untouchables
-
Posts
96 -
Joined
-
Last visited
Posts posted by untouchables
-
-
Sleepers is undoubtedly one of the most amazing JW scores showing unusual materials: flutes tempo is totally opposed with strings which create a unharmonic music; I don't know the approach of the composer when he used explicitly electronics--sometimes the link between tracks is lost!
however the most important theme is Kitchen's hell with it's crescendo rhythm,it would make a real piece of concert music if it may be extended.
-
Sorry a qst
I have once read that John Debney revealed in interview after "Passion of The christ" that his studio and a part of his materials were destroyed by jewish extremists- any info that may highlight this accident?!
-
one of the most important contemporary Composers Stockhaussen(1928-2007) have made a famous comment,
by the way the question asked at the end of this video is very interesting
link removed
JW is surely from the group B and sometimes with influence from group a.
-
Finally a visible tv recording
Boston pops orchestra
-Harry Potter
http://fr.youtube.com/watch?v=zkPqju1N5Ro&...feature=related
-Flight To The Neverland (Hook)
http://fr.youtube.com/watch?v=zJCHrYeWEcs&...feature=related
-E.T
http://fr.youtube.com/watch?v=Mb9s3kbAnFQ&...feature=related
-
rare fields that it's hard for jews to infiltrate ... even Schoenberg new concept of atonality after 1910 was not welcomed and many of his concerts were interrupted and he was threw with tomatos!
well and still this has NOTHING to do with the fact he is jewish..
and can you tell me what person is your Avatar Untouchables??
JW old brother
You are right for Korngold!
-
The three composers i have mentioned have special approach when composing that become imitated, not all composers get their own appraoch when writing;in an interview J. Goldsmith said that he had no approach :the notes come by chance!!!
The jewish sect musicians who invaded Hollywood since 1930 (waxman, Bernestein, Herrmann, Newman family, Tiomkin, North, Goldsmith, Elfmann..) are sharing same style: dissonance, and agressive rhythm...I will except Horner who he commonly use a patchwork of his own scores.
What does the fact that they're Jewish have to do with anything? And they invaded? They were escaping Nazi persecution.
And that list doesn't included Goldsmith, Bernstein and Elfman, since they're all born in the US.
There is no politic matter there!
There is a history fact that should be clear here; mainstream classical music was from the rare fields that it's hard for jews to infiltrate ... even Schoenberg new concept of atonality after 1910 was not welcomed and many of his concerts were interrupted and he was threw with tomatos!
The same destiny was under bolshevik era, unlike Shostakovitch, Prokofiev, Khatchaturian.. the jews were unable to make career of official accomplished composers despite bolsheviks leaders were mostly jews.- In 19 century Mahler had to convert to catholicism in order to be able leading Vienna conservatory.
Most of them prefered to draw a new way toward hollywood and to invent and popularize new genre "film music" that can be parallel of European concert music.- of course not all composers have welcomed film music genre, Stravinsky is the most famous.
In reality; film music were chosen because it's a profitable industry unlike concert-music: you can make more money by composing for game-video than writing 5 operas in year!; Exactly like media, cinema, porn, banks, the purpose of this domination is to build new clan of sub-genre music, profitability and sometimes popularizing composers "able" to make career in both classical and score genre (Glass; Schiffrin).
I think The most original jewish composer who was independant from hollywood business and ruthless system is B. Herrmann who wanted to elevate film music to classical level; however after leaving to London he admitted that he failed because Hollywood system want to impose commercial style.
JW originality comes in his approach of using leitmotiv (superman, harry potter) and how he see all the movies like an adventure; he is narrator of adventures.
-
The three composers i have mentioned have special approach when composing that become imitated, not all composers get their own appraoch when writing;in an interview J. Goldsmith said that he had no approach :the notes come by chance!!!
The jewish sect musicians who invaded Hollywood since 1930 (waxman, Bernestein, Herrmann, Newman family, Tiomkin, North, Goldsmith, Elfmann..) are sharing same style: dissonance, and agressive rhythm...I will except Horner who he commonly use a patchwork of his own scores.
-
Do you think that JW, Barry and Morricone still unsurpassed in film music field and they are the references for other musicians?- I would add M. Jarre too
-
I don't know if JW was influenced by him inwhen he wrote memoirs of gueisha, however Takemitsu approach on film music is not always funny for every one- he uses constantly the concept of silence!
I checked Ran tracklist when noted that many pieces don't overpass 30 seconds; those kind of scores are not always my taste..although I get his orchestral works double cds.
Anyway this a rare Documentary on his film music writing
-
Oh, you're back...
Takemitsu (not Takemetsu) has written some of the most remarkable film scores: Ran, Woman in the Dunes, Nami no Bon, Samurai Rebellion, José Torres...
I guess you can start with those.
yep I know, but what those are the most interesting?
Aynone who would initiate a person to JW, would surely recommand Superman , star wars or ET.
**I guess he's on your avatar!
-
I won't discuss about Memoirs of the geisha; however i want to ask if anyone get an idea about the most interesting soundtracks of Toru Takemetsu?
thx
-
Ok, but you missed something:
-The homogeneity btwn tracks, is not so easy; I think that The Godfather II is the best in this level, every theme is announcing the Next
-repetitive/boring themes is one of the characteristic of bad-commercial soundtrack!
-A good score should have a long central main theme; and many variations of the main theme on tempo and sound level
-Solo instrument sequence should be present in drama and fantastic, and as more new/exotic instrument are used more the score is interesting!
-The score shouldn't be copy/past of previous classical works!
-
How you define a bad score or bad/senseless music?
-
He was the engineer of Hollywood sound, he merited the honorary oscar!
I don't know why the death of composers is always painful, it's like they were forgotten.
-
The credits song is called "Here's to You". Does anyone know what movie it's from? BTW, this is the greatest soundtrack for a game I've ever heard, but I refuse to hear "Here's to You" until I hear it in the game first. Harry Gregson-Williams composed the game's cutscene music, for your information.
This theme is composed in 1970 with Joan Baez singing, it's for the movie "Sacco & Vanzetti" ...dramatic music about the two Italians sentenced to death by electric chair in America because they were indicted for crimes they never committed!-other interesting themes are "Hope of freedom" and "the ballad"
It's one of the main political scores by Morricone including Casualties of war (1989) about Vietnam raping scandals and Battle of Algiers (1966) on Algerian revolution!
-
I was wondering what I was smelling, untill I realised you were talking out of your ass.
Untouchables has proven to be hostile towards John Williams and question his integrity as an artist and an auteur.
YOU Man, have you at least read the quotes of interview I have posted?
Where is hostility there?... the only thing that I dislike in JW is that he never did world appearance like his colleagues.
-
What are you actually doing here?
goon, i want just to share with you this interesting interview with the orchestrator of the latest JW work!
-
Same old crap!
just kidding, guys!
:blink: -
For those don't know him, here is some interesting quotes:
CP: I was doing something for Alan Silvestri and I was at the session. I had cued in a cymbal part and [the percussionist] said, "I played that, Conrad." I said, "It was cued. Did Al ask for it?" He said, "No, but when we got there I just knew it was right!" That's the feeling you want when you orchestrate. That's where orchestrating and composing meet. If you orchestrate for John Williams it's really so secretarial. You're basically an editor making sure everything's just right because he's made all the decisions. I think part of the clue of orchestrating is knowing when not to do anything -- knowing that it's all been done.DA: Can I ask a completely "devil's advocate question"? Williams is famed for having such complete sketches when he turns things over to the orchestrators. Why does he still need a talented orchestrator as opposed to someone that's just a copyist?
CP: Well, at times he can just go directly to the copyist. But the reason to have someone like me, or any number of wonderful people here, is so he can write in shorthand and go quite quickly. In other words, it's all there, but it's like a secretary's shorthand. You have to know how to read it.
DA: Can you give a specific example of something he might do for shorthand?
CP: Yes. John will write out one line and he'll write "tutti woodwinds." And you know from that tutti that you've got to have a piccolo up an octave and put the bassoon down. You know exactly how to construct it. So all he has to do is make one notation and because of one's experience with the orchestra and with his music you go, "Oh this is John's tutti woodwinds Jurassic Park-style."
DA: So a tutti woodwinds for a Williams is different than a tutti woodwinds for a Goldsmith or a Silvestri?
CP: Yes. They're all different. I could tell an interesting story. I was doing a cue in Star Trek. Jerry's scores are also very complete. But at times you sit there with some of the music, as you're familiar with as a percussionist, and you go, "Wow, here's a piccolo snare drum figure. It would be great if we put another snare drum with it! Let's have two!" With Jerry the music is so stratified. There is something very clear in the woodwinds..
end
http://www.filmscoremonthly.com/articles/2...Conrad_Pope.asp
ok ! fortunately mr Williams!
-
Agree with you; Accidental Tourist and Superman love theme are nice examples, however I still believe that JW has his own approach in composing such subjects totally different to Barry, Morricone or even J. Goldsmith!
I think the main resemblance between him and composer like Morricone is the preference of solo instruments when writing drama themes: Shindler List, Geisha, Seven years in Tibet, JFK...- unlike John Barry who curiously I never heard him use oboes solo passages: I think oboe is the main instrument in such themes and widely used by film-composers.
-
Many prefer high leitmoitiv atonal, or even disturbing allegro sounds of John Williams...I think that his most interesting contribution is in dramas and love story. Unlike Barry or Morricone who fall in deep melancholy when scoring some scenes; JW has his special trademark that never push drama feeling to extrem limit (maybe is due to his jazz influence), my favorites are The River, Seven years in Tibet, Angela Ashes and The Terminal!
However, I think Angela Ashes is the most dramatic and sad theme written by him.
-
Mere details!
Hey guys, who is this opera Soprano who refused to perform under JW conducting, because she think that it would heart his career when working with film composer?!
Wake up guys, musicians want to do film-composer career just for money; JW has gained a wealth just for a short piece like NBC news theme that all classical composers of century have never collect together!
-
I love contemporary music, and yeah, there is a TON of good stuff out there right now, especially if you are a film music lover because the two worlds are kind of cross-pollinating each other.John Williams, Michael Torke, John Corigliano, John Adams, Richard Danielpour, Christopher Rouse, Elliot Goldenthal...
Yes, I echo this list! It seems a lot of us like a lot of the same composers, which isn't a suprise...very funny story, I became good friends with Peio (scissorhands) not from hanging out here together, but from randomly running into each other on another music service where we both have totally random nicknames....we noticed we had the same film and contemporary composers on our lists, which was rare to find, we started talking and then, it dawned on him and he was like, "OMG!! Do you know who this is?!? From JWFAN!". It was hilarious!!
So yeah, all those mentioned pretty much I like, John Adams is waaay up there for me, and I guess my favorite...after that I am totally into Micheal Torke (yay Miguel!) and Richard Danielpour. LOVE their music!
The mention of Ellen Zwilich made me think of Jennifer Higdon and Joan Tower, definitely check them out if you like the above....both of their Concertos for Orchestra are excellent.
That covers Americans...
Another composer I like is Einojuhani Rautavaara. Is anyone else here interested in his music?Yes, gorgeous stuff!
Cool to see others that like him. There are sooo many good Finnish composers right now.Love this trio: Esa-Pekka Salonen, Kaija Saariaho, Magnus Lindberg. My favorite being the first. Salonen is also the long-time conductor of the LA Philharmonic but is leaving soon to focus on composing. I think his music is the most attractive of the three, colorful melodies and dance rhythms, huge orchestration. He was a proponent of Goldsmith's concert music as a conductor and admired him as a composer...and in a couple of his own pieces some rather Goldsmithian action writing shows up!
I like Kevin Puts a lot. But so far I've only been able to get 3 pieces of this fabulous composer. Do you have any of his works?His Symphony No. 1 had a premiere in Houston last year and he was there and spoke but I wasn't able to go.
I heard it was great! What would you recommend by him? I'm not familiar with his music yet.Of course, Stockhaussen was the most influent composer in post-war era! ...John adams and others were just students.
I'm curious to know what non-film, "concert music" composers who have been active in recent times people here find interesting. The parameters of the discussion can also encompass concert compositions by composers who are usually known for their film work.I'll go first: John Adams. John Adams is a postminimalist composer probably best known for his political opera Nixon in China. Though he himself has never written a score for a high-profile film, composers such as Don Davis and, more recently, John Williams have been profoundly influenced by him. Here are some examples of his work:
The Death of Klinghoffer: Chorus of Exiled Palestinians (Listen to the end if you want to know from where the score to The Matrix came)
It's shame that this opera is still unrecorded and not played in US for being "antisemite"!!
Should we forbid Bach music and sacred pieces because New Testament is seen alike?
http://www.adl.org/main_Interfaith/newtestament.htm
http://query.nytimes.com/gst/fullpage.html...mp;pagewanted=4
-
And now something will come in the vein 'Morricone does not use headphones' or something
Yes, didn't you know, Morricone doesn't need clicktracks... HE can handle the orchestra without and keep the perfect tempo with his blssed hands!
Korngold almost never used a click track either, which is even more challenging in his case because his music is so rhythmically limber and has all sorts of weird meter and tempo changes, whereas Morricone's scores tend generally to submit to the tyranny of the pulse. And now, I join in on the laughter:
Morricone use headphones of course, however he doesn't be helped with big screens as it's done in Hollywood studios, just a small tv on desk.
Ryan's daughter by Maurice Jarre
in General Discussion
Posted
Anyone know where we can find Ryan's Daughter soundtrack CD? or are there any bootleg?
I just get a small suite from the Seville concert recording (1989)