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Lord of the Rings Trilogy Live to Projection - Lincoln Center, New York City, April 2015


Barnald

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http://artsbeat.blogs.nytimes.com/2014/09/02/lord-of-the-rings-trilogy-with-live-orchestra-coming-to-lincoln-center/?_php=true&_type=blogs&_r=0

LOTR trilogy, live in concert x2, in New York in April. Three consecutive nights, or a collection of afternoon/evening screenings.

If there are plural announcement(s), I'd assume they are for performances of the trilogy elsewhere in the country, rather than other unrelated news.

AWWWW YEAHHHH

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http://www.lotrlincolncenter.com/

Looking at the pricing and realizing that this will not likely be "doable" for me - even at the cheapest seats ($60 per film, plus service charges), plus 1-2 nights at hotels, plus meals, plus gas costs or train fare to get in town. The 1 film per year model worked really well for me because I could make a day trip and save for the next one. Oh well - hope plenty of people enjoy it, and also hope that it may come closer to me in the future (Philadelphia?)

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I just saw Chicago Symphony finish their trilogy this summer, although they did one a year. I can say with certainty that Ludwig Wicki has probably seen those movies than all of us combined!

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187th! Wow. He must know this stuff in his sleep. In fact I think his wife is mighty upset when she wakes up to him conducting and humming the End of All Things in his sleep in the middle of the night, every night.

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Huh?

@DougAdamsMusic: Since a number of people have asked: No, I'm afraid I don't have any info on the #LOTR at @LincolnCenter symposium at this time.

I thought all the info was released this week.

Details of the luminaries and content of the symposium have not been released as yet.

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The dates are really inconvenient, as they're around the time finals begin. Otherwise, I might have tried to make the trip.

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  • 7 months later...

"But in performance the interdependence of sound and image becomes painfully obvious. The film’s moments of innocent levity would not be nearly as bucolic, its battles between good and evil not half as scary, without the music. And Mr. Shore’s pastiche — a bit of Bruckner, a bit of Grainger, and Glass to weave them together — cannot stand on its own, either".

- http://www.nytimes.com/2015/04/11/arts/music/review-in-the-lord-of-the-rings-in-concert-musicians-in-sync-with-a-soundtrack.html

:eh:

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Some stupid things were said in that review.

Having said that, I think Shore's sound does share some characteristics with Bruckner.

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Having said that, I think Shore's sound does share some characteristics with Bruckner.

There's two things that have always reminded me of Bruckner: The chords in Flight to the Ford and the arpeggios of the Rivendell theme (in the same way that I trace Philip Glass back to Bruckner). The rest, not so much.

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And Mr. Shore’s pastiche — a bit of Bruckner, a bit of Grainger, and Glass to weave them together — cannot stand on its own, either.

It is nice to see that even in this day and age the stuffy classical elitism hasn't quite died from the criticdom. Naturally all film music is pastiche from start to finish without any merit of its own. A bit of this and a bit of that.

My 9-year-old son sat through much of the film with a finger thrust in each ear.

Well this settles it. It can't be good music if a 9-year old feels it is too loud.

Night after night on this juggernaut tour, orchestral soloists measure out their lines in milliseconds with none of the freedom to let a phrase breathe that is the mark — and magic — of a concert performance.

Oh no! There is no room for interpretation. This music has become a lifeless Hollywood machine with millisecond precision! Oh the humanity! :o

Perhaps this lady should have tried to attend this type of concert with a little different mindset. But I think she decided not to like either the performance or the music way beforehand.

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Does the NYT let anyone in the door these days? Shouldn't someone be required to have actual knowledge of a subject to write about it, beyond the ability to name drop (messily)?

But then, we all know the worth of critics.

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Does the NYT let anyone in the door these days? Shouldn't someone be required to have actual knowledge of a subject to write about it, beyond the ability to name drop (messily)?

But then, we all know the worth of critics.

Hey LotR made tons of money and won awards. It can't possibly be any good. Artistic sellouts! And with a seething score no less.

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Between the names Shore and Fonseca-Wollheim, I feel very securely that I prefer the contributions to the world of the one that will end up being worth remembering.

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Funnily enough the LOTR scores actually use aleatoric writing, which gives them this 'freedom' in some passages.

Well, I believe she was referring to virtuosic freedom, which is very different and aimed more at the soloists rather than more textural effects of aleatory.

Regardless, the article is rubbish, without any sense of what the event was actually going for.

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She wasn't referring to improvisation. She was talking about artistic interpretations of solos and stuff, where in a concert setting, soloists get freedom to interpret tempos/dynamics of their solos as they deem fit.

But as you say, the whole point is to perform the score to picture, so naturally they have to be restricted. It would be probably be different in the LOTR Symphony concerts. That she doesn't understand this concept goes to show the naïveté of her criticism.

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