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BrotherSound

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Everything posted by BrotherSound

  1. There are no microedits in the OST ‘Dorinda Solo Flight’ (and I guess we’re stuck with that weird title forever!). It exactly matches the timings on the sketch. Maybe it’s supposed to read 3:18 instead of 3:28?
  2. I’ve got a hunch what this might be: I don’t think there was a true alternate cue written, but bizarrely, the entirety of that stunning horn solo was originally written doubled by piano and piccolo (two octaves higher). So, maybe there’s an alternate take with that original instrumentation?
  3. So, it’s a bit complicated: 1M1 Main Title appears to have been written first, as the End Credits borrow a couple fairly large sections directly from 1M1. There’s instructions to copy bars from 1M1 on the second row of this page: But then the revised New 1M1 - Part II Main Title borrows material directly from the end credits, basically the last minute and a half, except for the final two bars which are unique to New 1M1 - Part II. A little hard to see, but ‘End Credits’ has been scratched out at the top and ‘New 1M1 MT’ written in, because the entire page was reus
  4. Most of the Hollywood trumpet players that played for the Star Wars sequel trilogy recently recorded a virtuosic arrangement of Star Wars themes for trumpets (and closely related instruments) only, featured in a fun video: Not too surprisingly, there’s some impressive playing here. There’s a couple photos at the end of the video of the trumpets with Williams:
  5. I guess Kingdom of the Crystal Skull would be a better reference point: it also began shooting in June, and wrapped in mid-October. https://en.wikipedia.org/wiki/Indiana_Jones_and_the_Kingdom_of_the_Crystal_Skull#Filming
  6. Hmm, the principal photography for each of the Star Wars sequels was at least six months, which would mean (assuming a similar schedule) Indy 5 won’t wrap until December or later. JW started working on TFA and TROS shortly after principal photography wrapped: November 2014 and March 2019 respectively. TLJ wrapped much earlier than the others (July 2016), so there was a gap before he started on that score, in late 2016. So, I think there’s a pretty good chance he’ll start on Indy 5 this year, but the bulk of it is likely to be composed next year.
  7. Back with a new (and highly speculative) score restoration video for The Rise of Skywalker. 'Anthem of Evil' is a bit of a mystery: while one section near the end appears to be 6M12 Six Twelve, a cue for the destruction of Kijimi, it's still completely unknown what the first part is. But here's my take: https://drive.google.com/file/d/1J6N8q2VvRP57ETvuz9N8hXAlUMtIBgYe/view?usp=sharing We can definitively say the first part of 'Anthem of Evil' is not 8M4 Psalm of the Sith, because there's sheet music for that cue fairly visible in one of the documentaries, and it a
  8. And so does Apple Music with the lossless setting turned off. 🤷‍♂️
  9. If you listen to anything requiring gapless playback (plenty of classical music, live albums, Pink Floyd, The Beatles, etc.), don’t bother: switching on lossless with Apple Music currently breaks gapless, introducing a noticeable stutter between tracks meant to flow seamlessly.
  10. With both versions being so short but also pretty different, I wouldn’t be surprised if the OST combination of ‘Pete and Dorinda’ with the alternate is maintained, maybe with a tiny added gap, as was done with Dracula’s ‘For Mina’ cue combination. My speculation is the main presentation keeps the ‘Above the Clouds’ and ‘Dorinda Survives’ combination, adding ‘Dorinda’s Solo Flight’ afterwards before the End Credits. They’re different enough and interesting enough to both warrant inclusion in the main program, in my opinion, especially when both were included on the OST. Could also b
  11. Hmm, is that based behind-the-scenes footage? I don't recall seeing any for these scenes. It's also possible they made the decision prior to reshoots, which apparently included most (all?) of the final Rey/emperor confrontation. I can't imagine all the lightning wouldn't have affected passages with a very light touch, like 3:10 here:
  12. If they'd even just made it a sliding 10-year window—without having to carve out a special exception for soundtrack expansions—Tintin and War Horse would be on the table for this year. Man...
  13. @crumbs You can cross another one off: So, setting aside the special case of The Sugarland Express, which was vetoed (for now, anyway), that just leaves Amistad, Catch Me If You Can, and The Terminal for unexpanded pre-2005 Spielberg/Williams scores.
  14. Yeah, the high points of 20/20 (‘Time To Get Alone’ is another great one) are really about as good as anything they’ve done, even if it’s more hit-or-miss than other releases. But that’s definitely the enigma of The Beach Boys. Who else would put the utterly sublime ‘The Warmth of the Sun’ back-to-back with a cheesy spoken-word skit filler track?
  15. @Disco Stu There's a new 5-CD Beach Boys box set on the way July 23rd, highlighting their criminally overlooked 1969-1971 era:
  16. Nothing terribly different: it’s basically a shortened version that cuts the intro and the second statement of the theme, by the violins. Some fairly basic suspense music: pulsing timpani, low strings, and piano throughout, with a couple dissonant, sustained chords in the low brass and high strings.
  17. Oh yeah, apart from reel 9, the other discrepancies could all be explained by the reels getting rebalanced in editing. Hmm, let’s add up the unreleased cues: Munich Vocal Opening 1:04 1M3A New Start 0:20 1M19 Broadcast Report 1:18 2M52 New - Bonding 0:43 2M59 Drawing Straws 0:47 4M116B Hotel Lamp 1:00 4M122 Kitchen Motel Window (Guitar Version) 0:49 4M122 Kitchen Motel Window (String Version) 0:49 7M206 Approaching The Houseboat 1:08 7M206N Approaching The Houseboat 1:08 7M211NX New Ending 0:35 8M216 Explosion
  18. Yep, that’s it! It’s identical. Literally the only change is subbing cello for oboe. He probably just decided on a whim to try it with cello, and liked the results enough to include both on the album, though separated by quite a bit of music in between. Right. Here’s the complete cue list for reference: Munich Vocal Opening 1M3 Outside The Fence 1M3A Gaining Entry 1M3A New Start - Gaining Entry 1M19 Broadcast Report 1M21 Hatikvah 9M43 First Flashback 2M52 Bonding 2M52 New - Bonding 2M52 New Beginning - Bonding
  19. You could just tag me, @crumbs! 😛 Anyway, I can fill in some of the blanks: 1 Munich, 1972 2:37 0:00-1:05 8M239 Remembering Munich 1:05-1:29 1M3 Outside the Fence 1:29-end 1M3A Gaining Entry 2 The Attack At Olympic Village 3:00 9M43 First Flashback 3 Hatikvah (The Hope) 2:02 1M21 Hatikvah 4 Remembering Munich 4:38 8M239 Remembering Munich 5 Letter Bombs 2:49 0:00-0:58 9M99 Letter Bombs / 9M99 String Addition 0:58-1:32 R6M157 Greek Hotel 1:32-end 4M116BA Hotel Room Bomb
  20. Alas, the repertoire databases don’t have any information about the film cues for Seven Years in Tibet.
  21. I think the difference is Der Rosenkavalier is still under copyright, at least in the U.S., but all of Tchaikovsky’s compositions are public domain worldwide. However, this doesn’t make any specific recording of Tchaikovsky public domain, so I’d think they’d still normally credit the original recording if it wasn’t part of the film sessions.
  22. It's all one cue: 7M3 At Mass (Chorus A Cappella) is just the first 48 seconds.
  23. Must be one of the ugliest Williams OST covers. That underlined "MOTION PICTURE SOUNDTRACK ALBUM" gives me flashbacks of mid-90s web pages. Huge improvement!
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