karelm

I love Seth. He produces these love letters to significant science and sci-fi series like Cosmos and Star Trek and does a damn fine job at it. He's so funny too! Check this fantastic cosmic panel with him, Neil DeGrasse Tyson, Ann Druyan (Carl Sagan's wife and co-writer of Cosmos 1980 and much else). He's sharp and so funny too!

I think I recall hearing something about the Star Wars theme is essentially "Luke's Theme" since he doesn't have one. Since Luke didn't exist in the prequel story, it didn't make sense for that to be the same theme of the prequels. But these ideas morphed as the theme became synonymous with the "A Long Time Ago..." story telling. Additionally, what was "Ben's Theme" became the Force theme which is essentially Luke's theme in later iterations. One can consider it a jedi theme of which both Luke and Obi-wan are rather than a force theme and this would make more sense on the double sunset using Ben's theme when we consider it is foretelling Luke is to be a powerful Jedi, like Obi-Wan once was. On a practical level, sometimes directors like the mood a piece evokes and don't fully think of the motific implications unless the composer and director are the same person (Wagner) hence we get lots of mismatches where the motif doesn't match the situation and we force fit it (Leia being used at Obi Wan's death).

What is your thought about Mahler's Song of a Wayfarer... and his Symphony No. 1? Not just everybody...the very pinnacles...Beethoven, Mahler, Shostakovich, Vaughan Williams (Pilgrims Progress/Symphony No. 5, etc.) etc.

Oh come on. In the same key, they're virtually identical. The melody is known to be a proto-ode to joy. Beethoven.mp3

I'm not a Horner apologist. I argued a lot with classmates who listed him as their favorite. I was wrong. He was a FABULOUS composer and I deeply miss his contributions to film scores. I will also add I've heard the exact same sentiment to the performers of his classical scores. Yes, he could be derivative. So were some of the very best composers. Rachmaninoff used the Dies Irae motif frequently. It was a dramatic trope. Like how Mahler used the "fate motif" in his symphony No. 5 which was itself a call back to Beethoven. Horner admitted this was a trope. My bigger issue was that he scored so many films that he ended up repeating himself. Here again, we have classical examples of the same problem. What is your thought of Beethoven's Choral fantasty using the exact same theme of his Ode to Joy Symphony No. 9?

It's a great score and show! It does start to meander episode wise around seasons 5 and 6 but even there, there were many standout moments. It's best to watch in order as the series and tons of unanticipated jolts in the story but overall, a very deeply involving show and wonderful score.

Just a comment, percussionist Emil Richards played on 1968's Planet of the Apes and Jurassic Park and Jurassic World where he provided his ethno-musical percussion instruments. EG: the primitive percussion. He also performed the percussion on the TV show, LOST, where he provided handmade airplane percussion (tuned instrument made out of broken airplane parts). He played percussion on every Planet of the Apes film from 1968 through 2019 (his death).

This was from a great concert at the LA Phil. Strauss, Smith, and Salonen Los Angeles PhilharmonicEsa-Pekka Salonen, conductorJames McVinnie, organGabriela Peña-Kim, violin (for JS Bach) JS Bach Prelude from Partita No. 3 in E major, BWV 1006 <- Masterpiece and the very first piece ever performed in the still under construction Disney Hall by orchestra's concert master. The audience members were only Disney Hall's architect, Frank Gehry, and LA Phil conductor, Salonen. Esa-Pekka Salonen Fog (U.S. premiere of orchestral version) <- a reimagining of the JS Bach piece and dedicated to architect Frank Owen Gehry (FOG). Gabriella Smith Breathing Forests (world premiere, LA Phil commission) <- Fantastic and intense organ concerto!!Richard Strauss Also Sprach Zarathustra <- Fantastic!!

For an added sense of irony, this great moment from a great Soviet composer when Berlin falls to the Soviet army defending its freedom against an unjust invading army.

Better than "falling out" AND NOT making up again, no? There is far more of that and wasn't that much worse? The Dark Side of an Auteur: On Alfred Hitchcock’s Treatment of Women ‹ Literary Hub (lithub.com)

Excellent job! It reminds me a bit of Herrmann's twilight zone scores. I really liked the bass line starting around 1:30.

Thanks, man!

I don't know if there is such a thing as a composer "refuses to adhere to temp scores". Young would be the same way I think in that they ignore the temp score. It's something they just don't pay attention to musically, but believe me, if the director says, "I like what you did but do that thing in the temp score", they will follow along. They understand they are part of a creative team and come with their own ideas too, but if they can't sell the idea, they have to agree to the director's vision. Yes, yes, they might bite their tongue and curse the temp, but they aren't fools. Goldsmith said he was very frustrated that his own music was used in temp because "how was I supposed to recreate the best thing I did in the totality of my career"? So yes, it drives them crazy, but they will adhere to it if they have to. It's preferable that composers are allowed the space to bring our own creative ideas. It's the same thing as being over directed. Like if a director tells an actor "speak this word like this and pause for a half second than look away", that is very, very frustrating for a good actor who brings their own ideas too. My personal opinion is nothing would stop it from coming out if the owners felt there was a demand. They didn't feel there was any back then and now, they probably just think it isn't relevant because there are now two different post Raimi spidey's that are probably more popular. Maybe after Dr. Strange 2, if it's a big hit, people will take a closer look at other superhero films from Raimi and reassess Spidey 3. It might still have its renaissance yet. I remember the first time I saw the film (no special fx yet, tons of green screen, no score or temp only with horrible edits, bad sound, animatics all over, etc.), it was quite weak. Especially since I thought Spidey 2 was so great. But I always loved the score. I wonder if I rewatched it all these years later if it would have a softer place in my heart. Sort of like how I really hated the Star Wars prequels but seeing them now, I sort of actually appreciate them more and like what Lucas tried to do. I don't think they're anywhere near as bad as I thought they were.

That's exactly what it was. Young was heartbroken there would be no score release. He was very proud of all the work put in and it was by far the biggest score he had done to that point (maybe ever). He did all the work, had it mastered, edited for release and submitted it and it was squashed because the film was poorly received so they felt there was too small a market. Elfman's shadow loomed very large on the score. For example, Raimi suggested venom's theme was an inversion of Spidey's theme but Young said there isn't really a Spidey theme, just a progression or at best a motif. Young is very, very big on memorable themes...not just a phrase or a motif or a chord progression, so he created themes for his characters like Spidey, Venom, Sandman, etc. They might not be fully used due to the score or dramatic scene requirements, but they were there for reference.

Elfman wasn't essentially relaced at the end of Spiderman 2, he left. True he was getting more and more agitated at the business of film scoring which includes having to please producers and others not particularly involved on the creatives weighing in resulting in umpteenth revisions on complicated cues and that happened a lot on Spidey 3 too. Set pieces are huge investments for studios as tons of planning of budget go into them plus they can be the first big action seen in an action film full of audience anticipation. The first big action set piece on Spidey 2 was the elevated train (the first set piece in Spidey 3 was Harry and Peter's fight). Elfman followed the scene and slowed the music down as the train slowed which execs felt made the scene anti-climactic. Young amped up the energy (tempo, clusters, and volume) as the train slowed because it was running out of track which was preferred. It was clear that Raimi and execs preferred Elfman for Spidey 3 but the rift was common knowledge and frequently referred to. He wanted nothing to do with Raimi at that time so Young as did Raimi's Drag Me to Hell, etc. As far as I remember, none of Elfman's music was recorded for Spidey 3, it was tracked in from the other films. Young's theme has a big hole where Elfman's music when then play and the music editor edited in Elfman's music from previous films so Elfman does show up in cue sheet credit but for preexisting music. The session and project were very intense and chaotic so that might have changed later but that was my memory. Raimi and Young were both jerked around by the execs on Spidey 3 and the no soundtrack was released because the film was poorly received by fans and Sony didn't think it would make money as the landscape was shifting to digital downloads rather than physical cd's and almost all soundtracks except for Pirates of the Caribbean were not that profitable in the changing landscape. A soundtrack master was produced and delivered; Sony declined to make a soundtrack. If the reception was better, they would have felt it could make money and they likely would have opted to release the soundtrack.

I like it! Really good mockup too...warm and realistic.

I mostly used Cakewalk but switched recently to Cubase which is superior. They all have pros and cons and switching is a big decision so you might want to test the others out to see if they solve your issues with cakewalk or might end up being worse.

This sounds great!

I think the gist of the OP post is valid in that there is no definitive list *cough* bespin *cough* of what all JW conducted in various concerts. For example, how could OP possibly know that JW never conducted something in Hollywood Bowl 1998 or 2003 or whatever. It would be a very complex list because what all works constitute a suite has evolved. For example, wasn't "The Dune Sea of Tatooine" aka "The Jawas" aka "The Sandcrawler" part of the 1970's suite? In the 1970's, I think that and "Here they come!" were part of the suite but those probably haven't been heard by anyone in concert who was born after 1990. Other than stuff like Star Wars in concert which I don't think JW had involvement in but didn't that sort of start the live to picture movement? Just imagine all of his film music he conducted with Boston Pops that was definitely recorded but no one hears any more.

Love this disc!

You mean this? I remember it since I was there.

Austin was my classmate. I knew him when he was 22 or so. I am blown away by this video because though he wasn't the best student, his passion was clear immediately and there was no doubt he was born to do this. I'm so proud of him in watching this video because to me, this is exactly like he was in 2006. He hasn't changed at all but now he's super famous. A memory I will never forget, us sitting in my car listening to each other's music and encouraging each other. He became famous and I'm a nobody but I'm so proud of him because we sort of both knew he's going to become famous. He had that lead singer quality, and I was the shy background player. I wish I took more pictures of us back then, but I didn't because I just saw him as another classmate. Years later, we were competing for the same award. It was clear he would win because of the applause his game received when named versus mine. But when he won, I was so proud of him and gave him a hug. I am a huge fan of Austin, the man. He's an old school fan and very, very talented. What you see in this video is exactly what he was like.

I can't read it. It blocks me. Can someone paste it?