James Newton Howard - Top 10

[Ghostek]

Ciężki ten King Kong. Kawał zacnej muzyki, ale nie wchodzi tak gładko, jak przypuszczałem. Trochę lepiej brzmiał Avatar w wersji complete recordings, no ale wiadomo... Takie bootlegi, to przede wszystkim ciekawostka dla osób chcących dowiedzieć się nieco więcej o istocie lubianej przez siebie muzyki.

[Mefisto]

http://www.youtube.com/watch?feature=pl ... hc80Tm2Cug - wywiadzik z miszczem

[Adam]

jakaś koncertówke ze suitami robi?

[Althazan]

W połowie stycznia był koncert w Dallas (USA). Program był super:

The Inner Sanctum (DINOSAUR)
The Hand Of Fate (SIGNS)
Suite from PETER PAN
The Empire State Building (KING KONG)
Fanfare from GRAND CANYON
Main Title/The Wedding from WYATT EARP
Race To The Finish (HIDALGO)
----------
First Kiss (PRETTY WOMAN)
Cole's Theme (SIXTH SENSE)
The Gravel Road (THE VILLAGE)
The Harvey Dent Suite (THE DARK KNIGHT)
Tarawa (SNOW FALLING ON CEDARS)
Circus Fantasies (WATER FOR ELEPHANTS)
The Launch (TREASURE PLANET)

Recenzja z koncertu:
http://www.theaterjones.com/reviews/201 ... ton-Howard

Opinia forumowicza z FSM:

The concert was held Friday January 13 and Saturday January 14 in Dallas, TX. I attended the Friday evening performance and had seats in the orchestra (floor) about half way back in the hall. They had a screen up to project clips on the films. This screen blocked the center Choral Terrace section forcing the choir to be shifted to side of terrace behind celli and basses- this matters later...

James was very talkative between most cues. I think part of it was nerves. He said he has only ever conducted one of his scores before so it was a unique experience to go back and ‘re-learn’ them from the conductor standpoint. I might catch flack for this but the conducting required at this concert was more getting everyone started with the click track and play until the music stops. On Friday night, ‘The hand of fate’ from Signs was a little rough and he ‘thanked the Dallas Symphony Orchestra for saving his skin…’ after they concluded the track. I have to give props to the choir because he never queued them (or even told them to stand…) and they managed to sneak in and add some great textural parts to the symphonic sound. Because they were on the side of Terrace they were wrapped in an ‘L’ shape while seated and had to quickly shuffle into straight lines when singing. The lack of queueing the choir led to some quick footwork but the singing was top notch.

He said when he was initially contacted for this gig, they wanted a 30 minute original concert piece and the rest of the concert to be his scores. His schedule didn’t allow for an original piece so they simply went for the scores.

From a composition standpoint, he says a lot of times he composes a suite of music after seeing the film and then breaks it apart into the various cues. This was displayed by the example of the Harvey Dent Suite. He spoke highly of working with Nolan and Zimmer on the last 2 Batman films, and it was his decision to bow out of the next one because Nolan and Zimmer had established such good chemistry working on Inception that he didn’t want to be a third wheel.

He spoke fondly of the Peter Pan Suite as one of his favorites despite its lack of commercial success. After they played the Peter Pan Suite, Lawrence Kasdan came out and they did a little ‘interview’ for 15-20 minutes discussing scoring techniques and working with producers/directors/studios. James’ best line was when a nameless director early in James’ career told him ‘that if Bernard Hermann were alive, you wouldn’t have a job…’ to which James thought in his head ‘If Alfred Hitchcock were alive we wouldn’t need you…’ They concluded their talk by showing King Kong finale without score with James describing his initial feelings on the scene and then replayed the scene with live orchestra. The entire ‘Q&A’ thing seemed out of place and really didn’t work that well- it felt really forced. I could almost see the musicians on stage counting their paychecks as it went on and on… (If they continue this practice please let Brad Bird/Pete Doctor/John Lasseter interview Michael Giacchino at the May concert…)

All selections had accompanying film clips except the following:
Hand of Fate from Signs
Suite from Peter Pan
Tarawa from Snow Falling on Cedars
Launch from Treasure Planet/Atlantis from Atlantis: The Lost Empire

The Wyatt Earp/Hidalgo tracks were played as one, as were the Sixth Sense/Village tracks…

The film clips were not necessarily the scenes from the movie from which the music derived- much to my dismay during The Village… The ‘First Kiss’ cue was played over something like 9 different Julia Roberts films he’s scored…

Some of the orchestrations didn’t work too well in the ‘live concert’ setting. Heavy Brass covered up some nice solo parts by the strings/woodwinds that would have been fixed ‘in the mix’ in the studio. The solo violin work in The Village and the solo cello work in Snow Falling on Cedars were standouts for me (Full disclosure: I’m a cellist and these two works were my main reasons for going to this concert…) James did an excellent job of recognizing the soloist after each cue throughout the concert. One thing I did find interesting/borderline annoying was the lack of cadences at the end of many of the cues. I know in the studio this is done for splicing purposes but in a concert setting it’s odd to be left ‘hanging’…

Szkoda, że mnie tam nie było...

[Mystery]

13 i 14 stycznia dał koncert z serii "Masters of Film Music", 6 koncertów, 6 kompozytorów w latach 2010-2011-2012 wykonanych przez Dallas Symphony Orchestra

Zwiastun
http://www.youtube.com/watch?v=Z3qoL2EsUkY

[muaddib_dw]

W połowie stycznia był koncert w Dallas (USA). Program był super:

The Inner Sanctum (DINOSAUR)
The Hand Of Fate (SIGNS)
Suite from PETER PAN
The Empire State Building (KING KONG)
Fanfare from GRAND CANYON
Main Title/The Wedding from WYATT EARP
Race To The Finish (HIDALGO)
----------
First Kiss (PRETTY WOMAN)
Cole's Theme (SIXTH SENSE)
The Gravel Road (THE VILLAGE)
The Harvey Dent Suite (THE DARK KNIGHT)
Tarawa (SNOW FALLING ON CEDARS)
Circus Fantasies (WATER FOR ELEPHANTS)
The Launch (TREASURE PLANET)

Recenzja z koncertu:
http://www.theaterjones.com/reviews/201 ... ton-Howard

Opinia forumowicza z FSM:

The concert was held Friday January 13 and Saturday January 14 in Dallas, TX. I attended the Friday evening performance and had seats in the orchestra (floor) about half way back in the hall. They had a screen up to project clips on the films. This screen blocked the center Choral Terrace section forcing the choir to be shifted to side of terrace behind celli and basses- this matters later...

James was very talkative between most cues. I think part of it was nerves. He said he has only ever conducted one of his scores before so it was a unique experience to go back and ‘re-learn’ them from the conductor standpoint. I might catch flack for this but the conducting required at this concert was more getting everyone started with the click track and play until the music stops. On Friday night, ‘The hand of fate’ from Signs was a little rough and he ‘thanked the Dallas Symphony Orchestra for saving his skin…’ after they concluded the track. I have to give props to the choir because he never queued them (or even told them to stand…) and they managed to sneak in and add some great textural parts to the symphonic sound. Because they were on the side of Terrace they were wrapped in an ‘L’ shape while seated and had to quickly shuffle into straight lines when singing. The lack of queueing the choir led to some quick footwork but the singing was top notch.

He said when he was initially contacted for this gig, they wanted a 30 minute original concert piece and the rest of the concert to be his scores. His schedule didn’t allow for an original piece so they simply went for the scores.

From a composition standpoint, he says a lot of times he composes a suite of music after seeing the film and then breaks it apart into the various cues. This was displayed by the example of the Harvey Dent Suite. He spoke highly of working with Nolan and Zimmer on the last 2 Batman films, and it was his decision to bow out of the next one because Nolan and Zimmer had established such good chemistry working on Inception that he didn’t want to be a third wheel.

He spoke fondly of the Peter Pan Suite as one of his favorites despite its lack of commercial success. After they played the Peter Pan Suite, Lawrence Kasdan came out and they did a little ‘interview’ for 15-20 minutes discussing scoring techniques and working with producers/directors/studios. James’ best line was when a nameless director early in James’ career told him ‘that if Bernard Hermann were alive, you wouldn’t have a job…’ to which James thought in his head ‘If Alfred Hitchcock were alive we wouldn’t need you…’ They concluded their talk by showing King Kong finale without score with James describing his initial feelings on the scene and then replayed the scene with live orchestra. The entire ‘Q&A’ thing seemed out of place and really didn’t work that well- it felt really forced. I could almost see the musicians on stage counting their paychecks as it went on and on… (If they continue this practice please let Brad Bird/Pete Doctor/John Lasseter interview Michael Giacchino at the May concert…)

All selections had accompanying film clips except the following:
Hand of Fate from Signs
Suite from Peter Pan
Tarawa from Snow Falling on Cedars
Launch from Treasure Planet/Atlantis from Atlantis: The Lost Empire

The Wyatt Earp/Hidalgo tracks were played as one, as were the Sixth Sense/Village tracks…

The film clips were not necessarily the scenes from the movie from which the music derived- much to my dismay during The Village… The ‘First Kiss’ cue was played over something like 9 different Julia Roberts films he’s scored…

Some of the orchestrations didn’t work too well in the ‘live concert’ setting. Heavy Brass covered up some nice solo parts by the strings/woodwinds that would have been fixed ‘in the mix’ in the studio. The solo violin work in The Village and the solo cello work in Snow Falling on Cedars were standouts for me (Full disclosure: I’m a cellist and these two works were my main reasons for going to this concert…) James did an excellent job of recognizing the soloist after each cue throughout the concert. One thing I did find interesting/borderline annoying was the lack of cadences at the end of many of the cues. I know in the studio this is done for splicing purposes but in a concert setting it’s odd to be left ‘hanging’…

Szkoda, że mnie tam nie było...

Reaktywować FMF i ściągnąć chłopa do Krakowa

[Wojteł]

Ciężki ten King Kong. Kawał zacnej muzyki, ale nie wchodzi tak gładko, jak przypuszczałem. Trochę lepiej brzmiał Avatar w wersji complete recordings, no ale wiadomo...

Bez jaj, był avatar w wersji CR?

[DanielosVK]

Był. Ale chyba nie oficjalne.

[Adam]

yeap. mp3 z sesji wyciekły. są wersje 2cd, 3cd, albo fullowa 5cd z masą alternatów. nie wiem czy ktoś przez to przebrnął

[Ghostek]

yeap. mp3 z sesji wyciekły. są wersje 2cd, 3cd, albo fullowa 5cd z masą alternatów. nie wiem czy ktoś przez to przebrnął

Przebrnął i to nie jeden raz.
Jeżeli chodzi o Avatara, to zaskakująco dobrze się tego słucha nawet w wersji 5CD. Wiadomo, że to nie oficjalny album i materiału powtórkowego masa, ale jeżeli ktoś interesuje się procesem powstawania muzyki do epickiego filmu, to powinien nawet jakąś przyjemność czerpać z tego wydania.

[Adam]

no other comes close to Roj Horner in epic movies

[Wojteł]

no other comes close to Roj Horner in epic movies

Bicz, plis!