Tema: Bandas sonoras

Iniciado por Branagh/Doyle

Leído en MundoBSO...

Los compositores de videojuegos Jeremy Soule y Alec Holowka han sido acusados de violación por las desarrolladoras Nathalie Lowhead y Zoe Quinn, según informan entre otras fuentes IGN. La primera ha hecho público, en un comunicado, la situación vivida hace años donde detalla las agresiones de Soule y los problemas en su ambiente de trabajo en 2008. Por su parte, Zoe Quinn también ha decidido compartir un relato similar en el que acusa a Alec Holowka de haberla coaccionado, maltratado física y psicológicamente y violado.

Acabo de leer esta noticia...

https://vandal.elespanol.com/noticia...-ha-fallecido/

Dios santo bendito...

Alec era un gran compositor (aquaria y night in the woods son estupendas bsos), pero un tipo muy conflictivo. Bastante gente tuvo problemas con él, y parte de la gente con la que trabajó no quisieron contar con él de nuevo. Se ve que había tenido problemas de comportamiento bastante serios.

Otra cosa es que airear ese tipo de cosas públicamente con la mentalidad que hay en twitter puede ser bastante contraproducente. Si el tipo ya tenía problemas, y encima le ha venido todo esto... en fin...

LaLaLand Records editará la música original de "La Novia de Frankenstein" de Franz Waxman presumiblemente en Octubre.
Uno de los grandes lanzamientos de este 2019 por su valor histórico e intrínsecamente artístico.

UNIVERSAL PICTURES FILM MUSIC HERITAGE COLLECTION and LA-LA LAND RECORDS
CELEBRATE OFFICIAL WORLD PREMIERE RELEASE OF
THE ORIGINAL 1935 FRANZ WAXMAN SCORE RECORDING
"THE BRIDE OF FRANKENSTEIN"
WITH A SPECIAL SCREENING OF "BRIDE" AT
SLEEPY HOLLOW INTERNATIONAL FILM FESTIVAL
IN SLEEPY HOLLOW AND TARRYTOWN NY!

SUNDAY, OCT 13, 5pm at TARRYTOWN MUSIC HALL
TICKETS AVAILABLE STARTING 9/6 at www.TarrytownMusicHall.org

Live Q&A with composer Franz Waxman's son, John Waxman, Universal Pictures Film Music Heritage Collection executive Alexia Baum and album producer/restoration expert Mike Matessino


"THE BRIDE OF FRANKENSTEIN" limited edition CD will be available for purchase at the event in the Music Hall lobby, ahead of the CD's official release date.

http://www.tadlowmusic.com/2019/09/d...james-bernard/

Pongo aqui también lo que he puesto en el hilo de la pelicula:

Magnífico trabajo de Benjamin Wallfisch para la segunda parte de It, superior a la estimable partitura de la primera entrega.


Me encanta como lleva al extremo las disonancias y cacofonias y las confronta con lo melodico, de manera mas agresiva y mejor engarzada que la primera entrega. Es compleja, es densa, y no es de facil escucha. Pero claro, el oído no entrenado puede calificar la parte terrorifica de efectista y meros efectos de sonido, cuando está muy trabajada, a años luz de cualquier RCP estándar.

De hecho la electrónica se reduce aún más y son complejas técnicas vanguardistas y atonales orquestales en lugar del típico sampler. Eso se engarza, como decía, con la parte drámatica y melódica, donde el compositor se luce aun mas que la anterior entrega.

Su handicap, quizá sea su nula comercialidad y lo dificil de muchos de sus pasajes. Y tal vez, la edición, (1h y 41min), pueda hacerse algo larga (¿es el score completo?). Pero maravillosa. Me recuerda -salvando las enormes distancias- al tipo de retos que asumía Goldsmith (del que Wallfisch toma muchas técnicas simiescas de desnaturalizacion de la orquesta, por cierto).

Por supuesto, las densas y personales orquestaciones y lo buen director de orquesta que es, ayudan mucho.

Iniciado por Bud White

De momento, para mí, disco del año. Eso sí, estoy esperando a la edición deluxe que sale el 27/9, que incluye 5 temas más y un DVD, para hacerme con él.

Bueno, pues ya está aquí el primero de los Elfman - MISSION: IMPOSSIBLE. Darkman la sacarán más cerca de Halloween...

Otto+, gracias por el aviso; pedido el disco de Elfman junto con Big Top Pee Wee (que aún no tenía) también de Elfman y Dead again de Doyle.

Espero no tener problemas esta vez con el envío.

Saludos

Tripley, ¿que te ha parecido la banda sonora de Wallfisch para la segunda parte de IT?. ¿Estas de acuerdo con mi comentario?

Iniciado por Branagh/Doyle

Tripley, ¿que te ha parecido la banda sonora de Wallfisch para la segunda parte de IT?. ¿Estas de acuerdo con mi comentario?

Aún no la he escuchado ni por separada ni el el film, que tengo pendiente. A ver si de este fin de semana no pasa el ver la película en el cine.

Saludos

Iniciado por Otto+

Bueno, pues ya está aquí el primero de los Elfman - MISSION: IMPOSSIBLE. Darkman la sacarán más cerca de Halloween...

De IndieWire...


Joe Wright, the British maximalist behind some of the most audacious screen adaptations in recent years, is as visually expressive a director as they come, and yet it’s hard to imagine watching his films with the sound off. Removing the music from any of his movies would be like ripping a bandage off an unhealed wound — impossible to remove without taking off some raw flesh. The scores that Wright commissions aren’t merely ornamental; they’re not just a garnish layered over a finished piece of work for added effect. On the contrary, the compositions are utterly inextricable from the films themselves, like a second script that weaves into the first one and knots them both together.

Needless to say, that approach could make things pretty difficult for a director who doesn’t write their own music. Fortunately for Wright, he doesn’t have to — he’s always has the great Italian composer Dario Marianelli to do that for him. The two men happened to meet at a time when both of their careers were building towards their first crescendoes (Wright was preparing to make the leap from TV to movies, while Marianelli was looking to parlay his work on “The Brothers Grimm” into some more high-profile gigs), and they immediately settled into a rare harmony that has seen them become one of the most vital director-musician duos in modern cinema, right up there with Todd Haynes and Carter Burwell or Paul Thomas Anderson and Jonny Greenwood.

Their first collaboration, 2005’s “Pride and Prejudice,” earned Marianelli an Oscar nomination; their fifth film together, this fall’s “Darkest Hour,” deserves to earn him another. The breathless historical biopic focuses on the grim weeks after Winston Churchill assumed power over Great Briton and desperately steered the country away from collapse. Marianelli’s music runs through the story like the blood in its veins.

Wright and Marianelli are a singularly effective team, and it’s not just because the movies are good, or that the music is beautiful. No, the reason they work together so well is that their movies are so good in part because the music is beautiful, and the music sounds so beautiful in part because the movies are good. The two are mellifluously entangled together by design.

On that note, it’s telling that Marianelli, who spoke to IndieWire via email, cited a certain scene from “Pride & Prejudice” when asked to name a favorite moment from their films: “It’s when Elizabeth and Darcy dance for the first time. There’s a lone violinist playing an aria by Purcell. After a while, we hear the sound of a distant orchestra seeping into the room, merging with the Purcell aria but going at a different tempo. This is the place were we started experimenting with that blurring of boundaries between what the characters hear and what the audience hears. It’s when I knew that music can embrace the narration not as a decorative device, but as another character.”

Fans of Wright’s work could list a dozen other beats when Marianelli’s scores have seeped directly into the screen. “Anna Karenina” is full of them, and “The Soloist” — which is explicitly about music — also contains a few. The most famous instance of all might be from the opening seconds of “Atonement,” when the clatter of Briony’s typewriter bleeds into the severe piano melody of the film’s music, immediately and indelibly conveying the extent to which the young girl’s words have the power to shape the lives of those around her. “There is a level of stylization in Joe’s movies that enlarges the space for music,” Marianelli said. “It’s a very cinematic theatricality, although that sounds like a contradiction in terms.”

“Darkest Hour” is another exquisite showcase of what Wright and Marianelli do better than anyone else in the business, and it rhymes with “Atonement” in a number of different ways. Not only is the Winston Churchill biopic another story about the earth-shaking power of language (the drama once again hinging on the evacuation of “Dunkirk”), it also relies on a layered soundscape to lay bare the souls of its characters. In other words, the film is a perfect example of the partnership that helped bring it to life.

Throbbing with vigor one moment, tumbling pianos towards despair the next, and then eventually entwining those disparate modes together into the cathartic bombast that backstops Churchill’s most famous speech (“We shall fight on the beaches…”), Marianelli’s music holds “Darkest Hour” together, and the people of Britain along with it. It’s bonded to the movie on a genetic level, and grows organically through every scene. As always, the composer first started discussing the film with his director before the script was even finished. “Joe is really the only director who asks me to start writing music before shooting,” Marianelli said, “It anchors the music at a pre-visual level.”

In this case, the music was anchored to a crucial facet of Churchill’s character: “Even from the beginning, Joe already knew that much of the music would need pace and momentum, because he wanted to bring out the restlessness of Churchill’s mind. Churchill was able to think fast, and he did a great deal of thinking in those first few weeks of war.” Marianelli also revealed that Wright gave him an old, scratchy photograph of Churchill for inspiration, or bait. “There was an energy in that photo: Churchill leaning forward, some motion blur; the way it was framed, that translated in something quite propulsive.” Then, in a sneaky move that helped his longtime partner understand how well the film was going to work, Wright confessed to Marianelli that the photo was actually of Gary Oldman in makeup. (“I found that quite wonderful.”)

That set Marianelli on the right path. “I wrote six or seven pieces for piano solo. I tried a couple of experiments, adding to the piano some rhythmical artillery explosions; and in some others a voice. Eventually we kept the explosions, and we dropped the voice. I tried orchestrating a couple of the fast piano pieces, and that seemed to work well. It was, as always, a bit of early trial and error, throwing ideas around.”

For research, Marianelli said that he “mostly just tried to find out if Churchill listened to anything particular,” though he didn’t come up with much. (Folk songs from the time also factored into the process, with the idea that they could represent the voice of the British people, but most of that local flavor was ultimately sublimated into other parts of the score.)

And while the film captures its subject’s relentless fervor, sustaining a visceral sense of urgency from start to finish, Marianelli insisted that he tried not to get too hung up on just one aspect of such an astounding historical figure. He didn’t assign Churchill’s bluster to the horn section, his pluck to the violins, or anything else along such strictly didactic lines. “I try to stay loose with the connections,” he said. “Even when I attempt to reflect in the music something of a character, I always try to connect it to something that is not completely visible or obvious — I try not to double up on what the actor is already doing. Sometimes, I try to connect the music to what I imagine to be a part of their soul that is unknown even to them. Musical ideas are already ‘abstract,’ but I try to connect them to even more abstract ideas. Often it helps me to think of themes as signposting, living ‘daemons.’” Marianelli suggested that he might not have the words to explain this way of thinking, but he really doesn’t need them; “Darkest Hour” articulates Marianelli’s philosophy with perfect clarity.

Marianelli’s score doesn’t merely support Churchill’s vision or add weight to his words, it also frustrates his gravitas and feeds into his doubt. Gary Oldman is able to bring such an astronomical degree of energy to the performance partly because the music is there to bring him back to Earth, undercutting his defiant streak with an apprehensive piano lilt and then charging forwards in an orchestral rush that reeks of false confidence and real desire. The music restores an element of awareness to the performative nature of Churchill’s existence, and in turn rewards him with great humanity.

Marianelli spent a year working on the score before the first day of shooting, riffed on scenes as they came in, and then returned to full speed as soon as Wright had an assembly cut to show him, and “Darkest Hour” thrives off the fact that he was developing his music in lockstep with the movie. And yet, after all that time, he managed to nail the accompaniment to Churchill’s climactic speech on the first try. It’s a gorgeous and frenzied composition, a nearly eight-minute roller-coaster that combines the mechanical velocity of Steve Reich with the slipperiness of John Adams (two of Marianelli’s personal favorites). The music resolves with such a vivid degree of urgency that it takes you back in time and leaves you standing on the doorstep of history.

Like all of the scores that Marianelli has written for Wright’s films, the orchestrations for “Darkest Hour” are so rich that you’ll want to listen to it on its own; it’s inconceivable that these pieces wouldn’t have a life apart from the images they were made to accompany. And yet, the composer insists that he can’t afford to give any thought to how his work might survive by itself. In fact, the music is only possible because Marianelli is able to close his mind to that idea. “I only think of how best the music can help the movie,” he said.

But anything is possible “when the music within the movie is allowed to become a character, one that lives its own ‘experience’ through the movie, just like the other characters. Not every movie — or every director — allows this, but I always try nevertheless.”

Un año de trabajo en la composición, desde pre producción. Claro, así salen. Comparemos eso con las típicas dos semanas en post producción que reciben los compositores actualmente en su mayoría y eso lo explica todo.


Otto+, si no has VISTO Orgullo y Prejuicio, Expiación y Anna Karenina, hazlo. Tienen un uso de la música alucinante y eminentemente narrativo, cómo quizá no se había visto en décadas. No te vale solo con escuchar los CD. Lo de Marianelli con Wright es maná para los aficionados.

Esta última, Darkest Hour, también es muy recomendable.

Quizá uno de los aspectos más interesante de su colaboración, como dice el propio Marianelli, sea como difuminan las fronteras entre música diegetica y extradiegetica.

Iniciado por Yeruid

De momento, para mí, disco del año. Eso sí, estoy esperando a la edición deluxe que sale el 27/9, que incluye 5 temas más y un DVD, para hacerme con él.

Que SALVAJADA de disco, madre de mi vida. La interpretación de Mutter es exquisita, pero es que los arreglos de Williams para solos de violin son extraordinarios. Estoy sin palabras.

Tripley, escucha esto con el volumen alto y calmadamente.

Analisis de Jon Broxton de Movie Music UK a It: Chapter Two

Ojo, QUE HAY SPOILERS

Iniciado por PrimeCallahan

Analisis de Jon Broxton de Movie Music UK a It: Chapter Two

Ojo, QUE HAY SPOILERS

I honestly feel that, with his work on these It movies, Benjamin Wallfisch has created two of the best horror movie scores in many years. To the untrained ear a great deal of the most anarchic dissonance may seem like little more than ear-splitting noise, but I find it all quite fascinating. The creative collisions of sounds, the extended performance techniques, and the allusions to the most challenging and advanced 20th century modernism, are all worthy of significant praise. Not only that, but Wallfisch weaves a half dozen or so identifiable and memorable recurring themes through the score too, and allows them the room to create moments of emotional catharsis when required. The Oranges & Lemons chant for the demented toddlers remains one of the most brilliant and spine-chilling horror music motifs in recent memory. But, as much as I praise it, I guarantee that there will be a large number of listeners who simply will not be able to tolerate the onslaught of noise that assails you from the first cue to the last, and those people need to be forewarned that a large portion of this score is very, VERY difficult indeed. With that being said, I personally think that this score is a triumph, and I un-hesitatingly recommend it to anyone who wants to float too.


Pos eso. Cojonudo, pero no apto para los iniciados

Iniciado por Yeruid

De momento, para mí, disco del año. Eso sí, estoy esperando a la edición deluxe que sale el 27/9, que incluye 5 temas más y un DVD, para hacerme con él.

Te vuelvo a citar, tras un par de escuchas más a fondo: QUE JODIDA BARBARIDAD DE DISCO. MADRE MÍA DE MI VIDA. Otto´y Tripley, podeis escucharlo entero aquí, pero yo de vosotros lo pedía directamente. No es simplemente "una recopilación de temas con artista invitado". La reescritura y los arreglos, más proximos a las sala de concierto que al ambito cinematografico, son tremendos y muy refrescantes, cómo escucharlos casi por primera vez. La interpretación, tanto de ella como de la orquesta, impecable. La grabación, de primerisimo nivel.

Esto es una delicatessen suprema...

Iniciado por Branagh/Doyle

Tripley, escucha esto con el volumen alto y calmadamente.

Nada que habrá que adquirir esta maravilla. (Yo también me espero a la edición deluxe)

Qué Williams siga adaptando y trabajando en sus composiciones como un chaval me parece admirable.

Saludos

Mientras tanto se puede escuchar completo aquí en alta calidad:

Iniciado por Branagh/Doyle

Mientras tanto se puede escuchar completo aquí en alta calidad:

Es justo lo que estoy haciendo. Cómo me gusta el tema de Rey.

Saludos

In the midst of his work on Star Wars’ Final Episode IX John Williams has created and conducted a complete album with Anne-Sophie Mutter and in mutual admiration. It presents his personal selection of iconic themes as well as rediscovered gems from more than 40 years of his music for film. Recorded at the iconic Sony Pictures scoring stage in Los Angeles where many of the great film scores were recorded, including those of The Wizard of Oz, Gone with the Wind, Lawrence of Arabia, An American in Paris, E.T. and Schindler’s List, among many, many others. “That’s the wonderful thing about John’s music – it exists even without the film.” – Anne-Sophie Mutter

Iniciado por Tripley

Otto+, gracias por el aviso; pedido el disco de Elfman junto con Big Top Pee Wee (que aún no tenía) también de Elfman y Dead again de Doyle.

Espero no tener problemas esta vez con el envío.

Saludos

¿No os están parando los paquetes en aduanas? Porque con lo caros que se han vuelto los gastos, solo falta tener que pagar 25 o 30€ más de broma

Iniciado por Jp1138

¿No os están parando los paquetes en aduanas? Porque con lo caros que se han vuelto los gastos, solo falta tener que pagar 25 o 30€ más de broma

Por experiencia y según tenía entendido, este tipo de envios no suelen pararlos. No me digas que han cambiado de parecer...