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Everything posted by Fabulin

  1. I am more intrigued that over just 4 years Beethoven went from shunning Hollywood to becoming a potential film composer I guess Williams is being very persuasive.
  2. One could also understand the quote as "lesser artists steal, great artists confiscate". Those who confiscate usually put things to a good or better use. Those who steal - to bad or worse.
  3. I think there is an arc going through Advice towards Farewell, which starts in Healing Wounds. In Healing Wounds we also have the strings use and the solemn brass chorale - at first in the context of Kylo being healed and the "taking hand" dialogue - and also a swell that foreshadows the kiss in Farewell; then the second time, in Advice such orchestration describes Kylo Ren's change of heart (responsibility?) and his decision to act heroically from then on and "get the girl", which culminates in Farewell, when Ben both presents himself changed, and repays a life's debt. What follows, in 3:43, is like a transition from the "decision" figure into something more in line with the "Rise of Skywalker" theme. Neat how the general orchestrational choices seem to form a thread continuity across the three tracks.
  4. I've always wondered why was Yoda called a "nocturnal" visitor. Today, after I checked out "The Nigh Visitor" (1970) by Henry Mancini... As for the answer to the OP, the anti-imperial-march theme is Han & the Princess.
  5. I don't find such etymology convincing. I think it is more likely that i comes from famous people (for example famous composers-performers) autographing ladies' paper folding fans in the 19th century. A woman who was desperately trying to get an autograph could have been refered to pars pro toto as a "fan". Fan and fanatic might be an unfortunate pair of "false friends".
  6. With Fire and Sword (Ogniem i Mieczem) by Krzesimir Dębski First soundtrack I have ever bought.
  7. Several unrelated people shared this recently with me, and it's quite nice actually...
  8. @Jurassic Shark I found an answer to your question
  9. Wow. Another piece of news that improves the already great track. I quickly glued the choral moment where you said, and... to me a sneaking section (with the "you are coming closer and closer" repeated wayfinder motif) that culminates in a stadium reveal makes the most sense... Not only from the musical, but also from the story perspective... Rey doesn't know exactly what awaits her, and then discovers that she has been baited into an arena. One thing is clear... The more we know, the more coherent this score becomes. The complete score will be a revelatory experience.
  10. And her cousin, already a senior engineer, designed Britain's greatest World War 2 warplane:
  11. Excellent work, Chewy. It led me to one more observation: the ending of "Approaching the Throne" (the harp moment) feigns leading to heroic music, and instead leads to the eruption of a stadium of Palpatine's fans. If one splices this harp with a suspense horn and a similar harp figure leading to the Dunkirk fleet arriving, it becomes one very satisfying track!
  12. The "Insidious Minor Figure" sounds to me like something from the dark, lurking moments of the prequels... a literal "phantom menace" motif. Is the latter material really non-motivic? It sounds like a cousin of the "Heroic Descending Tetrachords"... like a desperate attempt to get space heroism going. Overall the piece, like many others in TROS, delivers a thematic conga as foreshadowed in Galaxy's Edge. Now that I think of it, it's an interesting coincidence that GE sounded at times like Indiana Jones, considering that the TROS film would end up having quite a bit of Indiana Jones DNA too.
  13. Nice that Star Wars can now be listed as another example of Williams composing finale-first, planting incomplete forms of the main theme in the film, and presenting the main theme in a complete form only at the end. This, plus the "Dunkirk" cue being a representation of the pure version of the theme, actually change perceptions a bit The only thing I have to add at this point is a comparison to whom is Williams' composition most related to. Williams' compositional thinking had Dvorak and an Elgar march as a starting point, and also followed the "Austrian" fanfare tradition once imported to Hollywood by Steiner and Korngold. There was once a very gifted composer, who was a student of Dvorak, a student of the father of Austrian brass music, Joseph Franz Wagner, and the contemporary of Elgar... I know that to Americans this composition tends to sound supremely funny, so maybe I will just add that I am being totally serious Here is a direct Williams-J.F. Wagner link: I'm not saying that it matters, but just for clarity - Williams was likely aware of this composition as of 1977, before Pops tenure, because he would use the same Moscheimer arrangement Leonard Bernstein did in his 1972 album "Great Marches". I love seeing music as one great extended family dinner.
  14. It seems that all concerts of or featuring Williams' music performed at the Royal Concertgebouw in Amsterdam have been performed by visiting orchestras, such as: Netherlands Philharmonic Orchestra Staatsorchester Rheinische Philharmonie, and The Hague Philharmonic (Het Residentie Orkest) Meanwhile the Concertgebouworkest, sometimes considered world's greatest orchestra (Grammophone 2008, 2010), and usually compared to Berlin and Vienna Philharmonics, does not seem to play it. Such concerts (of visiting orchestras) are labelled on the official website of the hall as being of the genre: "other". Considering that even the VPO, more internationally known for conservatism, played Williams' music before, in 2010, I wonder what's the matter with those Concertgebouwers (geboomers?) being Williams virgins A.D. 2020.
  15. The sound is indeed marvelous! The soloist vs orchestra balance is very pleasant, and the orchestral support feels rich. During the concert I was a bit tired of violin antics at that point, so to hear it on its own is a very different experience. The performance is great.
  16. There has been some discussion about how opinions about film composers change. I think it would be interesting to expand on that... In the 1940s it was either Korngold or Steiner at the top. For a lack of releases, the fames of both continued to erode until the 1972 Charles Gerhardt & George Korngold initiative, but at that point, the new top dog in the medium was Herrmann. When Herrmann died in 1975, there were (supposedly) many critical voices that "with no heirs apparent" great symphonic film music was done for. Herrmann's fame as "the greatest American film composer" remained relatively untouched over the next decades, and the "hands-down" opinions about him were relatively a commonplace as far as into the 2000s. Over the last 15 years, however, the consensus appears to have shifted again. One aspect of that was an inevitable demographic change, with many of those who had witnessed Herrmann's scores in the cinemas back in the day (and who possibly did not witness as many scores of the next generation!) passing away. The other was the effect of the continuous work of composers of a generation junior to Herrmann. And in fact, by the 2010s, his position became succeeded by two very long-lived (bless them) composers. While there are some who prefer Goldsmith over either of them (or Rózsa, or Rota, or Prokofiev's what... 2 scores?), it seems to me (correct me if I'm wrong) that currently there are two main camps in the field: Williams, and Morricone. The third camp is possibly Zimmer, but I am not quite sure if his critical "legs" won't resemble those of Steiner and Mancini more than Korngold or Herrmann in the future. The time will tell. But what will it tell? Feel free to discuss what you think will the landscape look like a cool 20 years from now. What views might change, and in what directions?
  17. Interesting... so Zimmer does appear to know his Wagner. Just a few days ago I had a touching thought that a passage in the track playing after Mufasa's death sounded very much like a homage to a part from Das Rheingold (it was not lifted---just to make it clear) where the lyrics tell "only the one who rejects love can forge the ring of power", which actually befits the fratricide/coup context. #Zimmer appreciation thread?
  18. It has never looked like an accident to me. I remember reading somewhere an explanation that Indy as a former American soldier knew that a mass-produced Thompson can fire if dropped with enough force, and the Russians didn't. It's related to "I like Ike".
  19. Maybe he heard more Williams scores, more times, in more complete forms.
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