Superman makes his triumphant return to the big screen tonight. I thought a comic book/graphic novel playlist was the order of the day.
Batman (Elfman)
Dick Tracy (Elfman)
Mars Attacks! (Elfman)
X-Men (Kamen)
Spiderman (Elfman - I'm sensing a theme here)
Road to Perdition (T. Newman)
X-2 (Ottman)
Hulk (Elfman)
X-Men: The Last Stand (Powell)
and of course...
Superman: The Movie (Williams)
Tuesday, June 27, 2006
Wednesday, June 21, 2006
It's a Bird! It's a Plane!
So. I opened up iTunes a few minutes ago to see what was new this week.
Lo and behold! Right there on the homepage. They've released the Superman Returns score a week early on iTunes!
How excited am I? If you said, "very", you would be correct.
Anyway, I'm going to resist the urge to purchase and wait until the mass release with the packaging and artwork comes out next week. I can't help but enjoy some of the reviews. Here are some of my favourites (that's for you, Tim).
Note: In fighting my own inner impulses, none of these has been corrected for spelling or punctuation.
ottman doesnt do the theme as good as williams
I can hear it, too! There aren't supposed to be any clarinets doubling the other woodwinds from measures 43-48. They're supposed to be doubling violins!!!
super-man rules but this...i don't think so . face this is really bad
is this reviewer letting us in on his own personal demons?
All that this has in it is background music. It's kind of cool, but who would really buy it?!?!
That would be me and about 50,000 other fans of the film, the music and even, perhaps, John Ottman.
Awsome! The only reason it's a 4 star is because it has no words
Words??? We don't need no stinking words!!!
I not a person who likes sound, I like music with sound and singing, but that was one of the most impresive soundtracks I have ever heard
Does this guy love it or hate it? And since he doesn't like "sound" how is he qualified to make a statement like it's "one of the most impresive I have ever heard"?
WHO'S IDEA WAS THIS? WHOEVER IT WAS NEEDS A GOOD SLAP IN TH HEAD!
I'm sensing some anger here. Because the reviewer didn't state his case clearly I'm not entirely sure of what he's angry. Is this you, Tim?
no real music junkie would listen to his stuff
I guess I need to throw away my film score collection.
the is no better super hero that superman. the score is equally good.
Isn't babelfish great?
This album has a good variety of music but maybe even more variety by using a different artist
Hans? Is that you? I think this is someone from Media Ventures who is pissed off that there are composers in Hollywoodland who don't need 7 extra composers and 11 orchestrators just to write some music for a film.
come on supposedly one of the biggest movies of the year and they can't even make a decent soundtrack. before buying this and jumping to any conclusions that this soundtrack will actually be any good, listen to the samples
This message brought to you by the Future Studio Executives of America (FSEA). Only someone who is, or wants to be, a studio executive would say something so divinely stupid.
With a nod to John Williams in the first track and similar themes throughout the score, John Ottman has proven to be a truly emotional writer. A bit more string friendly than his predecessor (Williams), Ottman still has the ability to wrap us in the majesty of one of our most beloved icons. Mr. and Mrs. Kent would be proud.
You know, I was just thinking earlier today what a terrible orchestrator John Williams has always been. It's the one thing that's been holding him back in his career.
I'm not a fan of classical music, ut this is probably the first music soundtrack to come out in a long while, that only has songs FROM THE MOVIE. For what it is, I think its pretty good, and deserves a good rating.
This is classical music? And it has been awhile. It's totally the first movie soundtrack since, like, X-Men: The Last Stand and The Da Vinci Code that has only songs from the movie. It seems like a lifetime ago.
John Ottman undoubtedly stood in the shadow of John Williams' masterpiece and remained faithful to the original. That fealty, however, extends beyond the first track and envelopes the entire score. More importantly Ottman infuses pieces with heavenly choirs and punctuates them with exciting interludes. Well done!
This can only be the ramblings of someone whose sole ambition in life is to be a critic so that he/she can legitimately use words like fealty, envelopes (not the mailing kind) and punctuates in their writing.
i like it alot it is cool. but it could be better.
Why is it that everyone thinks it take no talent whatsoever to write music? Seriously. I think what this reviewer thinks is that they could have written better.
And finally, I kid you not...
Even Chuck Norris can't beat this.
There's absolutely nothing to say to that.
Okay. Seriously. I'm done. I have music to write.
Lo and behold! Right there on the homepage. They've released the Superman Returns score a week early on iTunes!
How excited am I? If you said, "very", you would be correct.
Anyway, I'm going to resist the urge to purchase and wait until the mass release with the packaging and artwork comes out next week. I can't help but enjoy some of the reviews. Here are some of my favourites (that's for you, Tim).
Note: In fighting my own inner impulses, none of these has been corrected for spelling or punctuation.
ottman doesnt do the theme as good as williams
I can hear it, too! There aren't supposed to be any clarinets doubling the other woodwinds from measures 43-48. They're supposed to be doubling violins!!!
super-man rules but this...i don't think so . face this is really bad
is this reviewer letting us in on his own personal demons?
All that this has in it is background music. It's kind of cool, but who would really buy it?!?!
That would be me and about 50,000 other fans of the film, the music and even, perhaps, John Ottman.
Awsome! The only reason it's a 4 star is because it has no words
Words??? We don't need no stinking words!!!
I not a person who likes sound, I like music with sound and singing, but that was one of the most impresive soundtracks I have ever heard
Does this guy love it or hate it? And since he doesn't like "sound" how is he qualified to make a statement like it's "one of the most impresive I have ever heard"?
WHO'S IDEA WAS THIS? WHOEVER IT WAS NEEDS A GOOD SLAP IN TH HEAD!
I'm sensing some anger here. Because the reviewer didn't state his case clearly I'm not entirely sure of what he's angry. Is this you, Tim?
no real music junkie would listen to his stuff
I guess I need to throw away my film score collection.
the is no better super hero that superman. the score is equally good.
Isn't babelfish great?
This album has a good variety of music but maybe even more variety by using a different artist
Hans? Is that you? I think this is someone from Media Ventures who is pissed off that there are composers in Hollywoodland who don't need 7 extra composers and 11 orchestrators just to write some music for a film.
come on supposedly one of the biggest movies of the year and they can't even make a decent soundtrack. before buying this and jumping to any conclusions that this soundtrack will actually be any good, listen to the samples
This message brought to you by the Future Studio Executives of America (FSEA). Only someone who is, or wants to be, a studio executive would say something so divinely stupid.
With a nod to John Williams in the first track and similar themes throughout the score, John Ottman has proven to be a truly emotional writer. A bit more string friendly than his predecessor (Williams), Ottman still has the ability to wrap us in the majesty of one of our most beloved icons. Mr. and Mrs. Kent would be proud.
You know, I was just thinking earlier today what a terrible orchestrator John Williams has always been. It's the one thing that's been holding him back in his career.
I'm not a fan of classical music, ut this is probably the first music soundtrack to come out in a long while, that only has songs FROM THE MOVIE. For what it is, I think its pretty good, and deserves a good rating.
This is classical music? And it has been awhile. It's totally the first movie soundtrack since, like, X-Men: The Last Stand and The Da Vinci Code that has only songs from the movie. It seems like a lifetime ago.
John Ottman undoubtedly stood in the shadow of John Williams' masterpiece and remained faithful to the original. That fealty, however, extends beyond the first track and envelopes the entire score. More importantly Ottman infuses pieces with heavenly choirs and punctuates them with exciting interludes. Well done!
This can only be the ramblings of someone whose sole ambition in life is to be a critic so that he/she can legitimately use words like fealty, envelopes (not the mailing kind) and punctuates in their writing.
i like it alot it is cool. but it could be better.
Why is it that everyone thinks it take no talent whatsoever to write music? Seriously. I think what this reviewer thinks is that they could have written better.
And finally, I kid you not...
Even Chuck Norris can't beat this.
There's absolutely nothing to say to that.
Okay. Seriously. I'm done. I have music to write.
Tuesday, June 13, 2006
Ham and Jam and Spam-a-looooooot!
Or: New York in a Nutshell
So we're back from New York! Okay, so this will be waaaay too long to do as one post so I'm basically going to do the rundown now. Pics to follow.
I'm pretty sure one could've squeezed more than we did in 2 1/2 days, but I wouldn't want to try it.
Day 1:
Fly to New York. Note to self: from now on, take Midwest Airlines if they go where you're going.
Check-in: hotel 2 blocks off Times Square. Tiny little room. Good view of the theatre in which The Wedding Singer (the musical!) is playing. Greaaat.
Dinner: quick at the Nathan's Hot Dog place right across from the hotel (I'm sure it was no Zweigle's but it sufficed).
Spamalot: in a word...hilarious. Can you really go wrong when the big numbers are called "The Song that goes like this" and "You can't succeed on Broadway if you don't have any Jews". The staging was tremendous. It's nice to see that they still use sets creatively in a multi-million dollar show. There was one unintentionally hilarious moment in the second act where Lancelot is "coming out" and they totally gaffed. You know it's a loose production when even the actors are laughing on stage. Did I mention that the show was hilarious?
After the show we did another typical touristy-type thing and just wandered around Times Square taking pictures.
Day 2:
Breakfast at the Westway Diner. We had no idea at the time but according to our tour guide this was the place where Larry David and Jerry Seinfeld hatched there little show about narcisstic New Yorkers (and not much else).
Bus tour of Manhattan. I had a fantastic time (more than I can say for some of the kids). It was interesting seeing all these places that I'd only read about. Once the tour guide (a funny little man named Lee with an unforgettable mustache) found out we were a music group he basically customized the tour for us on the fly. I thought that was pretty awesome. He pointed out buildings and their histories, architects, etc.
Stops included:
1) Lincoln Center. For those that don't know this is the facility that comprises the Metropolitan Opera, the New York Philharmonic, New York City Ballet, the American Ballet Theatre and New York City Opera and the Juilliard School (New York City's finest community college, according to Howard Hansen).
2) Strawberry Fields in Central Park and the memorial to John Lennon.
3) Greenwich Village
4) The courthouse where they shoot externals for Law and Order, City Hall and the financial district.
5) The Winter Gardens at the World Financial Center. From the atrium (where, had stayed a few days longer, Herr Vogler would have had a grand time at the Bang on a Can Marathon) you had a clear, unobstructed view of the work being done at Ground Zero. This was a surreal and not unemotional experience. It was weird to think that in this footprint once stood two colossal buildings.
6) After lunch we took the Staten Island Ferry out and back so we could get some good pictures of Lady Liberty (what's under that toga, anyway?).
I don't know that the kids appreciated the tour as much as we did. Then again, my wife and I are the type that like to go to concerts, museums, the opera and art galleries when we're on vacation. I guess that makes us nerds. I gladly embrace this.
After hanging out at Rockefeller Center for a few hours we went back to the hotel, changed and went to see Mamma Mia! I'm with Michael on this. I'm not wild about canned musicals where the 'creators' try to build a storyline around preexisting songs. It had its fun moments but I still fell asleep twice in the first act. Why did we go see this, you ask? Because that and Spamalot were the only shows for which we could get tickets (and I would have paid not to go to Phantom). Our ticket buyer got laughed at over the phone when he asked about tickets for The Lion King (that or Sweeney Todd would have been my 2nd choice).
Day 3: A butterfly flaps its wings in Peking...
Chinatown. It was a warm, muggy day so Chinatown smelled like, well, an expired fish market. Die Frau and I decided to skip it and head north to...
Little Italy. We wandered mostly, just seeing where we wound up. We stumbled across several little shops including a little independent bookstore (we never seem to be able to pass up a bookstore and it was air conditioned...whew!). After that we wandered into the Old St. Patrick's Cathedral. It was a beautiful old building in which mass was provided in English, Spanish and Chinese. Of course, it was the Old St. Patrick Cathedral because the new one was downtown (which I learned Day 2 the parishoners had original thought it was "too far" to travel to get to mass).
We had lunch in a great little restaurant with several of the kids. Mmmmmmmm...yes that means lunch was good.
We spent the afternoon wandering through SoHo and, much to die Frau's delight, we found her favorite bath and body store. Guys, if you're looking for something a little different than Bath and Body Works for your wife, girlfriend, concubine, etc. it's almost impossible to go wrong here.
Then came the rain. And more rain. And still more rain. It rained so hard for 10 hours straight that the subway was shut down the entire length of Manhattan for over 8 hours. Luckily we made it back to the hotel before all this happened. Well the shutting down of the subway part. We were all soaked.
With Hard Rock (gimme a break, it was close to the hotel) and an overcooked tuna steak sandwich in our rear view we made our pilgrimmage to the Virgin Megastore. I would like to say that this is the part where the heavens opened and sunshine beamed down on us from above and guarded us on our quest...but it just kept raining. Anyway something happened to me there that has never happened to me before: I wasn't the last one left standing shopping for CDs. I know, die Frau couldn't believe it, either! I was slightly disappointed that the selection of some of the composers I was looking for but I left with enough esoterica to keep me happy for a little while.
Day 4:
Just the plane ride home...with 2 really annoying middle-aged women sitting right in front of us who thought that they were teenagers in a nightclub rather than an airplane. They were also singing at the top of their lungs with their iPods so loud that they could hear neither how bad they were nor the disparaging remarks emanating from behind them. Hmmm...I wonder who would've done that?
Reflections:
Overall the trip was great. Die Frau and I have decided that we need to go back and drink in more of the city (sometime after we take our trip to New Zealand). I had a really good time (mostly) and it was nice to escape work for a few days. I'm pretty sure that there were a few kids that didn't really appreciate a lot of what they experienced but the fact is they still got to do it and one day they may reflect on it and be grateful.
So we're back from New York! Okay, so this will be waaaay too long to do as one post so I'm basically going to do the rundown now. Pics to follow.
I'm pretty sure one could've squeezed more than we did in 2 1/2 days, but I wouldn't want to try it.
Day 1:
Fly to New York. Note to self: from now on, take Midwest Airlines if they go where you're going.
Check-in: hotel 2 blocks off Times Square. Tiny little room. Good view of the theatre in which The Wedding Singer (the musical!) is playing. Greaaat.
Dinner: quick at the Nathan's Hot Dog place right across from the hotel (I'm sure it was no Zweigle's but it sufficed).
Spamalot: in a word...hilarious. Can you really go wrong when the big numbers are called "The Song that goes like this" and "You can't succeed on Broadway if you don't have any Jews". The staging was tremendous. It's nice to see that they still use sets creatively in a multi-million dollar show. There was one unintentionally hilarious moment in the second act where Lancelot is "coming out" and they totally gaffed. You know it's a loose production when even the actors are laughing on stage. Did I mention that the show was hilarious?
After the show we did another typical touristy-type thing and just wandered around Times Square taking pictures.
Day 2:
Breakfast at the Westway Diner. We had no idea at the time but according to our tour guide this was the place where Larry David and Jerry Seinfeld hatched there little show about narcisstic New Yorkers (and not much else).
Bus tour of Manhattan. I had a fantastic time (more than I can say for some of the kids). It was interesting seeing all these places that I'd only read about. Once the tour guide (a funny little man named Lee with an unforgettable mustache) found out we were a music group he basically customized the tour for us on the fly. I thought that was pretty awesome. He pointed out buildings and their histories, architects, etc.
Stops included:
1) Lincoln Center. For those that don't know this is the facility that comprises the Metropolitan Opera, the New York Philharmonic, New York City Ballet, the American Ballet Theatre and New York City Opera and the Juilliard School (New York City's finest community college, according to Howard Hansen).
2) Strawberry Fields in Central Park and the memorial to John Lennon.
3) Greenwich Village
4) The courthouse where they shoot externals for Law and Order, City Hall and the financial district.
5) The Winter Gardens at the World Financial Center. From the atrium (where, had stayed a few days longer, Herr Vogler would have had a grand time at the Bang on a Can Marathon) you had a clear, unobstructed view of the work being done at Ground Zero. This was a surreal and not unemotional experience. It was weird to think that in this footprint once stood two colossal buildings.
6) After lunch we took the Staten Island Ferry out and back so we could get some good pictures of Lady Liberty (what's under that toga, anyway?).
I don't know that the kids appreciated the tour as much as we did. Then again, my wife and I are the type that like to go to concerts, museums, the opera and art galleries when we're on vacation. I guess that makes us nerds. I gladly embrace this.
After hanging out at Rockefeller Center for a few hours we went back to the hotel, changed and went to see Mamma Mia! I'm with Michael on this. I'm not wild about canned musicals where the 'creators' try to build a storyline around preexisting songs. It had its fun moments but I still fell asleep twice in the first act. Why did we go see this, you ask? Because that and Spamalot were the only shows for which we could get tickets (and I would have paid not to go to Phantom). Our ticket buyer got laughed at over the phone when he asked about tickets for The Lion King (that or Sweeney Todd would have been my 2nd choice).
Day 3: A butterfly flaps its wings in Peking...
Chinatown. It was a warm, muggy day so Chinatown smelled like, well, an expired fish market. Die Frau and I decided to skip it and head north to...
Little Italy. We wandered mostly, just seeing where we wound up. We stumbled across several little shops including a little independent bookstore (we never seem to be able to pass up a bookstore and it was air conditioned...whew!). After that we wandered into the Old St. Patrick's Cathedral. It was a beautiful old building in which mass was provided in English, Spanish and Chinese. Of course, it was the Old St. Patrick Cathedral because the new one was downtown (which I learned Day 2 the parishoners had original thought it was "too far" to travel to get to mass).
We had lunch in a great little restaurant with several of the kids. Mmmmmmmm...yes that means lunch was good.
We spent the afternoon wandering through SoHo and, much to die Frau's delight, we found her favorite bath and body store. Guys, if you're looking for something a little different than Bath and Body Works for your wife, girlfriend, concubine, etc. it's almost impossible to go wrong here.
Then came the rain. And more rain. And still more rain. It rained so hard for 10 hours straight that the subway was shut down the entire length of Manhattan for over 8 hours. Luckily we made it back to the hotel before all this happened. Well the shutting down of the subway part. We were all soaked.
With Hard Rock (gimme a break, it was close to the hotel) and an overcooked tuna steak sandwich in our rear view we made our pilgrimmage to the Virgin Megastore. I would like to say that this is the part where the heavens opened and sunshine beamed down on us from above and guarded us on our quest...but it just kept raining. Anyway something happened to me there that has never happened to me before: I wasn't the last one left standing shopping for CDs. I know, die Frau couldn't believe it, either! I was slightly disappointed that the selection of some of the composers I was looking for but I left with enough esoterica to keep me happy for a little while.
Day 4:
Just the plane ride home...with 2 really annoying middle-aged women sitting right in front of us who thought that they were teenagers in a nightclub rather than an airplane. They were also singing at the top of their lungs with their iPods so loud that they could hear neither how bad they were nor the disparaging remarks emanating from behind them. Hmmm...I wonder who would've done that?
Reflections:
Overall the trip was great. Die Frau and I have decided that we need to go back and drink in more of the city (sometime after we take our trip to New Zealand). I had a really good time (mostly) and it was nice to escape work for a few days. I'm pretty sure that there were a few kids that didn't really appreciate a lot of what they experienced but the fact is they still got to do it and one day they may reflect on it and be grateful.
Friday, June 09, 2006
From the eternal sea he rises...
I know it's a few days late but here it is:
Today's Film Score Friday is Jerry Goldsmith's legendary (and Oscar-winning) music for The Omen trilogy. Hahahahaha!
The Omen (1976 - Academy Award Winner, best original score, Nominee: best original song...only in Hollywood does Ave satani get nominated for best original song!).
Damien: Omen II (1978)
The Final Conflict (1981) - the climax of the series is some of the most amazing music I've ever heard written for the cinema. Of course it had to be. You don't actually see much of anything.
This is the best choral/orchestral film score ever. Plain and simple. Don't get me wrong. Howard Shore's LOTR is awesome. I would never dispute this. But he didn't establish the sound of an entire genre. Or did he?
Today's Film Score Friday is Jerry Goldsmith's legendary (and Oscar-winning) music for The Omen trilogy. Hahahahaha!
The Omen (1976 - Academy Award Winner, best original score, Nominee: best original song...only in Hollywood does Ave satani get nominated for best original song!).
Damien: Omen II (1978)
The Final Conflict (1981) - the climax of the series is some of the most amazing music I've ever heard written for the cinema. Of course it had to be. You don't actually see much of anything.
This is the best choral/orchestral film score ever. Plain and simple. Don't get me wrong. Howard Shore's LOTR is awesome. I would never dispute this. But he didn't establish the sound of an entire genre. Or did he?
Tuesday, June 06, 2006
Love for Jerry...
Mia Farrow was on CNN's American Morning yesterday talking about the remake of The Omen (in which she plays Damian's nanny Mrs. Baylock ("She is an apostate of hell!"). She was talking about how this version was superior to the original in its production value, direction, etc. I kind of had to laugh and began to slough it off. Of course the remake is going to have better production value than the original...it has a budget!!! I was, however, impressed when she took the time to mention that she was originally worried about the score because Jerry Goldsmith's had been so wonderful. I considered it very thoughtful that she took the time to mention this.
Rest easy, Mia, Jerry's score is being adapted by one of his best pupils and one of my favourite of the "younger" generation...Marco Beltrami.
Will be blogging about the NY trip soon!
Rest easy, Mia, Jerry's score is being adapted by one of his best pupils and one of my favourite of the "younger" generation...Marco Beltrami.
Will be blogging about the NY trip soon!
Wednesday, May 31, 2006
New York, New York, What a Wonderful Town...
Well kids, die Frau and I are off to New York for a few days of chaperoning some high school kids on their "cultural enrichment trip". We're going to catch Spamalot (there was much rejoicing) and Mamma Mia (which I'm kind of ambivalent about at this point; I'm sure it'll be okay).
I will try to blog from NYC, but if not I'll catch you all up after returning.
Oh yeah, for bonus points, name the songwriters, show, year written and who starred in the film version that the title of this post comes from.
I will try to blog from NYC, but if not I'll catch you all up after returning.
Oh yeah, for bonus points, name the songwriters, show, year written and who starred in the film version that the title of this post comes from.
Tuesday, May 30, 2006
Music for a Darkened Theatre...
Yesterday was Danny Elfman's birthday. We weren't at work yesterday (they unchain our manacles for some government holidays) so, apropos, today's playlist reflects some of the finer works in Mr. Elfman's oeuvre.
Batman (who is this Prince fellow?)
Mission: Impossible (Elfman's first score of his "mature" period)
Mars Attacks! (just damn funny)
Sleepy Hollow
Spiderman
Red Dragon
Spiderman 2
Charlie and the Chocolate Factory (I've never seen the original in English, I had to watch it in Spanish, though; Willy Wonka y la fabrica de chocolate!!!)
Now I realise this is hardly comprehensive, but this is a pretty good overall representation though I don't have the scores to Sommersby or The Black Stallion, both of which I understand are quite good. Also of potential interest in the not-very-thematic-but-a-wonderful-film-score-case-study-in-building-tension area would be his score for Dolores Claiborne which is quite nice.
Oh, and anyone says that Elfman's scores are ghostwritten or he doesn't read music loses and eye (unless it's the Pikey; I'm afraid you've already lost too much what with the meat grinder "accident" and all).
Batman (who is this Prince fellow?)
Mission: Impossible (Elfman's first score of his "mature" period)
Mars Attacks! (just damn funny)
Sleepy Hollow
Spiderman
Red Dragon
Spiderman 2
Charlie and the Chocolate Factory (I've never seen the original in English, I had to watch it in Spanish, though; Willy Wonka y la fabrica de chocolate!!!)
Now I realise this is hardly comprehensive, but this is a pretty good overall representation though I don't have the scores to Sommersby or The Black Stallion, both of which I understand are quite good. Also of potential interest in the not-very-thematic-but-a-wonderful-film-score-case-study-in-building-tension area would be his score for Dolores Claiborne which is quite nice.
Oh, and anyone says that Elfman's scores are ghostwritten or he doesn't read music loses and eye (unless it's the Pikey; I'm afraid you've already lost too much what with the meat grinder "accident" and all).
Thursday, May 18, 2006
Bloggin' ain't easy but it sure is fun...
Yeah. I'm totally white.
Our computer at home bit it this past weekend so we are sans all things computer-related until this weekend. This means that I'm bloggity-blogging at work until then. Things have been hectic as all hell here, too, but that's another posting.
We made it to Mission: Impossible 3 this past weekend with Oscar and B. Was it a great movie? No. Was it a helluva lot of fun? I think so. Unfortunately the plot was, once again, waifer thin. Isn't it just possible that someone could write an actual story for one of these things? The first is still the best and we'll just pretend the second one didn't even happen. I've noticed that a fair number of people on the Film Score Monthly message board are kind of poo-pooing Michael Giacchino's score for the film. I can't help but think that, compared to much of the other more recent work out there, it's quite good. It's pretty "up front" for a contemporary action score. And even though it's filled with bombast, it's also has a few subtleties. Plus his interpolations of Lalo Schifrin's original themes (including some of "The Plot") were quite nice. My only gripe is that Giacchino either needs to learn how to orchestrate better or hire someone who does because I have the Alias: Season One album and The Incredibles and I just don't think that Tim Simonec is a good orchestrator. He had help (like the 900-year old Jack Hayes, who was no spring chicken when he orchestrated Star Trek II: The Wrath of Khan) but Simonec was the lead and ultimately responsible for the end result. At the same time some of his writing reminds me of some of the things I've done in a few of my own scores. Just with a bigger budget (rather than a "beggar" budget).
Also, there's a discussion going at the Film Score Monthly message board about the use of pencil and paper versus synthesizers and computers for the composition process. Some people are saying that they can hear the difference between composers who use one or the other as their primary means of composition. To an extent I agree. But I also think that it has as much to do with training as the tools one uses.
Comments? Is it the same with screenwriting?
Our computer at home bit it this past weekend so we are sans all things computer-related until this weekend. This means that I'm bloggity-blogging at work until then. Things have been hectic as all hell here, too, but that's another posting.
We made it to Mission: Impossible 3 this past weekend with Oscar and B. Was it a great movie? No. Was it a helluva lot of fun? I think so. Unfortunately the plot was, once again, waifer thin. Isn't it just possible that someone could write an actual story for one of these things? The first is still the best and we'll just pretend the second one didn't even happen. I've noticed that a fair number of people on the Film Score Monthly message board are kind of poo-pooing Michael Giacchino's score for the film. I can't help but think that, compared to much of the other more recent work out there, it's quite good. It's pretty "up front" for a contemporary action score. And even though it's filled with bombast, it's also has a few subtleties. Plus his interpolations of Lalo Schifrin's original themes (including some of "The Plot") were quite nice. My only gripe is that Giacchino either needs to learn how to orchestrate better or hire someone who does because I have the Alias: Season One album and The Incredibles and I just don't think that Tim Simonec is a good orchestrator. He had help (like the 900-year old Jack Hayes, who was no spring chicken when he orchestrated Star Trek II: The Wrath of Khan) but Simonec was the lead and ultimately responsible for the end result. At the same time some of his writing reminds me of some of the things I've done in a few of my own scores. Just with a bigger budget (rather than a "beggar" budget).
Also, there's a discussion going at the Film Score Monthly message board about the use of pencil and paper versus synthesizers and computers for the composition process. Some people are saying that they can hear the difference between composers who use one or the other as their primary means of composition. To an extent I agree. But I also think that it has as much to do with training as the tools one uses.
Comments? Is it the same with screenwriting?
Monday, May 01, 2006
Putting a Dime in the Minimalist Jukebox
Recently the Los Angeles Philharmonic (in conjunction with other LA arts organisations) hosted the 'Minimalist Jukebox' Festival. This was the first festival of its kind hosted by a major orchestra. I downloaded the 2 albums that have been released (so far) of the festival from iTunes this weekend. Stunning recordings of stunning works.
Today's Playlist:
Louis Andriessen: Raconto dall'Inferno, de Staat (from the festival)
Arvo Paert: Tabula Rasa (festival)
Steve Reich: Variations for Winds, Strings and Keyboards; 3 Movements for Orchestra; Tehillim (festival recordings); Music for 18 Musicians
Henryk Gorecki: Symphony no. 3
John Adams: Shaker Loops, Light Over Water, Naive and Sentimental Music
Philip Glass: Symphonies no. 2 & 3
Jim Fox: The City the Wind Swept Away
I would have included some Branca but, as McIntire has noted, it's a little too extreme to play at work.
go...listen...go...listen...go...listen...go...listen...go...go, listen...go...go, listen...go...go, listen...go, go, go listen...go, go...go, listen...go, go, go listen, go listen...go, go, go, go listen, go listen...go, go, go, go, go listen, go listen, go listen...go, go, go, go, go, go, go, go, go listen, go listen, go listen, go listen, go listen, go, go, go, go, go, go, go, go, go listen, go listen, go listen, go listen, go listen, go listen, go listen, go, go, go, go, go, go, go, go, go, go, go, go, go, goooooooooooooo.....
Today's Playlist:
Louis Andriessen: Raconto dall'Inferno, de Staat (from the festival)
Arvo Paert: Tabula Rasa (festival)
Steve Reich: Variations for Winds, Strings and Keyboards; 3 Movements for Orchestra; Tehillim (festival recordings); Music for 18 Musicians
Henryk Gorecki: Symphony no. 3
John Adams: Shaker Loops, Light Over Water, Naive and Sentimental Music
Philip Glass: Symphonies no. 2 & 3
Jim Fox: The City the Wind Swept Away
I would have included some Branca but, as McIntire has noted, it's a little too extreme to play at work.
go...listen...go...listen...go...listen...go...listen...go...go, listen...go...go, listen...go...go, listen...go, go, go listen...go, go...go, listen...go, go, go listen, go listen...go, go, go, go listen, go listen...go, go, go, go, go listen, go listen, go listen...go, go, go, go, go, go, go, go, go listen, go listen, go listen, go listen, go listen, go, go, go, go, go, go, go, go, go listen, go listen, go listen, go listen, go listen, go listen, go listen, go, go, go, go, go, go, go, go, go, go, go, go, go, goooooooooooooo.....
Tuesday, April 18, 2006
Miklos Rozsa
It's Miklos Rozsa's birthday. He was born 99 years ago today in Budapest.
Rozsa was the 2nd greatest composer of the Golden Age of Hollywood (Bernard Herrmann was the greatest, duh). While his music was firmly rooted in both the European tradition and Hungarian folk music (a la Bartok) it also had an undeniably more "modern" quality than many of his European contemporaries who emigrated from Europe and found themselves working in pictures.
Rozsa had a lengthy list of both film and concert works that distinguish themselves from many of his contemporaries, was well traveled and moved in the circles of the artistic elite regardless of where he found himself. He greatly disliked many of the films he scored but still lavished great attention on most of them (there's a lesson in there I think). He was also one of the few composers in Hollywood that Bernard Herrmann openly respected, which was extremely rare. He was also a musicologist (he was awarded a PhD at the Leipzig Conservatory) and threw himself into research for such films as Quo vadis?, Ivanhoe and El Cid in order to better colour (that's for you, Tim) his scores.
I suggest his book, A Double Life, if you can get your hands on it. It's a great read.
The Playlist:
Symphony in 3 Movements (if you like Bartok's Concerto for Orchestra, this is a great spin)
String Quartets 1 & 2
Julius Caesar - probably one of Rozsa's most thoughtful scores in which he makes interesting use of overdubbing and stereo separation during the lengthy final scene.
Ben-Hur - pretty much one of the greatest scores for one of the greatest films ever.
Knights of the Round Table - a dull script and wooden performance by Robert Taylor (as Lancelot) don't stand in the way of Rozsa's score being detailed and rousing.
El Cid - yet another epic role for Charlton Heston.
Rozsa was the 2nd greatest composer of the Golden Age of Hollywood (Bernard Herrmann was the greatest, duh). While his music was firmly rooted in both the European tradition and Hungarian folk music (a la Bartok) it also had an undeniably more "modern" quality than many of his European contemporaries who emigrated from Europe and found themselves working in pictures.
Rozsa had a lengthy list of both film and concert works that distinguish themselves from many of his contemporaries, was well traveled and moved in the circles of the artistic elite regardless of where he found himself. He greatly disliked many of the films he scored but still lavished great attention on most of them (there's a lesson in there I think). He was also one of the few composers in Hollywood that Bernard Herrmann openly respected, which was extremely rare. He was also a musicologist (he was awarded a PhD at the Leipzig Conservatory) and threw himself into research for such films as Quo vadis?, Ivanhoe and El Cid in order to better colour (that's for you, Tim) his scores.
I suggest his book, A Double Life, if you can get your hands on it. It's a great read.
The Playlist:
Symphony in 3 Movements (if you like Bartok's Concerto for Orchestra, this is a great spin)
String Quartets 1 & 2
Julius Caesar - probably one of Rozsa's most thoughtful scores in which he makes interesting use of overdubbing and stereo separation during the lengthy final scene.
Ben-Hur - pretty much one of the greatest scores for one of the greatest films ever.
Knights of the Round Table - a dull script and wooden performance by Robert Taylor (as Lancelot) don't stand in the way of Rozsa's score being detailed and rousing.
El Cid - yet another epic role for Charlton Heston.
Monday, April 03, 2006
Throwing Out The First Pitch
I've waited six months for this day.
Opening Day.
My Cardinals will be taking on the Phillies in Philadelphia at 3:05 eastern. I'm so excited!
Cardinals/Yankees World Series, anyone?
Opening Day.
My Cardinals will be taking on the Phillies in Philadelphia at 3:05 eastern. I'm so excited!
Cardinals/Yankees World Series, anyone?
Wednesday, March 29, 2006
Starting Your Own Religion
In light of the Pikey's recent request for more friends...
Every religion needs specific things to advance itself.
1. A central figure.
2. A sacred text.
3. A martyr.
4. A history of persecution (well, it's not required but it certainly helps).
5. An identifying symbol.
6. Mystics (i.e.: saints/bodhisattvas/famous rabbis).
7. Someone to persecute.
8. Fanatical followers who twist your teachings to suit their own agendas.
The Grand Poobah Order of the Psychotic Baastards
I submit for the approval of the group:
1. Me (No choice, I simply had to)
2. The Calvin and Hobbes: Complete Edition
3. The Warrior Bard
4. We're all artists. You don't get much more persecuted.
5. a little help?
6. I say we make The Pikey our first mystic since he has such keen observations about humanity.
7. Conservative and Liberal Zealots who can't seem to find a balance.
8. NOW TAKING APPLICATIONS!!!
Every religion needs specific things to advance itself.
1. A central figure.
2. A sacred text.
3. A martyr.
4. A history of persecution (well, it's not required but it certainly helps).
5. An identifying symbol.
6. Mystics (i.e.: saints/bodhisattvas/famous rabbis).
7. Someone to persecute.
8. Fanatical followers who twist your teachings to suit their own agendas.
The Grand Poobah Order of the Psychotic Baastards
I submit for the approval of the group:
1. Me (No choice, I simply had to)
2. The Calvin and Hobbes: Complete Edition
3. The Warrior Bard
4. We're all artists. You don't get much more persecuted.
5. a little help?
6. I say we make The Pikey our first mystic since he has such keen observations about humanity.
7. Conservative and Liberal Zealots who can't seem to find a balance.
8. NOW TAKING APPLICATIONS!!!
Monday, March 27, 2006
Doctor What?
No, Dr. Who!!!
I don't know if any of you catch the new incarnation of Dr. Who on Sci-Fi, but it's terrific! Of course, none of the original series ever entered into my sphere as a youth except for a few stray episodes here and there on PBS so I have nothing with which to compare it. All I know is that I do like this show. It's fun, smart and every once in a while the show's makers sneak in a few ideas about humanity, morality and how we might fit into the cosmos.
Also I think Christopher Eccleston is fantastic as the Doctor. He plays it the way I think someone should play the Time Lord: wide-eyed and enjoying every moment of it. Though, once again, I really have nothing to compare it to.
In short, it's great. Watch it!!!
I don't know if any of you catch the new incarnation of Dr. Who on Sci-Fi, but it's terrific! Of course, none of the original series ever entered into my sphere as a youth except for a few stray episodes here and there on PBS so I have nothing with which to compare it. All I know is that I do like this show. It's fun, smart and every once in a while the show's makers sneak in a few ideas about humanity, morality and how we might fit into the cosmos.
Also I think Christopher Eccleston is fantastic as the Doctor. He plays it the way I think someone should play the Time Lord: wide-eyed and enjoying every moment of it. Though, once again, I really have nothing to compare it to.
In short, it's great. Watch it!!!
Monday, March 13, 2006
I'm Such a Dork
At one point yesterday there were three sirens going off within the vicinity of the old domicile (for those that don't know, yesterday was one of those "Midwestern weather" days). We had the patio door open to hear the sirens (and the storm) and there my dorky ass was listening to the sirens phase in and out of each other and the pitch interactions between passings.
I suppose the best part is that I can tell you that none of them were moving at the same speed, either, so the phasing changed with each pass. It was awesome! The storms were great, too, for those of us that (luckily) only had to watch.
I suppose the best part is that I can tell you that none of them were moving at the same speed, either, so the phasing changed with each pass. It was awesome! The storms were great, too, for those of us that (luckily) only had to watch.
Friday, March 10, 2006
It's Official!
The aforementioned short film I scored last year will be shown at the Louis B. Mayer Theatre in Woodland Hills, CA on Saturday April 1 at the first Shorts session.
Awesome!
Awesome!
Tuesday, February 28, 2006
Me, Me, Me...
Two pieces of really great news.
1. Evidently Angels and Demons, the violin solo I wrote for my friend Carol (who will be premiering the piece March 31st, as I recall) at Truman State, is pretty ok. I gave it to one of the violinists in the orchestra to look at, too. She said after much swearing (as composers, isn't that part of our job?) that the piece was absolutely playable and that it had really grown on her and she really liked it. That is encouraging and so was she. She also said some other nice things that would simply be too self-indulgent to repeat here.
2. The romantic comedy/light fantasy film that I scored last year, The Importance of Blind Dating, has been selected for performance at The Method Independent Film Festival March 31-April 7 in Calabasas, California! How awesome is that?
Anyone want to contribute to the "Send Brad to California" Fund?
1. Evidently Angels and Demons, the violin solo I wrote for my friend Carol (who will be premiering the piece March 31st, as I recall) at Truman State, is pretty ok. I gave it to one of the violinists in the orchestra to look at, too. She said after much swearing (as composers, isn't that part of our job?) that the piece was absolutely playable and that it had really grown on her and she really liked it. That is encouraging and so was she. She also said some other nice things that would simply be too self-indulgent to repeat here.
2. The romantic comedy/light fantasy film that I scored last year, The Importance of Blind Dating, has been selected for performance at The Method Independent Film Festival March 31-April 7 in Calabasas, California! How awesome is that?
Anyone want to contribute to the "Send Brad to California" Fund?
Monday, February 27, 2006
Introducing Modern Music and Serial Extensions
I have been thinking about this most recent discussion more. Actually it's still kind of driving me nuts. It occured to me that there are other forces at work here that need to be explored.
First, McIntire says we should basically use our anger to have something to push against. I think that there is a great deal of validity in this and I've never thought about it this way (stupid me!). This is good advice and utilizing it can help us prove to the world that we do, in fact, have something to say and we might not have the desire to say it in the same way as our predecessors (or we do want to say it like our predecessors a couple of generations removed, take your pick). So from that point of view it's good to have something to push against.
Second, and this is big, is it possible that those of us making this argument are doing a great disservice to the two or three generations of composers before us that worked hard to break free from this kind of dogma to open up new vistas for us, the "younger" generation? This is my fear now. The "live and let live" attitude that began developing in the 1960s helping bring about the "return to tonality" (not that tonality ever actually went anywhere) seems to have, in many respects, come full circle. It seems that now those in what might be referred to as the "tonal majority" are beginning to treat those in the "minority" with furious anger. In a sense doesn't this violate the basic tenets of this philosophy? Are we not wandering into dangerous dogmatic territory of our own? Shouldn't the music itself be the thing and not the means that brought us to that end?
Third, I've found what truly makes me angry. It's not the music. It's not its underying philosophies or techniques. I wish that the subject matter had been presented to me better when I was an undergraduate. I wish someone had taken the time to explain to a me a little bit more about Babbitt's background. I know he's nuts about jazz and musical theatre. I know that Sondheim (genius) is probably his most famous student. I just wish that someone would have placed his ideas into the proper context rather than just said, "Here it is. Deal with it." This angers me a great deal and should I ever have to teach it I know for sure that I would teach it with a much more open mind.
I realize that this music rubs a lot of people the wrong way. Most of it, in fact, doesn't have this affect on me. It's the dogma behind a lot of the music that bothers me. I think my own personal experience with modern music of all kinds has actually been better than a lot of musicians/music students. Perhaps this is because I came to the music of the Second Viennese School and beyond on my own and without any kind of academic pretense. This doesn't keep me from feeling a kind of ambiguity about it though. I like and respect a great deal of the music. I admire much of the complexity. But I also have this deep love of neotonal music representing both postminimalism and the new complexity.
I invite your insults of "waffler" and such, but this entire discussion has given me cause to think about the whole affair a little more.
First, McIntire says we should basically use our anger to have something to push against. I think that there is a great deal of validity in this and I've never thought about it this way (stupid me!). This is good advice and utilizing it can help us prove to the world that we do, in fact, have something to say and we might not have the desire to say it in the same way as our predecessors (or we do want to say it like our predecessors a couple of generations removed, take your pick). So from that point of view it's good to have something to push against.
Second, and this is big, is it possible that those of us making this argument are doing a great disservice to the two or three generations of composers before us that worked hard to break free from this kind of dogma to open up new vistas for us, the "younger" generation? This is my fear now. The "live and let live" attitude that began developing in the 1960s helping bring about the "return to tonality" (not that tonality ever actually went anywhere) seems to have, in many respects, come full circle. It seems that now those in what might be referred to as the "tonal majority" are beginning to treat those in the "minority" with furious anger. In a sense doesn't this violate the basic tenets of this philosophy? Are we not wandering into dangerous dogmatic territory of our own? Shouldn't the music itself be the thing and not the means that brought us to that end?
Third, I've found what truly makes me angry. It's not the music. It's not its underying philosophies or techniques. I wish that the subject matter had been presented to me better when I was an undergraduate. I wish someone had taken the time to explain to a me a little bit more about Babbitt's background. I know he's nuts about jazz and musical theatre. I know that Sondheim (genius) is probably his most famous student. I just wish that someone would have placed his ideas into the proper context rather than just said, "Here it is. Deal with it." This angers me a great deal and should I ever have to teach it I know for sure that I would teach it with a much more open mind.
I realize that this music rubs a lot of people the wrong way. Most of it, in fact, doesn't have this affect on me. It's the dogma behind a lot of the music that bothers me. I think my own personal experience with modern music of all kinds has actually been better than a lot of musicians/music students. Perhaps this is because I came to the music of the Second Viennese School and beyond on my own and without any kind of academic pretense. This doesn't keep me from feeling a kind of ambiguity about it though. I like and respect a great deal of the music. I admire much of the complexity. But I also have this deep love of neotonal music representing both postminimalism and the new complexity.
I invite your insults of "waffler" and such, but this entire discussion has given me cause to think about the whole affair a little more.
Thursday, February 23, 2006
Hiatus
Okay kids, I'm going to take a little blogger break for a few days. All this talk of Babbitt and Cage has made me a little crazy. But it's also helped put me in the mood to write. Thanks for the comments.
I'm submitting for a festival a work for violin and piano that I haven't written yet and the deadline is March 1. As in next Wednesday. Am I insane? Maybe. See you on the other side.
I'm also going to listen to my new recording of Sibelius' Kullervo. Don't have it? Get it!
I'm submitting for a festival a work for violin and piano that I haven't written yet and the deadline is March 1. As in next Wednesday. Am I insane? Maybe. See you on the other side.
I'm also going to listen to my new recording of Sibelius' Kullervo. Don't have it? Get it!
Tuesday, February 21, 2006
Taking Up Arms With the Warrior Bard
Before reading this, read this.
This is such dogmatically dangerous ground on which to be treading and yet, as a willing heretical participant, there’s so much to say. Where does one begin?
First let us be fair to Milton Babbitt. He didn’t title his article “Who cares if you listen?” That was the editor of the magazine that did that. Okay, that’s it.
I still don’t put much stock in the subject matter of the article. Is composition a highly specific field? Yes. Does that mean it shouldn’t be accessible? No. Even Schoenberg knew that if he was going to write his music using the system he devised that he still had to place an emphasis on clarity. No matter how abstract, his music should be comprehensible to more than just the most highly trained of all composers (about 6 people). One would also be remiss not to mention the incorporation of the human element into Schoenberg’s music. And Webern shouldn’t be blamed, either. His music is incredibly inspired and well crafted. It was the post-WWII serialists who took Webern’s work and codified it to its utmost extremes.
“The sad thing is, this school of thought has become dogmatic for any scholarly composer. If you disagree, you're narrow-minded…what's the point of discussing, if we're not going to really discuss anything? They don't want discussion; they want conformity.” - Tim
"Any attempt to codify musical reality into a kind of imitation grammar (I refer mainly to the efforts associated with the Twelve-Tone System) is a brand of fetishism which shares with Fascism and racism the tendency to reduce live processes to immobile, labeled objects, the tendency to deal with formalities rather than substance. Claude Levi-Strauss describes (though to illustrate a different point) a captain at sea, his ship reduced to a frail raft without sails, who, by enforcing a meticulous protocol on his crew, is able to distract them from nostalgia for a safe harbor and from the desire for a destination.”
-Luciano Berio, Meditation on a Twelve-Tone Horse
I understand that the older generation grew up with this method. We get it. There was no other way. Beyond all this, though, is something that is much more subversive and sinister. Whilst the strictures of academia have loosened in recent years there is still this frighteningly dogmatic adherence to the music/teachings of Babbitt, Cage, Stockhausen and Boulez, even if only in theoretical form, in the upper echelons of academia. I’ve been thinking about this for years. Literally. I have thought for a long time now that the kind of conformity that came to be expected of composers after World War II is dangerous and fascist. You will do it this way! Isn’t this the kind of thinking that started that war in the first place? You will not question. You will acquiesce. The perfect society is a conformist society.
What’s worse is that this attitude developed (and, to a point, persists today) in a time where a lot of interesting things were happening musically outside of Darmstadt. That school basically turned a blind eye to all of it. There is no dialogue between proponents of total serialism and other musics. None. What does exist is merely a monologue which places no value on the influence of popular forms. Are you going to tell me that the likes of Miles Davis, George Gershwin, John Coltrane and Thelonius Monk don’t deserve to be placed with the most brilliant of their academic counterparts? If that’s the case I beg to differ. Furthermore I’m not sure if I would want to be associated with those that might actually think this.
I respect serialism, just as any thoroughly trained composer who learned how to utilize it should. I even enjoy incorporating serial elements into my own compositions from time to time. But I can’t bring myself to surrender all creative control (not to mention my humanity) to a formula that merely expresses one’s intellect and totally discounts one’s personal experiences. Don’t get me wrong. I’m not saying that Babbitt’s music has no value. Like all previous music, it has historical and theoretical value when taken into the whole of musical history. To me total serialism is largely empty and devoid of meaning.
The faculty nearly bit the heads off of anyone who remotely insinuated anything anti-Babbitt. So... what's the point of discussing, if we're not going to really discuss anything? They don't want discussion; they want conformity.
When the subject of Babbitt and his teachings comes up there is no discussion. You accept everything or you are a heretic. When our teachers talk about him all of a sudden there is this reverential tone and he is spoken of as if he were some kind of Promethean figure bringing fire and knowledge to we mere mortals.
Now here's my two cents:
The conformity demanded by the proponents of total serialism amounts to little more than the dogmatic practices of musical terrorists who would rather blow up the entire world for the sake of their empty god than admit that there might be other paths to musical expression that are capable of coexisting. - Brad Fowler
“Alas, this industrialized twelve-tone horse, dull on the outside and empty inside, constantly being perfected and dragged to a new Troy in shadow of an ideological war long since fought and won by responsible minds like Schoenberg, with neither systems nor scholarship for armor!"
-Berio, “Meditations…”
This is such dogmatically dangerous ground on which to be treading and yet, as a willing heretical participant, there’s so much to say. Where does one begin?
First let us be fair to Milton Babbitt. He didn’t title his article “Who cares if you listen?” That was the editor of the magazine that did that. Okay, that’s it.
I still don’t put much stock in the subject matter of the article. Is composition a highly specific field? Yes. Does that mean it shouldn’t be accessible? No. Even Schoenberg knew that if he was going to write his music using the system he devised that he still had to place an emphasis on clarity. No matter how abstract, his music should be comprehensible to more than just the most highly trained of all composers (about 6 people). One would also be remiss not to mention the incorporation of the human element into Schoenberg’s music. And Webern shouldn’t be blamed, either. His music is incredibly inspired and well crafted. It was the post-WWII serialists who took Webern’s work and codified it to its utmost extremes.
“The sad thing is, this school of thought has become dogmatic for any scholarly composer. If you disagree, you're narrow-minded…what's the point of discussing, if we're not going to really discuss anything? They don't want discussion; they want conformity.” - Tim
"Any attempt to codify musical reality into a kind of imitation grammar (I refer mainly to the efforts associated with the Twelve-Tone System) is a brand of fetishism which shares with Fascism and racism the tendency to reduce live processes to immobile, labeled objects, the tendency to deal with formalities rather than substance. Claude Levi-Strauss describes (though to illustrate a different point) a captain at sea, his ship reduced to a frail raft without sails, who, by enforcing a meticulous protocol on his crew, is able to distract them from nostalgia for a safe harbor and from the desire for a destination.”
-Luciano Berio, Meditation on a Twelve-Tone Horse
I understand that the older generation grew up with this method. We get it. There was no other way. Beyond all this, though, is something that is much more subversive and sinister. Whilst the strictures of academia have loosened in recent years there is still this frighteningly dogmatic adherence to the music/teachings of Babbitt, Cage, Stockhausen and Boulez, even if only in theoretical form, in the upper echelons of academia. I’ve been thinking about this for years. Literally. I have thought for a long time now that the kind of conformity that came to be expected of composers after World War II is dangerous and fascist. You will do it this way! Isn’t this the kind of thinking that started that war in the first place? You will not question. You will acquiesce. The perfect society is a conformist society.
What’s worse is that this attitude developed (and, to a point, persists today) in a time where a lot of interesting things were happening musically outside of Darmstadt. That school basically turned a blind eye to all of it. There is no dialogue between proponents of total serialism and other musics. None. What does exist is merely a monologue which places no value on the influence of popular forms. Are you going to tell me that the likes of Miles Davis, George Gershwin, John Coltrane and Thelonius Monk don’t deserve to be placed with the most brilliant of their academic counterparts? If that’s the case I beg to differ. Furthermore I’m not sure if I would want to be associated with those that might actually think this.
I respect serialism, just as any thoroughly trained composer who learned how to utilize it should. I even enjoy incorporating serial elements into my own compositions from time to time. But I can’t bring myself to surrender all creative control (not to mention my humanity) to a formula that merely expresses one’s intellect and totally discounts one’s personal experiences. Don’t get me wrong. I’m not saying that Babbitt’s music has no value. Like all previous music, it has historical and theoretical value when taken into the whole of musical history. To me total serialism is largely empty and devoid of meaning.
The faculty nearly bit the heads off of anyone who remotely insinuated anything anti-Babbitt. So... what's the point of discussing, if we're not going to really discuss anything? They don't want discussion; they want conformity.
When the subject of Babbitt and his teachings comes up there is no discussion. You accept everything or you are a heretic. When our teachers talk about him all of a sudden there is this reverential tone and he is spoken of as if he were some kind of Promethean figure bringing fire and knowledge to we mere mortals.
Now here's my two cents:
The conformity demanded by the proponents of total serialism amounts to little more than the dogmatic practices of musical terrorists who would rather blow up the entire world for the sake of their empty god than admit that there might be other paths to musical expression that are capable of coexisting. - Brad Fowler
“Alas, this industrialized twelve-tone horse, dull on the outside and empty inside, constantly being perfected and dragged to a new Troy in shadow of an ideological war long since fought and won by responsible minds like Schoenberg, with neither systems nor scholarship for armor!"
-Berio, “Meditations…”
Tuesday, February 14, 2006
I Hate Writing About Me
Okay, that's not entirely true. When it comes to this blog, I tend to write a lot about me. Then again, it's my blog and I'll cry if I want to. Oh wait...there was a point here.
Anywayyyy...
I'm submitting a couple of scores for a new music festival in the fall and, along with those scores, recordings, program notes, etc., I have to include my bio. I hate doing this. How does one write about one's achievements without sounding smarmy? Beyond that, I have so little real experience at this thing that my bio kind of looks pathetic. Granted it's an opportunity to talk about myself and what I've supposedly done, but it's still annoying. I think McIntire wrote about this previously. A lot of people - especially composers - will pad their resume with the slightest contact of a "name". It's kind of like a native American coup (sp?) stick. Sometimes you'd whack somebody over the head with it in battle for glory and honor. Sometimes you'd just touch someone who was already on the ground dead and claim it for yourself. I met Krzysztof Penderecki after a Chicago Symphony concert in 2000, do I get to put that on my resume? I think there are some unscrupulous composers who probably would. But the fact of the matter is that, at this point in my life, there's only one person with whom I've actually studied who has had a direct influence on my writing. I also don't expect that to change anytime soon.
Anywayyyy...
I'm submitting a couple of scores for a new music festival in the fall and, along with those scores, recordings, program notes, etc., I have to include my bio. I hate doing this. How does one write about one's achievements without sounding smarmy? Beyond that, I have so little real experience at this thing that my bio kind of looks pathetic. Granted it's an opportunity to talk about myself and what I've supposedly done, but it's still annoying. I think McIntire wrote about this previously. A lot of people - especially composers - will pad their resume with the slightest contact of a "name". It's kind of like a native American coup (sp?) stick. Sometimes you'd whack somebody over the head with it in battle for glory and honor. Sometimes you'd just touch someone who was already on the ground dead and claim it for yourself. I met Krzysztof Penderecki after a Chicago Symphony concert in 2000, do I get to put that on my resume? I think there are some unscrupulous composers who probably would. But the fact of the matter is that, at this point in my life, there's only one person with whom I've actually studied who has had a direct influence on my writing. I also don't expect that to change anytime soon.
Subscribe to:
Posts (Atom)