Muchas gracias!
Muchas gracias!
Qué maravilla que es la banda sonora de Alien 3
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"
Alberto Iglesias, La habitación de al lado:
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"
25 de Octubre
"Entré directamente, a lo Bogart, como habia hecho cien veces antes"
"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.
Bendito Shazam
(Erase una vez 4x11)
Que también...
"Entré directamente, a lo Bogart, como habia hecho cien veces antes"
Finalmente, el score de Beetlejuice Beetlejuice, saldra el proximo viernes.
La portada es la misma que Elfman tiene en su web
Última edición por PrimeCallahan; 23/10/2024 a las 23:36
A ver, invoco a los poderes supremos para que me expliquen porque se dice que Bitelchus Bitelchus de Elfman es fallido e incluso un mal score.
Segun Conrado, Elfman habia perdido el toque, ¿estamos locos?, es quizas el score mas Elfman desde hacia mucho tiempo, por Dios bendito, trememendamente adictivo, con su habitual manejo de escritura gotica, que va desde lo grotesco a lo caricaturesco, tremendamente visceral en algun pasaje, a ver, que alguien me explique porque a Elfman de repente, se le acusa de haber perdido el toque o de estar desinteresado por la musica cinematografica, porque vamos, no lo entiendo.
¿Esto es quejarse por quejarse?, ¿para recriminar un score de una secuela tardia?, ¿montarse otra vez en el carro de que la musica actual es basura?, porque es que no lo entiendo.
"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.
Hoy me llegó este cd con música de una de mis bandas sonoras favoritas.
This is a maximum security prison... and you have no weapons of any kind?
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"
Alien 3 es siempre bien.
Ahora, para este viernes
Prime ,¿has visto el score de jazz (si, jazz), de Jeff Beal para El Gabinete del Doctor Caligari?
A mí me parece maravilloso, aunque entiendo que pueda chocar al principio.
"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.
Sencillamente, muy curioso (y lo dice alguien que no es apasionado del jazz), el versionar la musica de esta manera, se acerca a una mezcla etnre cine noir con gotico, cuanto menos curioso
Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn.
Fortuna y Gloria.
Has corrido riesgos. Has cometido errores. ¡Y ahora, una última victoria!
Nuestro podcast:
https://www.ivoox.com/podcast-voces-metropolis_sq_f12312831_1.html
https://open.spotify.com/show/72q1UBW7MWhrbAcxxHi81y
Policía de mundodvd silenciada
Me gusta que hayan introducido las piezas de Young en la version expandida.
¡Ay la madre que los parió!
¡Lo han hecho!
¡El Padrino II!
"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.
"Music By John Williams" es un documental inmenso, merecedor de al menos nominacion al Oscar en los proximos premios de la Academia. Supone un gran homenaje y carta de amor a unos de los artistas mas importantes del siglo XX y XXI en todo el mundo. No somos conscientes aun de lo importante que es que se haya podido realizar aun cuando el maestro sigue vivo y poder disfrutar de sus confesiones y vivencias. Sus cerca de 110 minutos se quedan muy cortos, hubiera sido ya perfecto si hubieran dedicado tan solo unos minutos mas a ciertos trabajos menos populares y mas desconocidos ( Eastwick, the River, Heartbeeps... ) y un poco al fenomeno fan en el mundo, porque existe. Eché de menos a Hans Zimmer o Bruce Broughton entre los colaboradores invitados, eso si. Aun con todo, Obligatorio. Lo mejor que hay en Disney+ de largo.
A study in contrast (de hace unos cuantos años, pero sirve como referencia)
Estudio de John Williams:
Estudio de Hans Zimmer:
"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.
Con razón no quería yo sumergirme en este hilo... Absolutamente adictivo. Enhorabuena y muchas gracias por vuestras aportaciones.
https://www.youtube.com/watch?v=V06IxFhBvos
https://www.musicbox-records.com/en/...d-reissue.html
También "Le Ruffian" de Morricone y un Philippe Sarde que tiene muy, muyyyy buena pinta.
https://www.musicbox-records.com/en/...d-reissue.html
https://www.musicbox-records.com/en/...-meaulnes.html
Me hacen chiribitas los ojos con lo que acabo de descubrir
https://www.beatrecords.it/en/catalo...ersary-edition
A soundtrack so much yearned, now finally available compete with the original RCA album program and unreleased tracks to reach the length of 66 minutes of pure Morricone western sound. A masterpiece finally available to everybody thanks to this Deluxe edition on CD in our CDX series, mastering by Claudio Fuiano and Daniel Winkler, 24 pages booklet with Averardo Ciriello cover, external hard paper tunnel with Renato Casaro cover while on the back we have a portrait of Ennio Morricone portrait drawn by Claudio Fuiano, liner notes and graphic layout by Daniele De Gemini.
A limited edition that can’t be missing from your collection.
Tracklist
1 La resa dei conti 3:04
2 Poker d’assi 1:17
3 Osservatori osservati 2:01
4 Il vizio di uccidere 2:24
5 Carillon 1:09
6 Il colpo 2:20
7 Addio colonnello 1:43
8 Per qualche dollaro in più 2:48
The film score tracks in mono
9 Per qualche dollaro in più (Orchestral theme 1) 2:12
10 Poker d’assi (Alternate version) 2:31
11 Per qualche dollaro in più (Main Titles Reprise) 0:51
12 Per qualche dollaro in più (Orchestral theme 2) 1:56
13 La resa dei conti (Reprise) 1:34
14 Per qualche dollaro in più (Orchestral theme 3) 1:58
15 Per qualche dollaro in più (Main Titles Reprise 2) 0:58
16 Per qualche dollaro in più (Orchestral theme 4) 1:16
17 La resa dei conti (Reprise 2) 1:50
18 Per qualche dollaro in più (Orchestral theme 5) 0:55
19 Per qualche dollaro in più (Orchestral theme 6) 1:41
20 Per qualche dollaro in più (Orchestral theme 7) 1:46
21 Per qualche dollaro in più (Main Titles Reprise 3) 2:30
22 Carillon (Reprise) 1:11
23 Per qualche dollaro in più (Orchestral theme 8) 3:22
24 Per qualche dollaro in più (Main Titles Reprise 4) 3:15
25 Per qualche dollaro in più (Orchestral theme 9) 4:02
26 Per qualche dollaro in più (Orchestral theme 10) 2:03
27 La resa dei conti (Reprise 3) 1:09
28 Il vizio di uccidere (Alternate Version) 2:55
29 Per qualche dollaro in più (Orchestral theme 11) 1:34
30 Per qualche dollaro in più (Orchestral theme 12) 1:10
31 Carillon (Reprise 2) 2:08
32 Per qualche dollaro in più (Orchestral theme 13) 0:59
33 La resa dei conti (Alternate version) 2:55
Music composed and orchestrated by Ennio Morricone - Orchestra conducted by Bruno Nicolai
Published by EMI Music Publishing Italia srl
Tracks 1 - 8 ? 1965 EMI Music Publishing Italia srl, under license from Universal Music Publishing Ricordi srl
Tracks 9 - 33 ? 2024 EMI Music Publishing Italia srl
I Cantori Moderni di Alessandroni choir - Edda Dell’Orso vocalism - Alessandro Alessandroni whistling - Nino Culasso trumpet
Bruno Battisti D’Amario classical and electric guitar - Franco Tamponi first violin - Salvatore Schillirò Jew’s harp - Bruno Nicolai organ
Stereomono total time 66:22
Lo esperaba .... a no mucho tardar .... pero aun así ..... IRRESISTIBLE y muy esperado, sí. Los westerns de Leone y Morricone ya tiene por fin una edición más o menos definitiva de unos años acá. Ahora falta "Érase una vez en América".
Ostia puta (perdón). ¡Nixon es un Lord Sith!
"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.