Nick Parker
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Posts posted by Nick Parker
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27 minutes ago, Nick1066 said:
I believe music can have a spirit to it that we don't understand. There's a reason it can touch in a way language can't, and why its so universal.
I know whachu mean.
To address your question, @Edmilson, I think an "evil" score would depend more on the life condition of the composer(s) beyond any subject matter or inspiration. To slightly expand on my initial post, I see one of the deep causes of evil to be a lack of empathy based on fundamental ignorances of the connectedness of life...and I'm drawing hella blanks on thinking of any music, let alone a movie soundtrack!, that feels, or as Not Me Nick posted, has a spirit, coming from that place.
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6 minutes ago, QuartalHarmony said:
Flute Conc is my favourite of his concert works that I’ve listened to in any depth, though Five Sacred Trees is probably a close second.
Talking of the Flute Conc, can anyone comment on my suggested timings for its four movements on the Varese LSO CD (VSD 5345)?
0:00 Movement 1
4:13 Movement 2
5:39 Movement 3
9:58 Movement 4
Inevitably there’s some guesswork based on the liner notes. Alternative solutions welcome
Mark
Been so long since I listened to it, but aren't there little pauses when the movements change?
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34 minutes ago, Jurassic Shark said:
That's why my favourite is the cello concerto.
The scherzo has always given me major Jurassic Park vibes.
24 minutes ago, Drew said:Williams did. He talked about concert music being different than "commercial" music.
Let's look at what he says, when the interviewer asks about Williams' "Romantic aesthetic".
QuoteWhile It’s been very useful in my commercial work, my concert works have been very different, more in the direction that I might’ve gone if I hadn’t done so much commercial work. For example, I’m writing a concerto for Anne-Sophie Mutter at the moment, which will premiere next summer at Tanglewood.
In other words, his natural proclivities and instincts have _always_--and we can hear this multiple times with pieces such as Essay for Strings and Prelude and Fugue--leaned to the voice we hear in his concert work. So you're asking a person to forsake themselves so they can write something to appeal to a certain kind of audience. The film work he's done is an outcropping of what is a deeply personal voice, not the other way around. This isn't me being elitist, this is me drawing the conclusion from Williams' own words.
And as several of us--including Williams in this very interview--have pointed out, his film and concert music have overlapped with each other over the decades, to the point where you can recognize the time he worked on something by their similarities with another: Tintin and Oboe Concerto, Tributes and TPM, so on and so on.
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6 minutes ago, Bellosh said:
Those minigames remind me of Wario Ware Smooth Moves.
We're long overdue for a Smooth Moves 2.
I had to come to terms with the fact that they jumped ship to Rhythm Heaven years ago...and now I have to come to terms that they haven't been making those, either!
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1 minute ago, Drew said:
I wish his concert music was more like his soundtracks. I disagree with the idea that they have to be so different.
Who's saying they _have_ to be?
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9 minutes ago, Jay said:
I remember Scratch!
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I used to teach kids basic coding with a website tool called Scratch. This looks like a very similar concept, but a lot more pleasing and fun.
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Even though John Williams has scored plenty of tense or dark moments, I don't consider the vast majority of his music in those instances "evil". He has such a sense of underlying humanity that his music for these moments, consciously or not, capture a pervasive sense of compassion--something he actually explicitly comments on in the ROTS doc.
There's a huge difference in my mind between scoring evil and writing an evil score. I'm trying to think of a score that sounds truly, irretrievably brutal, sadistic, and unfeeling.
Oh crap I forgot we banned the Oxford com
This pretentious asshole has been banned for 24 hours.
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7 hours ago, Disco Stu said:
So you're saying one of us needs to show up there one day and play Star Wars on a piano until he walks in?
This interview was very sweet! The interviewer got Williams off on the right start by talking about his daughter, I think Williams responded to the human element from there.
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58 minutes ago, Incanus said:
I love the similarly wonderful ending of the Force Awakens end credits with the interplay of Rey's and the Force theme that finally ends in that sweet subtle quote of Luke's theme.
On a musical level it's really damn slick and effective, but narratively it doesn't do so much for me because, due to the nature of JJ's approach, the score _has_ to set up the sequels in such a cliffhanger way. That interplay feels like a portention of what is to come, but Williams doesn't really do much with it in the other two scores, even when arguably the link becomes even _more_ appropriate by the end of the trilogy.
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On 5/2/2021 at 6:48 AM, Falstaft said:It's important to remember: the fact that Williams wrote singleton new variants of (Young) Anakin's Theme in Episodes 2
The interplay between Anakin's Theme, Across the Stars, and the Imperial March at the end of the AOTC credits tells the whole story of the prequel trilogy in just a single minute of music. I believe the word for that is...uhhh, checking....
Genius.
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I gotta be real and say the Electro Suite is the most enjoyable piece from Zimmer that I know of, I get a real kick out of it and the deft way that it incorporates all these disparate sound elements cohesively.
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6 minutes ago, HunterTech said:
There's definitely moments and cues that I admire, but it's hard for me to listen to a score that (seemingly) wasn't that thematic, and focused much more in the kind of mood it was aiming for.
Fair, the theme itself doesn't get too much obvious airtime until the climax. The general timbres and harmonies are what I define as the thematic material in this one, not much in terms of motivic melodic identification. A good number of melodic moments, but not used in a motivic way.
But I want to pour this score into a bathtub and dunk myself in its mood and atmosphere...where's my ladle?
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Listening to Mancini's Lifeforce for the first time in many years. Sweet jesus, definitely magnum opus material. Crazy that a film like it got a score such as this!
This track alone is enough to jettison the score into one of my favorite music works ever...it's got so much going on: the thrill and mystery of the unknown, the slowly unravelling dread that comes from satisfying the wrong curiosities, all done with the devout patience and momentum of a true master. Goddamn, goddamn, this is how you do an orchestral setpiece! There are also some great moments of urgency and bravado to round out the score and really dial it in as Mancini's answer to the ever burgeoning list of space opera scores at the time.
The sound of 80's LSO smears its recognizable hand grease all over this score: thick, pungent brass chords with strings that pierce the atmosphere to aggressively present low winds makes you remember why this was the orchestra that everyone tried to get for their films.
Highly recommended!
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Don't you have an SNES emulator too? You could always mod an SNES Classic and get the whole library if the controller or aesthetic is really important to you.
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People write me off as a weirdo, but I will always maintain unless completely convinced otherwise that Anakin's Theme appears in Anakin's Betrayal, in a manner very similar to the Jewish Theme in Immolation. .....in Schindler's List, of course.
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16 minutes ago, Disco Stu said:
What on earth
Oh, my, god.
Also, Galaxy 2 is badass to the max.
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turns out being a hotshot at halo with your boys when youre 11 doesnt translate to online after taking a 15 year hiatus
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4 hours ago, Datameister said:
I wouldn't necessarily recommend my setup, but for the sake of discussion...I'm primarily using a Nektar Impact LX25+ for MIDI input. The small size is an ergonomic necessity right now, but it does get in the way when a passage has too wide a range. I especially run into it with harp and piano parts, naturally. For those, I have a Yamaha PSR EW300 off to the side. That's also where my sustain pedal is.
My hope is to eventually have a single 88-key controller with a desk that accommodates my wide variety of computing tasks without ergonomic compromises. But for a variety of reasons, that's not possible right now. In the meantime, this gets the job done.
Last year I created a custom desk setup that is pretty huge, and for like $3-400, which is waaaay less than explicitly advertised "music studio" desks! It was pretty simple to set up, let me know if you'd like more details.
To answer the OP, I use the Arturia KeyLab Mk2, and it's awesome. Plenty of control options, synced with DAWs, and a great interface that makes things like switching MIDI CCs a snap.
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5 hours ago, Jay said:
I hadn't occurred to me until a podcast brought it up that with the last two Mario Golf games (Advance Tour and World Tour) being for the GBA and 3DS, the last console Mario Golf game was Toadstool Tour for the Gamecube.
WTH? How did Nintendo not make a Mario Golf game for the Wii during the absolute height of motion control gaming!? There were of course lots of other successful golf games for the Wii, but no Mario Golf... how did they drop the ball (heh) on this!?
I'm sure they considered it. They probably didn't want it to compete with all the other motion control sports games out there.
Toadstool Tour is awesome, by the way.
John Williams interview on Steinway & Sons website
in JOHN WILLIAMS
Posted
I remember taking a trip to some canyon forests in Arizona back when I was first getting familiar with the piece as a teenager, and all I could hear when I looked at the beautiful sights before me was that first movement!