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Posts posted by igger6

  1. Every time the discussion about one of these revised pieces ramps up, I wish for some highly musically literate person to create an infographic that lays out and color-codes the different sections of each piece by theme, instrument group, etc. I’m not capable of doing it myself, but if I were a 17th-century Prussian duke, this would totally be one of the targets of my aristocratic patronage.  

  2. Did any of Yelena's theme make it to either soundtrack, and does anyone have timestamps?  I just finished this half-satisfying series and am delving into its half-satisfying score today.  I like Beck's themes for Clint and Kate, but they're a bit short and flimsy, and I keep expecting Aslan to show up when the opening notes of Clint's theme play.  I also absolutely love the interpolation of Christmas melodies, but I wish he'd done it more than twice in the series.  Those are two of my absolute favorite cues.  A lot of the rest of it is fading into action anonymity for me.  The writing is fun, but the themes don't have enough melodic meat to latch onto.  Neither is as memorable as his themes for Wanda or Ant-Man, or even the Wasp.


    I didn't latch on to any of Balfe's Black Widow themes in the theater, so I'm curious. (UPDATE: Found it in "Dustup on a Housetop" and then sampled the eponymous track from Balfe's score.  That theme doesn't suit Yelena's personality at all!  It's like all Balfe knew was her ethnicity when he wrote the theme.)


    I agree that Beck is becoming the new champ of thematic integrity (or really always has been).  I do actually find it a little odd, though, that in a series spotlighting an original Avenger, using some Silvestri material, and featuring a scene actually set during the Battle of New York, we don't get a single snatch of the Avengers theme.


    And not to look a gift horse in the mouth, but a couple of Hawkeye's arrows definitely presented unrealized potential

  3. I'll be there!  I had some pandemic credit built up from the original cancelled Jurassic Park concert, so I finally ponied up for the entire CSO at the Movies series, which then enabled me to buy tickets for the Williams show (while seeing JP and Return of the Jedi to boot).  I've never spent so much on tickets for anything at one pop before, but every accessible Williams show becomes more valuable with each passing year.

  4. I finally ponied up for the DCH recording this week.  So great!  And something about the recording (or mixing or mic placement or my headphones) seemed to bring out elements of even very familiar pieces that I had never paid attention to before.  (Turns out there are some very cool low string lines in E.T.!)  This Blu-Ray news couldn't have dropped at a better time for me. 


    In what sense is the DCH version edited?  Are there pieces excised, or just transitions between applause and talking?

  5. 7 hours ago, Datameister said:

    Ultimately, @Chen G., this issue is gonna be a very subjective one. But for me, the joy of hearing it quoted in TLJ was the well-placed surprise dose of nostalgia. Suddenly I was hearing an amazing piece of Star Wars musical history that hadn't poked its head out in a long time. I could have just as easily had the same reaction to Solo if it'd been released first, or if the films had been separated by enough years. But with them being released so close together, Solo's scene ended up feeling like kind of a cheap shot to me on first viewing. Like, "Hey, you just used that move on me a few months ago!"


    Totally agree about the unfortunate timeline of these two musical nostalgia bursts.  I actually find the reuse in ROTJ lazier from a musical standpoint, particularly since it shows up in both Sail Barge Assault and Superstructure Chase (right?).


    Honestly, what marred the appearance in TLJ for me was more that it was the third major needle-drop of that score, after the concert suite appearances for Leia and Yoda (with all those scenes' attendant baggage in the lore).  By the time the salt cave chase arrived, TLJ had so thoroughly lost me that the recycled music hit differently than it would have in a film I was enjoying.  Regardless of my reaction to TLJ's plot, though, I also found the staging of that sequence so similar to the Star Destroyer wreckage chase from the immediately prior film (Millennium Falcon dueling a small number of TIE fighters in a long, narrow tunnel) that it struck me as a boring choice in the middle of an already derivative speeders-and-walkers battle.


    This is off-topic, but it leads me to articulate a particular bugaboo of mine about TLJ that I don't think I'd thought of before: for a film that was so determined to torch the Star Wars playbook (and received nonstop fawning in the entertainment press for doing just that), nearly every major sequence in it has an immediate analogue in either ESB or ROTJ: base escape, reluctant mentor meeting, protracted space pursuit, opulent resort interlude, abortive departure from would-be mentor, self-turn-in to woo villain to the light, throne room torture/betrayal scene, infiltration of enemy capital ship (that's from ANH), "snow" battle with speeders and walkers.  The two lightsaber duels are the film's most iconic scenes because they're two of its only totally original ideas.

  6. My only exposure to this score was one of the poppier arrangements of the main theme, so I pretty much subconsciously wrote off the rest of the score for years.  Not available, not intriguing, not a problem for me.  But thanks to the new release—and, even more so, thanks to@TownerFan's excellent podcast with Mattessino commemorating it—I was exposed to cues like "Top of the World" and the training material, and this became an instant buy.  One of the joys of the mature phase of my Williams fandom has been discovering that there's something worth having even on the Williams scores you think you don't care about (even that one cue on Images that I can't bring myself to buy the whole album for... :banghead:)

  7. 1 hour ago, Damien F said:

    I have that Far and Away suite on the "1969 - 1999" two disc compilation. Not sure if that recording appears on other compilation albums.


    It can't be the same suite, because that recording features Perlman on solo violin.  (Speaking of which, I wonder if that's the only Williams piece to have been rearranged by the Maestro two separate times for the same solo instrument?  Maybe Geisha would be the other.)


    Unrelated: if this does get released, will it be the fastest Jurassic Park Williams has ever recorded?

  8. And it's both fascinating and hilarious as usual.  I don't usually find myself grinning ear to ear while driving alone, but it's guaranteed whenever these guys drop a new episode. 


    I was glad to hear some well-earned praise for Giacchino's Marvel fanfare and some well-earned apathy for that anonymous hackwork that plays over the Disney+ Star Wars logo.  Let's hope, as they suggest, that someone at Disney comes to their senses and commissions a proper fanfare in the coming years.


    Meanwhile, I have Johnny's next late-career reimagining project: Fantasy for Orchestra on the Amblin Logo!

  9. Also, dang it!  When I opened the thread I thought we were finally getting the Ma/Williams album we deserve, chock full of film music suites for cello.  Ma did this with Morricone decades ago, but Williams' film music remains tragically under-recorded on my favorite instrument. 


    Also, Ma already recorded the concerto!  Revised or not, don't let Yo-Yo's penchant for yo-yoing back to previously tackled pieces distract you, Maestro!  We need "Love Theme from The Terminal for Cello and Orchestra"!


    Maybe we'll get a couple of bonus arrangements on the back half?

  10. 39 minutes ago, JohnnyD said:

    I hope the choir that is heard the moment Esmeralda enters the Cathedral is included. I know it is source music, but that choir singing the Latin hymn moves me deeply, not just as a love for music, but as a Catholic as well.


    Amen!  Just about everything I know about Mass parts in Latin I originally learned from this soundtrack, squinting to make out tiny black italic text on that absurdly reddish-brown cassette insert!

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