Desplat13

I would have to agree with thegreateye on this one. Pixar has made some really great movies.

Wow, that does look nice. I didn't know the story was going to be on that sort of scale. I thought it was going to be more of a return to bugs life toy story finding nemo sort of preportions. It sort of looks like they are heading in the opposite direction. Colin Thomson

That was a cue used in the teaser trailer and not the full one above. Oh, ok.

Soundtrack.net says it was: Brazil (1985): "Central Services / The Office" - Michael Kamen Oscar and Lucinda (1997) - Thomas Newman Here is the link if you want to look at it yourself http://www.soundtrack.net/trailers/?cid=W&mid=29575 That site has a very comprehensive list trailer music. Colin Thomson

I might be going to the Boston concert. I might just try the getting there early thing and see what happens. Colin Thomson

Last I counted, I had 44 JW soundtracks (plus two compilations). You should get a ton more JW scores, particularly the Indy scores, Home Alone, Catch Me If You Can. . . . Of course I want all of them. Who wouldn't? I am trying to slowly build my film music collection, as my funds cannot really support anything more than a slow build. Oh, and Indy is amazing. But it is out of print, and so very expensive. I was very tempted to at one point, even with the unreasonable price. But that was right after having seen Raiders, and I only barely held my sanity long enough to convince myself that it was too much money, and that a better price would come around if I waited. Which is what I am doing... Colin Thomson

My complete John Williams collection: Star Wars (all 6) Schindler's List Jurassic Park (#1) Hook E. T. Main Titles from Indiana Jones and Jaws (from iTunes) Movies scored by John Williams I have seen: Star Wars (all 6) Jurassic Park (#1) Raiders of the Lost Ark Part of Hook I think that is pretty much it. Hopefully that makes you feel better. What really is much more important is the Beauty and the Beast soundtrack. :cool: Colin Thomson

Here is something I wrote a little while back: http://www.badongo.com/file/7989258 Colin Thomson

That's incorrectly labeled. It's a demo. Ok. cool. Thanks very much. Colin Thomson

Also, what is "Be Our Guest (Score)"? That says album only on iTunes. I'll get the whole thing if I need to. What is that track of? In the chronological list for Beauty and the Beast, it says Wolf Attack form Music from the Magic. Is that different from the West Wing wolf attack music? Colin Thomson

This is what I have: http://www.amazon.com/Beauty-Beast-Origina...9906&sr=1-4 If you look there it says 4:45 for west wing. I thought it was the original. Thanks for the help, Henry. Colin Thomson

Are you sure? On iTunes special edition it says 4:25. In my original edition it says 4:25. Did they replace old music with new? Colin Thomson

I have the original soundtrack to Beauty and the Beast, and love it. I was looking on iTunes, and saw that the only difference between the special edition and the original is the 'Human Again" song, another version of "Be Our Guest" (not sure where from), "Beauty and the Beast worktap and demo" and "Death of the Beast early version". If I bought these individual tracks on Itunes, would I be getting everything from both albums? Thanks in advance. Colin Thomson

Atonal does not mean music that is less traditional. Like Henry said, it just means that it does not center around one tone. So perhaps there could be a better word than 'atonal', but that is the one we are stuck with to describe not music that sounds weird, but musc that does not center around one tone. Colin Thomson

This is interesting stuff. It's not really atonal, more like free tonal. Right. Berg used Schoenberg's 12 tone scale, but he also did not shun using more familiar methods for producing emotion. Sometimes he even has hints of a semi-tonal melody line, but they are always short, and the larger part of his music I would definitely call atonal. So perhaps over-all, his music is free-tonal, because parts get close to tonality, but other parts are firmly atonal. Colin Thomson

Though not a film music composer, Alban Berg is a good example of atonality. And if you want to listen to some of his stuff online, there are demos for VSL of three of his pieces. Go to the link below and scroll down to the pieces by him, and click on them. Not a fan myself, but, hey, maybe you'll love the stuff. http://vsl.co.at/en/67/3920/4687.vsl# Colin Thomson

That is interesting. Liszt's tritone usage in the 'Inferno' movement from his 'Dante' symphony is another good example. It is interesting to me how these associations go. At one point both the fourth and fifth intervals were considered dissonant, and a tritone was the worst possible nightmare. Now, every seventh chord has a tritone in it, and we know how common they are. Colin Thomson

Probably my favorite 'classical' composer (if the term is applied very losely, as it seems to be here) would have to be Franz Liszt. It is amazing to me that there still seems to be a little bit of the prejudice against him that was around during the end of his life. In reality, he was the pioneer of some of the modern techniques Wagner is given so much credit for. I believe Liszt actually used the double-dissonance 'Triston und Isolde' chord that Wagner is so famous for in one of his pieces before Wagner did. He basically invented the 'rock star' (perhaps not a good thing, but still history-changing), as well as the symphonic poem and many other things. Also, he was really a like-able guy, who tought tons of students and never charged anything for the lessons. At the end of his life, when he had fallen out of favor with the critics, he told his students not to perform his pieces because he thought it would hinder their career. Also, he was a big promoter of other people's music, unlike many of the people who's music he premoted. He helped Wagner when the police were after him, and conducted Wagner's music when it was out of favor, thus introducing to the world the music that would have such a revolutionary effect. Best of his music: All Hungarian Rhapsodies All Symphonic Poems Totentanz Opera piano transcriptions, especially 'Reminescences de Don Juan' Liebestraum Funerailles Rigoletto Paraphrase La Campanella Piano Sonata In B Minor Harmoonies du soir from '12 Etudes d'execution transcendante' (though the rest are probably good, I have yet to listen to them) Faust Symphonie Dante Symphonie But then, I am a pianist, so I can't help but love his stuff. Colin Thomson

I think the original post specified the finale of a film or a concert work. But it's not like the distinction is important. Yeah, I think that is what I said. But it doesn't matter, any finale that you love. Colin Thomson

Um, I'm new around here. Who are the 'Big Five"? Colin Thomson

Tonal music (music that sounds 'normal' to us) is written in a certain 'key' that is made of up seven notes, and centers around the first note of those seven. Atonal music (usually sounds 'weird') cares not for the seven notes, using all twelve available, and does not center around any one tone (of course, there is a lot more to each of these discriptions, but this is the basics). What is unusual about this piece is that it centers around one tone (the E note) but uses all the tones available to do so, which is something that is not easily done. Hope this clears things up and is easy enough to understand Colin Thomson

Colin, I honestly was going to say the end of Rach 3rd. Impossible to not get goose bumps listening to those last few mins, especially as a culmination. And the absolute best recording of this 3rd movement is Kissin with Ozawa and the Boston Symphony on RCA. His 1st movement is painfully slow, but nothing tops his 3rd movement. I've only ever heard the Kissin performance on youtube, so I cannot really judge that. But the Arcadi Volodos version is what I have and it is amazing (though Horowitz is, as always, the master of this piece also). Yes Horowitz' rendition was so good that Rachhmaninoff himself preferred it over his own... but then again Rachmaninoff never heard Kissin. I've seen that YouTube video and it just doesn't come close to doing it justice. Go do yourself a favor, go shell out the 15 bucks for the CD, put on a quality set of ear phones, and say hi to God for me when you get to heaven. I have about two thousand classical albums, and I can honestly say this one is in my top 5. Ok, you convinced me. I just bought it. Now, I just have to wait... Colin Thomson

I've played parts of the Rach 2, but have not attempted #3. Props to you for learning such a hard concerto. I have learned Prokofiev 2nd which many people consider harder, but I think Rach 3 is the hardest in the repertoire. Volodos' recording disappointed me a bit. His transcriptions are amazing, but his Rach stuff didn't impress me. I agree on Argerich. Fastest tempo, but it does nothing for me. I have not heard Liev Ove Andnes's recording. What are your thoughts on Kissin's live recording with Ozawa? If can look past his painfully slow 1st movement, it's amazing. He takes all the ridiculous "ossia" passages, including one that is pure insanity (to do it live boggles my mind). And as far as the end of the 3rd movement, I can't think of any rival. Another great one is Horatio Gutierrez. You know, I have heard a lot about how Kissin's performance is too slow on the first movement, but when I listened to it, it really didn't bother me. I thought it was an interesting take on such a commonly played piece. Of course, Argerich is always amazing. Colin Thomson

Yeah, I don't think I would call it exactly atonal. Sounds like it has interesting modulations, and enough passing tones to give each of the twelve tones a sounding. But it sounds tonal in a creative, more distant modulations, way. Of course, I only listened to it once quietly, and it was the first time I had ever heard it, so I could easily be wrong. Colin Thomson

Colin, I honestly was going to say the end of Rach 3rd. Impossible to not get goose bumps listening to those last few mins, especially as a culmination. And the absolute best recording of this 3rd movement is Kissin with Ozawa and the Boston Symphony on RCA. His 1st movement is painfully slow, but nothing tops his 3rd movement. I've only ever heard the Kissin performance on youtube, so I cannot really judge that. But the Arcadi Volodos version is what I have and it is amazing (though Horowitz is, as always, the master of this piece also). And yes, Beowulf. To play that piece is one of my lifelong ambitions. Someday... Colin Thomson