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  1. Just listened to the ballet version recently, and I agree. The recording is excellent. Batman Forever and Interview With The Vampire would probably be my favourite scores, but I really appreciate the intelligence and sophistication of his concert works. As much as I enjoy EG’s integration of electronic production elements into his film music, it is nice to hear a more organic and refined sound. I really hope that Goldenthal can score a few more big-budget action films - even if the film is rubbish, his music never fails to deliver.
  2. If I recall correctly, it's essentially a development of Sphere's "Main Title" and Final Fantasy's "Toccata and Dreamscapes". The Othello symphony (and original ballet) are both excellent.
  3. That's right, although I think it was in G# minor haha. Othello also has heaps of ideas and fragments adapted from his other scores, that's just how composers operate.
  4. Goldenthal, like many composers, re-uses/quotes his prior works in his scores. I'm inclined to believe that this was his choice. There are bits of Interview With The Vampire, Alien 3 and Demolition Man in both of his Batman scores. Sections from IWTV, Alien 3 show up in Titus. Incidental material from Titus appears in The Glorias. His Symphony No. 2 is built around material from Sphere and Final Fantasy.
  5. A few John Williams cues: "March Of The Villains" from Superman: The Movie; "No Ticket" from The Last Crusade; "Gilderoy Lockhart" from The Chamber Of Secrets; "The Adventures Of Mutt" from Kingdom Of The Crystal Skull. Bernard Herrmann's score from The Trouble With Harry. Leroy Anderson's The Typewriter. Danny Elfman's "Waltz To The Death" from Batman; "The Breakfast Machine" from Pee-Wee's Big Adventure. Much of Queen's music for Flash Gordon contributes to the 'camp' sensibility that the film strives for - especially Brian May's electric guitar rendition of the "Wedding March". This doesn't quite qualify as 'funny' music, but Leonard Bernstein's "Cha-Cha" from West Side Story has a great playful feel.
  6. Hans Zimmer’s Interstellar. I don’t think it’s bad music, but it didn’t blow me away. A lot of people (general audiences more so than film score aficionados) hype it up as being of the “best scores” ever, and I think it’s good but nothing to write home about. I think it’s very popular with general audiences because of the strength of the film. Same goes for The Dark Knight trilogy, although I love some of James Newton Howard’s cues from Batman Begins. Silvestri’s Forrest Gump - good music and a good film, but not something I really listen to. I think it’s a similar situation to Interstellar. I speculate that general audiences who love the film have an emotional connection to the music for that reason, not because of the merits of the music. James Horner’s Avatar. Again, good music on a technical level and a good film, but I don’t love the score. Never got into Lord Of The Rings/The Hobbit, but I think that’s largely because I haven’t seen the films.
  7. I feel sorry for everyone who was involved in the score for this project. Natalie Holt - an accomplished and talented composer - clearly, wasn’t given clear direction from LFL about the tone of the score. Perhaps she wasn’t the right choice; but that’s not her fault, and any composer would jump at the opportunity to produce a score for Star Wars. She had her score butchered and edited, which destroyed any chance of her score working properly in the show. I’m sure if we heard all of Holt’s music, there would be more to appreciate - but we’ve only heard about half of it, so it’s hard to really see what she was going for. It’s hard to present and develop original motivic material in a score, and make it stand out, if half of your score is replaced by another composer’s work. I’m trying my best not to join the pile on against Natalie Holt, because she’s really just a victim of LucasFilm’s mismanagement of the score. Then there’s William Ross - a brilliant orchestrator, arranger and conductor, and probably the better choice of composer for the series - who was seemingly brought in right at the eleventh hour, and did the best he could under the given circumstances. His music is great, and I think more of it would have been better for the series. Hopefully if Season 2 happens, LFL can either encourage Holt to write a more orchestral, “classical” score (perhaps with Ross orchestrating and conducting) OR just hire Ross/Williams. The way they managed the music for this season was a mess, and a massive act of disrespect to both composers.
  8. The easiest, non-musical way to describe it is "big picture" vs. "fine tuning/smaller details" An arranger is someone who takes melodic material, themes, etc. and organises that material into a piece of music - for example, how William Ross took JW's Harry Potter themes, and created 'cues' to accompany The Chamber Of Secrets. The arranger doesn't write material, but has to make creative decisions about the structure and presentation of that material within a listenable piece of music. An orchestrator takes a piece of music that has already substantively been written and arranged, and works out the intricacies of how that piece will be played by an ensemble. Their job is to focus on the finer details, rather than the big picture.
  9. I would LOVE this, however I think it's wishful thinking to expect a release of any of Ross's adaptations. We'll get an album of Holt's score, but we'll be incredibly lucky to get any of the Ross cues - unless they play a massive role in the later episodes...
  10. Very accurate, and authorised by JW himself. These published editions feature essentially the same orchestration as the original recordings. Most of the time, JW uses these versions when he conducts concerts of his music.
  11. It sounds a lot like the music during the fight at the end of episode 3 was by William Ross. Better yet, it's 90% free from any sound effects in the rear channel of the 5.1 mix...! If we don't get Ross's cues on the official soundtrack album, it won't be too difficult to make a personal edit of this track. The Ross cues were at a completely different scoring stage, with a different crew... I wonder whether Disney will even release Ross's cues... Perhaps it will warrant its own seperate album? I know that if they release both composers' work I'll be splitting them into seperate releases. I have little interest in listening to any of the music, aside from the Ross cues. Upon examining some of the Holt scenes, I've discovered that the rear channels often only contain the orchestral elements (along with sound effects). It's surprising to hear how much more tolerable the score is without the Zimmer-style percussion and synths...
  12. I don't hate Holt's score, but I certainly feel that it lets the series down by not fully embracing the musical language of the Star Wars saga. I understand that incorporating Williams' themes needs to be done tastefully, and not simply copy-pasted all over the score - however the complete lack of the original themes detracts from so many of those powerful moments in the show. There were are few (dare I say) good moments of scoring... however, on the whole, I've been finding Holt's score a bit distracting. It sounds rather anonymous and lacks the character of her other scores, which at least have a bit of personality. Tonally, it just doesn't fit with the show. If this was Mandalorian or Boba Fett, this score would have worked well, but it just feels so out of place when RCP-style action music is accompanying scenes of Obi-Wan and these other legacy characters. I'm also curious to see whether William Ross's wonderful cues will be included in the soundtrack release, these have been the highlight of the score for me. They just make me wish that Ross had scored the entire show...
  13. His career is still going strong, and he's still alive... we'll probably have to wait a little while after JW passes for a documentary to be made.
  14. Not sure if anyone has pointed this one out before. Some very similar passages are featured in this suite by Williams...
  15. Check out Musicbrainz. They have scans of everything!
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