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Madmartigan JC

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  1. Beautiful performance. ASM really seems to have settled on the stylistic choices she made for the recording of Across the Stars down to every little detail. I don't hear noticeable differences betweeen this live performance and the studio recording in that regard. I don't mean this is a bad thing. On the contrary, it speaks to how minutely she appears to have digested Williams arrangements. On the other hand I expected to hear some variations, especially in the cadenzas. Not that there's anything wrong, just that having both recordings so close to each other seems to me a bit redundant at times, beyond the exceptional gift that was the context of this particular concert.
  2. It's curious to me that The Forest Battle (Concert Suite) rarely does come up at all when discussing ROTJ, as evidenced by this thread. I know, I know: concert arrangements are not favored amongst many JWfans, and this one having the ewoks' music and all... But still. Even though it's far from being in my favorite concert piece from the SW saga, I find it rather unique, It's one of several (I think 9?) arrangements from SW based on music composed primarily for set pieces, rather than characters. Since it jumps so much between such different themes throughout the short span of the suite, I used to believe it would fit poorly in a concert setting, since it would seem wanton and erratic for an uninformed listener that doesn't know the back-and-forth structure of the editing in that sequence. However, I have come to increasingly appreciate how the ballet-like characteristics that these battle sequences tend to have are exacerbated in The Forest Battle. I have a particular issue with this version, and in my head cannon, the arrangement includes the martellato piano from the film cue. I love that sound so much. As a matter of fact, I've in the past tried to edit both pieces together with no success. And I must confess I tend to find JW's trademark false endings tiresome, but here the conclusions keep on building up and up to such a paroxism that it works, and the writing never becomes boring. It may be far from the best, but I have such a soft spot for it.
  3. Extraordinary! I've always been in love of this danse macabre, and I think it's one of those Williams pieces that suits unashadmely in the program of a classical concert, particularly in the violin-piano arrangement. This new version takes its showy virtuosism even further, and I think the treatment is one of the most accomplished from the Across the Stars venture, since it fits the subject matter perfectly (even though it's absent from the album). IMO it's even one of the few pieces that benefit from Mutter's 'harsh' sound.
  4. Seems so true. Also, lately I have become somewhat allured by the theory that it might have been originally composed by Bach for some other instrument, like violin.
  5. Spoiler Warning, I guess (?) Yohooo! Violin Concerto for ASM is finished! This will be a long wait.
  6. Didn't see this mentioned before, so I thoughtI'd share. Listening to the very first few bars of Saint-Saëns' Introduction & Rondo Capriccioso I couldn't help but think of the Jedi Steps. It might've been something of an influence. What do you think?
  7. I just saw this. This is one of my favorite cues from the entire saga. Probably in my top 5 cues in the history of film scores. So, it's a big deal to me. There's so much I just can't unsee after watching that edit. It works incredibly better, which I never thought possible. Does anybody know any details regarding the original intent for that sequence, and why the original spotting beats may have changed during editing? My guess is the FX weren't finished, so they may have recorded the cue to a preliminary cut. And the compositing for each shot was so difficult and time consuming they may have dropped some FX shots along the way.
  8. The piano intro is lovely... so theatrical, too. To me, it has always spoken of the origins of the character of Peter Pan, while being a perfect simple prelude for the magic to come. While the song... isn't it supposed to be terrible? As in Elementary-School-Play terrible?
  9. Thanks, Fabulin! This poll is turning out to be so much more interesting to me than the original one. I've never been a fan of polls for polls' sake, as it often feels like comparing apples to oranges, and it tends to get really subjective. Looking at those results, I guess it's beginning to show just how biased we tend to be when assigning value to a work of art. Not that it's any news, but a reminder is welcome every now and then. Hook vs HP? Who knows! Two exemplary masterpieces of the art of scoring IMHO. Both have strong and weak points. I voted for Hook. Born in '84, been a fan of Williams ever since I started noticing his name kept appearing in the credits for films which had music that I loved, or felt a strong emotional connection to. That was in the early 90's, and it led me to a deep love for film music in general, and later classical. I always thought of John Williams as my "gateway drug" into the universe of orchestral music, in a sense. No wonder I have a biased love for that score, as objective as I often strive to be.
  10. As wonderful as HP is, I must say Hook. Such masterful orchestration and the sheer variety of extraordinary themes. I love the ballet-like quality of the score. It always makes me dream of what could have been, if the original project for a Peter Pan musical had become a reality.
  11. I'm not much of a collector myself, but I wonder how excited y'all are about the prospect of acquiring the inevitable Oma Tres action figure.
  12. I went in on Wednesday not knowing about the cameo and literally screamed when I saw him. I believe the song by JJ & Lin-Miranda is credited as "Oma's place".
  13. It's up now: https://www.stltoday.com/entertainment/music/reviews/john-williams-den-ve-wow-a-cheering-powell-hall-audience/article_03e6659d-1b2b-5bcf-ad56-5c0b685cc6d6.html#3 Williams looks so smart! Definitely will be wearing that in Wien. Nice program, too! I'm intrigued about the so called “Symphonic Suite from E.T. the Extra-Terrestrial”. Never seen the ET themes presented in this fashion in concert, I believe. Does that mean new arrangements or just an assemblage of themes to conform the "suite"?
  14. To me, film-wise there's no comparison, with Minority Report being much more finely constructed. And it holds up to this day. Both scores are superb, but I find the WotW more interesting, with its stark contrast between raw, powerful action pieces and the elegiac moments, many of which I find sublime. I agree with Croc about the Epilogue. Such an extraordinary writing. I always felt there was something Ligeti-esque about it, that makes it so compelling. I wish it were played live more, since I think it can hold on its own amidst classical works. I've always dreamed of a symphonic work based on material from this score. Unfortunately, for some reason Williams doesn't seem to be very keen lately on revisiting it in the live performances.
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