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zoltan_902

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  1. Wow! Am I incredibly late on this thread????? I very recently discovered the recorded album. I was certainly bemused by how 'unremarkable' the writing is with much of the music, and the better numbers still have a real cheesiness to them. But actually, my favourite track is 'Sincerity'. I actually listen to the song on loop - the performances of the singers are actually funny, and I love their diction and sarcastic delivery. I look forward to researching the musical further because it seems the whole work has been deliberately suppressed. Still, a bit of a hidden gem!
  2. 1. Soundings 2. Music from Hook - The Face of Pan, The Feast, The Lost Boy's Ballet 2. Music from Jaws - Montage, Man Against Beast, End Titles 3. Parade of the Slave Children
  3. It really saddens me that there isn't an effort to make the whole Evening at Pops series accessible on demand globally, even for a subscription (which I'd happily pay). Besides the fact that I idolise JW as a musical hero (and adore watching him conduct), the Evening at Pops series is also incredibly well made technically, and is one of the very best examples in the world of a TV presentation of a Symphony concert. The entire technical production of the show, and the majestic Boston Symphony Hall are all perfectly combined, and I'm sure with all the new premium arts channels emerging around
  4. Try Mike Batt's score to 'The Dreamstone'. It's not a deliberate or obvious imitation of John Williams, rather it's an alternative prime example of memorable, richly thematic, Romantically orchestrated television scoring - which are the same characteristics I so admire about JW's best works.
  5. The Signature Editions are invaluable to me, first and foremost as a direct study guide of JW's prodigious orchestration skills. I have a large collection of them - over 30 titles. As mentioned above, it's very rare for film music to be published like this for a consumer market, and I'm delighted that it serves as a mean for fans to make a collection. Importantly, they're available to purchase by collectors just for the score, or (presumably for commercial performances) in full orchestral sets. I'm a collector and use them for reference and perusal. Therefore it does annoy me that some pieces
  6. I certainly think this version will be considered the definitive, given the official Olympic channel is hosting it, and it remains uncluttered by inane network commentary. Of course it's not high resolution - HD was a still a long way off, but it looks very clean. This is as good as it'll ever be.
  7. Indeed, I *adored* hearing the separate winds and string in isolation for the Nimbus 2000 theme. Just shows how unfathomably layered and intricate the theme is, even when the trumpets dominate. Most contemporary film composers could only dream of writing as complex as that.
  8. I'd gladly do at least part of it, but you'll probably do a better job :).
  9. Interesting introduction, for those who understand (like I do, somewhat) Hungarian. The conductor compares the stylistic influence on JW's music of 20th and 21st century music, particularly Russian composers like Stravinsky and Rimsky-Korsakov, and Germans like Wagner and Strauss. It's very gratifying to hear the music critiqued in such a dignified and serious manner, befitting its sophistication in its own right, rather than vulgarising it merely in the context of kitsch film music. Further edit: As watch more of this recording (I'm barely half way through as of writing this), I come to re
  10. That stage looks small and cramped, and I'm really not sure how much the staggered elevation adds to the performance. But still, I'd be over the moon to be there to witness this historical occasion.
  11. The category will inevitibly be renamed "The John Williams Memorial Award for Best Film Score".
  12. Warm congratulation to Kathleen Kennedy. Remember also that Steven Spielberg wears an honourary KBE. He should apply for Canadian or British citizenship to make full use of the title *wink wink*.
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