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Chewy

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  2. Haha
    Chewy reacted to Minority report 1 in MINORITY REPORT (2002) - 2019 2CD Expanded Edition from La-La Land Records   
    Someone please upload this 2 cd set online so those of us who cant, buy because its limited edition, can listen. Its not available on  apple or spotify  so easy to do if someone has it .  Thanks 
  3. Confused
    Chewy reacted to bruce marshall in E.T. THE EXTRA-TERRESTRIAL 35th Anniversary Vinyl Edition from La-La Land Records   
    The Greatest Story Ever Told
     
     



    R.i.p
    Alan Daviau
    Melissa Mattheson
     
  4. Thanks
    Chewy got a reaction from BrotherSound in Empire Of The Sun - La-La Land 2CD   
    No idea if anyone has done it already but I thought it would be great to see how the alternate of The Plane would fit with the picture. Now, after watching it several times, I have to say that I'm starting to prefer it over the version chosen for the movie. I especially love the fact that here, the choir starts as soon as Jim touches the plane. It just works perfectly.
     
    I will always remember the first time I saw this scene, after almost 30 minutes without music, this is the real turning point of the movie.
     
     
    And by the way, if some of you still don't have this 2 CD set, I highly recommend you to get it before it goes out of print, it's easily one my favorite score (and film) discoveries of the last few years. Very underrated.
     
  5. Like
    Chewy got a reaction from Falstaft in Empire Of The Sun - La-La Land 2CD   
    No idea if anyone has done it already but I thought it would be great to see how the alternate of The Plane would fit with the picture. Now, after watching it several times, I have to say that I'm starting to prefer it over the version chosen for the movie. I especially love the fact that here, the choir starts as soon as Jim touches the plane. It just works perfectly.
     
    I will always remember the first time I saw this scene, after almost 30 minutes without music, this is the real turning point of the movie.
     
     
    And by the way, if some of you still don't have this 2 CD set, I highly recommend you to get it before it goes out of print, it's easily one my favorite score (and film) discoveries of the last few years. Very underrated.
     
  6. Like
    Chewy got a reaction from Holko in Empire Of The Sun - La-La Land 2CD   
    No idea if anyone has done it already but I thought it would be great to see how the alternate of The Plane would fit with the picture. Now, after watching it several times, I have to say that I'm starting to prefer it over the version chosen for the movie. I especially love the fact that here, the choir starts as soon as Jim touches the plane. It just works perfectly.
     
    I will always remember the first time I saw this scene, after almost 30 minutes without music, this is the real turning point of the movie.
     
     
    And by the way, if some of you still don't have this 2 CD set, I highly recommend you to get it before it goes out of print, it's easily one my favorite score (and film) discoveries of the last few years. Very underrated.
     
  7. Like
    Chewy reacted to Falstaft in The BFG appreciation thread   
    It's one of Williams's most colorful scores from the past 20-30 years, for sure, particularly in terms of orchestration. The whole thing is a glorious listen for the simply unparalleled flute writing if nothing else. Not sure of any other film score, Williams or not, that features such exuberant or technically impressive flute material, both solo and choir. Particularly in comparison to the Star Wars sequels, which, for all their riches in other areas, are decidedly less showy or inventive when it comes to instrumentation (a few exceptional moments notwithstanding, of course).
  8. Like
    Chewy reacted to crumbs in Harry Potter Box recommendations   
    Interesting! I missed POA when it played locally (boy I regret that now). Does all the source music get played live, also? Dufay, Courtyard, etc.?
     
     
    Personally the film version makes the hairs on the back of my neck stand up. Love the way the whole soundtrack goes quiet (even the sound effects) and highlights the very mysterious rendition of Sirius' motif (which is totally lost on the album version underneath the chorus). It's a great contrast with the dramatic visuals.
  9. Like
    Chewy reacted to crumbs in Harry Potter Box recommendations   
    Yes, there are items missing, but hardly a deal-breaker when you consider what is included. Just:
    an alternate opening for Buckbeak's Flight (this was replaced by an insert in the film and on album) an alternate stinger (only the revised stinger was included) some source music (the infamous Shawm cue) and some missing/incorrect film takes (the film take used for Sir Cadogan Again is missing and Befriending The Hippogriff uses the wrong take) If you want to get really finicky, there's some missing elements like cymbal crashes in the OST credits track (and a prominent gong which is mixed very low on the comparable LLL track). I think Williams also recorded an early Double Trouble demo for reference on set, separate to the album and trailer versions.
     
    It's worth noting the sound team artificially changed several cues for the film mix, silencing various elements in the score (noteworthy examples are Time Past without ticking, or the chorus-free version of Quidditch, Third Year). These were not Williams' intentions and thus are not included, but it's a shame the latter wasn't included in one of the two versions of that cue (rather than having the same music twice).
     
    Williams also wrote some very different early versions of cues that aren't included, but it's never been confirmed whether those were even recorded or included on the material Mike received from WB.
  10. Like
    Chewy reacted to Holko in Soundtracks, Compilations, or other recently purchased Music   
    Bring on the Western! Though two very different kinds.

  11. Like
    Chewy reacted to Falstaft in New interview with John Williams in The Times   
    Wonderful! Thanks for pasting the text.
     
     
    I love how, rather than coming out and saying he's pissed off so much of his own music is inaudible, he comes up with this cute, hedgy subjunctive that Beethoven would have been pissed! 
     
    The man is nothing if not diplomatic, but he sure does seem to be expressing this frustration more often and more openly as of late...
  12. Like
    Chewy reacted to Jay in New interview with John Williams in The Times   
    Amazing
  13. Thanks
    Chewy reacted to Lewya in New interview with John Williams in The Times   
    https://www.thetimes.co.uk/article/interview-john-williams-at-89-the-man-behind-the-best-and-most-hummable-film-scores-6z32zqz3h
     
    Interview: John Williams at 89, the man behind the best (and most hummable) film scores
    The composer tells Richard Morrison about his decades-long career — including the time he helped out a struggling LSO with ‘some sci‑fi film’
     
    He left it late, but in January this year John Williams added another achievement to a body of work that includes more than 100 film scores, dozens of symphonic works and 52 Academy award nominations. Just a few weeks shy of his 88th birthday he made his conducting debut with the Vienna Philharmonic in the ornately gilded Golden Hall of the Musikverein.
     
    The concert, filmed and recorded by Deutsche Grammophon and released next week, was remarkable for several reasons. According to Williams, this venerable orchestra had never played a note of his music before. It certainly made up for lost time, delivering extracts from more than a dozen of Williams’s greatest scores, including Star Wars, Close Encounters of the Third Kind, the Harry Potter films, Jurassic Park, ET, Jaws and Schindler’s List.
     
    And the Viennese musicians weren’t the only ones venturing into unfamiliar territory. “Although I’ve done a lot of concert work in America, I had never conducted publicly in Europe before,” Williams admits, speaking down the phone from his Los Angeles home. “And I never really intended to. It always seemed a long way from California. When this invitation came, however, I thought, ‘Well, if I’m ever to conduct a concert in Europe in this lifetime, I’d better get on with it.’ And there’s no greater honour than being invited to conduct in the Musikverein.”
     
    Was Williams aware of the history of the hall as he walked out on to that famous platform? After all, in his remarks from the conductor’s podium he referred to his soundtracks for the Star Wars films — all nine of them — as “a nice round number”, a remark clearly picked up by the Viennese audience as an allusion to the number of symphonies written by Beethoven, Schubert, Mahler and Bruckner.
     
    “Absolutely,” he replies. “For any composer, to visit Vienna is a spiritual journey. It’s as much of a Mecca as we musicians have. Especially if, like me, you revere Haydn, Mozart, Beethoven, Schubert, Brahms, Mahler. Just the chance to breathe the same air as Haydn — one of the purest, most instinctive talents in the history of music — was more than I could resist.”
     
    Which of those composers would Williams most liked to have met? “Oh, Beethoven of course,” Williams says. “I still read through his scores for the pleasure of what I hear in my head, and for the beauty I find in their craftsmanship. And I think he might have been interested in film if he’d lived 200 years later, though he probably would have been horrified by having his music drowned out by the noise of spaceships flying past.”
     
    And how did the Vienna Philharmonic take to Williams’s epic film scores? “They rose to the challenge brilliantly,” the composer says. “To be honest, I was a bit concerned before I got there. I know they have this fabulous romantic sound, and they can seem to turn on 19th-century style more genuinely than any other orchestra — but I had worries about the rotary valve trumpets [a more old-fashioned form of trumpet, still favoured in German and Austrian orchestras]. I was concerned about so much upper-register work being played by trumpets without the sort of pistons we use in Britain and America. I need not have worried, though: the trumpets were fabulous. Their pitching and power blew me away.”
     
    Hearing music from so many films and decades collected together on one recording makes one appreciate the protean nature of Williams’s genius. There is no single “Williams style”. Yes, the swaggering imperial marches of Star Wars and Raiders of the Lost Ark might be regarded as a hallmark, but so might the spooky, bitonal shifts of the Harry Potter score, or the relentless Prokofiev-like ostinatos of Jaws, or the uneasy Vaughan Williams-like pastoralism of War Horse, or the Yiddish melancholy of Schindler’s List. Does Williams recognise this aspect of his craft, the ability to use the past 200 years of orchestral composition in the way that a painter might use a palette, selecting the colours and textures appropriate to the mood of each movie?
     
    “Yes, that’s the essence of being a film composer,” he says. “We are asked to conjure all sorts of moods. I remember in my early days being asked to write burlesque and vaudeville-type music for comedies simultaneously with supplying big romantic scores for dramas. If you are going to write music for cinema, or at least for more than one or two films, you have to accept all varieties of challenge. It goes with the territory.”
     
    And although few people think of Williams as an avant-garde composer, there are many moments in his films when he displays a remarkable grasp of what were, at the time, very avant-garde techniques. The nebulous string clusters that open Close Encounters, for instance, could have come straight out of a score by Ligeti or Penderecki. “Yes, it’s true,” Williams acknowledges. “In film there’s often the need for a composer to change gear even in the space of a few minutes. So in Close Encounters, yes, you get those Penderecki-like clusters, but they are then combined with a romantic tune, all in the course of a six-minute sequence.”
     
    Does his inspiration ever dry up? Down the phone there is a sardonic chuckle. “There can be no such thing as writer’s block in film composition,” he says. “You are closer to being a journalist than a novelist. You have a certain number of days to write a certain number of minutes of music, and you have to get on with it. It’s a job of carpentry, of manufacturing musical things.”
     
    So he never hits a blank? “Oh sometimes, but if there’s a section of a scene I can’t think how to treat I will just move on to another bit, then come back to it. It usually solves itself.”
     
    How much do film directors help or hinder the process? Another knowing chuckle down the line. “Directors will always talk about what they think they want musically,” Williams replies. “And I always listen to them. But usually when I get to the piano and start to work, those ideas are pretty much gone. It’s always better for me to respond to the visual material — the film that’s actually being shot — than to verbal instructions.
     
    “And of course there’s huge variety in that species of humanity called film directors. Some are very musical. Others are suspicious of using music at all.”
     
    Where does Steven Spielberg, the director with whom Williams has collaborated for 46 years, sit in that spectrum? “Oh, with Steven there can’t be enough music,” Williams exclaims. “He always wants more and more. It’s rather touching in its way. He will come to a recording session that ends at a certain hour, the musicians will be packing up, and Steven will say, ‘Where are they going? Why are you stopping? Haven’t you got anything else you can play?’ He just loves the process so much.”
     
    Williams admits to being a “child of Hollywood” — his father, a jazz drummer, moved the family there in 1948, and Williams began his career playing piano in Hollywood orchestras throughout the 1950s. Yet some of his most famous scores for Spielberg were recorded not in Hollywood, but in Britain, with the London Symphony Orchestra at Denham or Shepperton studios.
     
    “I was introduced to the LSO by my dear friend André Previn, when he was the orchestra’s principal conductor, and of course the LSO players were whizz kids at sight-reading, so we made many recordings together,” Williams recalls.
     
    In fact, the story is more dramatic than that. In 1976 the LSO — in desperate financial difficulties — asked Previn if he could write another film score so the orchestra could make some money by recording it. Previn said he was too busy, but offered to phone a friend who was writing a score for “some sci-fi film”.
     
    The friend was Williams, who said he would hire the LSO as long as the orchestra could squeeze in 18 sessions in the next month. The orchestra agreed, as long as some sessions could begin at 11pm, after its regular concerts were over. And thus was the soundtrack to Star Wars recorded.
     
    Even more extraordinary, the LSO had just recruited a new principal trumpet — the soon-to-be-legendary Maurice Murphy. So on his first day in his new job Murphy’s first task was to blast the opening notes of one of the 20th century’s greatest movie melodies.
     
    “Yes, Maurice came out to Denham and we started with the fanfare from Star Wars,” Williams recalls. “And of course he shocked the world by hitting that top C with that extrovert, heroic, raw timbre he had — the perfect sound for the kind of action film that Star Wars was. I loved him from that moment! We always said that we would have a round of golf together, but of course we never found the time, and then he died way too soon.”
     
    With most work in Hollywood suspended during the pandemic, Williams might be forgiven for taking a well-earned break from composition. Not a bit of it. He’s spending his time finishing a violin concerto for Anne-Sophie Mutter, who also features in the Vienna concert playing virtuoso arrangements of his soundtracks (“Harry Potter meets Paganini,” Williams quips). Astonishingly, it will be the 19th concerto or quasi-concerto he has written for the concert hall.
     
    “I think of my work outside film as being part of my own musical self-education,” he says. “And believe me, the road to being harp-savvy enough to write a harp concerto is a long one. But it’s also nice to write something that doesn’t require the approval of a studio boss. And, you know, even if I wasn’t being paid I would always want to write music. The greatest thrill of my life has been hearing my music played, almost immediately, by wonderful orchestras. It’s something I wish every composer could experience.”
     
    He’s not so far away from his tenth decade. Does he ever contemplate hanging up his quill? “Never,” he says. “I will press on. Music isn’t a profession. It’s my oxygen. Take that away and I’d really be in trouble.”
  14. Haha
    Chewy got a reaction from crumbs in Harry Potter 7CD Collection - MUSIC discussion   
    These are the words I was looking for
  15. Like
    Chewy got a reaction from crumbs in Harry Potter 7CD Collection - MUSIC discussion   
    When inspecting the waveforms and trying to line up both tracks so that I can see the differences perfectly, here is my conclusion:
    From 2:15 to 2:19,5 : both tracks are equal. From 2:19,5 to 2:28,5 : the performance sounds different between the tracks. If we focus our ears on the bass, we can sense that the performance isn't the same. From 2:28,5 to 2:29 : this very little section is identical on both tracks. From 2:29 to 2:31,5 : another small performance variation. Here again the bass is the most noticeable difference between both tracks. From 2:31,5 to end of Newspaper Headliner : both tracks are equal. Here's a screenshot of the waveforms differences :

     
    So, don't worry @Jay, to me the liner notes look correct!
  16. Haha
    Chewy got a reaction from Holko in Harry Potter 7CD Collection - MUSIC discussion   
    These are the words I was looking for
  17. Like
    Chewy reacted to Holko in Harry Potter 7CD Collection - MUSIC discussion   
    Yeah because as I said it was shared on our Discord one time then quickly removed. I (and I think @Chewy who also was online at the time) very much regret not screenshotting it.
  18. Like
    Chewy reacted to Jay in Harry Potter 7CD Collection - MUSIC discussion   
    Huh. I probably knew this at the time and had forgotten all about it. How about that! That's very cool info. I will listen to the difference in the bass when I get a chance. 
  19. Like
    Chewy reacted to Holko in Harry Potter 7CD Collection - MUSIC discussion   
    Don't expect anything radically different of course. In the short comparison excerpt Chewy sent me I also noticed in one version the cellos were a bit more vibrating while in the other maybe a bit more snappy staccatoey?
  20. Thanks
    Chewy got a reaction from Jay in Harry Potter 7CD Collection - MUSIC discussion   
    When inspecting the waveforms and trying to line up both tracks so that I can see the differences perfectly, here is my conclusion:
    From 2:15 to 2:19,5 : both tracks are equal. From 2:19,5 to 2:28,5 : the performance sounds different between the tracks. If we focus our ears on the bass, we can sense that the performance isn't the same. From 2:28,5 to 2:29 : this very little section is identical on both tracks. From 2:29 to 2:31,5 : another small performance variation. Here again the bass is the most noticeable difference between both tracks. From 2:31,5 to end of Newspaper Headliner : both tracks are equal. Here's a screenshot of the waveforms differences :

     
    So, don't worry @Jay, to me the liner notes look correct!
  21. Like
    Chewy reacted to bollemanneke in Harry Potter 7CD Collection - MUSIC discussion   
    More proof of how seriously MM takes his job.
  22. Like
    Chewy got a reaction from bollemanneke in Harry Potter 7CD Collection - MUSIC discussion   
    When inspecting the waveforms and trying to line up both tracks so that I can see the differences perfectly, here is my conclusion:
    From 2:15 to 2:19,5 : both tracks are equal. From 2:19,5 to 2:28,5 : the performance sounds different between the tracks. If we focus our ears on the bass, we can sense that the performance isn't the same. From 2:28,5 to 2:29 : this very little section is identical on both tracks. From 2:29 to 2:31,5 : another small performance variation. Here again the bass is the most noticeable difference between both tracks. From 2:31,5 to end of Newspaper Headliner : both tracks are equal. Here's a screenshot of the waveforms differences :

     
    So, don't worry @Jay, to me the liner notes look correct!
  23. Haha
    Chewy reacted to Holko in Harry Potter 7CD Collection - MUSIC discussion   
    Well actually...
  24. Like
    Chewy got a reaction from Holko in Harry Potter 7CD Collection - MUSIC discussion   
    When inspecting the waveforms and trying to line up both tracks so that I can see the differences perfectly, here is my conclusion:
    From 2:15 to 2:19,5 : both tracks are equal. From 2:19,5 to 2:28,5 : the performance sounds different between the tracks. If we focus our ears on the bass, we can sense that the performance isn't the same. From 2:28,5 to 2:29 : this very little section is identical on both tracks. From 2:29 to 2:31,5 : another small performance variation. Here again the bass is the most noticeable difference between both tracks. From 2:31,5 to end of Newspaper Headliner : both tracks are equal. Here's a screenshot of the waveforms differences :

     
    So, don't worry @Jay, to me the liner notes look correct!
  25. Haha
    Chewy reacted to bollemanneke in Harry Potter 7CD Collection - MUSIC discussion   
    Another reason for a 3-CD re-issue!
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