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karelm

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Everything posted by karelm

  1. I spent a lot of time creating a poll with tons of composers from Star Trek in its various incarnations to ask this question and it crashed when I posted so I won't do that again. Regardless, who do you think is most responsible for the musical sound of "Star Trek"? So many great composers have contributed wonderful music to this series over the decades. I am listening now to Alexander Courage's "The Cage" pilot and I hear so much that references Bernard Herrmann's sci-fi scores and also was borrowed by Horner in TWOK that I missed on first hearing other than I just heard the CD as part of the new remaster. Other music (country theme song in Enterprise) is quite un-Star Trek. What composer do you think is most responsible for "this is what Star Trek should sound like"? Courage? Goldsmith? Horner? Rosenman, Eidelman? Steiner/etc? Giacchinao? McCarthy? Jones? Chattaway? Russo?
  2. I got my copy today and am listening now. Such a fantastic score. It takes me back to being a very young boy seeing this in theaters and being introduced to Horner but also being amazed at how very different it was from Goldsmith's score but fantastic in its own way. I wonder why they didn't want him to reuse any of Goldsmith's fantastic work which I felt was odd at the time. I hadn't yet seen the "Space Seed" original but felt it did a great job of making it clear to me as a kid without knowing the original tv episode. I was deeply heartbroken at the death of spock sequence though I hadn't fully grasped the depth of their relationship. At the time, cable tv and HBO didn't yet even exist so we had very limited exposure to this material. I don't even think VHS existed yet (or my family didn't have it) so I only knew of Star Trek and Twilight Zone from CBS tv Saturday night episodes which aired very late...maybe 10:30 pm till midnight and as a young kid, mom wouldn't let me stay up to watch. I eventually waited till she was asleep so I could watch. I'm actually surprised the sound isn't better. It's great to relive these cues but for a "remastered edition", I think these should sound better. I prefer the sound on the previous "Star Trek II: The Wrath of Khan (expanded soundtrack)". Compare to earlier Star Wars which stands up far better sound wise. According to the booklet, this was recorded at Warner Brothers which I know well and have recorded at myself (see picture) but the sound stage is close mic'ed and tight. This was the early days of digital but analog seemed to record a great acoustic sound more accurately. I assume audio engineers weren't looking for accuracy at that time but what would sound best in a large theater since theatrical experience was our only experience up to that point. Warner Brothers (Eastwood Scoring Stage) is on the smaller size and doesn't do great with larger orchestras (over 80 players) as you start getting players stacked up and no real room for the sound to travel or isolate the mic from louder instruments. In contrast, Sony/MGM/Streisand could accommodate 120 piece orchestra but would probably suffer with chamber or intimate sounds. These are generalizations and lots of other factors impact this as well such as who is the recording engineer, their approach, the style of the music, etc. I was also surprised by some nods to Bernard Herrmann I hadn't previously noticed until this release. He cast a long shadow on the genre and those composers coming up like Horner, Elfman, etc. I'm specifically referring to the slow passages with muted brass recalling "Day the Earth Stood Still" which must have musically influenced both Goldsmith and Horner.
  3. Damn it, I mocked Bespin in another thread for buying Krull over and over and here I am buying various remastered TWOK. So I just bought this...again! Such a wonderful score. PS, @Bespin, I'm selling my old remastered TWOK for $500.
  4. Hey Bespin, I have another copy of 2015 Krull since you like buying the same albums but for more money each time. I'll sell it to you for $500.
  5. Barry was always excellent in his space music and this one is a standout. This one is also excellent and deep in the midst of the space age!
  6. Jack Black is a huge fan and a very wonderful advocate. He is passionate about his love of music and kids and that's not a bad thing. He also was on the cast of the 20th anniversary of Grim Fandango by the same team. He was so kind and generous with his praise too!
  7. I think this is his best score yet! Very diverse and thrilling score with lots of atmosphere too! Plus tons of big band, jazzy moments too along with the symphonic score. Jack Black does a good rock song too.
  8. Yes, absolutely, but it isn't just percussion. You don't need to go overboard (Mahler where he might say "as a flower hearing what the twilight has to say") but a single word or indication when something specific is desired could help. I just returned from a chamber performance where the percussionist said they really wanted to understand "emotive" directions because even though the instrument was just a marimba, him understanding descriptively what we were wanting resulted in his choice of mallets and performance interpretation. So in that example, he would LOVE to see "guillotine" or something and expressly asked for that. Usually we would describe something emotionally such as "yearning" or "solemn" or something. We could also provide more musical guidance such as "bell like". That is more preferred then saying "hard mallet". So indicating "intense" or marcato would help them decide the hard mallet is what was most appropriate but in some pro levels, they'll have multiple hard mallets and could even have a range of a dozen sets of mallets ranging from very soft to very hard so giving more expressive information helps them know exactly what is desired.
  9. Sorry for the slow response, I didn't read the rest of the thread so not sure if this has been answered but I have it on very good authority that... "It’s a rather large field drum. I have an old field drum that has rope to keep the tension on the head. Back in the day that drum was basically a marching drum for parades or funerals, etc. Tune the drum as loose as you can stand it." Cheers
  10. A good reference to JW's own concert music, these are solid additions to concert repertoire by a major composer known primarily for his work in film but his concert music has little of the same characteristics found in his famous film scores however the "fingerprints" are all there. Another similarity is Rozsa was considered very musically knowledgeable, practically a musicologist and I've heard the same reference made to JW. Very good recommendation and oh I've performed with Lynn Harrell, too cool!
  11. I second your recommendation of Robert Greenberg who has sly humor too but I think the courses a bit too pricey for most but are EXCELLENT traversal of the complexity of the topic. The topic is sort of equivalent to "I don't get literature". It's not a quick topic. Anyway, I totally second the Greenberg recommendation! He's a fabulous educator.
  12. It's hard to tell where you are in a piece when it is completely brand new to you. You might enjoy Aaron Copland's "What to Listen for in Music" or Leonard Bernstein's Young People's Concerts tv shows from the 1950's and 60's which are on youtube and very well explained walk through of elements of music and some masterpieces. Classical music doesn't always come quickly or easily but rewards effort.
  13. It's crazy to think that at 89, he is creating new works as rich and demanding as this. I found it to be a virtuosic work worthy of the soloist and her formidable talents. One of my favorite aspects of John Williams is his sense of long form. I loved this from the earliest film scores how they develop their themes over time but in concert music, it is especially apparent. He has an innate sense of drama. How to tell a story or how to reveal ideas over time. This is gorgeous music. Something he clearly put much care in to and I look forward to revisiting and studying. JW is a melodic genius but his harmonic and structural brilliance are just as substantial. This concerto is a wonderful companion to his Violin Concerto No. 1 which I felt had a bold climactic flourish, but here we have an equally substantial work that is more nocturnal. That doesn’t mean comforted, there is an inner turmoil but it is more reflective and introspective. It’s a deep and meditative work. I loved it and look forward to revisiting it. My favorite movements were the darker, longer outer movements but I also enjoyed the inner movements with their whirlwind effects. The ending felt like a beautiful lament. It's hard not to think there is some other, deeper meaning to music.
  14. Not sure how you could have guessed that but I will say, I'm a huge fan of the score. It's FANTASTIC!! There were moments when I had to take a step back and thought "holy shit this is good". Thank you for supporting the project and I very much believe you'll love it! Tim, Peter, and all put everything in to their projects. We are all VERY passionate about what we do and push each other. I think this will stand the test of time and I'm so proud to have been a part of it. I don't know if I'll be able to play it because I get killed too easily but I'll happily own it. If it's not obvious, Peter is also a very, very big JW fan and you'll clearly hear that in his score.
  15. The video game I was part of is getting released next month. I was the orchestrator and there is quite a nice cross section of what the music is like in this trailer. It's a Lucasarts team and the sequel to award winning writer/producer Tim Schafer's (Secret of Monkey Island, Day of the Tentacle, Full Throttle, The Curse of Monkey Island, Monkey Island 2, Grim Fandango, Broken Age) Pyschonauts from 2005! The music is fantastic and composed by Peter McConnell (Star Wars Rogue Squadron, Sam & Max Hit the road, Star Wars X-Wing, Grim Fandango, and so many other LucasArts classics). I thought the music of this game was so wonderful and exciting, it was a pleasure and true honor to be part of this project! It was over three hours of original music ranging in style from jazz, big band, retro, huge symphonic scoring with large orchestra and chorus and we spent a few years on it with several scoring sessions! In addition, like all of Tim Schafer's game's, it's a deep and rich game universe well worth exploring. Lots of examples of the music are in this latest trailer. Prepurchase link: https://store.steampowered.com/app/607080/Psychonauts_2/
  16. He was directly involved. John Favreau talked about it here at 4 minutes in. https://www.goodmorningamerica.com/culture/video/jon-favreau-talks-season-finale-mandalorian-74839269
  17. They can fix that though! In Mandalorian, they perfectly de-aged Hamill's voice to match ROTJ era.
  18. Very nice pictures but some captions are a bit inaccurate. The 1910 picture showing Mahler enjoying family time includes his two daughters Anna and Maria but Maria died in 1907 and Mahler would have been quite sickly in 1910 just months from his own death from heart failure. The picture is probably from 1906 placing it just before he would work on his Symphony No. 8.
  19. I finally just saw Besson'sValerian And The City Of A Thousand Planets. I enjoyed it. Not a masterpiece, not even a pretty good film but not awful either. About as good as other big budget meh movies like Independence Day Resurgence, Godzilla king of the monsters, etc. Fun movies and not much else. Better than a transformer movie where stuff just happens to alot of characters, not as good as Avengers movies where there is a lot at stake and you care about what actually happens, but a fun experience overall but far from perfect. I think it's biggest flaw is you don't really care what happens. In contrast, 1 minute into the 7 hour Avengers Infinite War movies, the stakes are extremely high and all the characters are complex and unique with a rich back story. Also, I liked the cast, just not the story. Cara Delevingne is freaking gorgeous and did a great job in this role. Could have used a more sinister villain and just far better script. All this could be said of Godzilla King of the Monsters and Independence Day Resurgence which I also enjoyed and also missed the mark.
  20. Reminds me more of the "spooky" style of Elfman and Williams (Sleepy Hallow, Dracula, and Witches of Eastwick) fine nonetheless. Dukas, Lyadov, Franck's "Le Chasseur maudit" (The Accursed Huntsman - one of the best of this genre) all spend quite a bit of time in the spooky setting without any action. Just unsettling the listener. If the music spends more time with the goblins, it feels more like Elfman or others exploring the bizarre ritualistic setting of the goblins of a more modern setting.
  21. I've really been enjoying American composer George Rochberg's works lately. I listened to his Violin Concerto abridged version and the original and very much prefer the more expansive violin symphony original version lasting 52 minutes long making it what I think could be the longest violin concerto. The work is dark and dramatic but also tonal. Anyone who likes late Shostakovitch, Bernard Herrmann (especially later Herrmann), or Benjamin Britten should find much to admire with this composer. So the reason I am not linking the extremely fine violin concerto is I prefer the restored original violin concerto which has a grander, more symphonic scale but on youtube requires multiple individual links. Additionally, the finer performance is of Isaac Stern's abridged version about 10 minutes shorter. A wonderful performance but not as great a version of the work. Hence I'm in a conundrum and ask you seek it out yourself.
  22. RIP to the man who made us believe a man could fly. Superman 78 was a very special film and the first of its kind. I LOVED the story of how he convinced A list character actor Gene Hackman to shave his beard for the role. He also helmed the great vintage Twilight Zone episode, Nightmare at 20,000 feet, with everyone's favorite starship captain Kirk.
  23. How about trumpet concerto? I quite like Hooten's release from last year. https://www.amazon.com/gp/product/B07P3WK6SZ?pf_rd_r=MGZJV09FKNHMB22AC010&pf_rd_p=5ae2c7f8-e0c6-4f35-9071-dc3240e894a8&pd_rd_r=a2d40952-d56b-4ac8-b3a1-80fae44dab9f&pd_rd_w=VtcjI&pd_rd_wg=7oByk&ref_=pd_gw_unk
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