitely try the folks in Maine. With this sort of thing, you'll rarely see any ensemble advertising, "Hey! We'd like to play your music!" Even when the New York Philharmonic schedules a week of "new music," those pieces chosen are limited to works for soloists, most of which are written by people already associated with the NYP/Juilliard. There is an annoying lack of enthusiasm about this kind of thing. Your best bet is to just put yourself out there, even if it seems fruitless. Send scores/mockups/real recordings/whatever to any organization whose mailing or email address you can get your hands on. Be persistent about it.
  14. Like
    Dixon Hill reacted to Jay in What Is The Last Film You Watched? (Older Films)   
    Manos: The Hands of Fate
    Ok technically we watched the MST3K episode that featured this movie. Damn, what an awful movie! Easily one of the worst ever made.
  15. Like
    Dixon Hill reacted to Alex Shore in Howard Shore's The Desolation Of Smaug (Hobbit Part 2)   
    Some pics of the sound enginner Victor Pesanto (Working on DOS)

    Taiko time!

    Mr. Pope with some sheet music...surrounded by tibetan gongs)

  16. Like
    Dixon Hill got a reaction from Smeltington in The Hobbit Film Trilogy Thread   
    Ah, Venice.
  17. Like
    Dixon Hill reacted to Sharkissimo in JWFAN Members Top 10 John Williams scores lists   
    5. IMAGES
    6. NIXON
  18. Like
    Dixon Hill reacted to Ludwig in A Jedi's Fury   
    I'm not sure it's possible to know exactly what's being played in these eerily dissonant passages. What I will say is that they really don't sound entirely atonal despite the harshness of the dissonance, and I think part of that is due to Williams heavy reliance on sustained pitches, whether we call them pedal points or not. In other words, there always seems to be a note or set of notes that is being held while dissonances shift above or beneath. That kind of sustained-note writing can give the sense of what they call "centrality" to the music - a kind of pitch centre that seems to move around with each chord. I think it goes a long way in explaining why these passages always have a feeling of clarity to them, like we know what's going on even when the harmonies are wrought into twisted chords. In short, they give comprehensibility to harmonies that would otherwise be rather incomprehensible. Like the non-tonal chords that he makes sound tonal. Brilliantly done in both kinds of cases.
  19. Like
    Dixon Hill got a reaction from A. A. Ron in The Hobbit Film Trilogy Thread   
    Ah, Venice.
  20. Like
    Dixon Hill got a reaction from Alex Shore in The Hobbit Film Trilogy Thread   
    Ah, Venice.
  21. Like
    Dixon Hill reacted to Sharkissimo in Howard Shore's The Desolation Of Smaug (Hobbit Part 2)   
    Beorn This Way.
  22. Like
    Dixon Hill reacted to Sharkissimo in Were Mozart und Beethoven that great? Or just really popular?   
    I think you're mistaking a lot of film music's compression as truncation. One of the art form's challenges is being able to say as much as possible within the shortest space of time. A single sustained chord can possess the significance and power of an entire cadenza. At its apotheosis, film music is the universe in an nutshell - a microcosm of meaning.
    I think the ON THE WATERFRONT suite is a wonderful achievement, and possibly the best thing Bernstein ever wrote (including his concert works, musicals, operettas and so on), but then I'd dismiss the greatest scores of North, Herrmann, Prokofiev, Walton, Vaughn Williams, Shostakovich, Prokofiev, Takemitsu, Rosenman, Morricone, Bennett, Goldsmith or indeed - John Williams.
  23. Like
    Dixon Hill reacted to Jay in BREAKING BAD   
    This actually ran in the Albuquerque Post today! Wow!
  24. Like
  25. Like
    Dixon Hill reacted to Jay in .   
    The more Kat Dennings on TV, the better.
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