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aviazn last won the day on April 30 2016

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  1. I adore this little rendition of The Mission he did for Brian Williams. (Can't find it in YouTube, so can't embed it.) And this performance of As Time Goes By where he played with Audra McDonald at Tanglewood in 2013. For JW, it may only be an accompaniment, but the two of them together is magical. I'm glad I was there that night. Clearly, a recording exists of the whole thing, and I'd love to know where. There's this fan cam version but the sound quality is pretty bad:
  2. One of the things that never fails to amaze me about Williams is his ability to hear a temp track and, where most composers would write a pale imitation of that track, JW will instead write an improved version of that temp track. With all due respect to Gordy, AOH is both more of an earworm and richer in possibilities — the different modulations it can take, the rhythmic material underneath it, etc. Same goes for, say, the final movement of Howard Hanson's second symphony. Every new motif in Adventures on Earth is clearly indebted to analogous material in the Hanson, but to my ear,
  3. Same, Greenaway (and that LSO brass) win it going away, for me. Is it confirmed that To Tatooine is Powell and not Williams? I remember there was some discussion about whether that was one of the cues JW contributed. (If it was Powell, he had me fooled.)
  4. 1:47 "His music often gives the films the emotional impact Lucas shortchanges." That may be the most succinct description ever of the Lucas–Williams relationship (and Lucas' general style).
  5. Uh-oh, I've been called out. I guess if the A has worked so far, why change now? Yeah, you could argue that see the influence of Williams' harmonic leanings more now in concert composers than in film composers.
  6. Agreed, but it's also because he actually was a jazz musician, and a lot of people would argue Williams is a significant transitional figure for that reason. The imprint of jazz (and Black music in general) is of course over all modern music, but most film composers today came by those influences secondhand (including via Williams himself). And practically none of them match his level of craft in that regard.
  7. The flying theme is one of those themes where people point to a classical work as a precedent in the melody, but it's actually a great example of the jazz influence in harmony and voicing that @WilliamsStarShip2282 and @Datameister mention, and which makes Williams unique and distinct. This post on Medium is a nice deconstruction of it—when you listen to the chord progression in isolation at the end of the post, the jazz roots are completely clear, and even though the melody seems simple, straightforward, and "classical", its those chord moves that really make the theme feel fresh and, well, W
  8. Honestly, it seems there may simply have been too many flubs to catch them all. There's enough blame to go around — at the Vienna players, for their unfamiliarity with a lot of the music (if you've ever seen E.T., how does an entire section of violins accidentally launch into the climactic flying theme statement in cut time??), and at JW himself. It takes nothing away from his legacy to note that his powers as a conductor have diminished with age, and his steadiness in tempos has…relaxed. We got what we got — a document of one of the world's great living composers at 88 years old p
  9. I'm no audio engineer, but I would think the problem is in the Fourier transform. Audio processing depends on being able to go back and forth between time domain and frequency domain (e.g. taking a waveform, converting it to frequency space so you can isolate certain frequencies and remove artifacts, then reconverting to a waveform). If you represent a waveform as a superposition of frequencies, and then throw away some of those frequencies—even if they're inaudible ones—you're throwing away information you need to reconstruct the waveform and losing some fine detail that you'll ne
  10. I took it more to be Alex Ross' opinion. He's a critic, he's allowed to have them, and he's written a lot about Hermann in the past. Just want to add my congrats to Frank and Emilio!
  11. To me, those trumpet lines in the hyperspace cue always sounded too…busy, for lack of a better word, to be Williams. Seemed more like Powell to me—especially the second one, and the way it modulates. But the more pared down version from the Flying with Chewie cue that @crocodile posted sounds more like Williams to me—maybe the hyperspace version was Powell's variation on it.
  12. If we’re including clips of JW playing music that is not his own, at Tanglewood in 2013 (I think?) he accompanied Audra MacDonald, just the two of them, on As Time Goes By. This is the only YouTube clip I can find, and it’s not great quality, but it was electric live (I was there ).
  13. I love it and it's great, but at the same time, I can't help but think it's basically JW's response to JJ saying, "So we put Jedi Steps in the temp track…can you do that again, but different?"
  14. "A love theme in Star Wars? No. I have never done that, and how do you do it?"
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