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HOWARD SHORE

General Discussions » HOWARD SHORE (Posts 721 to 750 of 914)

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    •  
      CommentAuthorSteven
    • CommentTimeDec 15th 2013
    Scribe wrote
    "Quality" is utterly subjective.


    Our experiences of 'quality' are subjective, but quality itself can be described in objective terms.
  2. Scribe wrote
    No...I didn't know he even had any. I don't muchly like serious music, unless of course it is full of leitmotif, then it will make my brain light up trying to figure it out... smile


    Funnily enough Thor's never been a fan!
    A butterfly thinks therefore I am
  3. This.
    Or all meaningful duscussion of art would come to an end.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSouthall
    • CommentTimeDec 15th 2013
    Scribe wrote
    "Quality" is utterly subjective.

    All I can say to people negatively critiquing this score is, don't dare let me catch you praising Williams' concert work, or you better have a pretty darn good explanation. wink


    Are they really that similar? I've never been a big fan of Williams's concert work but equally wouldn't say it's much like The Hobbit.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSouthall
    • CommentTimeDec 15th 2013
    Timmer wrote
    Ever tried any of Morricone's "serious" music? shocked


    Yes. It made my brain hurt.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSouthall
    • CommentTimeDec 15th 2013
    I guess Morricone and Williams both essentially wanted to say "Look, I can do this stuff too!" in their concert work.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorThor
    • CommentTimeDec 15th 2013
    I really like most of Williams' concert music (I have everything except three pieces that have never been recorded), but I can't stand Morricone's stuff -- his dissonant efforts (whether in film or outside) always grated on me.
    I am extremely serious.
  8. You have a pretty low opinion of these guys if you assume they only produce concert works in order to show off. I believe they simply don't want to limit themselves to writing program music.

    I think every true artist feels the urge to produce works in which he can express himself regardless to any external factors.

    Many film composers have also composed "absolute music".

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSouthall
    • CommentTimeDec 15th 2013
    Captain Future wrote
    You have a pretty low opinion of these guys if you assume they only produce concert works in order to show off.


    I don't think it's possible that I could have a higher opinion of either Williams or Morricone.
    http://www.movie-wave.net | http://facebook.com/moviewave
  10. Southall wrote
    Captain Future wrote
    You have a pretty low opinion of these guys if you assume they only produce concert works in order to show off.


    I don't think it's possible that I could have a higher opinion of either Williams or Morricone.


    Then I misunderstood you. Sorry.
    Bach's music is vibrant and inspired.
    • CommentAuthorTimmer
    • CommentTimeDec 15th 2013
    Southall wrote
    Timmer wrote
    Ever tried any of Morricone's "serious" music? shocked


    Yes. It made my brain hurt.


    Indeed!

    Jerry Goldsmith's "serious" music is heinous too.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeDec 15th 2013 edited
    Of film composers it's Wojciech Kilar's concert works I enjoy the most.

    If you like his film music then the 2 CD's released by NAXOS are well worth seeking out.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  13. Southall wrote
    Scribe wrote
    "Quality" is utterly subjective.

    All I can say to people negatively critiquing this score is, don't dare let me catch you praising Williams' concert work, or you better have a pretty darn good explanation. wink


    Are they really that similar? I've never been a big fan of Williams's concert work but equally wouldn't say it's much like The Hobbit.


    I'm a bit of this view as well. One thing I tend to like about Williams' concert work is that the recordings and orchestrations usually expose the layers of the writing quite well. Half of my criticism of Howard Shore's HOBBIT scores, and it was even partly an issue with LOTR, is the recording is so darn murky it doesn't show off the layers in the writing (when they're there). Hearing the LOTR Symphony live once was a bit of a reveal -- there are whole sections of the orchestra that vanish into the whole on those albums. I find the more I hear, the more I appreciate. (And if you want to know why I like Desplat so much, it's got a lot to do with the transparent layers of his recordings.)
    A butterfly thinks therefore I am
  14. My review of THE HOBBIT: THE DESOLATION OF SMAUG, for anyone who is interested:

    http://moviemusicuk.us/2013/12/15/the-h … ard-shore/

    Jon
    Movie Music UK http://www.moviemusicuk.us
    •  
      CommentAuthorScribe
    • CommentTimeDec 16th 2013
    Jon Broxton wrote
    My review of THE HOBBIT: THE DESOLATION OF SMAUG, for anyone who is interested:

    http://moviemusicuk.us/2013/12/15/the-h … ard-shore/

    Jon


    Precisely correct, in my opinion smile
    I love you all. Never change. Well, unless you want to!
  16. Scribe wrote
    Jon Broxton wrote
    My review of THE HOBBIT: THE DESOLATION OF SMAUG, for anyone who is interested:

    http://moviemusicuk.us/2013/12/15/the-h … ard-shore/

    Jon


    Precisely correct, in my opinion smile


    yeah
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 16th 2013
    People, honestly, this score is not as musically complex and of higher grounds as you put it.
    Love Maintitles. It's full of Wanders.
  18. And why do you say that? Once again, I must ask: where else this year will you find a score with as much leitmotivic complexity as Desolation of Smaug? If you have an issue with the themes not being obvious or satisfying enough in their own right, then that's perfectly fine; I can understand that. But to deny that they're there is patently false.
    • CommentAuthorTimmer
    • CommentTimeDec 16th 2013
    A great review Jon and one I mostly agree with.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorDemetris
    • CommentTimeDec 16th 2013
    Edmund Meinerts wrote
    And why do you say that? Once again, I must ask: where else this year will you find a score with as much leitmotivic complexity as Desolation of Smaug? If you have an issue with the themes not being obvious or satisfying enough in their own right, then that's perfectly fine; I can understand that. But to deny that they're there is patently false.


    Well, because to my ears , it's not that complicated; because we are used to listening to mediocre and way simpler stuff throughout the recent years, the minute a composer uses an actual composing technique other than ostinati, and interweaves the themes and mixes up the motifs a little bit, it sounds grand and complex. It might be much, much better than the rest of the usual bunch, but it certainly is not close enough to either Shore's LOTR scores and certainly what someone like Goldenthal could have written for this trilogy. Have you imagined that? Or even Gordon, or Broughton, that would be exciting to hear. FINAL FANTASY : the spirits within is complex and Grand. Shore's THE CELL is a tremendous achivement. His LOTR scores are too. Not this.
    Love Maintitles. It's full of Wanders.
  21. Demetris wrote
    and certainly what someone like Goldenthal could have written for this trilogy. Have you imagined that?


    Yay! A kindred spirit! beer

    Demetris wrote
    's THE CELL is a tremendous achivement.


    Absolutely, a phenomenal work. Much more challenging and ultimately more rewarding than LOTR, imho.
    The reviewer in me thinks I should write about TDOS, but the rest of me can't be arsed. biggrin

    <s>
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
    •  
      CommentAuthorScribe
    • CommentTimeDec 16th 2013
    Demetris wrote
    FINAL FANTASY : the spirits within is complex and Grand.


    And also extremely weak melodically, which is why the Hobbit scores are generally much more enjoyable to people like me who want melody with their complexity and symphonic bombast.
    I love you all. Never change. Well, unless you want to!
  23. Demetris wrote
    Edmund Meinerts wrote
    And why do you say that? Once again, I must ask: where else this year will you find a score with as much leitmotivic complexity as Desolation of Smaug? If you have an issue with the themes not being obvious or satisfying enough in their own right, then that's perfectly fine; I can understand that. But to deny that they're there is patently false.


    Well, because to my ears , it's not that complicated; because we are used to listening to mediocre and way simpler stuff throughout the recent years, the minute a composer uses an actual composing technique other than ostinati, and interweaves the themes and mixes up the motifs a little bit, it sounds grand and complex. It might be much, much better than the rest of the usual bunch, but it certainly is not close enough to either Shore's LOTR scores and certainly what someone like Goldenthal could have written for this trilogy. Have you imagined that? Or even Gordon, or Broughton, that would be exciting to hear. FINAL FANTASY : the spirits within is complex and Grand. Shore's THE CELL is a tremendous achivement. His LOTR scores are too. Not this.

    But there's no difference or reduction in complexity between his LOTR scores and this. dizzy
    •  
      CommentAuthorScribe
    • CommentTimeDec 16th 2013
    Actually, there's more complexity now, because even more themes and motifs are being juggled and played off each other.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorDemetris
    • CommentTimeDec 16th 2013
    Scribe wrote
    Demetris wrote
    FINAL FANTASY : the spirits within is complex and Grand.


    And also extremely weak melodically, which is why the Hobbit scores are generally much more enjoyable to people like me who want melody with their complexity and symphonic bombast.


    Are you serious?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 16th 2013 edited
    Edmund Meinerts wrote
    Demetris wrote
    Edmund Meinerts wrote
    And why do you say that? Once again, I must ask: where else this year will you find a score with as much leitmotivic complexity as Desolation of Smaug? If you have an issue with the themes not being obvious or satisfying enough in their own right, then that's perfectly fine; I can understand that. But to deny that they're there is patently false.


    Well, because to my ears , it's not that complicated; because we are used to listening to mediocre and way simpler stuff throughout the recent years, the minute a composer uses an actual composing technique other than ostinati, and interweaves the themes and mixes up the motifs a little bit, it sounds grand and complex. It might be much, much better than the rest of the usual bunch, but it certainly is not close enough to either Shore's LOTR scores and certainly what someone like Goldenthal could have written for this trilogy. Have you imagined that? Or even Gordon, or Broughton, that would be exciting to hear. FINAL FANTASY : the spirits within is complex and Grand. Shore's THE CELL is a tremendous achivement. His LOTR scores are too. Not this.

    But there's no difference or reduction in complexity between his LOTR scores and this. dizzy


    There is. Themes are grander and much more used as a basis for the arrangements and deeper into the harmony, and the use of choir in LOTR is amazing, no relation to the soundscape use of the choir here. Plus, the compositions in LOTR are much more compact and to the point, more concrete and concentrated as listening experiences, an element we shouldn't regard.
    Love Maintitles. It's full of Wanders.
  27. I just don't get how someone who thinks the Hobbit scores aren't complex enough could like/enjoy, say, Brian Tyler's music as much as D does. tongue

    And Goldenthal's music, or even The Cell, has a very different sort of complexity to Shore's Middle-earth scores. Goldenthal is all about eclecticism, postmodern influence, experimenting. The Middle-earth music is much, much more traditional, which is no bad thing. Where the complexity in those scores comes from is in the sheer attention to detail, the subtle thematic references, the almost subliminal connections Shore makes between concepts. Sure, there's less notes per measure, but since when does that say anything? It's apples and oranges.

    Again, if you say that you simply like/are affected by the themes from the LotR trilogy more than the new ones here, that's a perfectly valid argument; but the themes are there, and they're used just as intelligently as they were last time, so you can't somehow say that these scores are any less complex.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 16th 2013
    And what does Brian Tyler have to do with Shore's music? Completely different things, no relation.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorScribe
    • CommentTimeDec 16th 2013
    Demetris wrote
    Scribe wrote
    Demetris wrote
    FINAL FANTASY : the spirits within is complex and Grand.


    And also extremely weak melodically, which is why the Hobbit scores are generally much more enjoyable to people like me who want melody with their complexity and symphonic bombast.


    Are you serious?


    Are you seriously suggesting that Goldenthal has a strong melodic voice?
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorSteven
    • CommentTimeDec 16th 2013 edited
    The love theme from Final Fantasy is certainly a strong melody! It didn't take me long to sit here and recall the theme (but then I might be autistic).

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