blondheim

The Vienna performances sounded passionate and inspired to me, probably by the event that it all was. I personally thought it brought out the best in everyone involved. The mistakes sounded very sincere, if that makes any sense. I love that concert. These Berlin performances seem much more tame. They are not as generic as the LA Phil. but still more restrained. I also personally hear a lot more errors. They really seemed to lean into the errors in Vienna (sort of the general sense of 'owning it' that I hear going on.) The errors in Berlin sound much more hesitant to my ears, therefore they stick out more to me. I also think anyone who complained about tempos in Vienna should be doing so even more now. I personally don't mind a stately take of anything, we always have the original. I just find it surprising that it isn't getting the hate the Vienna performance received. This is overall feelings. That's very vibe-y and generalized. There are plenty of orchestral flourishes and touches that really shine. This is still a world-class orchestra. There are some very neat trumpet lines in the middle of Harry's Wondrous World. Nimbus 2000 comes across great, if maybe a little clinical; the soloists really getting a chance to shine in that one. The Adventures of Han is a stand-out with that orchestra at that tempo as well. Probably the highlight of the whole evening. Although, and I am not trying to be cynical, there aren't many performances to compare it to. I am obviously going to continue to listen and form more opinions over time. I am sure the album release will improve my estimation of the concert since I have only had the pleasure of streaming one evening. With mastering and switching between nights, a lot of these more lethargic moments may be livened up. Especially by an opening night I haven't heard. So far, it's not Vienna but it's alright.

Something about this Berlin performance is lacking for me. There is less electricity than Vienna. Maybe it is the night I heard. Especially the upper brass doesn't seem too interested in being anything other than functional and dialed-in. There is an an enormous world of difference between Berlin's JP and Vienna's. Maybe I need more time with Berlin but it is a bit too close to Dudamel's LA performance for my liking. That is just in terms of enthusiasm. The tone of Berlin is gorgeous, no doubting that.

I'd love to hear his Horner comments. These are great.

"Feeeed the trolls, tuppence a bag..."

Sometimes bad decisions don't sound so bad to me when I think about the John Williams score that will support them. What a wild final score that would be.

I like an awful lot of Clint Mansell's output but I also wish he would write another romp like this. And romp is a really good word for it.

Clint Mansell is a wonderful composer who is more than capable of this. I hope you aren't implying otherwise I wish he would work in this style more often. He really is an under-rated composer

Klemperer does a very unique Dvorak n9. Don't discount Reiner or Walter either. I honestly can't remember which is my favorite anymore. It may not even be any of the three I mentioned. I have so many recordings of that piece, but those three I listened to much more than once when I discovered them. The old school really know how to pull out the intended sound of that symphony when it was composed. It needs to be a soup of the American and European and not just one or the other.

I'm eagerly waiting for the third soundtrack. I like both listens. I haven't seen the film yet so I can't vote until later this month.

Star Wars, Robin Hood, what's the third Kojian? What are the Roy Budd recordings called? Do you know how many Rozsa did?

I don't know where else to ask this and it seems silly to open a whole thread: Other than the Gerhardt series of Classic Film Scores in the 70's, there was also Bernard Herrmann's series on Decca Phase 4 and Elmer Bernstein's Film Music Collection at around the same time. Do we know of any others?

I didn't find the answers reading back through this thread: Do we know if Shore performed any of this music in concert at any point? And where can we find the material he re-worked from the score that has been released so far? Which tracks specifically please, if any one knows. This is easily my most wanted rejected score release and I don't think we should ever stop talking about what a crime it is we haven't heard it yet.

His inexhaustible energy to keep this up over years is actually quite scary. I don't know whether he is a QAnon person or not but this is how you get QAnon people.

Preach, sis

His career only gets more legendary.