Faleel 5,348 Posted October 1, 2018 Share Posted October 1, 2018 @DEADLINE lists #HowardShore as the composer for Francois Girard’s adaptation of @NLebrecht’s THE SONG OF NAMES! https://t.co/lgbY1yw1zS — Doug Adams (@DougAdamsMusic) September 26, 2018 Chen G. and crocodile 2 Link to comment Share on other sites More sharing options...
Faleel 5,348 Posted July 28, 2019 Author Share Posted July 28, 2019 Decca will release Song of Names: https://slippedisc.com/2019/07/toronto-film-festival-will-premiere-the-song-of-names/ Link to comment Share on other sites More sharing options...
Popular Post Gnome in Plaid 219 Posted November 15, 2019 Popular Post Share Posted November 15, 2019 I saw The Song of Names a couple days ago and... it's pretty much perfect. It's going to be really hard for anything (even The Rise of Skywalker) to supplant it as the best score of 2019. The Illustrious Jerry, Kühni and Bilbo 3 Link to comment Share on other sites More sharing options...
Fabulin 3,511 Posted November 16, 2019 Share Posted November 16, 2019 . Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted November 16, 2019 Share Posted November 16, 2019 Well this is definitely Howard Shore. And it sounds like a must. It is the only trailer I can think of where they actually mention the score. Karol TheUlyssesian 1 Link to comment Share on other sites More sharing options...
Incanus 5,714 Posted November 16, 2019 Share Posted November 16, 2019 Neat! And since this is the same director as the Red Violin and seeing how music plays a big part in the story, I think we can expect good things from the score. Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted November 16, 2019 Share Posted November 16, 2019 The story slightly reminds me of Philomena. I'm intrigued by the score in the trailer so I might catch this when it's out! Link to comment Share on other sites More sharing options...
Kühni 485 Posted November 16, 2019 Share Posted November 16, 2019 . Link to comment Share on other sites More sharing options...
Bilbo 3,709 Posted November 16, 2019 Share Posted November 16, 2019 I asked Doug about this on twitter and he said there should be news soon! Link to comment Share on other sites More sharing options...
Jay 37,363 Posted November 19, 2019 Share Posted November 19, 2019 Anyone going to this? Quote THE SOCIETY OF COMPOSERS & LYRICISTSInvites SCL Members and one guest to a screening of the Sony Pictures Classics film Followed by a Q&A with ComposerHOWARD SHORE MODERATED BY JON BURLINGAME Author & Journalist Monday, November 18, 20197:00PM Laemmle North Hollywood 5240 Lankershim Blvd North Hollywood, CA 91601 Parking at 11144 Weddington St, “5250 Parking” structure. 3.5 hours with theatre validation is $2, thereafter $1.25 each 15 minutes. See map below. Also, here's a video interview with Howard Shore about it: Link to comment Share on other sites More sharing options...
Edmilson 7,448 Posted November 19, 2019 Share Posted November 19, 2019 33 minutes ago, Jay said: Is this the actual official theatrical poster for the movie, or just a special one for the Q&A with Shore? Because I've seen posters crediting the actors, the director, sometimes the producer, and even that funny one for Rise of the Planet of the Apes with "From the special effects company of Avatar" (lol)... But never a composer, no matter how big is his name. It's like the Schindler's List poster with "From the Academy Award winning composer of Star Wars". Link to comment Share on other sites More sharing options...
Thor 7,504 Posted November 19, 2019 Share Posted November 19, 2019 On 11/16/2019 at 9:24 AM, Incanus said: Neat! And since this is the same director as the Red Violin and seeing how music plays a big part in the story, I think we can expect good things from the score. Yes, and that Glenn Gould movie from the 90s. So it's certainly a director that cares about music. I've warmed slightly to Shore in the last decade or so, so I'm looking forward to this with some expectations. Link to comment Share on other sites More sharing options...
Fabulin 3,511 Posted November 19, 2019 Share Posted November 19, 2019 . Link to comment Share on other sites More sharing options...
Jay 37,363 Posted November 22, 2019 Share Posted November 22, 2019 @Kaya has interviewed Shore about several topics including this score Quote The last time I was this nervous doing an interview, was probably my first interview. Howard Shore was the sweetest and kindest man though. Not sure why my nerves took over on this one, but they did. It was also weird interviewing one of my favorite composers in the dingy upstairs office hallways of a North Hollywood theater with a rattling A/C and the smell of popcorn wafting through the air. But we made do We didn't have much time, so it was a condensed interview, but we had a wonderful chat thanks to Howard. We covered Cronenberg, Scorsese, Fincher, that Peter Jackson fellow and of course his newest score to The Song Of Names. New All Access coming soon! Quote Howard Shore needs no introduction. The Oscar-winning composer is one of the most respected and talented storytellers in the history of film with his work on films from David Cronenberg, Martin Scorsese, David Fincher, Peter Jackson and so many more. His recent score to François Girard's The Song Of Names sees Howard going on a personal journey as he reflects back on his own childhood to find the right notes for this powerful WWII drama. Howard worked for 2 years with François Girard before they even began filming, and took every measure to immerse himself in this world. In this chat we also discuss Howard's path to becoming a composer from his early days at Saturday Night Live, to meeting David Cronenberg, to tackling Tolkien, to exploring his process and approach in general. We are extremely grateful to Howard for his time, and even though this interview could have gone on for hours and hours, we only had a limited time tucked in a dark hallway of an independent theater in North Hollywood right before Howard had to go to an event. *NOTE: We had some audio technical issues for the first part of the interview, but the issue was resolved at around 18min. Apologies for the uneven audio at the start. A Film.Music.Media Interview | Produced & Presented by Kaya Savas #howardshore #composer #interview #videointerview #podcast #filmscore #soundtrack #filmmusic #allaccess #filmmusicmedia #film #movies #behindthescenes #musicproduction #filmmaking #animation #thesongofnames #davidcronenberg #davidfincher #martinscorsese #peterjackson #lordoftherings #thehobbit #thelordoftherings https://www.facebook.com/watch/?v=522267881929819 WilliamsStarShip2282 1 Link to comment Share on other sites More sharing options...
Jay 37,363 Posted November 23, 2019 Share Posted November 23, 2019 OST Album coming Friday December 20th on Decca https://www.amazon.com/dp/B07Y1V7HNK Arpy 1 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,528 Posted November 23, 2019 Share Posted November 23, 2019 Whoa! That cover is loud! Link to comment Share on other sites More sharing options...
Jay 37,363 Posted November 23, 2019 Share Posted November 23, 2019 @Kaya has removed his Howard Shore interview from Facebook and youtube. Why? Link to comment Share on other sites More sharing options...
thestat 348 Posted November 25, 2019 Share Posted November 25, 2019 Yes, this sounds fantastic though the acoustics are not great. Girard's films are massively hit and miss - I would very much suggest that The Red Violin won BECAUSE it was Corigliano, not because of anything to do with the film or the score, which frankly is not that great. It is okay and important in the film. The same as I would say about his Altered States, a fantastic score for its time. For Corigliano, a great composer, what matters to us is Elliot Goldenthal, who took up those difficult passages and contextualised them with Hollywood scenarios as well as Glass' work in the early 1990s. If you want to understand Goldenthal, a lot of the atonal madness is with Corigliano, but Elliot soon established a Goldenthal-esque sound that influenced generations: The Coriglinano win was back in the days when the Academy was hunting for respectability with silly awards for 'respectable' films and big names - the time when fragging Piovani's Life Is Beautiful won over Zimmer's The Thin Red Line..... As for the Song of Names, I don't see them nominating this for anything. The film looks terribly cliched - and if you have Clive Owen in the cast, why not show him? While Shore's score will be a marvel, it will be one in a long line of similar projects with critical prestige but total oblivion elsewhere. Link to comment Share on other sites More sharing options...
Edmilson 7,448 Posted November 25, 2019 Share Posted November 25, 2019 Is Shore using the London Philharmonic Orchestra again? Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted November 25, 2019 Share Posted November 25, 2019 2 hours ago, Edmilson said: Is Shore using the London Philharmonic Orchestra again? No, it wasn't recorded in London. Karol Edmilson 1 Link to comment Share on other sites More sharing options...
Gnome in Plaid 219 Posted November 26, 2019 Share Posted November 26, 2019 I think the credits said it was the Montreal Symphony. 14 hours ago, thestat said: As for the Song of Names, I don't see them nominating this for anything. The film looks terribly cliched - and if you have Clive Owen in the cast, why not show him? While Shore's score will be a marvel, it will be one in a long line of similar projects with critical prestige but total oblivion elsewhere. I really didn't find the film cliched at all. Also, just showing any of Clive Owen's scenes would be a significant spoiler. Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted December 12, 2019 Share Posted December 12, 2019 Karol Link to comment Share on other sites More sharing options...
Jay 37,363 Posted December 12, 2019 Share Posted December 12, 2019 Anybody listen yet? Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted December 12, 2019 Share Posted December 12, 2019 I might pick the cd up tomorrow. Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted December 13, 2019 Share Posted December 13, 2019 I got the CD today. At 34-minutes, it makes for a nice concise listening experience. Really good score. Karol Link to comment Share on other sites More sharing options...
Jay 37,363 Posted December 13, 2019 Share Posted December 13, 2019 Just got an email from Amazon letting me know I'll now be getting it on January 3rd instead of December 20th. Not that it matters since it's already on Spotify. 1 hour ago, crocodile said: I got the CD today. At 34-minutes, it makes for a nice concise listening experience. Really good score. 34 minutes? It's 39 minutes on Spotify https://open.spotify.com/album/7L96M7I4Xaq4CyiGGa6GLE?si=00-gUDs_S-ynt58gvgv26Q Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted December 13, 2019 Share Posted December 13, 2019 1 minute ago, Jay said: Just got an email from Amazon letting me know I'll now be getting it on January 3rd instead of December 20th. Not that it matters since it's already on Spotify. 34 minutes? It's 39 minutes on Spotify https://open.spotify.com/album/7L96M7I4Xaq4CyiGGa6GLE?si=00-gUDs_S-ynt58gvgv26Q There are two 3-minute classical pieces included as well. Karol Link to comment Share on other sites More sharing options...
gkgyver 1,645 Posted December 13, 2019 Share Posted December 13, 2019 Howard Shore and John Williams and, for better or worse, Hans Zimmer, are the only composers left with an instantly recognizable voice. Shore's ability to create a tapestry with such apparent ease is grabbing more than any of the ROS FYC tracks. Link to comment Share on other sites More sharing options...
Yavar Moradi 2,599 Posted December 13, 2019 Share Posted December 13, 2019 John Powell is instantly recognizable to me. And if you’re including John Williams how can you fail to include Ennio Morricone? Surely there are a few others, like Broughton, Doyle, and the three Newmans, whose styles should all be fairly recognizable? Yavar Evanus 1 Link to comment Share on other sites More sharing options...
A. A. Ron 1,742 Posted December 14, 2019 Share Posted December 14, 2019 I don't listen to as wide a variety of scores as some here, but Williams, Morricone, Zimmer, Powell, David Arnold, Thomas Newman, and Bear McCreary are all instantly recognizable to me. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted December 14, 2019 Share Posted December 14, 2019 I listened to the 3 tracks with the title in the name. Can't say it really grabbed me. Link to comment Share on other sites More sharing options...
Tydirium 1,167 Posted December 14, 2019 Share Posted December 14, 2019 4 hours ago, gkgyver said: Howard Shore and John Williams and, for better or worse, Hans Zimmer, are the only composers left with an instantly recognizable voice. Shore's ability to create a tapestry with such apparent ease is grabbing more than any of the ROS FYC tracks. I think Powell has a recognizable voice. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Thor 7,504 Posted December 16, 2019 Share Posted December 16, 2019 Been listening on Spotify. It's quite good, but I could be without the presumable source cues (especially the "24 Caprices..." thing). It's a bit like the marches that suddenly take you out of the beautiful sonic landscapes in Chris Young's MURDER IN THE FIRST. It's slow-moving and brooding, as one would expect from Shore, but with a definite inherent beauty. Perhaps a bit on the 'samey' side, if I have one criticism. Link to comment Share on other sites More sharing options...
gkgyver 1,645 Posted December 17, 2019 Share Posted December 17, 2019 This music has such a visceral impact. Howard Shore's music is as close to a musical expression of my own person as I've ever heard. Gnome in Plaid 1 Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted December 21, 2019 Share Posted December 21, 2019 Shore was on the local Toronto station Classical 96.3 FM yesterday from 3-4pm to talk about The Song of Names, as well as giving commentary on his career with a few popular selections. Additionally, I found this article in The Canadian Press that furthers Shore's insight into his new score. https://www.cbc.ca/news/entertainment/song-of-names-howard-shore-1.5402308 There are some quotes about relating back to his Jewish roots, finding the right sound for the film, and talking about his relationship with directors Girard and Scorsese. As it turns out, he was asked about Scorsese's comments on Marvel, to which he responding (and I never thought I'd hear someone like Shore's stance on this): Quote "He's saying, 'We need to make room for all types of art. We can't push out all these films just to have blockbuster films. We can have those, it's okay, but we must continue the tradition of film-making so it doesn't die. There's an art that needs nurturing." Just throwing it out there. Cheers! publicist 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted December 21, 2019 Share Posted December 21, 2019 He's venturing on the dangerous Marty Scorsese path! Link to comment Share on other sites More sharing options...
Jay 37,363 Posted December 27, 2019 Share Posted December 27, 2019 Howard Shore behind the scenes publicist 1 Link to comment Share on other sites More sharing options...
Thor 7,504 Posted December 28, 2019 Share Posted December 28, 2019 On 12/21/2019 at 6:08 PM, publicist said: He's venturing on the dangerous Marty Scorsese path! Good for him! I cheer these guys on! Link to comment Share on other sites More sharing options...
publicist 4,643 Posted December 28, 2019 Share Posted December 28, 2019 Sure, but only audiences can change that. On an un-related note, short as The Song of Names is, it belongs to this year's score recommendations, at least its main pieces. Link to comment Share on other sites More sharing options...
gkgyver 1,645 Posted December 28, 2019 Share Posted December 28, 2019 He's 73, my god time flies. Link to comment Share on other sites More sharing options...
Thor 7,504 Posted December 28, 2019 Share Posted December 28, 2019 7 hours ago, publicist said: Sure, but only audiences can change that. Well, that won't happen. They'll be screaming against the wind. Which is why I want to stand behind them and scream along with them. Link to comment Share on other sites More sharing options...
Kühni 485 Posted January 25, 2020 Share Posted January 25, 2020 On 12/17/2019 at 3:44 AM, gkgyver said: This music has such a visceral impact. Howard Shore's music is as close to a musical expression of my own person as I've ever heard. Yeah, I can relate to that. Unfortunately, the score didn't impress me much on the first listen (haven't seen the film). However, the penultimate track, which isn't much more than sustained, pianissimo strings tremoli, was very moving. A prime example of Shore's "one-note" sombreness that I like a lot. Arpy 1 Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted January 26, 2020 Share Posted January 26, 2020 Bicycling is wonderful! Link to comment Share on other sites More sharing options...
Kühni 485 Posted November 7, 2020 Share Posted November 7, 2020 Just seen the movie...and not quite sure I like it. Can't put my finger on what's "off" about it...perhaps the chronological back-and-forths...perhaps the cliches...perhaps the whiny solo violin parts (kinda hard to avoid those, I'll concede)...the ending, which annoyed me to no end (and which was so foreseeable)... Link to comment Share on other sites More sharing options...
Kühni 485 Posted November 8, 2020 Share Posted November 8, 2020 After mulling some more over this, I went down a completely different, yet related, tangent...does anybody know where Shore's Jewish lineage goes back to? I ask because after visiting northern Bavaria last year, where in the 19th and early 20th century there used to be areas with the highest percentage of Jewish population in the German Empire, I got curious because many of the founders the big banks in the US (Goldman Sachs, Lehman brothers) were born or emigrated from there. Whereas Jews from the Austro-Hungarian Empire seemed to be more inclined to be writers, and from Russia, Ukraine, Romania etc. there'd be more musicians (this is a very strong generalisation that quite likely doesn't hold up to closer scrutiny, but please bear with me for a moment here). Goldsmith's roots go back to Romania, Elmer Bernstein's to Ukraine, Tiomkin was from Ukraine etc. (whereas Horner or Rozsa were Austro-Hungarian). Anyhoo...after watching this yestereve and realising that the Song of Names was actually composed by Shore (I formerly thought he just did an arrangement of an existing piece), the thought that Shore might be drawing from his own background here occurred to me. Any ideas? Link to comment Share on other sites More sharing options...
Bespin 8,481 Posted November 8, 2020 Share Posted November 8, 2020 I love this score, it's Howard Shore's "Schindler's List"! Link to comment Share on other sites More sharing options...
Kühni 485 Posted November 8, 2020 Share Posted November 8, 2020 3 hours ago, Bespin said: I love this score, it's Howard Shore's "Schindler's List"! I disagree. And it's not his "Red Violin", either. Link to comment Share on other sites More sharing options...
KK 3,307 Posted November 8, 2020 Share Posted November 8, 2020 3 hours ago, Kühni said: I disagree. And it's not his "Red Violin", either. Not even close. Link to comment Share on other sites More sharing options...
gkgyver 1,645 Posted November 8, 2020 Share Posted November 8, 2020 I find the score very elegant and introverted. I'll admit that plenty of his scores outside of Middle Earth are hit or miss. His music has a very peculiar elegance and aesthetic. When he is in his zone, and doesn't do projects that he's not really into, you can literally hear his thought process in the music. In this one, I think you can practically see his pencil on the paper. It's like reading a light short story. Intellectually challenging enough, time goes by quickly, and you see the concept of the author. Link to comment Share on other sites More sharing options...
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