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Memoirs CD press release, album cover and tracklisting!


Sandor
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...although, apparently, Howard Shore seems content now to simply print his name in all caps on his covers (see The Aviator and A History of Violence. Shore is such an institution now that it's practically redundant to say anything else.

He didn't orchestrate Hedwig's Theme to the chelest?

My lip is trembling. :|  

~Sturgis

By all accounts, at the very least, Williams does all the instrumentation, so you needn't worry about that.

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He didn't orchestrate Hedwig's Theme to the chelest?

My lip is trembling. :)  

~Sturgis

It's safe to say he did... :|

And I would bet the farm that he selects any specialty instrument in a score. That wouldn't be something an orchestrator would probably recommend, leaving it to the composer.

Tim, who doesn't want to loose the family farm :cry:

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Some member said here an old composed of the golden age said hollywood makes to composers to have orchestrators or something. Like if it was obligatory.

I think Williams orchestrators just copy his sketches and make the sheet music for every instrument (sepparating williams compositions....

And anyway do Ennio morricone and Howard shore's music sound very orchestrated?

I dont think so. SO i prefer the William's way of doing it...

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He didn't orchestrate Hedwig's Theme to the chelest?  

My lip is trembling.  

~Sturgis

YES he did! Sheesh. Williams writes all his instrumentation. The "Orchestrator" in Williams' case is not somebody who composes. Just somebody who copies to the full score.

Why doesn't Williams just write in the full score you ask? Because it is faster to write such complex music on the condensed score and indicate the instruments and octaves for each line, counterline and chord grouping. For music like Herrman and Shore, with more whole notes and less counterpoint, it is fast enough to write on the full score.

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John Williams' orchestrators do not do anything at all.

That's the preffered opinion on this MB anyway.

That's our story and we are sticking to it. Facades have to hold (it's the good old British "keeping up appearances" skill). Williams is the infallible god of film music and there is nothing anybody can do about it.

And really why would Williams want to credit copyists? They just print the music for the players. :thumbup:

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Obviously, I don't have to tell anyone to buy this whenever it comes out, but I can at least tell anyone who cares that they can be even more excited. It's a homerun.

Some audience members may confuse parts of this remarkable score with "authentic" Asian music, but soundtrack fans will find Williams' fingerprints all over every bar. The score touches on classics like Jane Eyre and even Images, along with reinterpretations of recent favorites like A.I. and Attack of the Clones. The main theme is one of Williams' strongest in a decade, and he gets enormous mileage out of it (including a 7/8 accompaniment for part of the end credits).

That was from the FSM board, the person who apparently heard the score....

I'm gettin' jittery!

Tim

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Yeah I don’t even think its a matter of opinion. What counts is what JW has said and what his orchestrators have said. Everything I’ve read or heard from them indicates that they have little to nothing to do with the writing of the music. So unless there’s some evidence to the contrary I haven’t heard of, I just assume they’re telling the truth.

- Adam

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I guess because its not Harry Potter, its a score about a whore, its going to be a dust collector for most here, as time goes by. actually I think it will be a great score better than the two so far, but like Schindler's List, its still destined to be a dust collector for most. It will probably be better than Indy 4 too, but that will get more threads and posts dedicated to it.

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The Dutch film magazine Score! stated very clearly that the orchestrators do not add ANYTHING to Williams sketches.

Roald, are you Dutch!? I wouldn't regard Score as a very reliable source. I am sure John Neufeld has input to a certain extend regarding the instrumentation, if you look at John Neufeld manuscripts, there's just too much details Williams can not write in his sketch scores.

By the way, we had already too much threads about the orchestrator's jobs.

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I guess because its not Harry Potter' date=' its a score about a whore, its going to be a dust collector for most here, as time goes by. actually I think it will be a great score better than the two so far, but like Schindler's List, its still destined to be a dust collector for most. It will probably be better than Indy 4 too, but that will get more threads and posts dedicated to it.

Based on the sound clips online, I'm quite intrigued by this score. However, I can definitely see Joe's point of view. Because it doesn't have that patented "Williams sound" that so many fans love, it very well may be a niche item that only appeals to a few folks. I even found myself more cerebrally intrigued by the examples I heard (from a composer's POV) than viscerally moved and that's partly because the Japanese music system is much more linear based than harmonically involved as European Western music, a style and sound I grew up with.

that said, I love much of Toru Takemitsu's music as well as Akira Ifukube's and Fumio Hayasaka. But Even those composers embraced aspects of Western music idioms and married them with Japanese sensibilities.

I'll have more to say when I hear the complete Geisha score.

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Anyway its obvious that his orchestrations are all mostly done by him. All his scores have similarities, the way the orchestration is layered. His grouping of instruments is unique to any other music composer, it can only be him most of the time. The way the harp is brought during many underscoring, the unique plucked strings, the way the violas play with the violins, how he groups his wind instruments, etc.... they all have the trademark JW sound through his scores that it has to be an unique person that do it, well perhaps its the way Conrad and him work that hasn't been changed in years but its mostly Johnny.

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I still cannot fathom why there are those who are hold-outs against Williams' abilities. I've seen handwritten examples of Williams' short scores and they are incredibly dense and detailed. His orchestrators are ostensibily copyists and most guys in the Hollywood system all know this.

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I guess because its not Harry Potter, its a score about a whore, its going to be a dust collector for most here, as time goes by.  

A new low, even for Joe. Hey, I like it! It has a certain ring to it. A new low, even for Joe. A new low, even for Joe. I can see the t-shirts already!

actually I think it will be a great score better than the two so far' date=' but like Schindler's List, its still destined to be a dust collector for most. It will probably be better than Indy 4 too, but that will get more threads and posts dedicated to it.[/color']

Are you the voice of the masses?

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