RomanticStrings

My impression is that that falls in line with bluesy music. Not intentional microtonality, just a jazzy effect. ~Conor

I think that, though I've seen it discussed here, The Shadow certainly has not had the widespread appreciation that I think it deserves. ~Conor

I thought so, 'cause I couldn't hear it on "Platform 9 and 3 Quarters." ~Conor

Where exactly is the Harry Potter/Star Wars reference in question? Is it on the soundtrack CD? ~Conor

Personally, I really like a moment in his symphonic study, Falstaff. At 2:13 in IIb: Gadshill, the music just gets very intense and march-like. It is just one of those moments when the music just makes me feel all warm inside because of its simplicity yet effectiveness. One of my guilty pleasures is his first Pomp And Circumstance march. No matter how much I hear it, I just love it. Also, one of the most powerful things I've heard is his "Coronation March." It's just like a movie score. ~Conor

Today is Edward Elgar's birthday! Happy birthday to him! Though I am only fairly certain that he is one of William's favorites, he is definitely one of my all-time favorites. What are your favorite Elgar moments? ~Conor

Catch Me If You Can, eh? So he had experience with that style before he wrote the score... ~Conor

I have many favorite melodies, and I think the simple beauty of the Jurassic Park theme will never be beat in my book, but I have to admit that there is something about the waltz melody 4 minutes 12 seconds (4:12) into "The Battle" on the Gladiator soundtrack that is really exciting to me. When I first heard it so many years ago, I just melted... literally... ~Conor

Something is not quite right there. The first track is slightly sharp or wicked flat (at least out of tune nonetheless). This is the CD to which I listened. Did you, PI, listen to the CD or the tape? I wonder if the prologue was recorded differently, somehow. It sounds wicked icky (when played with the electric piano). I wonder if people with perfect pitch would know that it is not in tune (though all of the instruments are tuned well together)? ~Conor

I voted for Giacchino, but only because I had been talking about that last night with my friends. I think either would do the job well, but it's interesting to see how Giacchino would interpret another well-established style. ~Conor

I shall not even dignify this poll with a choice. I could never drop any of them. Williams himself talks about how, after so many centuries, the orchestra has basically remained the same, right (Maybe Timothy Mahr said that)? ~Conor

Jason, to which conductor's score do you refer? Is there a Jurassic Park Hal Leonard Signature edition? I don't think that I've found that one. Please let me know if there is a way I could get a hold of the score to any of the music from the movie. Thanks. ~Conor

But what about "Journey To The Island"? The first sighting of dinos, and then when the audience finally sees the Brachiosaurus? Is that weak? In my opinion, it is majestic and beautiful. Then, immediately following that, after the whole T-Rex thing, they "march" into the main visitors' center. How tender is "A Tree For My Bed" and how mysterious yet gentle is "Hatching Baby Raptor"? Does not "Remembering Petticoat Lane" set the tearful, ice cream-eating scene so well? Yet also how tense are the scenes out on the island, such as "Dennis Steals The Embryo" and "High-Wire Stunts." All I'm saying is that, even though many of the tracks could be considered as 'themes' more than straight underscore (though most are in fact underscore in one form or another), I think they are very well suited to the scenes in the film. Of course, it all comes down to what they mean for one person individually. ~Conor

Home Alone is nicely scored. The fanfare at the stair sledding and the tuba at chopping down the tree just define the mood of their respective scenes. I just remember seeing Hook as a child, and, though I didn't appreciate the movie at the time, I still remember knowing the music, both theme and score, through and through. I just love the score to The Terminal! "The Fountain Scene"? Delightful! I must say my favorite has been, is, and will always be Jurassic Park. Everything about it drives me. The score fits not only so well with the movie, but it having been engrained so long into me, it defines me. I should say, I am defined by it. I don't know how, but that's what I think. I'm a little biased. ~Conor

While I suppose it is a record and should be an honor, albeit a less than exciting one, WP could imply this fact by stating that he has recieved a certain number of nominations and 5 wins. It seems to be a case of sounding fine when being written, but in context seems to be odd. ~Conor

I do think that it is an unnecessary comment. Though it is an ironic statement, and in the context of the fact that though he is the most recognized composer he still has the most losses, it still rings shallow to my ears. Instead, they should say, "Despite his many nominations, he still receives much less recognition than he deserves." He is regarded as nearly a musical genius in Hollywood, yet he seems to me to be underappreciated. I can just tell you that I don't underappreciate him, and I hope that means at least something. ~Conor

Useful is a dubious term, though, isn't it? You have, perhaps unintentionally, illustrated one of JWFan's best aspects: that quick and sharp, yet well-intentioned, even at times self-depricating, humor that we all love, even if aimed at oneself. Of course, I am just adding to the stuffy, analytical atmoshpere by trying to analyze everything. I forgot to mention in my first post: Also involved was my all-time favorite trumpeter, Mr. Tim Morrison. My gosh, can it get any more lyrical and beautiful than him? Maybe, but I have yet to hear it! My trumpet teacher tells us to listen to and imitate professionals, and for me I cannot think of a better role-model than Tim Morrison. ~Conor

I do quite often. I think I should quit drinking so much on week nights when I have class at 9:35 A.M. at the latest Well, at least I showered in there. I actually opened my eyes in a nice, warm, triple-bunked bed (I'm on the bottom, though). ~Conor

So, John Williams conducting the Boston Pops Orchestra with music by himself and Copland (Music For Stage and Screen, SK 64 147). What more could you want? Waking up today in the bathroom toThe Red Pony and Born On The Fourth Of July was most exquisite. I feel that this was one of those records (however it fared sales-wise) that was just the right efforts coming together at the right time. The pieces that I have heard seem to be intuitive, intellectual, and successful recordings. What do others who have heard it think, and what do those who have not heard it want to know about it? *(I bring this up because I just bought the CD in Edina, Minnesota at Barnes & Noble on Saturday) ~Conor

David Maslanka. ~Conor

June 29th, 1986. Who knows? I couldn't find on this website when SpaceCamp was scored, and I bet The Witches Of Eastwick was scored at the earliest in late '86, if not sometime in '87. So, he was just enjoying himself somewhere, I'm sure, except that he must have felt some tingling or foreboding at 10:58 A.M. ET, but he probably couldn't place it at the time. If only he knew... ~Conor

How might I be able to purchase this issue of Gramophone? ~Conor

Firstly, thank you, Bob Dole for giving a wonderful speech about leadership, values, and humor at my school, St. Olaf College, this evening. I thoroughly enjoyed it. I am glad that I got to shake your hand. I am upset with those folks who make music a philosophical battleground. Music is what it is, and to hold oneself above others and claiming that a genre of music that is closely related to his own music is inferior is blatantly blindsighted. Classical elitists view film music as something unworthy of praise, but it is one of the many mediums that drives the modern orchestra forward. There is as much creativity in film music as there is in modern orchestral music, if not moreso because film composers create tangible emotions, while modern composers tend to try to innovate to the point of unintelligibility. Not all art must be innovative. It must be expressive, and those who think that they must create a new artform every time they put ink to paper will be sorely disappointed. Music should be a medium for expression, not for innovation. The innovation comes out of the expression, and Williams is right up there with the best of them. Many film composers are up there. Innovation in and of itself loses all context and grounding. It loses all meaning. ~Conor

It comes from the Book of Love. Some of it's just transcendental; some of it's just really dumb. ~Conor

Eroica? Nope. "Sorrowful Songs." ~Conor