Jaja, sí, deben ser otros motivos más personales por los que a B/D no le sale nombrar al bueno de Giorgio, con el estilazo que tenía...Spoiler:
Jaja, sí, deben ser otros motivos más personales por los que a B/D no le sale nombrar al bueno de Giorgio, con el estilazo que tenía...Spoiler:
Cómo sois, de verdad. . Olvido imperdonable; tenéis razón.
Y no tenía, tiene:
;)
Última edición por Branagh/Doyle; 13/04/2016 a las 19:29
"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.
"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.
"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.
Lo de desasosegante era un cumplido , ya que no es tan fácil conseguir transmitir esa sensación sin caer en la monotonía o el ruido per se.
Por cierto, que de tanto en tanto me gusta escuchar ese tipo de música más experimental, abstracta, que pese a no siempre sea un viaje fácil, suele proporcionar resultados estimulantes.
No exactamente. Fue una época en la que la mayoría de lanzamientos que despertaban mi interés eran ediciones limitadas (mi era pre-internet) que no podía conseguir (cuando apenas quedaban copias durante unos pocos días).
Mientras, fuí alternando diversos estilos musicales, aunque me metí más a fondo en la clásica, el jazz o la música cósmica (Cluster, Harmonia, Tangerine Dream, Schulze, Popol Vuh, etc..)...Spoiler:
Saludos y perdón por el off-topic.
"And at the instant he knew, he ceased to know"
Sobre música clásica, supongo que los que sois aficionados conoceréis a John Eliot Gardiner, reputado director de orquesta británico, fundador del coro Monteverdi y los Solistas Barrocos Ingleses (aunque no interpretan únicamente música Barroca ), y que se caracteriza por realizar grabaciones lo más fieles posibles, en tempo, instrumentación y orquestación a cómo se estrenaron. Para ello, emplean instrumentos de la época correspondiente, bien que han perdurado hasta nuestros días, o porque son reconstrucciones.
Os dejo un par de grabaciones integras.
En el Palau de la Música de Barcelona, Requiem de Mozart, diciembre 1991 :
La Flauta Mágica, Amsterdam, 1995
De nada.
"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.
Veo que en este sentido eres cómo yo, te gusta la música en general, y siempre estás abierto a descubrir artistas y estilos que desconocías.
Eso refuerza aún más mi idea de que sería estupendo conocernos, con tiempo para charlar, sin prisas.
¿No os da la sensación, por cierto, de que hoy en día se valora poco el placer de una buena conversación? Hay de todo, claro, pero... (me hago viejo... suspiro). Si va Tripley, puedo hacer té, claro, (¿leche o limón?) y si se nos une Akakievich, los blinis caseros me salen bastante bien.
Última edición por Branagh/Doyle; 14/04/2016 a las 13:53
"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.
Pista: ¿Cómo se dibuja correctamente una boa digiriendo un elefante?
;)
"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.
¿Es El principito?
Edito: luego he visto que hay versión de 2015, pero yo sólo he visto la clásica y hace siglos de éso .
Última edición por Jane Olsen; 14/04/2016 a las 14:06
"There is an inmense joy when you suddenly discover beauty in something that has been around you for ages".
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
Dame un abrazo.
Tiene usted un gusto excelente, srta Olsen. Meh, en castellano no es lo mismo...
Conste que no te he nombrado en mi anterior , porque dado que te sentiste incómoda cuando te sugerí enviarte de cuando en cuando cosas por privado que considerase pudieran ser de tu interés, pensé que una invitación a tomar té y charlar lo considerarías todo un atrevimiento. .
Es el principito, efectivamente, pero de Hans Zimmer (¡oh! ¡ah!, no, si ya os digo que cuando quiere..).
Te toca poner tema.
Por cierto, técnicamente depende del té. Leche o limón, digo. Al menos, si nos ceñimos al protocolo (siempre hay uno)
"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.
"There is an inmense joy when you suddenly discover beauty in something that has been around you for ages".
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
Que ponga tema quien pueda y le apetezca, pues. Go! ;)
Ya no recordaba esta joya absoluta, por cierto, que buena es.
Última edición por Branagh/Doyle; 14/04/2016 a las 19:14
"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.
"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.
Blinis rellenos de patata... mmm.
Perdón.
"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.
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"
Son muchos años... lo sigo haciendo todos los días a las 5 en punto, aunque ya no viva en el Reino Unido. Es la costumbre. Y si encarta, con pastas, claro.
Completamente cierto.
¿También conoces los blinis? Me alegro mucho.
"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.
Los blinis los he comido pocas veces, pero sí, los conozco y no les hago ascos
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"
¿Té, pastitas, blinis?
No debería haber leído eso a estas horas , cuando me quedan cerca de tres horas para cenar...
¡Me apunto!
PD: Mi estomago ha rugido en pleno trabajo; suerte que no había nadie cerca.
"And at the instant he knew, he ceased to know"
Blinis (o блины) que Aka me corrija ) rellenos de patata, si. Muy jugosos.
Son tortitas finas rellenas ( o no) de origen eslavo. Pueden comerse cocidos o fritos. Huevos, leche, harina y levadura, lleva la masa.
Lo del té lo decía porque precisamente pueden servir de acompañamiento a este, tomarse con compota de manzana o servir de base para pescados varios.
Cuando tengas vacaciones, me avisas, y si coincide puedo y tengo hueco hago viajecito donde vivas. Todo seria cuestión de organizarse... ;).
Tripley vive en Madrid, según pone su ubicación, y allí voy a menudo por cuestiones familiares. Yo vivo desde hace años en un pueblecito del sur rodeado de viejecitos entrañables, donde lo más emocionante que sucede es que alguien se casa, muere, o tiene un hijo. Y la verdad es que me encanta. .
Me enrollo cómo una persiana.
PD: No sabia que Johnny Greenwood tuviera ese manejo clásico con la orquesta. . Que tío.
Última edición por Branagh/Doyle; 14/04/2016 a las 20:32
"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 me jeringuéis con la comida, yo también tengo mucha hambre .
Un London Fog con pastas de gorda profesional, es lo que yo me tomaría ahora ...
Bueno, pues voy a intentar retomar el juego éste. No me déis mucha caña porque es la primera vez que juego y yo no entiendo tanto de música de cine como la mayoría de la gente que anda por aquí . A ver si puedo porque la página esta que ponéis no me deja subir nada ...
Última edición por Jane Olsen; 14/04/2016 a las 21:58
"There is an inmense joy when you suddenly discover beauty in something that has been around you for ages".
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
No veo nada...
"Pastas de gorda profesional"
"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 sé cómo lo hacéis, el mierdoseco coso ése de goear no me deja subir nada ni crear cuenta ...
Bueno, no sé por qué no puedo crear cuenta ni subir nada . He perdido la cuenta de las veces que lo he intentado . Así que voy a hacer otra cosa para no parar el juego:
Esto no es propiamente la música de la película en cuestión a que me refiero, pero aparece como parte de la BS en un momento dado. Y resulta tenebrosamente adecuado. Hay orgiástico desenfreno. Pérfida seducción. Blasfemia y rebeldía. Y todo tiene un precio...
Última edición por Jane Olsen; 14/04/2016 a las 23:37
"There is an inmense joy when you suddenly discover beauty in something that has been around you for ages".
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"
La cuestión es que al ser un tema clásico puede haber aparecido en multitud de películas, pero indagaremos en base a las pistas que has dado.
Los de Goear son unos sinsorgos ;), tienen problemas cada dos por tres.
"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.
Teniendo en cuenta tus gustos creo que más o menos vislumbro algo, pero cómo ya llevo dos seguidas, dejo miguitas a ver si estoy en lo cierto y alguien lo sabe .
¿La Hammer, años 50? ;)
Última edición por Branagh/Doyle; 15/04/2016 a las 01:16
"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.
"There is an inmense joy when you suddenly discover beauty in something that has been around you for ages".
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Listen to them... Children of the night! What music they make..!"