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The Face Of Pan from HOOK - updated concert arrangement - now streaming free


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There are plenty of cases of sound-alike cues whose similarities are overrated, but at least for the first 20 seconds, "The Face of Pan" & Agnes of God isn't one of them.   I mean, the o

Here it is!       What do you think of this arrangement?   The album this is taken from can be purchased on physical CD here: https://shop.filmfestival.be/colle

Well, this is one of my favourite cues from Williams of all time. I've had a couple of weeks to listen to it, and I quite enjoy it. They've got the pastoral colour down. But my favourite remains the v

Well, this is one of my favourite cues from Williams of all time. I've had a couple of weeks to listen to it, and I quite enjoy it. They've got the pastoral colour down. But my favourite remains the version on the WILLIAMS ON WILLIAMS compilation (which also happens to be one of my favourite compilations of all time, regardless of composer).

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This might be beating a dead horse. “You Are the Pan/Face of Pan” is one of my favorite tracks of all time (of ANY score). 
 

I was surprised to find how similar it was to George Delures material from 1985s “Agnes of God”. 

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One of my favorite JW pieces. This new recording is nice and clear but it sounds a bit drier than the JW recording I am used to. Still, wonderful overall. The new, moodier passages are quite interesting. They give the piece a new character. Ar the same time, this new arrangement seems to soar a little lower than the original. I feel like a similar thing happened with JW's new arrangement of Han and the Princess.

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33 minutes ago, artguy360 said:

One of my favorite JW pieces. This new recording is nice and clear but it sounds a bit drier than the JW recording I am used to. Still, wonderful overall. The new, moodier passages are quite interesting. They give the piece a new character. Ar the same time, this new arrangement seems to soar a little lower than the original. I feel like a similar thing happened with JW's new arrangement of Han and the Princess.

 

I think JW's just trended towards much more restrained scoring since the completion of the Star Wars prequels. ROTS was really his last "big" score; he never recaptured that level of operatic, musical gradeur in the scores that followed (with some fleeting exceptions in the Star Wars sequels, like The Spark or the celebration portion of Farewell).

 

Not sure if that's a reflection of his evolving writing style or just the films he's scored (the likes of Munich, Lincoln & The Post clearly call for restraint) but there's still a marked difference between, say, KOCS and TLC, or TFA and TPM, or Amistad and The Post.

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