Fotito de mi clásico pedido navideño. Este año todo de LLL.
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Fotito de mi clásico pedido navideño. Este año todo de LLL.
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Sip, me reafirmo
Nosferatu, no solo es una de las mejores peliculas del año, es una de las mejores bandas sonoras del año.
supvtamadre
Feliz año para los bandasonorófilos.
Intrada 20 Enero 3CD
17 de Enero
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Va fuerte Lalaland records
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Estoy escuchando Paddington in Peru de Dario Marianielli. MUY buen trabajo del italiano. Una preciosidad de partitura familiar, con mucho de lo que echo de menos con tanta nostalgia, de aquella música de pelis familiares noventeras pero con un toque moderno. Muy bien orquestada. Y bien grabada y masterizada, porque no noto ninguno de los tipicos y horribles ''overdubs'' de las BSO tipicas de Remote Control y compañía. Me parece que hoy día hacen musica de orquesta y a veces la desperdician con un masterización o finalización demasiado ''editada'' que lo que suena parece hasta artificial y poco diferenciado de una orquesta sintética a una real.
A longtime collaborator of Coppola, 2x GRAMMY Award®-winning composer, Osvaldo Golijov was first approached by the iconic director over 20 years ago when Megalopolis was in its earliest stages of inception, the duo since working closely together to bring the musical vision of the modern, reimagined Roman epic to life. Recorded with the Budapest Art Orchestra, the expansive score ranges from grandiose classical melodies to film noir-inspired jazz numbers, featuring solo performances by Yo-Yo Ma, members of the Silk Road Ensemble, and more. Also featured on 32-track collection are two original songs written and performed for the film by Grace VanderWaal as her onscreen popstar character Vesta Sweetwater.⠀
Pushing beyond the confines of traditional cinema, Megalopolis prompted Golijov to deliver a soundscape as grandiose and far-reaching as the film itself. One of the key starting points for the score came from Coppola himself, who requested a “big love theme” that would permeate the film’s many layers. Rooted in largescale orchestral movements, Golijov’s cues are often repurposed by way of specific instrumentation choices, namely the musical saw, glass harmonica, organ and a wide variety of percussion instruments, which he then infused with sound design elements like rhythmic percussive clocks to capture the propulsive nature of the story. Matching the expansiveness of Coppola’s vision, the resulting 32-track collection manages to maintain a clear sonic throughline while also capturing the various intricacies of the onscreen epic.
Golijov pays homage to Coppola’s multitude of influences throughout the soundtrack, noting, “Francis asked for the soundtrack to contain specific references (e.g. Rozsa’s epic Roman music, Herrmann’s scores for Hitchcock, the ‘geometric’ love themes in Prokofiev’s Romeo and Juliet), which I twisted and combined in unexpected ways, so that they might help propel the film on its dazzling journey from ancient history towards the freedom of the unknown.”
"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.
Yo a Golijov lo descubrí con su ópera Ainadamar que, salvando cosas como a las cantantes anglosajonas cantando en español que chirrían, está muy muy bien. De hecho, me gusta más su faceta para concierto que sus bandas sonoras, la verdad, creo que ninguna está a esa altura, Megalopolis sería lo más cercano.
"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.
Estando inmersos ahora en la temporada de premios y la descalificación de Dune Vol.2 (para mi, ilógica estando ahí Wicked) se me ha venido a la cabeza "las mejores bandas sonoras que no fueron nominadas a los oscar":
- Dune vol.2 (nominadas la citada Wicked, María Pérez, Cónclave, Brutalist y Robot Salvaje. En mi opinión no se que hace ahí cierto "narcomusical")
- Rivales (de este año también)
- Nosferatu (otra de este año)
- El piano (Lista de Schindler ganadora, nominadas El fugitivo, La tapadera, La edad de la inocencia y Lo que queda del día)
- Los gritos del silencio (Pasaje a la india ganadora, nominadas Indiana Jones y el templo maldito, Cuando el río crece, El mejor y Bajo el volcán)
- Cinema Paradiso (La sirenita ganadora, nominadas Nacido el 4 de julio, Indiana Jones y la última cruzada, Campo de sueños y Los fabulosos Baker Boys)
- Tiempos de gloria (Mismo año que la anterior)
- El último mohicano (ganó Aladdin, nominadas Instinto básico, Howard's end, Chaplin y El río de la vida)
- La última noche (ganó Frida, nominadas Las horas, Lejos del cielo, Atrápame si puedes y Camino a la perdición. VAYA AÑO)
- El velo pintado (Ganó Babel, me ahorro mi escatológico comentario......, nominadas, La reina, El laberinto del fauno, El buen alemán y Diario de un escándalo)
- El código DaVinci (mismo año que la anterior)
- El caballero oscuro (Ganó Slumdog Millionaire, nominadas Benjamin Button, Wall-e, Milk y La resistencia)
- La llegada (ganó LaLa Land, nominadas, Jackie, Moonlight, Lion y Passengers)
- Pinocho (ganó Sin novedad en el frente, me ahorro el comentario.......nominadas Los Fabelman, Almas en pena de Inisherin, Babylon y Todo a la vez en todas partes)
- Spiderman, cruzando el multiverso (gana Oppenheimer, nominadas Pobres criaturas, Indiana Jones y el dial del Destino, Asesinatos de la luna y American Fiction)
Última edición por Draconary; 05/02/2025 a las 12:58
We few, we happy few, we band of brothers; for he to-day that sheds his blood with me shall be my brother; be he ne'er so vile, this day shall gentle his condition; and gentlemen in England now-a-bed shall think themselves accurs'd they were not here, and hold their manhoods cheap whiles any speaks that fought with us upon Saint Crispin's day.
Excelente lista Draconary.
Lista que podríamos extender hasta casi el infinito: alguna pincelada, para mí, sangrante:
· Batman (que definió el sonido heroico de los 90) o Eduardo Manostijeras no fueron nominadas al Oscar
· Ningún trabajo de Herrmann para Hitchcock
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"
No nominar a Herrmann por Vertigo o Psycho es como no nominar a Gordon Willis por los dos primeros padrinos (Kubrick opinaba que debió ganar por el segundo de ellos, a su juicio una de las mejores fotografías de la historia del cine, con un trabajo de época, que, particularmente en los segmentos de principios del siglo XX, creo que no ha sido superado desde entonces).
Un disparate, vaya.
"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.
No recordaba lo de Herrmann. Es de juzgado de guardia
Totalmente a favor de Batman y Eduardo Manostijeras. Grandes scores de Elfman, un grande que sus primeras nominaciones fueron en el 98 (Will Hunting en drama y Men in black en comedia) tras años de grandes bandas sonoras
We few, we happy few, we band of brothers; for he to-day that sheds his blood with me shall be my brother; be he ne'er so vile, this day shall gentle his condition; and gentlemen in England now-a-bed shall think themselves accurs'd they were not here, and hold their manhoods cheap whiles any speaks that fought with us upon Saint Crispin's day.
Editada la banda sonora de Lee de Alexandre Desplat
Pues habrá que leer, ya que Desplat insiste jajajajaja
Gracias al proyecto de Leigh Phillips, financiado por crowdfunding, se está regrabando la música de los telefilms Crawlspace, Pursuit y The People Next Door, compuesta por Jerry Goldsmith.
https://www.kickstarter.com/projects...ce/description
Aquí un vídeo de una de las sesiones de grabación:
We few, we happy few, we band of brothers; for he to-day that sheds his blood with me shall be my brother; be he ne'er so vile, this day shall gentle his condition; and gentlemen in England now-a-bed shall think themselves accurs'd they were not here, and hold their manhoods cheap whiles any speaks that fought with us upon Saint Crispin's day.
"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.
Nominaciones a los premios IFMCA
SCORE OF THE YEAR
AVATAR: THE LAST AIRBENDER, music by Takeshi Furukawa
HERE, music by Alan Silvestri
KENSUKE’S KINGDOM, music by Stuart Hancock
THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary
THE WILD ROBOT, music by Kris Bowers
COMPOSER OF THE YEAR
VOLKER BERTELMANN
KRIS BOWERS
ALEXANDRE DESPLAT
BEAR MCCREARY
JOHN POWELL
BREAKTHROUGH COMPOSER OF THE YEAR
DANIEL BLUMBERG
STEPHEN GALLAGHER
MICK GIACCHINO
LAURI PORRA
WILBERT ROGET II
COMPOSITION OF THE YEAR
“Battle for Eregion” from THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary
“End Credits” from HERE, music by Alan Silvestri
“Horizon Montage Begins/Closing Survey” from HORIZON: AN AMERICAN SAGA – CHAPTER 1, music by John Debney
“I Could Use A Boost” from THE WILD ROBOT, music by Kris Bowers
“The Sun Yet Shines” from THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary
BEST ORIGINAL SCORE FOR A DRAMA FILM
THE BRUTALIST, music by Daniel Blumberg
CONCLAVE, music by Volker Bertelmann
HERE, music by Alan Silvestri
HORIZON: AN AMERICAN SAGA – CHAPTER 1, music by John Debney
YOUNG WOMAN AND THE SEA, music by Amelia Warner
BEST ORIGINAL SCORE FOR A COMEDY FILM
THE 4:30 MOVIE, music by Bear McCreary
BEETLEJUICE BEETLEJUICE, music by Danny Elfman
FLY ME TO THE MOON, music by Daniel Pemberton
IF, music by Michael Giacchino
PADDINGTON IN PERU, music by Dario Marianelli
BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE FILM
ARGYLLE, music by Lorne Balfe
GLADIATOR II, music by Harry Gregson-Williams
THE KILLER, music by Marco Beltrami
THE MINISTRY OF UNGENTLEMANLY WARFARE, music by Chris Benstead
TWISTERS, music by Benjamin Wallfisch
BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION FILM[/b]
DUNE: PART TWO, music by Hans Zimmer
GHOSTBUSTERS: FROZEN EMPIRE, music by Dario Marianelli
KINGDOM OF THE PLANET OF THE APES, music by John Paesano
MEGALOPOLIS, music by Osvaldo Golijov
WICKED, music by John Powell and Stephen Schwartz
BEST ORIGINAL SCORE FOR A HORROR/THRILLER FILM
ABIGAIL, music by Brian Tyler
ALIEN: ROMULUS, music by Benjamin Wallfisch
THE FIRST OMEN, music by Mark Korven
NOSFERATU, music by Robin Carolan
THE WATCHERS, music by Abel Korzeniowski
BEST ORIGINAL SCORE FOR AN ANIMATED FILM
DRAGONKEEPER, music by Arturo Cardelús
KENSUKE’S KINGDOM, music by Stuart Hancock
THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM, music by Stephen Gallagher
THAT CHRISTMAS, music by John Powell
THE WILD ROBOT, music by Kris Bowers
BEST ORIGINAL SCORE FOR A DOCUMENTARY
CHURCHILL AT WAR, music by Jeff Danna
ENDURANCE, music by Daniel Pemberton
OUR LIVING WORLD, music by Pinar Toprak
SUPER/MAN: THE CHRISTOPHER REEVE STORY, music by Ilan Eshkeri
WHY DINOSAURS?, music by Raphaël Dargent
BEST ORIGINAL SCORE FOR TELEVISION
AVATAR: THE LAST AIRBENDER, music by Takeshi Furukawa
COBRA KAI, music by Leo Birenberg and Zach Robinson
THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary
THE PENGUIN, music by Mick Giacchino
WE WERE THE LUCKY ONES, music by Rachel Portman and Jon Ehrlich
BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA
FINAL FANTASY VII REBIRTH, music by Masashi Hamauzu and Mitsuto Suzuki
INDIANA JONES AND THE GREAT CIRCLE, music by Gordy Haab
NORDIC ASHES: SURVIVORS OF RAGNAROK, music by Rubén Melià
QUIDDITCH CHAMPIONS, music by Cris Velasco
STAR WARS: OUTLAWS, music by Wilbert Roget II, Jon Everist, and Kazuma Jinnouchi
BEST ORIGINAL SCORE FOR A SHORT FILM
AN ALMOST CHRISTMAS STORY, music by Daniel Hart
CARMEN Y LA CUCHARA DE PALO [CARMEN AND THE WOODEN SPOON], music by Iván Palomares
GO FOR GRANDMA, music by Fabrizio Mancinelli
THE ICE CREAM MAN, music by Nami Melumad
THE ONLY GIRL IN THE ORCHESTRA, music by Laura Karpman
BEST ARCHIVAL RELEASE
BACKDRAFT, music by Hans Zimmer; album produced by Stéphane Humez; liner notes by Kaya Savas; album art direction by Kay Marshall (Intrada)
DINOSAUR, music by James Newton Howard; album produced by Douglass Fake, James Newton Howard, and Jim Weidman; liner notes by Tim Grieving; album art direction by Kay Marshall, John Blas, and Karen De Jong (Intrada)
ELLIOT GOLDENTHAL: MUSIC FOR FILM, music by Elliot Goldenthal; the Brussels Philharmonic Orchestra cond. Dirk Brossé; album produced by Thomas Van Parys for Film Fest Gent; liner notes by Elliot Goldenthal and Thomas Van Parys; album art direction by Stuart Ford (WSA/Silva)
JERRY GOLDSMITH AT THE GENERAL ELECTRIC THEATER, music by Jerry Goldsmith; the City of Prague Philharmonic Orchestra cond. Leigh Phillips; album produced by Leigh Phillips; liner notes by Yavar Moradi; album art direction by Kay Marshall, Stéphane Coëdel, and Joe Sikoryak (Intrada)
MOONRAKER, music by John Barry; album produced by Neil S. Bulk; liner notes by Jon Burlingame; album art direction by Dan Goldwasser (La-La Land)
THE OLD MAN AND THE SEA, music by Dimitri Tiomkin; the Royal Scottish National Orchestra cond. Richard Kaufman; album produced by Patrick Russ; liner notes by Frank K. DeWald, Warren M. Sherk, and Patrick Russ; album art direction by Kay Marshall and Stéphane Coëdel (Intrada)
OUT OF AFRICA, music by John Barry; album produced by Douglass Fake; liner notes by Jon Burlingame; album art direction by Kay Marshall (Intrada)
THE PINK PANTHER, music by Henry Mancini; album produced by Chris Malone; liner notes by Jeff Bond and Chris Malone; album art direction by Nacho B. Govantes (Quartet)
THE SOUND OF LALO SCHIFRIN, music by Lalo Schifrin; album produced by Stéphane Lerouge; liner notes by Stéphane Lerouge; album art direction by Gilles Guerlet and Jérôme Witz (Universal Music France-Écoutez Le Cinéma!)
THE SUGARLAND EXPRESS, music by John Williams; album produced by John Williams and Mike Matessino; liner notes by Mike Matessino; album art direction by Jim Titus (La-La Land)
FILM MUSIC RECORD LABEL OF THE YEAR
INTRADA RECORDS, Douglass Fake, Roger Feigelson
LA-LA LAND RECORDS, MV Gerhard, Matt Verboys
MOVIESCORE MEDIA, Mikael Carlsson
MUSIC BOX RECORDS, Cyril Durand-Roger, Laurent Lafarge
QUARTET RECORDS, Jose M. Benitez
https://filmmusiccritics.org/2025/02...inations-2024/
Última edición por Ringo_rang; 14/02/2025 a las 21:31
Ultimas llegadas
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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.
Imagino que por aquí habrá interesados: se acaba de estrenar en Polonia y internet por streaming un ballet basado en "Drácula" con música de Wojciech Kilar y coreografía de Krzysztof Pastor. No sólo utilizan la música usada para el film de Coppola (entre mi top ten) sino que también tiran de otras bandas sonoras y obras de concierto del maestro polaco.
https://www.youtube.com/watch?v=XQ1HzVms5KQ
No se cuánto tiempo tendrán el streaming online así que no tardéis, por si acaso.
Que maldita maravilla de ballet. La coreografía, el uso de la música, la iluminación, todo.
Corred a verlo antes de que lo quiten.
"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.