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karelm

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karelm last won the day on September 6

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About karelm

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  1. They say Bach is the John Williams of his time. He wrote lots of popular music on commission but a lot of complex music too just for himself or performer/friends.
  2. I like the movie and score. I think it is quite interesting score structurally. If you take the 1980's scores, often they'll go from child like innocence to wonder and adventure (E.T. for example) or fear to wonder (CEOTK). This one goes sort of opposite. Childhood wonder to fear, longing, and isolation. Not including the final scene where mom returns which certainly isn't the great apotheosis endings of the earlier scores but rather a tender coda that after all this time, struggle, and effort, David was granted one more day with his mom even though that meant she would never have the
  3. My favorite might be Men of Yorktown March and it isn't really a march so title doesn't say it all...what are you considering a march? Some define march as a stately procession as used here in the Men of Yorktown March. Others would define it as a strictly walked military manner with a regular measured tread in the count of 2. There are other definitions as well with stylistic differences.
  4. So when JW scores a movie where each scene furthers the narrative then later scenes get dropped/moved to the start, etc., that won't impact his scoring? Ok.
  5. I think what you are responding to is the lack of Lucas involvement and the Disney era of film making by youngerish directors reacting to executives and screenings. The films are no longer "locked". There is no long term story telling. The story changes dramatically based on reshoots and reedits. JW is now scoring scenes not a film. He hates that approach as it doesn't allow setting up a scene because a scene you scored to allude to the next cue no longer exists based on screening feedback/executive meddling. Welcome to Disney. I can imagine how frustrating this would be to him.
  6. I think the three trilogies are all quite different but exist within their own sound world. When PT came out, I thought it lacked so much of the raw edginess of the OT and felt so soft for a Star Wars score. Sort of the difference of all the practical sets and effects and models used in the OT had a lived in feel and the PT had a CGI feel and apply that to the score...to polished, not raw enough. Now I think they are just two very different beasts and both excellent. I would think something similar is the case with Sequel Trilogy that it has the same DNA and fingerprint but feels like well
  7. Damn these people where on fire. This is Johnny's friend, Andre Previn, conducting the LSO in 1979 in a blistering performance of one of Shostakovitch's greatest symphonies...the No. 13 "Babi Yar". This is a work of great darkness, power, and depth. The title is from the 1941 massacre by Nazis of Jews at Babi Yar (then a taboo to speak against in the Soviet Union resulting in this work getting banned). Shostakovitch transcends the work into a paean beyond any specific massacre but to be a denunciation of racism and sexism against the establishment. A dark and deeply moving work heard here
  8. I don't think there is a long term key signature tonal direction but maybe within the cue he'll do something like that, like the cue begins ambiguously in one key and reaches a climax in a related key by the end of the cue, he did mention that in interviews as an intentional dramatic devise.
  9. Wow, I'm interested. Godfather 1 and 2 are masterpieces. I never saw 3 because of the backlash so if he revised it, I'm in.
  10. Yep, I'm greedy like that. Those are the hammering ending chords at the end of mars. Everyone plays the same thing for a few measures but very, very, very loudly. I uploaded an excerpt of us: https://clyp.it/m5l0t4wq Of course you must play this at obnoxiously loud volume to get the effect. Imagine in my spot this onslaught of sound was coming from all directions! Two tubas to my left, trombones, trumpets, six horns to my right. Drums behind me. Ouch! Just like how a mother can hear her kid, I can hear my playing in all that.
  11. The bass trombone. Here are some pictures from the rehearsals.
  12. The best way to hear Holst's Planets is to perform Holst's Planets. Observations: 1. Wow, what an incredible work! 2. What I thought would be difficult wasn't that hard and what I thought would be easy was much more difficult! 3. Mars is very, very loud! Very hard for endurance reasons. Not technically difficult but physically difficult. Lips hurt after it. Thankfully, low brass doesn't play in Venus. 4. This was one of the very rare times I've ever heard the conductor look directly at the trombones and say, "you need to be louder" when we were playing as l
  13. That score is definitely not pro quality, it's a fan transcription (someone transcribed it because they wanted to either sell it or study it). Evidence: It's a tabloid print and bound at FedEx Kinkos (notice the spiral bounding and it's two 11 inch spirals since Kinkos doesn't have larger coil binds they put two together resulting in a clumsy bind. The trumpet staves say 1 & 2, and 2 & 3 with 4 trumpets playing, an amateur mistake. Harp notation for "ad lib" is a squiggly line that JAKMS would definitely not use. Other inconsistencies like a hairpin on only one staff but all others
  14. Joe is very talented. Before he was famous I hung out in his studio where we talked about JW and shared some of our orchestral demos with each other and I was blown away by the quality of what he produced, it was very much in the JW and swashbuckling cinematic vein which is not the famous scores he is known for which are adaptations of electronic music.
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