Taikomochi

I love the aesthetic unity of all three looking like they were made in MS paint. What a choice!

I love the aesthetic unity of all three looking like they were made in MS paint. What a choice!

I love the aesthetic unity of all three looking like they were made in MS paint. What a choice!

I’ve given it a couple of listens having enjoyed the first score more than expected (his soundscape stuff doesn’t typically do much for me) and like much of it. The fact that it does at least have (fairly) recognisable themes and some incredibly effective sections is quite welcome, plus it had its own distinctive sound world (just like Mahler told Sibelius a symphony should have… even if Hans is no Mahler or Sibelius).
 
Having said that (and knowing it’s bad form to review something as to what it’s not) but part of me kinda wishes it was more of a fusion of synths and orchestra where each puncture through the overall texture as and when appropriate. There are just times when it’s some strange synth noise and I’m craving an orchestra. Perhaps I just want it to sound more like Intersetellar…

I love the aesthetic unity of all three looking like they were made in MS paint. What a choice!

I love the aesthetic unity of all three looking like they were made in MS paint. What a choice!

Mine came but the first track has skipping all over it 😔. There’s no visible scratches on the CD, so not sure what happened. Check ya discs, folks

Mine came but the first track has skipping all over it 😔. There’s no visible scratches on the CD, so not sure what happened. Check ya discs, folks

The statement 49 seconds into the album Jungle Chase is some of JW’s finest thematic-action writing period.

Irina's Theme is glorious. It's use throughout the entire Jungle Chase sequence is excellent. 

Solo is here!
 

 

This wall-to-wall overscoring becomes especially painful when apart from a few highlights nothing particularly interesting is happening in the music.
 
That is why I consider this year's Williams' score superior to Göransson's.

Adding "they don't even know which month it is" to my list...

3000x3000 cover art link here: https://varesesarabande.com/cdn/shop/files/HTTYD3_packshot.jpg
 
Some amazing work has been done here:
 

 

So let's see
 
Awful colour palette choices in addition to the amateur cover
Still can't be fucked to put up audio samples
Not very legible tracklist formatting (put goddamn spaces before and after -)
No track lengths
No indication what the bonus tracks are, demos or alternates, they've neglected to put up the full titles which would help distinguish them on their store pages for years now
Last line is unclear, is this deluxe album produced by Emile Hayne and Jonsi, or just the # track
2 month physical exclusivity window, for 1 month of which it won't even fucking ship

I'll bet you a billion dollars that that didn't happen.
 
I wasn't implying that at all. I was responding to your dismissiveness of the fact that the Herrmann album was "just a re-recording", which completely devalues the amount of time, work, energy, and money that is required to actually put together an orchestra and re-record two niche scores in today's media market. When you combine that with the excellence of the package, the quality of Steve Smith's liner notes, etc... it's a great album.
 
Having said that, Hook is a great album too. A fantastic effort from all involved, for a score that badly needed reworking and presenting in a better manner. That album did all that. It's superb.
 
So, at that point, it simply comes down to the personal taste of the voters. And more people liked the Herrmann set than Hook. That's really all there is to it.

A few of my favorite shots with my phone yesterday. What an amazing night!

Another truly wonderful evening! Not much to add since I covered this same program in my post about the Philly concert, but Williams was again in amazing spirits, even widely smiling at the orchestra while conducting. He couldn’t remember Mark Hamill’s name, referring only to Carrie Fisher’s screen “partner”, but that’s literally my only nitpick beyond again lamenting the missed opportunity of having Williams conduct Yo-Yo Ma himself.
 
Beyond that, nothing but great energy from the stage and the audience, and in an iconic and historic venue that Williams highly praised when he began the second half of the program (even theorizing there are ghosts in the Hall that dance and play music when it’s empty after performances).
 
I guess for now, this is it until Tanglewood for East Coast-ers. August feels so far away, but I’m sure it’ll be here before we all know it! Until then, grateful as ever to the living legend that is Maestro John Williams for countless priceless musical memories, from the first note of the first piece to the famous “sleepy hands”, and everything in between.
 

 

 

 

 

 
 

I mentioned in that thread that I emailed the station and they told me the concert won’t be broadcast.

I wonder if those concert arrangements are basically what we hear in most of the prologue track.

Finally an award where the voters have good taste.

It makes no different in the slightest how this score compares to his other own works.

it's only about how it compares to other scores from this calendar year.

http://filmmusiccritics.org/2024/02/ifmca-award-nominations-2023/
 
 
The International Film Music Critics Association will announce the winners of the 20th IFMCA Awards LIVE on the IFMCA YouTube channel on February 22, 2024.
#######################################
 
The nominees are:
 
SCORE OF THE YEAR
GOJIRA-1.0/GODZILLA MINUS ONE, music by Naoki Sato INDIANA JONES AND THE DIAL OF DESTINY, music by John Williams KIMITACHI WA DŌ IKIRU/THE BOY AND THE HERON, music by Joe Hisaishi OPPENHEIMER, music by Ludwig Göransson THE PIPER, music by Christopher Young  
COMPOSER OF THE YEAR
LORNE BALFE LAURA KARPMAN BEAR MCCREARY JOHN WILLIAMS CHRISTOPHER YOUNG  
BREAKTHROUGH COMPOSER OF THE YEAR
SHERRI CHUNG PAWEŁ LUCEWICZ MICHAEL “MIKA” PENNIMAN JR. ŁUKASZ “L.U.C” ROSTKOWSKI COREY WALLACE  
COMPOSITION OF THE YEAR
“Can You Hear the Music?” from OPPENHEIMER, music by Ludwig Göransson “Concerto for Flute and Orchestra, Movement 2” from THE PIPER, music by Christopher Young “Found” from LA SOCIEDAD DE LA NIEVE/SOCIETY OF THE SNOW, music by Michael Giacchino “Helena’s Theme” from INDIANA JONES AND THE DIAL OF DESTINY, music by John Williams “Leaving Spacedock” from STAR TREK: PICARD, music by Stephen Barton and Frederik Wiedmann  
BEST ORIGINAL SCORE FOR A DRAMA FILM
THE BOYS IN THE BOAT, music by Alexandre Desplat NAPOLEON, music by Martin Phipps OPPENHEIMER, music by Ludwig Göransson LA SOCIEDAD DE LA NIEVE/SOCIETY OF THE SNOW, music by Michael Giacchino ZNACHOR/FORGOTTEN LOVE, music by Paweł Lucewicz  
BEST ORIGINAL SCORE FOR A COMEDY FILM
AMERICAN FICTION, music by Laura Karpman BARBIE, music by Mark Ronson and Andrew Wyatt HAUNTED MANSION, music by Kris Bowers KUREIJI KURUZU/IN LOVE AND DEEP WATER, music by Takatsugu Muramatsu MON CRIME/THE CRIME IS MINE, music by Philippe Rombi  
BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE FILM
THE HUNGER GAMES: THE BALLAD OF SONGBIRDS AND SNAKES, music by James Newton Howard INDIANA JONES AND THE DIAL OF DESTINY, music by John Williams MISSION: IMPOSSIBLE – DEAD RECKONING, PART ONE, music by Lorne Balfe PERTSA & KILU: FAARAON SORMUS/RANGERS OF THE LOST RING, music by Panu Aaltio SUPERCELL, music by Corey Wallace  
BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION FILM
THE CREATOR, music by Hans Zimmer FENG SHEN DI YI BU: ZHAO GE FENG YUN/CREATION OF THE GODS I: KINGDOM OF STORMS, music by Gordy Haab GOJIRA-1.0/GODZILLA MINUS ONE, music by Naoki Sato PETER PAN & WENDY, music by Daniel Hart POOR THINGS, music by Jerskin Fendrix  
BEST ORIGINAL SCORE FOR A HORROR/THRILLER FILM
A HAUNTING IN VENICE, music by Hildur Guđnadóttir THE LAST VOYAGE OF THE DEMETER, music by Bear McCreary M3GAN, music by Anthony Willis THE NUN II, music by Marco Beltrami THE PIPER, music by Christopher Young  
BEST ORIGINAL SCORE FOR AN ANIMATED FILM
CHŁOPI/THE PEASANTS, music by Łukasz “L.U.C” Rostkowski ELEMENTAL, music by Thomas Newman KIMITACHI WA DŌ IKIRU/THE BOY AND THE HERON, music by Joe Hisaishi MIGRATION, music by John Powell SPIDER-MAN: ACROSS THE SPIDER-VERSE, music by Daniel Pemberton  
BEST ORIGINAL SCORE FOR A DOCUMENTARY
BLUE WHALES: RETURN OF THE GIANTS, music by Steven Price LIBRES, music by Oscar Martín Leanizbarrutia LIFE ON OUR PLANET, music by Lorne Balfe STILL: A MICHAEL J. FOX MOVIE, music by John Powell WILD ISLES, music by George Fenton  
BEST ORIGINAL SCORE FOR TELEVISION
AHSOKA, music by Kevin Kiner ALL THE LIGHT WE CANNOT SEE, music by James Newton Howard THE FALL OF THE HOUSE OF USHER, music by The Newton Brothers ONE PIECE, music by Sonya Belousova and Giona Ostinelli STAR TREK: PICARD, music by Stephen Barton and Frederik Wiedmann  
BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA
AVATAR: FRONTIERS OF PANDORA, music by Pinar Toprak GOD OF WAR: RAGNARÖK – VALHALLA, music by Sparks & Shadows, themes by Bear McCreary HOGWARTS LEGACY, music by Chuck E. Myers, J. Scott Rakozy, and Peter Murray PLANET OF LANA, music by Takeshi Furukawa STAR WARS: JEDI – SURVIVOR, music by Stephen Barton and Gordy Haab  
BEST ARCHIVAL RELEASE
CHAPLIN, music by John Barry; album produced by Neil S. Bulk, liner notes by Jon Burlingame, album art direction by Scott Saslow (La-La Land) HEIDI/JANE EYRE, music by John Williams; album produced by Mike Matessino, liner notes by John Takis and Mike Matessino, album art direction by Jim Titus (Quartet) HOOK, music by John Williams; album produced by Mike Matessino, liner notes by Mike Matessino, John Takis, and Jason LeBlanc, album art direction by Jim Titus (La-La Land) LAURENCE ROSENTHAL: MUSIC FOR FILM AND TELEVISION, music by Laurence Rosenthal; the Brussels Philharmonic conducted by Dirk Brossé, album produced by Thomas Van Parys/Film Fest Gent, liner notes by Laurence Rosenthal, Robert Townson, and Thomas Van Parys, album art direction by Stuart Ford (Silva Screen/Film Fest Gent) MACARTHUR, music by Jerry Goldsmith; album produced by Douglass Fake, liner notes by Jeff Bond and Douglass Fake, album art direction by Kay Marshall (Intrada) THE MAN WHO KNEW TOO MUCH/ON DANGEROUS GROUND, music by Bernard Herrmann; the Royal Scottish National Orchestra conducted by William Stromberg, album produced by Douglass Fake, liner notes by Steven Smith, album art direction by Stephane Coedel and Kay Marshall (Intrada) NIGHT AFTER NIGHT, music by James Newton Howard; orchestra conducted by Gavin Greenaway, featured performers Jean-Yves Thibaudet, Hilary Hahn, and Maya Beiser, album produced by Michael Dean Parsons, liner notes by James Newton Howard and M. Night Shyamalan, album art direction nominee to be confirmed (Sony Classical) THE ROCK, music by Nick Glennie-Smith, Hans Zimmer, and Harry Gregson-Williams; album produced by Stéphane Humez, liner notes by Kaya Savas, album art direction by Kay Marshall (Intrada) SÉANCE ON A WET AFTERNOON/KATHERINE HEPBURN, music by John Barry; Orquesta de Córdoba conducted by Fernando Velázquez, album produced by Jose M. Benitez and Leigh Phillips, liner notes by Jon Burlingame, album art direction by Nacho B. Govantes and Jim Titus (Quartet) A SYMPHONIC CELEBRATION: MUSIC FROM THE STUDIO GHIBLI FILMS OF HAYAO MIYAZAKI, music by Joe Hisaishi; the Royal Philharmonic Orchestra conducted by Joe Hisaishi, album produced by Joe Hisaishi and Anna Barry, liner notes by Michael Beek, album art direction by Yuka Araki (Deutsche Grammophon)  
FILM MUSIC RECORD LABEL OF THE YEAR
INTRADA RECORDS, Douglass Fake, Roger Feigelson LA-LA LAND RECORDS, MV Gerhard, Matt Verboys MOVIESCORE MEDIA, Mikael Carlsson MUSIC BOX RECORDS, Cyril Durand-Roger, Laurent Lafarge QUARTET RECORDS, Jose M. Benitez  
###################################

A magical evening with the Maestro! I’m sooooo glad he did the second half of the concert instead - hearing him introduce his own iconic pieces and conduct them himself just can’t be beat! Williams was in great form, telling the usual funny stories with even greater humor and joy than usual (and noting that Empire is when he “put clothes on Darth Vader and Yoda” when telling the Luke-Leia-love-them story before Leia’s Theme). He also seemed more spry than the last time I saw him, walking much more quickly and easily and even bending down multiple times to pick up his massive score books. At one point, his baton even fell to the ground and he was about to pick it up himself before a cellist did for him.
 
Needless to say, Yo-Yo Ma was brilliant during the Concerto and Schindler’s List Theme in the first half, but the second half with Williams himself stole the show, and the energy of the audience alone demonstrated that. The second half encores were Helena’s Theme, Star Wars Main Title Suite, and Imperial March. So, no surprises this time, but still a wonderful concert full of classics and amazing energy from both Williams and his audience.
 
My only “critiques” would be that beyond Williams coming out before and after Schindler’s to bow with Yo-Yo Ma, there was no other interaction between them, and you’d have expected Williams to conduct Yo-Yo at some point given their double headline spots in the concert. And additionally, Williams’ security needs to chill a bit. A kid who couldn’t have been older than 14 walked up to the stage with a CD and sharpie in hand towards the end of the concert when Williams was exiting, and a security guard standing stage right began motioning to the kid to leave and ultimately came down to tell him to go away. Let’s not forget Williams used to come out the stage door after Boston shows and greet everyone. I know eBay scalpers ruined that, and now Williams is up in age, but for security to get on a kid’s ass just because he was holding a CD was sad. Not necessarily Williams’ fault, of course, and also not surprising since Williams hasn’t signed for people in years, but it definitely showed how times have changed.
 
Anyway, looking forward to experiencing this wonderful program again at the legendary Carnegie Hall in a couple days! Hopefully Williams does the second half there, too. It really enhanced the entire evening. Tonight was my 30th time seeing him conduct live, and I certainly hope there will be many more ahead!
 
My pics from the evening:
 

 



 

 
 

I am! New member here! A new development that I'm thrilled about. In the program at the theater, "in tonight's concert Stephane Deneve will conduct the first half of the program and John Williams will conduct the second half"