-
Posts
6,502 -
Joined
-
Last visited
-
Days Won
23
Posts posted by Hlao-roo
-
-
Please, leave the moderating to the moderators.
You're not funny.
-
NP: Arabian Knight (Folk)
-
So, Boyd Crowder left Harlan alive, after all.
-
Anyone know what composers wrote in this kind of half-quartal/half-tertian idiom? I dunno, but they sound kind of rustic to my ears. It's a kind of writing that resonates with me.
Same here.
-
http://www.nytimes.com/2015/04/19/arts/music/anna-clyne-a-composer-who-creates-with-images.html
When Anna Clyne was working on her first big orchestral piece, she invited one of her composition teachers, Julia Wolfe, to look at her drafts. But when Ms. Wolfe arrived at Ms. Clyne’s studio in Chicago, where she had just begun a residency with the Chicago Symphony Orchestra, Ms. Wolfe found no sketches written out on music manuscript paper or drafted with any of the software programs commonly used by composers. Instead, “The wall had a painting across it,” Ms. Wolfe remembers. “It was done in a series of panels that went across her studio, and she said, ‘This is my piece.’ ”
Ms. Clyne, 35, the subject of the Miller Theater’s final Composers Portrait of the season on Thursday, is a composer of uncommon gifts and unusual methods. That series of paintings — actually mixed-media collages — has since been translated into music with the resulting tenebrous, roiling piece “Night Ferry,” recorded by the Chicago Symphony under the direction of Riccardo Muti.
Ms. Clyne is at work on a chamber opera about the poet Emily Dickinson, parts of which will be performed at Miller by the Ensemble Signal under the direction of Brad Lubman. This time, Ms. Clyne used facsimiles of letters by Dickinson to jump-start the creative process, projecting her handwriting onto a wall and retracing the magnified letters with an indelible marker. The end product — fastidiously constructed compositions that typically carry a potent emotional charge — bears no traces of these playful beginnings, although Ms. Wolfe remembers Ms. Clyne turning in scores that were beautifully lettered and bound by hand. But there is a distinct sense of shape and momentum to her music that grows out of a creative process rooted in image and movement. -
Who's the actor inside the BB-8 droid?
-
For the update, Dr. Moorer increased the number of voices to 70 and made enhancements that would play well both in movie theaters and home theaters, both of which have become much more sophisticated since the original. He had to think about tuning the balance in each of the many speakers that are now in theaters, and consider how to program the tones into multidirectional systems like Dolby Atmos, where audio comes from overhead in a more three-dimensional way. There are a total of 32 different versions of the new trailer, of different lengths and different numbers of audio channels to best fit the theater where it will be played.
-
Wallfisch is a talented fellow who takes a lot after his mentor, Dario Marianelli. Though I find his material kind of watered down when compared to the master, he's still someone to keep an eye out for. I haven't heard Desert Dancer yet, but I look forward to it.
Some clips, if you're interested Hlao-roo:
Thanks, KK!
-
Desert Dancer by Benjamin Wallfisch: A very calming, serene and meditative score combining subtly ethnic vocals (not your usual ethnic wailing) and steady development of a very simple yet poignant theme. Cello and occasionally piano are the featured solo instruments and in places the score reminded me of Austin Wintory's Journey in its ethereally meditative and atmospheric style and in the same way it finds a way of combining electronics and the orchestra into a very evocative way. The album apparently features the music form three dance sequences from the film and Wallfisch responds not with highly energetic or balletic pieces but rather with ruminative tracks that seem to have an undercurrent of tragedy. The composer achieves his effects with small gestures of the solo instruments and slow burning development of the material rather than huge orchestral forces and big sound but manages to create quite a compelling work in the process. There is strong poignancy in the simplicity at display here.
Interesting. Do you recommend other scores by Wallfisch?
-
Contrary to popular opinion, Spielberg found the perfect ending for A.I. http://t.co/rFHQQfW7ck pic.twitter.com/pIrGtHsw5D
— The AV Club (@TheAVClub)
April 16, 2015 -
David Lynch, offered Return of the Jedi, didn't want to use John Williams or Ben Burtt, says producer Howard Kazanjian #swca #starwars #wow
— Chris Taylor (@FutureBoy)
April 17, 2015 -
http://www.wsj.com/articles/first-lady-of-the-fiddle-1428961889
And despite entreaties, John Williams has also not gratified [German violinist Anne-Sophie] Mutter with a work written expressly for her. Though best known for his film scores—Ms. Mutter is fond of the theme to “Schindler’s List”—Mr. Williams is also a composer of music for the concert hall. “He wrote a beautiful violin concerto in the 1970s,” she said. “What he could bring to a new composition now is just tremendous.”
-
Which scores have John Williams orchestrated from the past?
I would be interested in a list of all the films for which a separate orchestrator is not credited.
-
This is not new, but it's a fun tidbit regardless:
http://www.telegraph.co.uk/culture/star-wars/11532663/Star-Wars-digital-Release-was-it-worth-60.html
It's also interesting to hear John Williams explain why the Cantina jazz in A New Hope was deliberately played a little off-tune:
"[George Lucas's] idea, what he said to me was, 'Can you imagine these creatures in some future century having found in a time capsule or under a rock some place an old 1930s Benny Goodman swing band record? And can you imagine what their distorted idea of how to play it would be?' So that’s more or less what I tried to do. And I think it looks pretty cute with the monsters, you know, doing their little Benny Goodman licks." -
-
Using any Star Wars music over the Lucasfilm logo is inherently shortsighted, because Lucasfilm is not just Star Wars. It's Star Wars, Indiana Jones, Willow, THX1138, Red Tails, Radioland Murders, Strange Magic, and whatever new properties they develop under the Lucasfilm brand.
So a new fanfare should be commissioned that represents Lucasfilm as an entity, like Marvel did by having Tyler write that Marvel Fanfare.
But don't you think that music can transcend the original purpose for which it was written (e.g., North's theme for Unchained)? The present "fanfare" has been edited in such a way that it isn't readily tied to Star Wars unless you're as familiar with the music as we are.
-
-
[Guest violinist David] Taylor was instrumental in getting [the] music from "Fiddler on the Roof," [New Philharmonic Orchestra Music Director Kirk] Muspratt said. He bugged [John] Williams for years to publish the fiddle music from the beginning of the movie that was written for Isaac Stern. It sat on the shelves at MGM for 30-something years.
"David loves this violin music … and every time he works with John Williams, which is about once a year at the [Chicago Symphony Orchestra], he would say, 'Hey John, would you ever take this music off the shelf and publish it so we could all play it.' Because no one's played this music since Isaac Stern had a chance to do it in 1971. And David would bug him every year when he would come to Ravinia or CSO. And about five or six years ago, they were at Ravinia and John Williams came up to David and said, 'David, come to my dressing room at intermission. I have something for you.'
"And he gave him a set of parts and the score to the music that he had re-arranged and re-worked from the 1971 music. Now we're playing from that set of parts that John Williams gave to David." -
Anyone seen OUTLANDER?
It had the raunchiest scene I've ever witnessed on TV the other night.
Outlander has the best sex scenes on television. Caitriona Balfe and Sam Heughan have a lot to do with that, bringing the same level of full-bodied commitment to Claire and Jamie’s lovemaking as they do to any other scene. But Outlander’s sex scenes stand out because of how they’re shot and directed. There’s a considerable amount of restraint shown in the making of the scenes—not in the sense that they aren’t very sexually explicit, but rather in the focus and rhythm of the scenes. Outlander takes its time when it comes to sex. The scenes aren’t just focused entirely on the climax; in fact, Outlander’s sex scenes have a much more abstract and fluid trajectory than the much more limiting—not to mention heteronormative—foreplay, penetration, orgasm, fin pattern many sex scenes on television adhere to. “By The Pricking Of My Thumbs” opens on Claire, all limbs and sheets and sighs. The scene unfolds intimately, slowly, focusing on Claire’s pleasure throughout. It’s fully immersive, believable, beautiful, hot sex that’s imbued with real passion and emotion in a way that sex on TV usually doesn’t accomplish.
http://www.avclub.com/tvclub/outlander-pricking-my-thumbs-217889
-
Cool, it's Alien vs Predator!
I'm usually tired of all the Michael Jackson/pedophile jokes, but I gotta admit -- that was clever.
-
Bad music edits are also an integral part of the Star Wars fabric.
-
In some ways, L’Arpeggiata represents the state of the art in early-music practice today. During a period of experimentation in the 1950s and ’60s, centering largely on very early music of the Middle Ages and the Renaissance, the need for conjecture to fill out the barest of sources was recognized and reveled in by the likes of Noah Greenberg. When Baroque music came to the forefront in the 1970s, with ostensibly complete performing materials more readily available, a certain literalism set in. Scores that had often been hastily and sketchily produced were widely considered sufficient, definitive, even sacrosanct.
The most compelling performers today have come to realize how much was left unsaid by composers in scores prepared on the run for use by performing colleagues who were, if not immediately at hand, at least immersed in the style of the period and locale. These performers see conjecture not as a worrisome chore but as an opportunity; improvisation as a matter of course; invention as a necessity. -
I was wondering how a thread about Earthquake had gotten so many replies, and then I wondered why I'd wondered.
-
What about the race of Oscar-winning actors/actresses over time?
Williams orchestrating The Force Awakens himself?
in JOHN WILLIAMS
Posted
Supposedly, but JWFAN is no longer a reliable source (and hasn't been for some time now).