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Linae

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  1. Anthony Tommasini, the chief classical music critic of The New York Times liked the A.I. score a lot and preferred both it and Catch Me If You Can over the Schindler's List score, which was he said was mostly discreet and effective but marred by some slighly sentimental bits. A.I. and Catch Me If You Can were a better indicator of Williams's depth and versatility than the score for Schindler's List according to Tommasini: "But he occasionally surprises you, as with his hushed, spare, quietly shimmering score for the underrated Steven Spielberg film ''A.I.'' His latest O
  2. I generally prefer Korngold as far as concert works go and consider both Korngold's symphony and opera Die tote Stadt to be better than any concert work Rózsa wrote (although I am not really a massive fan of either composer's concert works even if they have written some good concert music), although I prefer Rózsa's violin concerto over Korngold's. Although in film music it is a more even battle. I think Korngold peaked higher in his film music, but probably give Rózsa the edge in general, but neither of them is a particular favourite of mine. There was a certain bombasticism about a lot of th
  3. I missed this, Terry Teachout wrote a fairly recent article on some of Bernard Herrmann's non-Hitchcock scores in The Wall Street Journal: Bernard Herrmann, Beyond Hitchcock Though the film composer is best known for scoring suspense classics like ‘Psycho’ and ‘Vertigo,’ his work for directors such as Orson Welles, Nicholas Ray and Martin Scorsese is equally fine. Bernard Herrmann is by common consent the greatest of all film composers—but one whose name is firmly attached to the work of a single director. Between 1955 and 1964, he scored seven films for Al
  4. A good question to pose even if I am not overly keen on Williams's sequel scores - none of my favourite Williams scores are for sequels. What makes a great sequel score is impossible to say, but I generally prefer it to have as much fresh material as possible. Leonard Rosenman didn't score the first Planet of the Apes - Jerry Goldsmith did. I maybe consider Rosenman's Beneath the Planet of the Apes to be the best sequel score of all time. It took the adventurous spirit of the first score to new heights. It is certainly a high point for avant-garde scoring in film music
  5. Here are three Bernard Herrmann opinions that may be unpopular: I think that both Toru Takemitsu and Alex North were better film composers than Herrmann. I admire Herrmann enormously (he is probably my third favourite film composer of all time), but Takemitsu and North were more progressive and formidable. I think that the Vertigo score is a bit overrated - it is certainly excellent, but I prefer both Fahrenheit 451 and Psycho over it. Vertigo comes in at #3 in Herrmann's oeuvre. Most of Herrmann's finest work wasn't for Hitchcock.
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