Jump to content

karelm

Members
  • Posts

    3,139
  • Joined

  • Last visited

  • Days Won

    20

Reputation Activity

  1. Thanks
    karelm got a reaction from Ludwig in Action-Music Course - Lessons 1-3   
    Glad this topic was bumped, I missed it the first time and love this stuff!
  2. Like
    karelm got a reaction from filmmusic in Action-Music Course - Lessons 1-3   
    Glad this topic was bumped, I missed it the first time and love this stuff!
  3. Like
    karelm got a reaction from Falstaft in Action-Music Course - Lessons 1-3   
    Glad this topic was bumped, I missed it the first time and love this stuff!
  4. Haha
    karelm got a reaction from Will in Do you admire George Lucas?   
    I randomly bumped into him once at Nordstrom store a few blocks from where I live.  He was literally looking through a rack of flannel shirts.  It was so surreal and out of context I couldn't connect the dots till later!
  5. Haha
    karelm got a reaction from Jay in Do you admire George Lucas?   
    I randomly bumped into him once at Nordstrom store a few blocks from where I live.  He was literally looking through a rack of flannel shirts.  It was so surreal and out of context I couldn't connect the dots till later!
  6. Haha
    karelm got a reaction from superultramegaa in Do you admire George Lucas?   
    I randomly bumped into him once at Nordstrom store a few blocks from where I live.  He was literally looking through a rack of flannel shirts.  It was so surreal and out of context I couldn't connect the dots till later!
  7. Haha
    karelm reacted to Quintus in Do you admire George Lucas?   
  8. Like
    karelm reacted to chrissiddall in James Horner - ALIENS in full score (Chris Siddall Publishing)   
    Hi, sorry for the slow response to the recent posts on this thread.  I've had my head down editing and proofreading The Iron Giant, which is coming along very nicely (see below)!
    You're right about having access to the original manuscript, and also about podium changes.  I did try to catch everything but if you have any specifics you want to let me know about, please drop me a PM and I'll review them for any future reprints.
     
    With regard to the Engine Room sound in 9m1 it is there, but it's just a low rumble.
     
    With regards to shipping prices, both Tim at Omni Music Publishing and myself are well aware of that being a deciding factor for some, though the potential "solutions" aren't really that great either.  It's unfortunate that a combination of the book size, paper weight and retail value (for import tax if it is charged where you are) can lead to a high total price.  Neither of us add anything to the shipping price, you're paying what it costs and unfortunately that may mean a test of how much you want the book.  Both of us have worked hard to find solutions that keep the costs as low as possible.
    The alternatives of printing or shipping stock overseas and storing/fulfilling "local" orders from these locations would still incur a cost to us that we would have to pass along to you.  It might be different if we were selling in the kind of volumes that big online retailers do, that we could absorb that cost, but this is a very niche market and we are essentially "boutique" publishers.
     
    Finally, with regards to publishing Star Wars, it'd be a dream, but publishing full scores by John Williams is simply off the table at the moment due to licensing restrictions.  That's true of a few specific composers and specific film franchises.  Thankfully there are enough other interesting, beautiful and exciting scores out there to keep the like of Tim and I busy for a very long time!  Personally, I have The Iron Giant and Independence Day coming over the Spring/Summer, with other titles that I'm not ready to announce yet lined up right through to the end of 2022.
     

     
  9. Thanks
    karelm got a reaction from superultramegaa in The Composer's Thread   
    That's a solid piece.  Well done!  If I had anything constructive to add, this could be a longer piece just allowing a bit more ebb and flow of the very same material you have, just taking more space to state it at the start.  There is a balance between taking too long to get to the point and rushing to the point.  I think Ralph Vaughan Williams really nails the balance in his symphonies, probably best in his No. 5, but generally he is very good at the balance between overstaying an idea's welcome and giving it time enough to breathe.  I really liked it!
  10. Like
    karelm reacted to superultramegaa in The Composer's Thread   
    Finally finished a classical composition for spring. I didn't have any specific form in mind, it's more or less my attempt to develop a single motif through many variations. 
     
     
  11. Like
    karelm got a reaction from SteveMc in Interesting vintage interview   
    If this is 1982, then kudos to the interviewer for not asking anything about Star Wars, Raiders, or ET and asking lots of interesting questions about JW's creative programming ideas and thoughts on contemporary music.  This is a very rare Golden Age interview and JW seemed very engaged with the subject.  He did commission Sir Peter Maxwell Davies' "Orkney Wedding with Sunrise" in 1989, easily that composer's most accessible work but I think it says a lot about JW that he thought so highly of that composers atonal works.   I love how he straddles and contemplates popular music and its context in serious music like his great predecessors, Prokofiev, Shostakovitch, and Vaughan Williams.  It is also fascinating how extremely well versed he was in the contemporary artists of that time.  Many of whom I've never even heard of.  This interview clearly shows he was extremely knowledgeable and as I previously stated, professorial.  Seriously, how rare is it to have a great, great film composer who understood popular music and contemporary concert music as well as he does?  Jon Burlingame said there were a few "experts" before.  Miklos Rozsa was considered a musicologist who possessed an academic knowledge of music that set him apart from his compositional achievements.  Alfred Newman was considered to have concert conducting skills - he could have been a famous concert conductor if he chose that path.  JW posses all these rare gifts along with his compositional talent and those are displayed here.  Seriously, after him, there is no one left of this breadth of mastery. 
  12. Like
    karelm got a reaction from SteveMc in Interesting vintage interview   
    I really enjoyed this vintage interview where JW talks about contemporary music and his ambitions for the Boston Pops.  JW comes across very professorially and I found it really interesting at the start that he admired Seiji Ozawa's performance of Maxwell Davies Symphony (I can't tell which one it is but pretty sure it is his No. 1).  I have a personal connection with Sir Peter Maxwell Davies.  In the 1990's, I was a student and found out he was coming to San Francisco to conduct a world premiere of a work the SFO had commissioned.  I sent him an email and to my surprise, he responded inviting me to come back stage during the rehearsal and watch him work with the orchestra.  I had the entire concert hall to myself.  After the rehearsal, Sir Peter, looked for me and invited me backstage to his dressing room.  He was so warm and inviting, I was not just a no body, I wasn't even a composition student.  But he was very interested in seeing what I had done and giving me advise.  That encounter had a big impact on me as a student and I never forgot his generosity and encouragement tempered with wisdom ("it's a very difficult path you're on and if you can make a living doing something else, probably better to go that route").  I found it quite interesting that JW thought so highly of him regarding the Symphony No. 1 though it's so different from JW's own style - it's a loud, hour long, atonal symphony.  I thought it was interesting to hear JW talk so much about contemporary music and his ideas plus his own works in context.
     
    At 8:31, he says "Last year I wrote an overture..." what work was this?
  13. Thanks
    karelm got a reaction from Marcus in Interesting vintage interview   
    I really enjoyed this vintage interview where JW talks about contemporary music and his ambitions for the Boston Pops.  JW comes across very professorially and I found it really interesting at the start that he admired Seiji Ozawa's performance of Maxwell Davies Symphony (I can't tell which one it is but pretty sure it is his No. 1).  I have a personal connection with Sir Peter Maxwell Davies.  In the 1990's, I was a student and found out he was coming to San Francisco to conduct a world premiere of a work the SFO had commissioned.  I sent him an email and to my surprise, he responded inviting me to come back stage during the rehearsal and watch him work with the orchestra.  I had the entire concert hall to myself.  After the rehearsal, Sir Peter, looked for me and invited me backstage to his dressing room.  He was so warm and inviting, I was not just a no body, I wasn't even a composition student.  But he was very interested in seeing what I had done and giving me advise.  That encounter had a big impact on me as a student and I never forgot his generosity and encouragement tempered with wisdom ("it's a very difficult path you're on and if you can make a living doing something else, probably better to go that route").  I found it quite interesting that JW thought so highly of him regarding the Symphony No. 1 though it's so different from JW's own style - it's a loud, hour long, atonal symphony.  I thought it was interesting to hear JW talk so much about contemporary music and his ideas plus his own works in context.
     
    At 8:31, he says "Last year I wrote an overture..." what work was this?
  14. Like
    karelm got a reaction from Bayesian in Interesting vintage interview   
    If this is 1982, then kudos to the interviewer for not asking anything about Star Wars, Raiders, or ET and asking lots of interesting questions about JW's creative programming ideas and thoughts on contemporary music.  This is a very rare Golden Age interview and JW seemed very engaged with the subject.  He did commission Sir Peter Maxwell Davies' "Orkney Wedding with Sunrise" in 1989, easily that composer's most accessible work but I think it says a lot about JW that he thought so highly of that composers atonal works.   I love how he straddles and contemplates popular music and its context in serious music like his great predecessors, Prokofiev, Shostakovitch, and Vaughan Williams.  It is also fascinating how extremely well versed he was in the contemporary artists of that time.  Many of whom I've never even heard of.  This interview clearly shows he was extremely knowledgeable and as I previously stated, professorial.  Seriously, how rare is it to have a great, great film composer who understood popular music and contemporary concert music as well as he does?  Jon Burlingame said there were a few "experts" before.  Miklos Rozsa was considered a musicologist who possessed an academic knowledge of music that set him apart from his compositional achievements.  Alfred Newman was considered to have concert conducting skills - he could have been a famous concert conductor if he chose that path.  JW posses all these rare gifts along with his compositional talent and those are displayed here.  Seriously, after him, there is no one left of this breadth of mastery. 
  15. Like
    karelm got a reaction from Jay in Interesting vintage interview   
    If this is 1982, then kudos to the interviewer for not asking anything about Star Wars, Raiders, or ET and asking lots of interesting questions about JW's creative programming ideas and thoughts on contemporary music.  This is a very rare Golden Age interview and JW seemed very engaged with the subject.  He did commission Sir Peter Maxwell Davies' "Orkney Wedding with Sunrise" in 1989, easily that composer's most accessible work but I think it says a lot about JW that he thought so highly of that composers atonal works.   I love how he straddles and contemplates popular music and its context in serious music like his great predecessors, Prokofiev, Shostakovitch, and Vaughan Williams.  It is also fascinating how extremely well versed he was in the contemporary artists of that time.  Many of whom I've never even heard of.  This interview clearly shows he was extremely knowledgeable and as I previously stated, professorial.  Seriously, how rare is it to have a great, great film composer who understood popular music and contemporary concert music as well as he does?  Jon Burlingame said there were a few "experts" before.  Miklos Rozsa was considered a musicologist who possessed an academic knowledge of music that set him apart from his compositional achievements.  Alfred Newman was considered to have concert conducting skills - he could have been a famous concert conductor if he chose that path.  JW posses all these rare gifts along with his compositional talent and those are displayed here.  Seriously, after him, there is no one left of this breadth of mastery. 
  16. Like
    karelm reacted to Thor in Interesting vintage interview   
    It's a good interview that was shared here a few years ago (it was not on Youtube at the time, but from some Boston-based TV network site, if memory serves).
     
    Cool story about Maxwell Davies, karelm!
  17. Thanks
    karelm got a reaction from carlborg in Interesting vintage interview   
    I really enjoyed this vintage interview where JW talks about contemporary music and his ambitions for the Boston Pops.  JW comes across very professorially and I found it really interesting at the start that he admired Seiji Ozawa's performance of Maxwell Davies Symphony (I can't tell which one it is but pretty sure it is his No. 1).  I have a personal connection with Sir Peter Maxwell Davies.  In the 1990's, I was a student and found out he was coming to San Francisco to conduct a world premiere of a work the SFO had commissioned.  I sent him an email and to my surprise, he responded inviting me to come back stage during the rehearsal and watch him work with the orchestra.  I had the entire concert hall to myself.  After the rehearsal, Sir Peter, looked for me and invited me backstage to his dressing room.  He was so warm and inviting, I was not just a no body, I wasn't even a composition student.  But he was very interested in seeing what I had done and giving me advise.  That encounter had a big impact on me as a student and I never forgot his generosity and encouragement tempered with wisdom ("it's a very difficult path you're on and if you can make a living doing something else, probably better to go that route").  I found it quite interesting that JW thought so highly of him regarding the Symphony No. 1 though it's so different from JW's own style - it's a loud, hour long, atonal symphony.  I thought it was interesting to hear JW talk so much about contemporary music and his ideas plus his own works in context.
     
    At 8:31, he says "Last year I wrote an overture..." what work was this?
  18. Like
    karelm got a reaction from carlborg in Interesting vintage interview   
    If this is 1982, then kudos to the interviewer for not asking anything about Star Wars, Raiders, or ET and asking lots of interesting questions about JW's creative programming ideas and thoughts on contemporary music.  This is a very rare Golden Age interview and JW seemed very engaged with the subject.  He did commission Sir Peter Maxwell Davies' "Orkney Wedding with Sunrise" in 1989, easily that composer's most accessible work but I think it says a lot about JW that he thought so highly of that composers atonal works.   I love how he straddles and contemplates popular music and its context in serious music like his great predecessors, Prokofiev, Shostakovitch, and Vaughan Williams.  It is also fascinating how extremely well versed he was in the contemporary artists of that time.  Many of whom I've never even heard of.  This interview clearly shows he was extremely knowledgeable and as I previously stated, professorial.  Seriously, how rare is it to have a great, great film composer who understood popular music and contemporary concert music as well as he does?  Jon Burlingame said there were a few "experts" before.  Miklos Rozsa was considered a musicologist who possessed an academic knowledge of music that set him apart from his compositional achievements.  Alfred Newman was considered to have concert conducting skills - he could have been a famous concert conductor if he chose that path.  JW posses all these rare gifts along with his compositional talent and those are displayed here.  Seriously, after him, there is no one left of this breadth of mastery. 
  19. Like
    karelm got a reaction from GerateWohl in Interesting vintage interview   
    If this is 1982, then kudos to the interviewer for not asking anything about Star Wars, Raiders, or ET and asking lots of interesting questions about JW's creative programming ideas and thoughts on contemporary music.  This is a very rare Golden Age interview and JW seemed very engaged with the subject.  He did commission Sir Peter Maxwell Davies' "Orkney Wedding with Sunrise" in 1989, easily that composer's most accessible work but I think it says a lot about JW that he thought so highly of that composers atonal works.   I love how he straddles and contemplates popular music and its context in serious music like his great predecessors, Prokofiev, Shostakovitch, and Vaughan Williams.  It is also fascinating how extremely well versed he was in the contemporary artists of that time.  Many of whom I've never even heard of.  This interview clearly shows he was extremely knowledgeable and as I previously stated, professorial.  Seriously, how rare is it to have a great, great film composer who understood popular music and contemporary concert music as well as he does?  Jon Burlingame said there were a few "experts" before.  Miklos Rozsa was considered a musicologist who possessed an academic knowledge of music that set him apart from his compositional achievements.  Alfred Newman was considered to have concert conducting skills - he could have been a famous concert conductor if he chose that path.  JW posses all these rare gifts along with his compositional talent and those are displayed here.  Seriously, after him, there is no one left of this breadth of mastery. 
  20. Like
    karelm got a reaction from Miguel Andrade in Interesting vintage interview   
    If this is 1982, then kudos to the interviewer for not asking anything about Star Wars, Raiders, or ET and asking lots of interesting questions about JW's creative programming ideas and thoughts on contemporary music.  This is a very rare Golden Age interview and JW seemed very engaged with the subject.  He did commission Sir Peter Maxwell Davies' "Orkney Wedding with Sunrise" in 1989, easily that composer's most accessible work but I think it says a lot about JW that he thought so highly of that composers atonal works.   I love how he straddles and contemplates popular music and its context in serious music like his great predecessors, Prokofiev, Shostakovitch, and Vaughan Williams.  It is also fascinating how extremely well versed he was in the contemporary artists of that time.  Many of whom I've never even heard of.  This interview clearly shows he was extremely knowledgeable and as I previously stated, professorial.  Seriously, how rare is it to have a great, great film composer who understood popular music and contemporary concert music as well as he does?  Jon Burlingame said there were a few "experts" before.  Miklos Rozsa was considered a musicologist who possessed an academic knowledge of music that set him apart from his compositional achievements.  Alfred Newman was considered to have concert conducting skills - he could have been a famous concert conductor if he chose that path.  JW posses all these rare gifts along with his compositional talent and those are displayed here.  Seriously, after him, there is no one left of this breadth of mastery. 
  21. Like
    karelm got a reaction from Holko in Interesting vintage interview   
    If this is 1982, then kudos to the interviewer for not asking anything about Star Wars, Raiders, or ET and asking lots of interesting questions about JW's creative programming ideas and thoughts on contemporary music.  This is a very rare Golden Age interview and JW seemed very engaged with the subject.  He did commission Sir Peter Maxwell Davies' "Orkney Wedding with Sunrise" in 1989, easily that composer's most accessible work but I think it says a lot about JW that he thought so highly of that composers atonal works.   I love how he straddles and contemplates popular music and its context in serious music like his great predecessors, Prokofiev, Shostakovitch, and Vaughan Williams.  It is also fascinating how extremely well versed he was in the contemporary artists of that time.  Many of whom I've never even heard of.  This interview clearly shows he was extremely knowledgeable and as I previously stated, professorial.  Seriously, how rare is it to have a great, great film composer who understood popular music and contemporary concert music as well as he does?  Jon Burlingame said there were a few "experts" before.  Miklos Rozsa was considered a musicologist who possessed an academic knowledge of music that set him apart from his compositional achievements.  Alfred Newman was considered to have concert conducting skills - he could have been a famous concert conductor if he chose that path.  JW posses all these rare gifts along with his compositional talent and those are displayed here.  Seriously, after him, there is no one left of this breadth of mastery. 
  22. Like
    karelm got a reaction from Marian Schedenig in Interesting vintage interview   
    If this is 1982, then kudos to the interviewer for not asking anything about Star Wars, Raiders, or ET and asking lots of interesting questions about JW's creative programming ideas and thoughts on contemporary music.  This is a very rare Golden Age interview and JW seemed very engaged with the subject.  He did commission Sir Peter Maxwell Davies' "Orkney Wedding with Sunrise" in 1989, easily that composer's most accessible work but I think it says a lot about JW that he thought so highly of that composers atonal works.   I love how he straddles and contemplates popular music and its context in serious music like his great predecessors, Prokofiev, Shostakovitch, and Vaughan Williams.  It is also fascinating how extremely well versed he was in the contemporary artists of that time.  Many of whom I've never even heard of.  This interview clearly shows he was extremely knowledgeable and as I previously stated, professorial.  Seriously, how rare is it to have a great, great film composer who understood popular music and contemporary concert music as well as he does?  Jon Burlingame said there were a few "experts" before.  Miklos Rozsa was considered a musicologist who possessed an academic knowledge of music that set him apart from his compositional achievements.  Alfred Newman was considered to have concert conducting skills - he could have been a famous concert conductor if he chose that path.  JW posses all these rare gifts along with his compositional talent and those are displayed here.  Seriously, after him, there is no one left of this breadth of mastery. 
  23. Like
    karelm got a reaction from Marian Schedenig in Interesting vintage interview   
    I really enjoyed this vintage interview where JW talks about contemporary music and his ambitions for the Boston Pops.  JW comes across very professorially and I found it really interesting at the start that he admired Seiji Ozawa's performance of Maxwell Davies Symphony (I can't tell which one it is but pretty sure it is his No. 1).  I have a personal connection with Sir Peter Maxwell Davies.  In the 1990's, I was a student and found out he was coming to San Francisco to conduct a world premiere of a work the SFO had commissioned.  I sent him an email and to my surprise, he responded inviting me to come back stage during the rehearsal and watch him work with the orchestra.  I had the entire concert hall to myself.  After the rehearsal, Sir Peter, looked for me and invited me backstage to his dressing room.  He was so warm and inviting, I was not just a no body, I wasn't even a composition student.  But he was very interested in seeing what I had done and giving me advise.  That encounter had a big impact on me as a student and I never forgot his generosity and encouragement tempered with wisdom ("it's a very difficult path you're on and if you can make a living doing something else, probably better to go that route").  I found it quite interesting that JW thought so highly of him regarding the Symphony No. 1 though it's so different from JW's own style - it's a loud, hour long, atonal symphony.  I thought it was interesting to hear JW talk so much about contemporary music and his ideas plus his own works in context.
     
    At 8:31, he says "Last year I wrote an overture..." what work was this?
  24. Like
    karelm got a reaction from Manakin Skywalker in The Composer's Thread   
    Something old is something new again.   This is based on something I composed 20 years ago and recently found and dusted it off into a brand new piece.  Yes, I was going through a James Horner phase.  This is probably my largest scale work for full orchestra, choir, and organ!
     
    https://clyp.it/1pzux4g5
     
  25. Like
    karelm got a reaction from SteveMc in The Composer's Thread   
    Something old is something new again.   This is based on something I composed 20 years ago and recently found and dusted it off into a brand new piece.  Yes, I was going through a James Horner phase.  This is probably my largest scale work for full orchestra, choir, and organ!
     
    https://clyp.it/1pzux4g5
     
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.