Última edición por Tripley; 25/02/2017 a las 23:58
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
Tripley, ¿has podido escuchar ya lo último de Doyle? ¿Si es así, que te ha parecido?
PD: A mi este último trabajo de Elfman me ha gustado.![]()
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Ayer sólo escuché los dos primeros temas. A ver si lo escucho entero
Y a mí también me ha gustado el Tulip fever de Elfman, con algun tema, ya digo que muy sonoro (con toques que me han recordado a su Dragón rojo).
Saludos
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
Yo, como siempre voy retrasado con las novedades, no puedo más que recomendar A cure for wellness, de un compositor, para mi, cada día más interesante: Benjamin Wallfisch
Aqui, Wallfisch
https://www.youtube.com/watch?v=Ub-U...J5McOuE52cBBhl
Nueva entrevista. Muy divertida e interesante, cómo siempre con Doyle:
The multi decorated A-list composer from Uddingston, Lanarkshire talks us through how his workflow has changed with the times from pen and paper in the late 80s to computerisation today and where his inner rich Scottish musical heritage comes from.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Atención al poster enorme de Hamlet en la pared de la izquierda nada más comenzar el vídeo.![]()
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Nueva entrevista (charla, más bien), con Dario Marianelli:
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Off-topic, pero no sabía donde ponerlo. Algo traman los de Spotify...
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"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Milan Records editara Alien: Covenant de Jed Kurzel
Y Disney Records editara POTC: Dead Men No Tell Tales de Geoff Zanelli
Novedades LLL para marzo:
En el anuncio en facebook han estado salaos diciendo que no iban a cambiar el nombre de su discográfica por el de Moonlight records![]()
Escuchadas Logan y Kong
Aviso a navengantes, Logan NO es una partitura para todos los paladares (mas bien, oidos), muy ambiental, con momentos de violencia musical a lo largo de la obra, muy conseguidos y logrados, de nuevo, la armonica como instrumento para Logan, me ha gustado.
Ahora Kong, Jackman es un tanto hit or miss, en este caso, a mi su partitura me ha gustado (no es JNH, Barry o Scott) pero tiene su pase, resulta divertido ese mix entre guitarras electricas con la orquesta y coros, posiblemente de lo mas potable realizado por el ingles.
Últimas adquisiciones:
Saludos
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
Y de postre, para el 24 de Marzo.. Go Go Power Rangers!
1. Power Rangers Theme (4:22)
2. Seek Those Who Are Worthy (2:50)
3. Zordon Awakes (2:15)
4. It’s Morphing Time! (3:21)
5. Destiny (2:19)
6. Confessions (4:22)
7. Megazord (4:20)
8. United (2:46)
9. Birth Of A Legend (4:12)
10. Metamorphosis (2:40)
11. Goldar (2:03)
12. The Morphing Grid (3:59)
13. The Zords (2:35)
14. Let’s Ride (2:20)
15. You Were Born For This (2:05)
16. Reflection (2:15)
17. The Lost Ship (3:00)
18. I’ll Show You Mine If You Show Me Yours (2:24)
19. Be Who You Want To Be (2:08)
20. Hold The Line (3:36)
21. This Is What Matters (2:06)
22. Tresspassing (1:05)
23. Rita (2:30)
24. Square One (1:12)
25. Power On (2:34)
26. Together We Stand (2:21)
27. The Final Stand (2:46)
28. Go Go Power Rangers — End Titles (2:59)
Última edición por PrimeCallahan; 04/03/2017 a las 15:24
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Sin anuncios oficiales, puede que incluso no salga a la venta, a lo mejor cuando acabe la temporada.
50.000 thousand people used to live here, now it´s a ghost town.
"Our so called leaders prostitution ush to the west, destroyed our culture, our economy, our honor"
Por cierto en el canal en VEVO de Sony Classical han subido un par de vídeos de las grabaciones del nuevo recopilatorio que sale a la venta la semana que viene. El tema de Mario es la primera vez que se registra y edita, mientras el de Dry your teas Afrika es la primera vez que se edita grabado por Williams. Es el mismo arreglo que se ha podido ver en conciertos en España, que difiere en su final y en el tamaño del coro, sobre todo, de la edición discográifca de Amistad.
Finalmente, Lakeshore la lanza el mismo dia de estreno, 31 de marzo.
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Bruce Broughton
Label: Intrada Special Collection Volume ISC 377
Film Date: 1994
Album Date: 2017
Time: 79:47
Tracks: 32
01. Main Title (2:26)
02. The Boo Boo Book (1:16)
03. The Three Furies (1:22)
04. The Boys Arrive (1:18)
05. Garment Du Jour (2:41)
06. Stealing Bink (1:43)
07. Changing Bink (1:23)
08. FBI Arrives (0:39)
09. Bink Starts Off (2:55)
10. Baby On The Roof (2:21)
11. Bink Finds A Bus (4:18)
12. The Fat Lady (1:43)
13. The Department Store (2:14)
14. The Taxi (1:48)
15. Not Bink (1:30)
16. Street Crossing (2:15)
17. Baby Tracks (1:11)
18. The Shoelace (1:41)
19. The Mop Bit (1:31)
20. Up In Arms (2:09)
21. The Kid’s Gone Again (1:15)
22. Homesick (1:50)
23. The Rabbit Hole (2:40)
24. Summer Barbecue (4:51)
25. In The Nursery (1:47)
26. The Construction Site (7:28)
27. Veeko’s Next (3:02)
28. Quitting Time (4:41)
29. I Know Where He Is (3:23)
30. Boo Boo At The Tick Tock (1:30)
31. He’s Back (3:30)
32. End Credits (5:03)