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[Closed] Now Playing XLVIII

General Discussions » Now Playing XLVIII (Posts 1351 to 1380 of 3470)

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    •  
      CommentAuthorAtham
    • CommentTimeAug 26th 2015 edited
    NP: The Pardise - Malagnini

    The perfect score to listen to whilst driving around the English countryside. Especially just now in Gloucester.
    •  
      CommentAuthorWashu
    • CommentTimeAug 27th 2015 edited
    Did anyone make a playlist for Mad Max: Fury Road? I am trying to come up with playlist for this score but it takes time! Please post yours if you made a playlist. Right now I am down to around 1 hour, want to see if someone thinks I have omitted something too.
  3. Obsession Herrmann

    The new rerecording, really been enjoying this since it came out.
    •  
      CommentAuthorBregt
    • CommentTimeAug 27th 2015
    I needed a serious boost this week and was helped by the victorious theme of THE UNTOUCHABLES. One of my favourite themes of Morricone. I'd love to see this live once, but it's not played at any of his concerts that I know of (the love theme is though). Anyhow, what a glorious, powerful theme. Spinetingling!

    Another cd I often revisit is Isham's LION FOR LAMBS. The thriller music is rather agressive and is a driving force during most of the playtime. The ending is also a beauty.
    Kazoo
    •  
      CommentAuthorBregt
    • CommentTimeAug 27th 2015
    And now playing one of my favourite scores of this year: PIETRO MENNEA: FRECCIA DEL SUD by Paolo Vivaldi. A fine little score with a positive vibe and two lovely themes. The piano version of the main theme is a highlight. The pulsating race-tracks are my favourites. Joyful and exciting.
    Kazoo
  6. Bregt wrote
    I needed a serious boost this week and was helped by the victorious theme of THE UNTOUCHABLES. One of my favourite themes of Morricone. I'd love to see this live once, but it's not played at any of his concerts that I know of (the love theme is though).


    That would be fantastic, when I saw Morricone in Belfast he performed the main titles, which was nice, but the main theme would have been phenomenal!
  7. Steven wrote
    Mission Impossible: Rogue Nation Joe Kraemer

    Probably the best MI score.


    I agree. I'm loving it.
    A butterfly thinks therefore I am
  8. It's a great score, but I have one issue with Kraemer describing his approach.

    He said that he used only live instruments, which is fine by me and in recent times quite refreshing that somebody is writing full-blooded orchestral blockbuster action score on this side of Michael Giacchino, but he claims that the reason was because he wanted to use only an orchestra was because he used only "what was available back in the 1960s when Schifrin was writing the series". That, I think, presupposes that there were no synthesizers available at the time.

    If I understand that properly, I have to say that Kraemer got it wrong. The Moog synthesizer was already available and also in use by film composers of the time (particularly famous are John Barry's use of it, pretty much pioneering, in The Lion in Winter and particularly notably in On Her Majesty's Secret Service). More... I think I hear a Moog part in Schifrin's own opening titles theme to Mission: Impossible (or maybe, or also, in The Plot, which is extensively used by all composers of the series except Hans Zimmer).

    As I said, I'm very happy with how Kraemer wrote the score, but this "no electronics at the time" remark was a bit ill-informed.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorSteven
    • CommentTimeAug 27th 2015
    It certainly needed more theremin.
    •  
      CommentAuthorlp
    • CommentTimeAug 27th 2015
    PawelStroinski wrote
    It's a great score, but I have one issue with Kraemer describing his approach.

    He said that he used only live instruments, which is fine by me and in recent times quite refreshing that somebody is writing full-blooded orchestral blockbuster action score on this side of Michael Giacchino, but he claims that the reason was because he wanted to use only an orchestra was because he used only "what was available back in the 1960s when Schifrin was writing the series". That, I think, presupposes that there were no synthesizers available at the time.

    If I understand that properly, I have to say that Kraemer got it wrong. The Moog synthesizer was already available and also in use by film composers of the time (particularly famous are John Barry's use of it, pretty much pioneering, in The Lion in Winter and particularly notably in On Her Majesty's Secret Service). More... I think I hear a Moog part in Schifrin's own opening titles theme to Mission: Impossible (or maybe, or also, in The Plot, which is extensively used by all composers of the series except Hans Zimmer).

    As I said, I'm very happy with how Kraemer wrote the score, but this "no electronics at the time" remark was a bit ill-informed.


    I thought the comment was referring to how Lalo was scoring the series (at the time) without the use of electronics.
  11. Well, it may be the mix, but are you sure it's completely organic? I was wondering whether the piano in the rhythm bit of the theme isn't actually doubled with a Moog. And at the time Schifrin was one of synthesizer pioneers (think Dirty Harry and the Scorpio theme, for example) along with already mentioned Barry.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorSouthall
    • CommentTimeAug 27th 2015
    Raiders of the Lost Ark - Johnny Williams

    Magnificent.
    http://www.movie-wave.net | http://facebook.com/moviewave
  13. Bregt wrote
    And now playing one of my favourite scores of this year: PIETRO MENNEA: FRECCIA DEL SUD by Paolo Vivaldi. A fine little score with a positive vibe and two lovely themes. The piano version of the main theme is a highlight. The pulsating race-tracks are my favourites. Joyful and exciting.


    I REALLY like that score. It's one of my favorites of the year as well.
    •  
      CommentAuthorMartijn
    • CommentTimeAug 28th 2015
    Never heard (of) it. Quite curious now!
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  15. NP: Battleship Potemkin (1927/1990) - Edmund Meisel

    The Russian screenings of this classic silent film did not receive an original score but were "illustrated" with music by Tchaikovsky, Beethoven and others. For the German screenings Edmund Meisel was hired to compose original music. When Eisenstein was in Berlin some weeks prior to the German premier he met with Meisel to discuss the music.

    It's music that mixes romantic and expressionistic styling. Very emotional.

    smile Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorSouthall
    • CommentTimeAug 28th 2015
    The Scarlet Letter - ElmerB

    Damn good and rather different from what he was generally doing at the time. Delighted we got the wonderful John Barry score but they were crazy to reject this.
    http://www.movie-wave.net | http://facebook.com/moviewave
  17. Reportedly he was second on the project after Morricone. The story about Bernstein's letter to Demi Moore how he's glad he could use it again in a better film.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorSteven
    • CommentTimeAug 29th 2015
    It's another Saturday night, so obviously it calls for...


    Snowpiercer Marco Beltrami

    I love this.
    •  
      CommentAuthorSouthall
    • CommentTimeAug 29th 2015
    Yeah, it's been one of the best Saturday nights ever. Looking forward to Sunday tomorrow.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSteven
    • CommentTimeAug 29th 2015
    I've recorded University Challenge especially for it.
    • CommentAuthorJosh B
    • CommentTimeAug 29th 2015 edited
    The Mummy Returns - Alan Silvestri

    I'm not a gigantic Silvestri listener but this is definitely my pick of all his action scores. It doesn't get as repetitive as some of the others (mostly because it also balances romance and awe).
    •  
      CommentAuthorSouthall
    • CommentTimeAug 29th 2015
    Pawn Sacrifice - James NEWTON Howard

    This doesn't sound like I expected. It doesn't sound like Searching for Bobby Fischer either.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSouthall
    • CommentTimeAug 29th 2015
    PS: Hope you're enjoying your Sunday, Steven.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSouthall
    • CommentTimeAug 29th 2015
    Batman AND Robin - E Goldenthal

    Sublime.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSteven
    • CommentTimeAug 29th 2015 edited
    Southall wrote
    PS: Hope you're enjoying your Sunday, Steven.


    Ah. I did not realise my mistake until now. I picked the wrong week to quit sniffing glue. rolleyes
    • CommentAuthorJosh B
    • CommentTimeAug 31st 2015
    The Robe - Alfred Newman

    The Gerhardt suite captures my favorite moments from this score but that doesn't mean there isn't plenty of highlights outside of it. This is easily the best Newman score I've heard yet.
  27. NP: The Lord of The Rings - Leonard Rosenman

    After listening to Rosenman's The Car earlier, I felt in the mood for listening to a bit more of this composer's work (this doesn't happen very often!) Once I'd had a listen to Fantastic Voyage I moved onto his version of Middle Earth.

    The Lord of The Rings was my first experience with Rosenman's work and, although there's quite a lot of overlap between the composer's various works, The Lord of The Rings has a significant amount of "lighter" music that offers an avenue into his work.

    BTW, The Car is an excellent release.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  28. Josh B wrote
    The Robe - Alfred Newman

    The Gerhardt suite captures my favorite moments from this score but that doesn't mean there isn't plenty of highlights outside of it. This is easily the best Newman score I've heard yet.


    The Robe is a cornerstone score, a game changer like For a Hand Full of Dollars or Star Wars or Fellowship of the Ring: It practically defined a the sound of a genre in it's era.
    Bach's music is vibrant and inspired.
    • CommentAuthorJosh B
    • CommentTimeAug 31st 2015
    Captain Future wrote
    Josh B wrote
    The Robe - Alfred Newman

    The Gerhardt suite captures my favorite moments from this score but that doesn't mean there isn't plenty of highlights outside of it. This is easily the best Newman score I've heard yet.


    The Robe is a cornerstone score, a game changer like For a Hand Full of Dollars or Star Wars or Fellowship of the Ring: It practically defined a the sound of a genre in it's era.


    It's so good that I sought out the film to hear it in context and was disappointed that some of my favorite cues (like "Elegy") are mixed extremely low. In the case of the latter, it was fascinating to me how a cue written for a heavy dialogue scene was so tightly constructed, to the point where it felt like a piece of classical source music as opposed to underscore. We never get that in modern film scoring.
  30. Alfred Schnittke Film Music Edition (2015)
    Berlin Radio Symphony Orchestra

    Nice overview of the film related music of this Russian-German composer.

    Volker
    Bach's music is vibrant and inspired.

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