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Yavar Moradi

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Posts posted by Yavar Moradi

  1. 5 hours ago, Brundlefly said:

    Oh my god, these samples indicate an awesome score that might be categorized between Papillon and Under Fire.

    Not a bad description as it has elements in common with both and fell between them time wise. I don’t think it’s quite on the level of either and I wouldn’t call it “awesome” overall... but it is really, really good still.



  2. 24 minutes ago, Jay said:

    Basic Instinct?  What? There's no trailer music on the Quartet release...


    Maybe I got mixed up with another Goldsmith score...Extreme Prejudice? I know there were at least three original trailer scores he wrote. I think I probably said "Basic Instinct" because of this page at Jerry Goldsmith Online:




  3. 1 hour ago, Edmilson said:

    Agreed, Judge Dredd is one of my favorite Silvestri scores from the 90s.


    This is also true for me but that doesn't mean a Goldsmith score still wouldn't have been better. :) 


    5 hours ago, Jay said:

    No. Not a drop of this music has been heard by anyone except those who worked on the film for 30 years


    Weeeelll... technically a drop of original Goldsmith music was heard in at least one of the film's trailers. No idea whether that was an original trailer score like he did for Judge Dredd, Rambo: First Blood Part II, or Basic Instinct, or whether it was just music pulled from the film score proper.



  4. 1 hour ago, blondheim said:


    Do we know if he had a score rejected for Super Mario Bros. and if so, what stage it got to?


    I've never heard of one. Are you confusing it with Judge Dredd, another 90s action score written by Alan Silvestri? That was originally supposed to be Goldsmith's assignment, and he did write original score for the film's trailer, but had a conflict by the time it came around to score the film itself.


    I'm pretty sure this is the last recorded unused Goldsmith score that was awaiting release. He also wrote scores (not quite complete) for Babe, the Gallant Pig (as it was called when he scored it) and Disney's The Kid, which exist in written form at the Academy's Margaret Herrick Library, but which were never actually recorded so they would require a premiere recording.



  5. 20 minutes ago, Jurassic Shark said:


    I assume the four others include Goldsmith and possibly JW.


    Goldsmith is the only film composer on my top 5 (but he is definitely my favorite composer of all time, at this point). I'll be honest... I love John Williams but he probably wouldn't make my top 20! (If we are talking film composers specifically, he would probably just make the top 10.)

    In no particular order: Sibelius, Shostakovich, Saint-Saens, Raff, and Goldsmith. Just missing the cut are Dvorak and Barber, among others.


    7 minutes ago, Jay said:

    Some fascinating information from Neil in the FSM thread:


    Indeed! He had previously answered my similar question at Jerry Goldsmith Online, but he went into much fuller depth here (though not as much as you or I would want, eh Jay?)



  6. 8 minutes ago, blondheim said:


    Are you saying Zander was the first to use Beethoven's tempos? Because that would be untrue. Or are you saying there is something else that makes this recording unique?


    Maybe it was that he was the first to strictly use Beethoven's metronome markings? I've certainly never heard any other recording do it like he does, and I've heard an insane number of recordings of the work.



  7. Sibelius is one of my five favorite composers of all time and Vanska is great at conducting his music. I'll check that out!


    11 minutes ago, Jurassic Shark said:

    I know that Beethoven's tempo indications are an infinite source of debate, but I do like swift accounts as an option. Can't remember listening to the Zander recordings


    I don't know if other conductors have copied him since, but at the time this recording was very unique:



    I really recommend it because there's also a second disc where he talks about his conducting choices for both symphonies in depth and it's fascinating.


    Here's a piece Zander wrote a couple years ago about his approach to the 5th:




  8. 7 hours ago, Jurassic Shark said:


    I bet you were fired because you couldn't shut up about Goldsmith. :P



    There were a variety of reasons I left near the end of 2009, but in short: I wasn't full time with benefits, and my wife had been unemployed for over a year due to the Great Recession of 2008. We moved to Houston to be nearer family and my wife found a job within a couple months! The move also led to me getting a job as manager of the last independent classical music shop left in North America (at least according to one of our main wholesale accounts, Naxos)... so it turned out pretty well all things considered!


    3 hours ago, Jurassic Shark said:

    @Yavar Moradi and @blondheim - here's my favorite recording of the first movement of the 7th, with a duration of about 11.20. The allegretto is also good, but perhaps a tad too fast for some. The video also contains Yavar's favorite Beethoven symphony, the 4th...


    Thanks. I like his famous album pairing of the 5th and 7th symphonies, so I'll check out this video performance when I can. You two have great taste! Have either of you heard Benjamin Zander doing the 5th and 7th symphonies at the exact tempos Beethoven originally indicated in his score? They are something of a revelation IMO, especially for the 5th...made it fresh again for me. As far as a full modern Beethoven cycle goes, I might actually lean towards Osmo Vanska with the Minnesota Orchestra on BIS!



  9. 7 minutes ago, Jay said:

    I'm amazing what one producer more interested in throwing concerts leaving, and a producer coming in interested in releasing everything in Varesese's perpetuity, can do ...


    Eh...I still think Varese did pretty well during the Townson era...after all in his last year there we got awesome Deluxe Editions of Dracula and The Cowboys by Williams, Small Soldiers by Goldsmith, and On Deadly Ground and Under Siege 2 by Poledouris, among others. All very treasured albums by me. I mean, would I have loved if they did this Two Club Titles Every 4-6 Weeks thing? For sure. But they were hardly The Dark Years or something. :) (Except occasionally when it came to brickwall mastering... poor Gremlins 2, Runaway, and Peggy Sue Got Married...)


    8 minutes ago, bruce marshall said:

    Good piece ; a bit derivative of Michael Nyman


    I can hear what you're thinking of when it comes to the string quartet arrangement, but when it comes to how that theme is treated throughout most of the score proper, I don't hear the similarity to Nyman (whose music I love, by the way).



  10. 23 minutes ago, bruce marshall said:

    I might rebuy the ost of PAYCHECK- unless-  a new version really adds ALOT of ESSENTIAL material


    Well, Rachel's Theme (heard in string quartet in Rachel's Party) is IMO one of Powell's most beautiful works ever, and there is a TON more variation on it in the complete score.


    40 minutes ago, Koray Savas said:

    The Matrix and Paycheck it is then. Awesome batch!


    Truth! Varese has been really knocking it out of the park with Club titles this year!



  11. 14 minutes ago, blondheim said:

    I can understand that. I hated what I referred to as the 'banality' of that movement for a long time but after getting into more of the late Romantic period and onwards, I see its influence. Maybe that did it but I finally 'get it'.


    Thing is, I used to love that final movement in my early years of classical music obsession. I loved that theme so much I just went with it even though the movement lasts forever. (This coming from someone who enjoys Mahler, ha!) Maybe I got burnt out on it over time just like I did with the whole of the fifth symphony, but it just didn't hold up to repeat listens the way the first three movements did, for me.


    14 minutes ago, blondheim said:

    I mean, it's not like it's Ravel's Bolero.


    Not that bad, no (one of my most hated pieces of classical music ever... I'd rather listen to Tchaikovsky's 1812 Overture, lol!) But it does wear out its welcome for me in a similar way...it's just that I get tired of it after 10 minutes instead of 1 minute like the Ravel, hehe...


    I'm not a big Ravel fan in general, to be honest. I find him generally superficial and obsessed with "brilliant" showy orchestration. I do love his full Daphnis and Chloe ballet score...and Mother Goose has some great stuff, and there are some scattered other things I really like. But in general I find him overrated. My favorite French composer by far is Camille Saint-Saens (suuuuper underrated) and my second favorite might be his friend and protege Gabriel Faure.


    14 minutes ago, blondheim said:

    Though, if you haven't heard the 9th finale by Fricsay, Szell or Reiner, you haven't heard it yet, imo...


    Pretty sure I've heard all three but I'm happy to revisit them based on your recommendation. Fricsay is a fantastic conductor and not as well remembered as the other two, though he should be. By the way, the Kertesz Dvorak cycle is one of the most overrated of all time.


  12. 18 minutes ago, Jurassic Shark said:


    You worked at the L. A. Philharmonic? What did you do?


    I worked in the L.A. Phil Store, as kinda the music expert. I was there for 3.5 years. I actually met my wife that way, because she had long been a Hollywood Bowl employee.


    17 minutes ago, blondheim said:

    Kubelik has my heart at the moment. I just did a survey of many Dvorak recordings. My favorite are the last three symphonies and I highly recommend and offer up Charles Munch, Bruno Walter and George Szell as excellent Dvorak interpreters. The Rowicki cycle is extremely excellent. I'm excited to see you enjoy it. I prefer it to the Kertesz, which seems to be more highly loved. Kubelik's cycle is excellent too and it does seem the most Czech. Rowicki ends the 7th with an absolute blast. Love that fourth movement recording particularly.


    What I adore about Rowicki is he really makes the case for the early symphonies, especially No. 1 "The Bells of Zlonice" which is usually dismissed/overlooked. Lots of people act like that one handles its material clumsily, but the way he conducts it, it's perfect IMO:



    Thrilling. I don't mind a single repeat. I freakin' love it.



  13. 6 minutes ago, blondheim said:

    The Allegretto is the second movement.


    Whoops, you're right of course. I was thrown off by you earlier saying you would have been happier if Jerry conducted "the second or third".


    6 minutes ago, blondheim said:

    I am not the biggest fan of the fourth symphony but I appreciate it when someone doesn't say 5 or 3. I will even take 9, hell. 3 especially just really seems like the most basic of all basic answers.


    I used to overlook the fourth, too. It really was only this electrifying live performance that won me over. The fifth should probably be my favorite on raw merit but like I said it's gotten far too much exposure and I'm burnt out on it. I love the first three movements of 9. The fourth movement goes on forever and beats that (somewhat square, though people love it) theme into the ground. I far prefer the freshness of the Choral Fantasia, which is very similar except maybe less memorable (but also less overdone), and the piano solo element makes that more interesting to me as well, mixed with the orchestra and choir.



  14. 5 minutes ago, Jay said:

    Yavar I think it makes sense to delay "regular" episodes and do Soundtrack Spotlights while all these releases are new and fresh.  You know eventually there will be months and months with no new Goldsmith release and the regular episodes will have no interuptions then


    That's what I was thinking, and that's what I told my anxious co-hosts who (especially Clark) are eager to continue on with our actual Odyssey. But at the moment it doesn't look like there's an end in sight, for Goldsmith releases. LLL obviously has multiple more Fox volumes lined up, Varese has a lot more they control in perpetuity and will probably expand, and I'm also sure Intrada has more up their sleeves too.


    4 minutes ago, blondheim said:


    On my side of the table, we have Carlos Kleiber and Rafael Kubelik who would disagree with you, among others. I prefer 12-14. The last two movements are so energetic, give me an exposition.


    The length possibly doubled my excitement.


    Oooh, you just named two of my favorite classical conductors of all time! Kubelik is one that proved to me that slower tempos didn't have to be less exciting. I never thought I would love any Dvorak symphony cycle as much as the one by Witold Rowicki... it's just so swift and fresh! But the Kubelik cycle made its way into my heart, and now I think I love it equally to that one.



  15. 1 minute ago, blondheim said:

    Y'all are nuts. I don't care if this makes me a basic bitch but it's the Allegretto for me, fam.


    It's fun! But the first two movements have unexpected depth which the latter two do not, IMO. The general conception of a dance symphony in general is great, though.


    My favorite Beethoven symphony for many years was No. 5 -- it's just perfectly cohesive and brilliant and flawless, IMO. But I burnt myself out on it (or rather, the world burnt me out on it, with constant radio airings and performances at places I worked like the L.A. Philharmonic and Houston Symphony...it's everywhere). So now my favorite Beethoven Symphony is No. 4... because it's also cohesive, excellent and underrated, and also not over-played. I heard an amazing live performance with Esa-Pekka Salonen conducting the L.A. Phil at Walt Disney Concert Hall which completely opened up my ears to how great it is, and I never looked back. But to *really* prove I'm not basic: I like Beethoven quite a bit, but he is not one of my top 20 favorite composers. ;) 



  16. 33 minutes ago, blondheim said:

    This is my favorite Beethoven symphony too. What a way to end an album.

    Goldsmith-conducted Beethoven! And it's no. 7! Guys, this is huge.


    It's far from my favorite Beethoven symphony... but it is a strong contender for my favorite *movement* of any Beethoven symphony. (IMO the last two movements are fine enough but superficial, lacking the depth of the first two movements.) So yeah, I share your excitement to hear it conducted by my favorite composer of all time. :)


    Could be terrible for all I know, lol... Jerry apparently didn't consider himself a strong conductor until the mid 90s, and I've no idea how he would do with classical repertoire, especially measuring up to all the conducting masters who have tackled Beethoven over the years. But I am dying of curiosity to hear it, that's for sure.



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