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About QuartalHarmony

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  • Birthday February 4

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    Wiltshire, UK

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  1. Well, I played In Search of Unicorns over the beginning of Jaws and, yes, it actually works fairly well! I started the track as the Universal logo appears and the musical changes match what’s happening on screen reasonably closely. Obviously, I’m not saying it would have been better than what was written for it, but it’s worth trying to see what something totally different (but still fitting) would have been like. Someone more knowledgeable than me might knock up a YouTube video of it… Mark
  2. Just received my copy - what an extraordinary score. Although I am a fan of JW, I don’t necessarily buy every release - especially the crazy money ones - but this was worth it. As music for a disturbing and tragic film, it couldn’t be more fitting. The fact that he gives us a really hummable main theme is just gravy on top. I was tickled to hear that the main theme was the temp track for Jaws’ opening credits - must play the one over the other and see how it works. L Mark
  3. This reminds me of a question I’ve had for a while about the JP concert version. Erich Kunzel’s 1994 The Great Fantasy Adventure Album was the first time I heard the usual selection of themes end with the (to my ears) slightly clumsy tacked-on ending from T-Rex rescue. This recording predates the Williams on Williams album by over a year. What intrigues me is that the Kunzel album credits one ‘Mark McGurty’ as the arranger of this particular presentation, which seems very similar to the ones presented in 1995 and subsequently by JW as his own arrangement. Anyone know an
  4. ANH has always sounded far too dry for my liking. Everything recorded in Abbey Road (Empire, Jedi, PT) just sounds fabulous. Do correct me if I'm wrong, but I'm pretty sure no reverb would have been artificially added to the natural Abbey Road Studio 1 sound - the room sounds wonderful as it is! The ST has been such a mess in filmic terms, I'm yet to get round to listening to the score by itself. Mark
  5. Well, for those of us in the UK, there's minimal difference between shipped prices from Spain on Quartet compared to coming from the US via Intrada. That's Brexit for you: posting something less than 30 miles from Calais to Dover can cost as much as getting it from Australia. Ridiculous. Thankfully, I have friends in Madrid who can help, so that saves 12 Euros on postage! Mark
  6. My recollection is that, in the UK, back in the day, Eiger was fairly commonplace in shops whereas I bought Always in Canada in 93 specifically because I’d never seen it for sale in the UK. It might have been the other way around in other countries. Mark
  7. Whilst we’re on the subject, have we ever had a list of named musicians for the Cantina Band pieces from ANH?
  8. I like a challenge, so here are the album and film versions, plus my suggested 'best of both worlds' solution. Only real difference is holding the Bb as a crescendo into the iris-out.
  9. I agree entirely - the hamfisted film version, where the final Bb chord is sliced in favour of the Eb chord of the iris-out, is the work of a cloth-eared loon. Instead of what JW (I presume) intended, namely a textbook II-V-I (F-Bb-Eb), it becomes a musically illiterate F-Eb, which is either V-IV or II-I depending on how you want to spell it, which just shows how cack-handed it is. I feel soiled just having to describe it. Mark
  10. A transition from a final Bb chord to solid Eb on the iris out makes it a textbook perfect cadence! If anything, it’s less hammy than transitioning from the G major ending of Yub Nub (incidentally, can we start calling it Ewok Celebration, please? “Yub nub” is just, well...) to End Credits in Eb via a pivot chord of, erm, Eb. Granted, going to bVI from I is a bit traditional in Sci Fi (Goldsmith does it a lot in various Star Treks), but Williams is normally better than that. Mark
  11. Love the idea of an ESB concert performance - it's a great piece. I love the little four-bar transition between the Imperial March and Han & Leia. I disagree about the original tempo of Throne Room: in ANH OST it's far too fast - the Elgar/Walton style theme needs the slower tempo to really breathe and be enjoyed. It would also be nice in the End Credits Concert Suite to have something other than Leia's theme interpolated. Just imagine an End Credits suite that concatenated Leia's theme, Imperial March, Han & Leia, Ewoks and Luke & Leia before finally seguei
  12. I hate to say it, but I'm enjoying it more than most of the Trotter Trio Star Wars arrangements from the mid-90s...
  13. No - I wouldn’t have needed to ask if there were! 🤪
  14. Flute Conc is my favourite of his concert works that I’ve listened to in any depth, though Five Sacred Trees is probably a close second. Talking of the Flute Conc, can anyone comment on my suggested timings for its four movements on the Varese LSO CD (VSD 5345)? 0:00 Movement 1 4:13 Movement 2 5:39 Movement 3 9:58 Movement 4 Inevitably there’s some guesswork based on the liner notes. Alternative solutions welcome Mark
  15. It shouldn't do, if it's been encoded correctly. I've got several Dolby Surround CDs and have listened to them in plain stereo and Dolby Pro-Logic (the successor to Surround) and they're fine either way. If the producer has made the surround channels very busy (e.g. with electronic music where you might pan a whole instrumental line to the surrounds for fun) then it can sound a little odd in 'plain' stereo but it's not dramatic. If it's an orchestral recording, as others have pointed out, by far the commonest routine is to only use the surround channels for the reverberant ambience
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