Popular Post Jay 37,287 Posted February 18, 2016 Popular Post Share Posted February 18, 2016 Quote IFMCA Award Winners 2015 INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION ANNOUNCES WINNERS OF 2015 IFMCA AWARDS; JOHN WILLIAMS WINS THREE AWARDS FOR STAR WARS The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2015, in the 2015 IFMCA Awards. The award for Score of the Year goes to composer John Williams for his work on the massively popular and successful epic science fiction fantasy “Star Wars: The Force Awakens,” from director J. J. Abrams. IFMCA member James Southall said that “the Force remains strong in John Williams and long may it continue” and called the score “glorious,” while IFMCA member Christian Clemmensen called the score “a powerfully melodic and excitingly complex piece of grand artistry from an era of greatness that only John Williams in top form could deliver.” “Star Wars: The Force Awakens” is also named Best Score for a Fantasy/Science Fiction/Horror Film, and wins the Film Music Composition of the Year award for the film’s conclusive end credits suite, “The Jedi Steps and Finale”. These are the thirteenth, fourteenth, and fifteenth IFMCA Awards of Williams’s career, and it marks the third time he has been awarded Score of the Year, after “Memoirs of a Geisha” in 2005, and “War Horse” in 2011. Composer Michael Giacchino is named Composer of the Year, having written four outstanding works spanning multiple genres in the past year. His work in 2015 includes scoring the emotional Disney/Pixar film “Inside Out,” which is also named Best Score for an Animated Film; the ambitious science fiction adventure “Jupiter Ascending,” which was nominated in multiple genres including Score of the Year; the fantastical adventure “Tomorrowland,” which was nominated for Film Music Composition of the Year; and the massively successful action-adventure “Jurassic World,” which built on John Williams’s score for the first film featuring genetically modified dinosaurs running amok in a lavish theme park. IFMCA member Karol Krok called “Inside Out” “enjoyable and endearing,” while IFMCA member Charlie Brigden said that “Jurassic World” “displays just how much of a command [Giacchino] has over a modern symphony”. These are the thirteenth and fourteenth IFMCA Awards of Giacchino’s career, and it marks the third time he has been named Composer of the Year, following his previous wins in 2004 and 2009. The IFMCA’s ongoing recognition of emerging talent in the film music world this year spotlights Italian composer Maurizio Malagnini, who is named Breakthrough Composer of the Year. Malagnini has been working primarily in world of British television since he first emerged onto the scene in 2010, writing scores for popular shows such as “Muddle Earth,” “The Body Farm,” “The Paradise,” and “Call the Midwife,” but really impressed IFMCA members this year with his first major film score for a new version of the classic Peter Pan story, “Peter & Wendy”. IFMCA member Jon Broxton called “Peter & Wendy” “undoubtedly one of the best scores of 2015”, while IFMCA member Peter Simons described the score as being “so infectious, so colourful, playful and utterly charming”. The various other genre awards are won by James Horner for the epic Chinese-language drama “Wolf Totem”; Douglas Pipes for the mischievous and malevolent Christmas comedy “Krampus”; Joe Kraemer for the exciting retro action score for “Mission: Impossible – Rogue Nation”; and Steven Price for his music for the BBC nature documentary “The Hunt”. In the non-film categories, Argentine composer Federico Jusid wins the award for Best Original Score for a Television Series for the third year in a row, this time for his astonishing score for the Spanish historical TV drama “Carlos, Rey Emperador,” the sequel to the multi-award winning “Isabel,” while composer Austin Wintory wins the award for Best Original Score for a Video Game or Interactive Media for his groundbreaking work on “Assassin’s Creed” Syndicate”, a score which not only includes classical dances used as action cues, but also a number of original ‘murder ballads’ penned in collaboration with Australian musical comedy group Tripod. Oakland, California-based Intrada Records is named Film Music Record Label of the Year in recognition of their ongoing excellence in restoring and releasing the most beloved film scores of the past, while film music historian and writer Jon Burlingame wins the Archival Compilation award for the wonderful box set of music from the original 1960s “Mission: Impossible” he produced for La-La Land Records. Interestingly, both the Archival Re-Release and Re-Recording categories are won by different versions of Bernard Herrmann’s 1976 score for the psychological thriller “Obsession” – firstly, the outstanding release of the original score tracks by French label Music Box Records and producers George Litto, Laurent Lafarge, and Cyril Durand-Roger; and secondly, the magnificent re-recording of the entire score by the City of Prague Philharmonic Orchestra conducted by Nic Raine, and produced by James Fitzpatrick for Tadlow Music. Finally, the IFMCA has decided to bestow a rare Special Award on the late James Horner, for his classical work “Pas de Deux”. The piece is a double concerto for violin, cello, and orchestra, and was commissioned by the Norwegian brother/sister musical duo Mari Samuelsen and Hakon Samuelsen. The work was released through Mercury Classics and Universal Music in May 2015, and represented the first of several anticipated major excursions into pure classical music – what would have been a new and exciting phase in the composer’s musical career, especially since his first, abortive attempts in the late 1970s and early 1980s failed to ignite the public’s imagination. Sadly, with the composer’s tragic death in a plane crash in June, it also represents ‘what might have been,’ and this award is intended to be a tribute in recognition the composer’s life and work, and all the great unheard music that died with him. ============================================= COMPLETE LIST OF WINNERS FILM SCORE OF THE YEAR Star Wars: The Force Awakens, music by John Williams COMPOSER OF THE YEAR Michael Giacchino BREAKTHROUGH COMPOSER OF THE YEAR Maurizio Malagnini FILM MUSIC COMPOSITION OF THE YEAR “The Jedi Steps and Finale” from Star Wars: The Force Awakens, music by John Williams BEST ORIGINAL SCORE FOR A DRAMA FILM Wolf Totem, music by James Horner BEST ORIGINAL SCORE FOR A COMEDY FILM Krampus, music by Douglas Pipes BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM Mission: Impossible – Rogue Nation, music by Joe Kraemer BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM Star Wars: The Force Awakens, music by John Williams BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE Inside Out, music by Michael Giacchino BEST ORIGINAL SCORE FOR A DOCUMENTARY The Hunt, music by Steven Price BEST ORIGINAL SCORE FOR A TELEVISION SERIES Carlos, Rey Emperador, music by Federico Jusid BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA Assassin’s Creed: Syndicate, music by Austin Wintory BEST NEW ARCHIVAL RELEASE – RE-RELEASE OF AN EXISTING SCORE Obsession; music by Bernard Herrmann, album produced by George Litto, Laurent Lafarge, and Cyril Durand-Roger, liner notes by Daniel Schweiger, album art direction by David Marques (Music Box) BEST NEW ARCHIVAL RELEASE – RE-RECORDING OF AN EXISTING SCORE Obsession; music by Bernard Herrmann, performed by the City of Prague Philharmonic Orchestra cond. Nic Raine, album produced by James Fitzpatrick, liner notes by Christopher Husted, album art direction by Matthew Wright and Damien Doherty (Tadlow) BEST NEW ARCHIVAL RELEASE – COMPILATION Mission: Impossible – The Television Scores; music by Various Artists, album produced by Jon Burlingame, liner notes by Jon Burlingame, album art direction by Joe Sikoryak (La-La Land) FILM MUSIC RECORD LABEL OF THE YEAR Intrada Records, Douglass Fake, Roger Feigelson SPECIAL AWARD Pas de Deux, classical work by James Horner, commissioned by violinist Mari Samuelsen and cellist Hakon Samuelsen http://filmmusiccritics.org/2016/02/ifmca-award-winners-2015/ Loert, SzPeti42, Mari and 4 others 7 Link to comment Share on other sites More sharing options...
Balahkay 627 Posted February 18, 2016 Share Posted February 18, 2016 Williams should have won "Composer of the Year" as well. Link to comment Share on other sites More sharing options...
leeallen01 2,133 Posted February 18, 2016 Share Posted February 18, 2016 1 hour ago, someonefun124 said: Williams should have won "Composer of the Year" as well. For one Score? Yes it's brilliant, but Giacchino wrote 4 big Scores for 4 big films. And they were all good scores. He easily deserves it. Link to comment Share on other sites More sharing options...
Jay 37,287 Posted February 18, 2016 Author Share Posted February 18, 2016 Agreed. Link to comment Share on other sites More sharing options...
Jwfan2234 59 Posted February 18, 2016 Share Posted February 18, 2016 Great job keep it up Williams! Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted February 18, 2016 Share Posted February 18, 2016 38 minutes ago, leeallen01 said: For one Score? Yes it's brilliant, but Giacchino wrote 4 big Scores for 4 big films. And they were all good scores. He easily deserves it. 32 minutes ago, Jay said: Agreed. Quantity over quality? Sharkissimo and Ricard 2 Link to comment Share on other sites More sharing options...
Jay 37,287 Posted February 18, 2016 Author Share Posted February 18, 2016 No. Link to comment Share on other sites More sharing options...
nightscape94 965 Posted February 18, 2016 Share Posted February 18, 2016 Yes. Link to comment Share on other sites More sharing options...
Popular Post Loert 2,510 Posted February 18, 2016 Popular Post Share Posted February 18, 2016 Glad "The Jedi Steps and Finale" won Composition of the Year. It is easily my top TFA track, and IMO one of the best pieces of music Williams has produced for the SW series. Cerebral Cortex, crumbs and Taikomochi 3 Link to comment Share on other sites More sharing options...
Jay 37,287 Posted February 18, 2016 Author Share Posted February 18, 2016 Yup! Link to comment Share on other sites More sharing options...
Scarpia 132 Posted February 18, 2016 Share Posted February 18, 2016 I'm glad this association was not hesitant about giving the Score of the Year award to The Force Awakens, despite being written for a commercial blockbuster fantasy film. The prize is totally deserved, and I'm really happy for all 3 winnings. Congratulations to our Maestro! Link to comment Share on other sites More sharing options...
Incanus 5,713 Posted February 19, 2016 Share Posted February 19, 2016 Congrats to the Maestro on the well deserved wins in those three categories. Cerebral Cortex and crumbs 2 Link to comment Share on other sites More sharing options...
crumbs 14,301 Posted February 19, 2016 Share Posted February 19, 2016 Wonderful news, congratulations Maestro! The Jedi Steps and Finale is nearly the second best End Credits suite in the Star Wars saga (behind IV and V). What a delight he's embraced these original suite credits since Kingdom of the Crystal Skull. Such an improvement on the edited concert suite reprises. Incanus and Cerebral Cortex 2 Link to comment Share on other sites More sharing options...
Incanus 5,713 Posted February 19, 2016 Share Posted February 19, 2016 30 minutes ago, crumbs said: Wonderful news, congratulations Maestro! The Jedi Steps and Finale is nearly the second best End Credits suite in the Star Wars saga (behind IV and V). What a delight he's embraced these original suite credits since Kingdom of the Crystal Skull. Such an improvement on the edited concert suite reprises. Another IFMCA winner Homecoming from War Horse is perhaps the most fluid example of these wonderful concert suites in the recent years where Williams gathers most of the major themes into such a summation of the score in the end credits yet still finds ways to develop and explore the material further. The Jedi Steps and Finale is up there with the best of its kind from the Maestro. crumbs and Cerebral Cortex 2 Link to comment Share on other sites More sharing options...
crumbs 14,301 Posted February 19, 2016 Share Posted February 19, 2016 6 minutes ago, Incanus said: Another IFMCA winner Homecoming from War Horse is perhaps the most fluid example of these wonderful concert suites in the recent years where Williams gathers most of the major themes of a score into such a summation of the score in the end credits. The Jedi Steps and Finale is up there with the best of its kind from the Maestro. Well said. Homecoming, The Peterson House and Finale and Finale (from KOTCS) are amazing representations, perfectly surmising the tone of each score while simultaneously presenting each score's primary ideas and themes with such creative flare. That he weaves from one idea to the next with such ease is a reflection of the man's genius. The Book Thief (final track on that OST) is another masterful piano piece. Was that pieced together from other tracks on the album or another End Credits special? I'm not too familiar with the score. Link to comment Share on other sites More sharing options...
Incanus 5,713 Posted February 19, 2016 Share Posted February 19, 2016 14 minutes ago, crumbs said: Well said. Homecoming, The Peterson House and Finale and Finale (from KOTCS) are amazing representations, perfectly surmising the tone of each score while simultaneously presenting each score's primary ideas and themes with such creative flare. That he weaves from one idea to the next with such ease is a reflection of the man's genius. The Book Thief (final track on that OST) is another masterful piano piece. Was that pieced together from other tracks on the album or another End Credits special? I'm not too familiar with the score. The end credits piece for The Book Thief is I believe a new arrangement although it does incorporate the elegy heard in The Visitor at Himmel Street in its entirety in the latter half but I think the performance is new, not just edited together with the preceding material. The album version of the piece also ends with one additional rendition of the Death/Providence theme on piano, which does not appear in the film version. Such a beautiful piece. Joni Wiljami and crumbs 2 Link to comment Share on other sites More sharing options...
crumbs 14,301 Posted February 19, 2016 Share Posted February 19, 2016 I really wish we had the chance to ask Williams obscure questions like that; why he decided to stop (at some point in the 90s) and re-start writing these new arrangements for the credits, rather than recycling his concert suites? I can only guess personal fulfillment, or perhaps an epiphany that repeating music from elsewhere on the OST was musically unsatisfying? Ah, the mysteries we all cling to as JW fans! Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
Joni Wiljami 1,206 Posted February 19, 2016 Share Posted February 19, 2016 Johnny!! Omen II and Not Mr. Big 2 Link to comment Share on other sites More sharing options...
Thor 7,466 Posted February 19, 2016 Share Posted February 19, 2016 8 hours ago, crumbs said: I really wish we had the chance to ask Williams obscure questions like that; why he decided to stop (at some point in the 90s) and re-start writing these new arrangements for the credits, rather than recycling his concert suites? I can only guess personal fulfillment, or perhaps an epiphany that repeating music from elsewhere on the OST was musically unsatisfying? Ah, the mysteries we all cling to as JW fans! If given the chance, I would use (at least) one full hour just talking about his work from the late 50s to 1975. And maybe his childhood. Screw the rest! crumbs 1 Link to comment Share on other sites More sharing options...
Popular Post artguy360 1,843 Posted February 19, 2016 Popular Post Share Posted February 19, 2016 The Peterson House and Finale from Lincoln is incredible. It's an amazing summation of the major themes and tone of the score and I believe its a whole new recording, not edited stuff from elsewhere in the score. I love that piece. crumbs, Cerebral Cortex and Jay 3 Link to comment Share on other sites More sharing options...
Joni Wiljami 1,206 Posted February 20, 2016 Share Posted February 20, 2016 2 hours ago, Thor said: If given the chance, I would use (at least) one full hour just talking about his work from the late 50s to 1975. And maybe his childhood. Screw the rest! Yeah! And this coming from the guy who didn't like TFA!! What the hell is wrong with you? Interested in the scores whe he just practiced with terrible sound. Versus the mastery with brilliant sound/performance. Screw the old Link to comment Share on other sites More sharing options...
Incanus 5,713 Posted February 20, 2016 Share Posted February 20, 2016 8 hours ago, hornist said: Yeah! And this coming from the guy who didn't like TFA!! What the hell is wrong with you? Interested in the scores whe he just practiced with terrible sound. Versus the mastery with brilliant sound/performance. Screw the old This applies to the pre-1969 output right? Link to comment Share on other sites More sharing options...
Thor 7,466 Posted February 20, 2016 Share Posted February 20, 2016 15 hours ago, hornist said: Yeah! And this coming from the guy who didn't like TFA!! What the hell is wrong with you? Interested in the scores whe he just practiced with terrible sound. Versus the mastery with brilliant sound/performance. Screw the old The old rules, the new sucks! These are the facts of life. Link to comment Share on other sites More sharing options...
TownerFan 4,983 Posted February 20, 2016 Share Posted February 20, 2016 On 19 febbraio 2016 at 2:13 PM, crumbs said: I really wish we had the chance to ask Williams obscure questions like that; why he decided to stop (at some point in the 90s) and re-start writing these new arrangements for the credits, rather than recycling his concert suites? I think it's actually the other way round--he generally takes the piece written for the end credits roll as the basis for the concert suite, for example The Terminal, Seven Years In Tibet, Harry Potter, Sabrina, Angela's Ashes etc. Sometimes he makes further extensions and/or revisions for the published concert score. Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted February 20, 2016 Share Posted February 20, 2016 I do wonder how different my perception of a score like TFA would be if the concert suites were not included, and I only had the end credits to rely on as the singular forms of the concert suites. Or even with something like The Phantom Menace. I think a Duel of the Fates concert piece needed to be on the album, but what about Anakin's theme? I think I would appreciate the theme and end credits better if that concert piece hadn't been released separately. Link to comment Share on other sites More sharing options...
crocodile 7,984 Posted February 21, 2016 Share Posted February 21, 2016 On 18.02.2016 at 6:25 PM, someonefun124 said: Williams should have won "Composer of the Year" as well. Nah, this award should to go Giacchino, Pemberton, Morricone or Horner. Karol Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted February 21, 2016 Share Posted February 21, 2016 Idiot! Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted February 21, 2016 Share Posted February 21, 2016 John Williams should win composer of the year even in years he has not written anything for films. Link to comment Share on other sites More sharing options...
Jay 37,287 Posted February 21, 2016 Author Share Posted February 21, 2016 Pemberton? Really? Link to comment Share on other sites More sharing options...
crocodile 7,984 Posted February 21, 2016 Share Posted February 21, 2016 Yeah, he had quite an interesting and diverse year. Karol Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted February 21, 2016 Share Posted February 21, 2016 What did he do? Link to comment Share on other sites More sharing options...
Loert 2,510 Posted February 21, 2016 Share Posted February 21, 2016 2 hours ago, Taikomochi said: John Williams should win composer of the year even in years he has not written anything for films. Hmmm...you raised an interesting point. Does a composer have to compose anything to be nominated Composer of the Year? Does a writer have to write anything to be nominated Writer of the Year? Does a director have to direct anything to be nominated Director of the Year? They're still a director if they've directed something in the past, right? Argh my head. Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted February 21, 2016 Share Posted February 21, 2016 The answer is yes, they should have to have done something, unless they are John Williams who is the best always and so should always win. crumbs 1 Link to comment Share on other sites More sharing options...
Loert 2,510 Posted February 21, 2016 Share Posted February 21, 2016 Can't argue with that logic. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted February 21, 2016 Share Posted February 21, 2016 3 minutes ago, Taikomochi said: The answer is yes, they should have to have done something, unless they are John Williams who is the best always and so should always win. This! Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted February 21, 2016 Share Posted February 21, 2016 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted February 21, 2016 Share Posted February 21, 2016 9 minutes ago, BloodBoal said: Since Giacchino is not the new John Williams, I guess they shouldn't give it to him! Fixed! Link to comment Share on other sites More sharing options...
mrbellamy 6,272 Posted February 21, 2016 Share Posted February 21, 2016 21 minutes ago, BloodBoal said: Since Williams is not the old Michael Giacchino, I don't guess they shouldn't not give it to him! Fixed! Link to comment Share on other sites More sharing options...
crocodile 7,984 Posted February 21, 2016 Share Posted February 21, 2016 I always regarded "best composer" category in order to recognise personal achievements. It doesn't necessarily represent best music per se, more how a person grows and develops. Horner had an eclectic bunch of scores last year (one of which was very far from his comfort zone), and he also entered the concert world. That counts as some sort of achievement. I'm not sure whether Williams did anything for his career in 2015 that deserves such recognition. He composed the best score and won in three categories for that. But from a career point of view nothing significant happened. And even his score, while great, isn't exactly anything new or daring for him. That is how I see it. Karol Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
JoeinAR 1,949 Posted February 21, 2016 Share Posted February 21, 2016 LOL at Giachinno composer of the year, Prolific composer perhaps, but when all you do is write forgettable film score music time after time... Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted February 21, 2016 Share Posted February 21, 2016 Quantity over quality! Link to comment Share on other sites More sharing options...
crocodile 7,984 Posted February 21, 2016 Share Posted February 21, 2016 Bollocks! Karol Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted February 21, 2016 Share Posted February 21, 2016 Will any of his 4 scores be remembered 4 years from now? Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted February 21, 2016 Share Posted February 21, 2016 4 years from now? Sure. 44 years from now? Who knows? 444 years from now? Who cares? We'll all be dead then. Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted February 21, 2016 Share Posted February 21, 2016 9 minutes ago, Joey said: LOL at Giachinno composer of the year, Prolific composer perhaps, but when all you do is write forgettable film score music time after time... They're just giving away 'Composer of the Year' awards these days. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted February 21, 2016 Share Posted February 21, 2016 Stop defending Gia! Link to comment Share on other sites More sharing options...
crocodile 7,984 Posted February 21, 2016 Share Posted February 21, 2016 4 minutes ago, Stefancos said: Will any of his 4 scores be remembered 4 years from now? It doesn't matter. It has nothing to do with that. Or not quite. Karol Link to comment Share on other sites More sharing options...
JoeinAR 1,949 Posted February 21, 2016 Share Posted February 21, 2016 9 minutes ago, crocodile said: Bollocks! Karol You cannot seriously defend him, his output is admirable, but he writes background noise, not music. The only memorable music in Jurassic World is John Williams music which only serves to show how weak and insipid MG's "music" is. I don't even remember his score for last years forgettable Disney pixar film. Gruesome Son of a Bitch 1 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted February 21, 2016 Share Posted February 21, 2016 3 minutes ago, Joey said: You cannot seriously defend him, his output is admirable, but he writes background noise, not music. The only memorable music in Jurassic World is John Williams music which only serves to show how weak and insipid MG's "music" is. I don't even remember his score for last years forgettable Disney pixar film. This! Link to comment Share on other sites More sharing options...
crocodile 7,984 Posted February 21, 2016 Share Posted February 21, 2016 Yeah, but nobody besides film music fans remembers The Force Awakens score either. As great as it is, it made little or no impact on the film music landscape. I don't they sold that many albums or that kids are humming new themes. It's all in our tiny community. Fair or not, but true. Karol Link to comment Share on other sites More sharing options...
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