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The OFFICIAL Indy IV Score Thread


chinaismine

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Is the album even listed on the Concord site yet? If so, I can't find it.

Man the life rafts! Women, children, spacemen, red Indians, and sort of idealized versions of a complete Renaissance man first!

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Is the album even listed on the Concord site yet? If so, I can't find it.

Man the life rafts! Women, children, spacemen, red Indians, and sort of idealized versions of a complete Renaissance man first!

he is not panicking, he was asking.

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I can only imagine how out of control this board will be when...

A: The score leaks and is officially released

and

B: When the movie is released

God help us all when that happens...

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I can only imagine how out of control this board will be when...

A: The score leaks and is officially released

and

B: When the movie is released

God help us all when that happens...

I corrected your post to reflect the current uncertain situation:

I can only imagine how out of control this board will be...

A: If the score leaks and if it is officially released

and

B: If the movie is released

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I can only imagine how out of control this board will be when...

A: The score leaks and is officially released

and

B: When the movie is released

God help us all when that happens...

So, we cannot even talk about the (friggin') score and movie when they are released?

This is a Williams forum in case you did not notice, if you want to speak about other things, there are countless forums in the net.

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Is the album even listed on the Concord site yet? If so, I can't find it.

Man the life rafts! Women, children, spacemen, red Indians, and sort of idealized versions of a complete Renaissance man first!

he is not panicking, he was asking.

Thanks Luke, that is correct. No answers from anyone?

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Vosk: Fan-man amongst fanboys.

...right.

I never said that you guys couldn't talk about the score or movie...I can just only imagine how many multiple threads will be created when those two things do happen...

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Imagine if the complete recording sessions leak online before the OST?

that would make my year,period.

that won't happen

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Imagine if the complete recording sessions leak online before the OST?

that would make my year,period.

that won't happen

We all can dream....despite how impossible a dream it may be. If it was a Goldsmith score, we'd probably be bored with it by now. ;)

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Imagine if the complete recording sessions leak online before the OST?

that would make my year,period.

that won't happen

We all can dream....despite how impossible a dream it may be. If it was a Goldsmith score, we'd probably be bored with it by now. ;)

:joy:

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Imagine if the complete recording sessions leak online before the OST?

that would make my year,period.

that won't happen

Do we really need to state the obvious every time some fan begins to ponder about his vision of a perfect world? Setting aside the personal satisfaction of saying something that you know is 100% true, what reason is there for that post to exist?

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because its KM, its our job to make sure he's in a perpetual state of melencoly

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We all can dream....despite how impossible a dream it may be. If it was a Goldsmith score, we'd probably be bored with it by now. ;)

:)

You boy deserve this emoticon... :cool:

Goldsmith's scores aren't boring and never will be.

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Board rules prevent me from replying to that comment accordingly.

your sense of humor is non existant how dour are you, on a scale of 1 to 10.

Water Elmo Waaaaater,

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We all can dream....despite how impossible a dream it may be. If it was a Goldsmith score, we'd probably be bored with it by now. ;)

:)

You boy deserve this emoticon... :cool:

Goldsmith's scores aren't boring and never will be.

He is saying that if it were a Goldsmith score it would have already leaked (even in its complete form?), so we would be 'bored' after hearing it for quite some time several times. Boring meaning 'de-overhyped' if that makes sense.

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I think it should be a mistake but in the spanish web of Fnac http://www.fnac.es/dsp/?servlet=extended.H...p;prodID=710545 it says that the b.s.o. it is going to be released the May 6 (released by Universal Music Spain). I work in Fnac Callao (in Madrid) in the dvd and soundtrack section, so I will investigate the thing, but I can tell you that the new trilogy in dvd (and the three films individually) it is released in Spain the 7th, six days before it is released in America (May 13 in amazon.com) so I don´t know what to think... :By the way, the ost is gonna over 20 euros! (I have order it by amazon, for 9,95$ = like 7 euros! damn what a big difference!)

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I think it should be a mistake but in the spanish web of Fnac http://www.fnac.es/dsp/?servlet=extended.H...p;prodID=710545 it says that the b.s.o. it is going to be released the May 6 (released by Universal Music Spain). I work in Fnac Callao (in Madrid) in the dvd and soundtrack section, so I will investigate the thing, but I can tell you that the new trilogy in dvd (and the three films individually) it is released in Spain the 7th, six days before it is released in America (May 13 in amazon.com) so I don´t know what to think... :By the way, the ost is gonna over 20 euros! (I have order it by amazon, for 9,95$ = like 7 euros! damn what a big difference!)

how much does it cost (on amazon) plus shipping fees?

I may get it there too.

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We all can dream....despite how impossible a dream it may be. If it was a Goldsmith score, we'd probably be bored with it by now. :cool:

:blink:

You boy deserve this emoticon... :fouetaa:

Goldsmith's scores aren't boring and never will be.

He is saying that if it were a Goldsmith score it would have already leaked (even in its complete form?), so we would be 'bored' after hearing it for quite some time several times. Boring meaning 'de-overhyped' if that makes sense.

Yeah, I wasn't really being cryptic. It obviously was in no way a statement against Goldsmith, simply that we'd be use to it by then. Though I didn't necessarily think that Vosk missed that point but what do I know.

I guess sometimes sarcasm just doesn't get to everyone. :|

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Could somebody with skill in French translate the article on the main page in English! Pretty please! :)

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Could somebody with skill in French translate the article on the main page in English! Pretty please! ;)

Seconded, thirded and flaming well fourthed!!!

From what i could gather, the 'Crystal Skull' theme is a somewhat tranformed version of the 'Ark' theme. But you never know with these nutty french... :)

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Some quick notes I gathered, and as I said, I am not very fluent.

Tha Raiders March is featured promiently, and with lots of inventiveness in its orchestrations. Marion's theme is also featured, again with some orchestral changes that the author says are going to please the fans.

The article says that very few composers could tackle a score like this, in which Williams puts to use all of his musical vocabulary. Mutt's theme requires frenetic orchestral virtuosity and that Irina's theme is one of the most complex themes in recent years, capturing perfectly the feeling of a nostalgic Russia longing for glory. The article also says the Crystall Skull theme is derived from the Ark Theme (which can be heard on track 6) and that envelops the second half of the score in a totally nightmarish mood. Also, in Journey to Akator, you can hear hints of Peruvian music.

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Rave review, although the review makes it clear that the 'Crystal' theme, which is, for whatever reason, based on the 'Ark' theme from Raiders, may not be popular with listeners. Furthermore, it would seem that those who've hoped that Williams would jettison his modern sound for his return to the franchise will be disappointed.

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This is, without a dount, one of the most eagerly awaited scores since 1999 (you remember, The Phantom Menace), and we have it at last between our hands. Without further ado, we present a small analysis of what will perhaps be one of the last blockbuster scores in John Williams' career.

One could choose not to comment on the multiple variations on the Raiders March that punctuate the album of the Kingdom of the Skull of Crystal. Nevertheless, the sum of unexpected variations around the famous theme allows us to appreciate Williams' state of mind on taking on this fourth opus. The orchestration shows an undeniable nostalgia and sound perhaps a bit wiser than those of the Temple of Doom era, the accentuation of the flutes and wood section of the orchestra making the most of the epic flow of the melody, without depriving it of his universal reach. More astonishing is the rendition on the End Credits, true symphonic prowess stretched on for ten minutes, presents an unpublished coda, the maestro is keen to jostle his legendary work as soon as the occasion presents itself. The leitmotiv of Marion Ravenwood follows the same logic, leaving familiar sonorities to fly away itself little by little towards totally new territories. Williams develops intensely thus, a melody that had permeated the whole score for Raiders of the Lost Ark, and the new measures (especially concentrated in the final cue) should appease the fans. While one could expect that the composer navigates without effort on his own inheritance, The Kingdom of the Skull of Crystal becomes however an arena for great artistic development by Williams, and this is evident in his treatment of the new three themes.

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Thank you for quick translation Romão! And thanks to MissPadmé for her rendition of the Crystal Skull theme.

The theme sure sounded spooky :)

And it seems that the reviewer loves the score!

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Respecting the tradition of the series, the score of Indiana Jones 4 always rests on a clash between the themes of the different protagonists, the principal leitmotiv (the famous McGuffin, here a Crystall Skull of unknown power) serving both as the basis of the dispute and of a common objective. On one hand, Williams presents the Good Guys themes, namely for Indy himself (whose exploits logically are illustrated by the Raiders March, which is put through every possible and imaginable tonality, denying sometimes the melody, but keeping only the recognizable rhythm) and his young sidekick Mutt (Shia the Beouf). On the other side, Williams depicts musically the character of Irina Spalko (Cate Blanchett), main baddie of this new episode. If the overall structure remains the same as in the previous scores, the writing itself is more radical than never, bringing to fruition the different sources of the composer (the jazz of Charles Ives, the operas of Mozart and Wagner, the tortured orchestrations of Bartok) and its last personal experimentations (the concrete music of The War of the Worlds, the exclusively rhythmic usage of the brass in the last Star Wars score. It results a score not only of an expectional textural wealth, but also and especially in perfect contradiction with his era.

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Oh my God, I can't breathe... :)

I tell you, this will be the BEST JW score of the new millenium!

Well translated, Merkel, but I hope you're not making stuff up! One thing keeps nagging at me: why are the French the first to have a review on the score? Are the CDs being pressed in France or what? NOt that I'm complaining, I just find it a bit strange...

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