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About LinkBacksOh, god, yes. YES!Iniciado por Bud White
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Re: Bandas sonoras
Oh, god, yes. YES!
"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.
Re: Bandas sonoras
Ya está la música de John Williams en Spotify, Itunes, Deezer... estupenda (¿alguien se esperaba otra cosa?)
"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.
Re: Bandas sonoras
Regrabación de la partitura completa de El Orfanato por parte de Fernando Velazquez, la Orquesta Sinfónica de Euskadi, y su ingeniero de sonido habitual, Marc Blanes, con quién no pudo contar en la grabación original. Disponible en Quartet Records.
"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.
Re: Bandas sonoras
Esos chelos me han recordado a Minority Report...
Re: Bandas sonoras
He visto en MundoBSO la lista de las peores bandas sonoras del 2017... nunca he discrepado mas en todo mi tiempo con el guru Conrado.
Ver Orient Express y Mountain Between Us (vale, no es que sea la quinta esencia de Ramin Djawadi, pero es una mas que loable muestra de que es un compositor con cierto talento), me tocado y hundido.
Re: Bandas sonoras
Ya me había llegado hace unos días, pero aún no había subido foto de mis compras de vareses: un Basil Poledouris, un John Williams y un Jerry Goldsmith, inmejorable trío de compositores
Re: Bandas sonoras
A mí no me ha llegado nada todavía, desde varios sitios diferentes. Es un taco realmente interesante, aunque eso sí, no contiene ninguna BSO de films recientes (del 2010-2011 lo más cercano). Y hay cosas navideñas que me temo que van a llegar un poco tarde.
Para este año que viene, tengo como objetivos primordiales la "nueva" partitura de El Fantasma de la ópera que compuso Roy Budd justo antes de fallecer en 1993 y un recopilatorio de virtuosas piezas salidas de las plumas de reputados compositores británicos, entre otros.... Kritzerland edita. Sólo 500 unidades.
http://www.kritzerland.com/redshoes.htm
Me encanta hasta la portada
Re: Bandas sonoras
A mí no me ha llegado nada todavía, desde varios sitios diferentes
Para este año que viene, tengo como objetivos primordiales la "nueva" partitura de El Fantasma de la ópera que compuso Roy Budd justo antes de fallecer en 1993 y un recopilatorio de virtuosas piezas salidas de las plumas de reputados compositores británicos, entre otros.... Kritzerland edita. Sólo 500 unidades.
http://www.kritzerland.com/redshoes.htm
Me encanta hasta la portada
¿Y lo nuevo de John Williams-Spielberg, no?
"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.
Re: Bandas sonoras
De JWFAN.
Ahora que acaba de pasar el 20 aniversario, y que la edición completa de la música de Titanic por fin ha sido lanzada, conviene recordar esta entrevista a Don Davis (orquestador de Horner en la película):
PLUME: On a side note to Horner, you worked with him on Titanic. There was a very famous rift between Horner and James Cameron after Aliens. Was any residual of that evident in what you observed between Horner and Cameron on Titanic? It was originally a falling out based on their differing views on the music for Aliens, wasn't it?
DAVIS: No, I think it was a little more than that. It was music too, but Jim Cameron is a very tough guy to work for. Actually, I gained a lot of respect for Horner during Titanic, because Horner was accommodating Cameron in ways that I thought a composer the stature of Horner had no reason to accommodate anyone. He completely handled the situation with absolute humility and professionalism. I don't think there are very many composers who would have acquiesced to Jim Cameron the way Horner did. Horner gave Jim exactly what he wanted. I think there are some people who think that the Titanic score may be overly simplistic, or some people object to the Celtic nature of it, or whatever, but I can tell you that if any other composer had scored that picture, Jim would have fired him and at least four other composers before he got what he wanted. Horner was determined that that would not happen, and it didn't happen, and I think it was the best score that Jim would ever allow into that picture. For that reason, I think he deserves all the Academy Awards and accolades that he got.
PLUME: I think that's a perspective that not very many people saw in that.
DAVIS: Well, you kind-of had to be there to see it. I mean, it was magnificent.
PLUME: It was surprising to a lot of people that Horner would even work with Cameron again after Aliens.
DAVIS: I can't really say, because I wasn't there all that much. I would go to Horner's place, pick up the sketches, he'd talk me through them, I'd do them, and I was done. I do know that I made a lot of extra money on that show, because the picture kept changing and Cameron kept making changes, and as the sketches changed, they kept coming back to me to change the orchestration and I'd get more money. That was just fine as far as I was concerned. Through that process, I could see that he was accommodating this director. He was really bending over backwards to do everything that Jim wanted him to do. I couldn't picture a composer of the stature of John Williams doing that, well, maybe he would but there gets to be a point when it's too much.
PLUME: Isn't it the job of the composer to conform to the director's view of the film? What line is there that demarcates when it's not worth the hassle?
DAVIS: There are situations where directors give composers directives just to give them directives. Just to show "who's boss in this room."
PLUME: Is it the film version of busy work?
DAVIS: Sure. Go outside and dig a 20-foot hole and then fill it up again. Composers, whether they are or not, certainly like to view themselves as being creative and having a contribution to make to the process. There are some personalities, fortunately they are few, that seem to want to negate that. There's a point where it becomes too much of an insult to bear. If a composer is very highly successful, and James Horner certainly is, that means that he has to take less of that kind of abuse than a composer who is not of that stature. From my limited vantage point, it seemed like changes were coming in just for the sake of changes to come in, and I was wondering, as I was picking up these changed sketches, why Horner was going to such lengths to make this guy happy. Once the film came out, I understood perfectly. That's another tribute to James Horner, because he has not only an amazing visceral insight into what a film needs musically, but he knows how these situations work and he knows when to do something and when not to do something. You've got to hand it to the guy.
____________
[B]I talked to Simon Franglen a few months ago about Horner's synth work and he said that Titanic was 'the score with no budget'. About 60% was synth only. They wanted to replace the synth choir (which Simon built from seven different synths) with the Harlem Boys Choir but there was no money to do so.
[/B]
Interesante y revelador
"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.
Re: Bandas sonoras
Ayer los Reyes llegaron un poco adelantados y me dejaron esto:
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"
Re: Bandas sonoras
Cumplen 25 años este 2018...
Re: Bandas sonoras
Se rumiaba; se venía rumiando desde hace unos pocos días. Un regalo de Reyes (de hecho en este relato los hay) tardío, un lanzamiento de primer nivel de una Intrada que comienza el año de forma implacable, y otro "holy grail" (en su golosa versión expandida) que cae del Olimpo de las BSO. Doble disco, naturalmente, y... no se incluye la celebérrima canción "(Everything I Do) I Do It For You". Más aquí
Robin Hood, Prince of Thieves; Michael Kamen, Prince of Composers (se te echa de menos, Maestro).
Apuesta por ello. Únicamente he escuchado unos 3-4 minutos de ella y ya me he entendido con ella. Es la propia inercia, como cuando se conoce a una persona de hace años y en la que se puede confiar plenamente.
Tras un parón de muchos meses, se me acumulan demasiados títulos en la agenda. Lo bueno que tienen los Williams editados por Decca-MCA, Sony o Warner es que existe la posibilidad de acabar encontrándolos a 5-6-7 euros con el paso del tiempo y poder así invertir lo ahorrado en las más caras ediciones limitadas de los sellos especializados.
Una última información rescatada del foro FSM para quien esté interesado y no la conozca. Sobre el malogrado y largamente deseado "King Kong" de Howard Shore:
https://twitter.com/DougAdamsMusic/s...87010225594368
DOUG ADAMS said @ TWITTER
Yes, I’ve heard Shore’s KING KONG—as it exists. It was 1/3 recorded and 1/3 mockups, with 1/3 yet to be written. It’s gorgeous...surprisingly gentle and lyrical. I think it’ll be released someday, but isn’t on the immediate horizon.
Re: Bandas sonoras
Y Otto+, en Febrero sale la siguiente entrega de la Legacy Collection de Disney... la bella y la bestia completa.
Robin Hood, el anterior lanzamiento de la colección, fue histórico porque esa partitura de George Bruns no había tenido nunca edición oficial en CD.
"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.
Re: Bandas sonoras
Pues habrá que esperar a que salga el tracklist de la de Menken y Ashman para compararla con la edición más extensa existente hasta la fecha para ver qué suma. No sabría decir cuánto falta para poder decir por fin "The Beauty and the Beast - Complete Edition"
Re: Bandas sonoras
Según el somero análisis que hice, con la peli y anotaciones delante, faltan algo así cómo 30-40 minutos de score de Menken. Un poco cómo pasó con la Sirenita.
Y en cuanto a la edición más reciente de la Bella y la Bestia 1991... corrígeme si me equivoco, pero ninguna ha añadido material nuevo (a excepción de la canción Human Again que no aparece en el montaje original de la película) , solo demos y temas alternativos. Por eso esta Legacy Collection es tan importante, a mi juicio. Nos ofrece los scores completos de las películas junto con sus respectivas canciones en orden cronológico más demos y demás. En algunos casos hasta se recupera la mezcla de audio original de la película (cómo pasó con The Lion King, cuyo CD del 94 le daba prioridad a las partes de sintetizador por encima de la orquestal), algo que Zimmer corrigió en la edición completa de 2014, cuya mezcla de sonido es mucho más equilibrada.
"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.
Re: Bandas sonoras
Por cierto, Otto+, que tenemos nuevo score del talentazo encubierto. (poquísimas películas de escasa entidad en más de diez años), Douglas Pipes. Si no has escuchado estas hazlo cuanto antes (las tienes en Spotify, creo).
Spoiler:
Si, parece haberse estancado en el terror navideño, pero a quien le importa cuando le sale oro. ORO.
"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.
Re: Bandas sonoras
Tripley, ya estás tardando tu también. A ver qué opinas (lo que he podido encontrar en Youtube):
"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.
Re: Bandas sonoras
A mi Monster house me gustó en su día y el score me pareció muy bueno. eso sí, tendría que volver a escucharlo
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"
Re: Bandas sonoras
Escucha Krampus en Spotify creo que te va a encantar.
"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.
Re: Bandas sonoras
La pregunta mas importante
¿Repetira Pipes con Dougherty en Godzilla: King of the Monsters?
Porque seria JODER al magistral Desplat y su jodidamente portetoso y titanico score
Re: Bandas sonoras
La pregunta mas importante
¿Repetira Pipes con Dougherty en Godzilla: King of the Monsters?
Porque seria JODER al magistral Desplat y su jodidamente portetoso y titanico score
Todo lo que sea oír más a Pipes (talentazo), es bienvenido.
"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.
Re: Bandas sonoras
Buenas a todos, me ha llegado recientemente el soundtrack de Troya de Horner, la version completa. Me gustaria saber porque en esta edición llamada completa no se incluye el track número 2 de la edición antigua que lleva por nombre Troy y es uno de los mejores?? Muchas gracias
Re: Bandas sonoras
No pudieron obtener la licencia para ese track en concreto. De manera similar, la edición completa de Titanic no incluye la canción de Celine Dion por esa misma razón.
"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.
Re: Bandas sonoras
Aquí explicación de que falta en el doble CD:
Just one track from the OST is missing: "Troy".
But this track consists of two tracks from the movie. The opening 30 seconds are the beginning of the over 2-minute long music for Helen and Paris and the subsequent scene on the ship between Hector and Paris.
The rest is the music for the shot of the Greek war ships and the Trojans' triumphant return to Troy. The first two minutes of that track (Achilles talking to his mother Thetis) are missing from the OST, but the full version can be heard in the end credits of the director's cut.
Both tracks seem to be missing from the Intrada album
"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.
Re: Bandas sonoras
Muchas gracias por la aclaración, por un momento pense que habia algo de lo compuesto por Yared, por lo que veo es un tema corta pega de otros muchos, quiza para una presentación en concierto.
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