Friday, October 27, 2006
Thursday, October 19, 2006
Cards Win! Cards Win!
Being the devout baseball man that I am (a man has to get his religion somewhere) I just thought that I'd throw that out there.
I believe I requested a Cardinals/Tigers World Series?
Excellent.
I believe I requested a Cardinals/Tigers World Series?
Excellent.
Wednesday, October 11, 2006
Instant Steve Reich Collection, Just Add Water (and a Negligible Amount of Cash)
It pains me to admit it but I have very little of Steve Reich's music in my CD collection...until now.Die Frau and I were in one of the local Barnes and Noble stores this past weekend when this lovely box of wonderful music attracted my attention. This 5-disc set immediately got my attention because it's basically a "best of" collection (though you could probably include anything by the man in such a thing) and was astoundingly priced at $35.
This retrospective is absolutely fantastic and even includes the recent works You Are (Variations), premiered by Grant Gershon and the Los Angeles Master Chorale a few years back, which costs $20 all by itself. If that's not enough, you get basically all the seminal works of this most influential American musician. Music for 18 Musicians, Tehillim, Proverb, Different Trains, Eight Lines, Music for Mallet Instruments, Voices and Organ, and Drumming (and then some) are all included. The only drawback for me is a lack of extensive liner notes. But even that isn't a major concern because you can find all that online at the Boosey and Hawkes website.
Anyway, it's a great set. If you like Reich's music and don't have much or are just plain interested check it out. It's awesome.
Friday, October 06, 2006
Composers in Community
This past weekend die Frau and I made the long, long (looooooong) trek to Orange City, Iowa. For those of you that don't know where this is, it's a half hour east of South Dakota and a half hour south of Minnesota. For those of you that do know where this is...why?!?! Why did we go to such a place, you ask? I'll tell you.
I had a piece programmed on a new music festival that was a joint effort of the Iowa Composers Forum and the Christian Fellowship of Art Music Composers and hosted by Northwestern College in Orange City. It was my first festival selection which made it all the more exciting. Well that's not entirely true. I've been programmed on 4 conferences/festivals, but they were all at Truman State so I think those kind of tipped the scales in my favour in those instances.
Anyway, the piece was my Two Movements for Flute which is an unaccompanied solo which also has the distinction of being my first 12-tone work. It's also a quite difficult work, full of complex rhythmic ideas and wide intervallic leaps. And if that's not enough there are little surface features that really function as background features that unify the piece on a long-range scale. Ugh, can you tell I had been studying Schenker at the time I wrote this piece, too? The soloist, whom I met the morning of the performance, performed the piece very well. She managed to bring out some of the aforementioned "long-range" elements of the piece rather than focus primarily on its gestural nature. I was pleased. Everyone seemed very complimentary especially with the knowledge that this was indeed my first 12-tone work.
The whole conference was pretty amazing. 1 day, 4 concerts (long concerts), 2 paper sessions and seemingly endless variety. It was incredible to hear all this music by so many composers and so much of it was different from everything else that was heard. In addition everyone seemed genuinely supportive of each other's work. Many and constant congratulations abounded throughout the day in the halls, during concerts and during meals. Another nice aspect of the conference was getting to see Dr. Gooch again. It was, afterall, his suggestion that I join the Forum. His Monodies for cello and piano were performed right before my piece.
One of the most difficult aspects of being a composer in a situation such as this is trying to find the balance between enjoying what you're listening to and listening on a more analytical level. I found myself trying to find this at many points throughout each of the concerts and would say that, in my own opinion at least, was fairly successful. If you do nothing but listen analytically you might miss the point. If you do nothing but listen for enjoyment (though there's nothing wrong with this from time to time) you might also miss a larger point. Balance is key, Daniel-san.
Overall the experience was really great. One I look forward to again soon.
I had a piece programmed on a new music festival that was a joint effort of the Iowa Composers Forum and the Christian Fellowship of Art Music Composers and hosted by Northwestern College in Orange City. It was my first festival selection which made it all the more exciting. Well that's not entirely true. I've been programmed on 4 conferences/festivals, but they were all at Truman State so I think those kind of tipped the scales in my favour in those instances.
Anyway, the piece was my Two Movements for Flute which is an unaccompanied solo which also has the distinction of being my first 12-tone work. It's also a quite difficult work, full of complex rhythmic ideas and wide intervallic leaps. And if that's not enough there are little surface features that really function as background features that unify the piece on a long-range scale. Ugh, can you tell I had been studying Schenker at the time I wrote this piece, too? The soloist, whom I met the morning of the performance, performed the piece very well. She managed to bring out some of the aforementioned "long-range" elements of the piece rather than focus primarily on its gestural nature. I was pleased. Everyone seemed very complimentary especially with the knowledge that this was indeed my first 12-tone work.
The whole conference was pretty amazing. 1 day, 4 concerts (long concerts), 2 paper sessions and seemingly endless variety. It was incredible to hear all this music by so many composers and so much of it was different from everything else that was heard. In addition everyone seemed genuinely supportive of each other's work. Many and constant congratulations abounded throughout the day in the halls, during concerts and during meals. Another nice aspect of the conference was getting to see Dr. Gooch again. It was, afterall, his suggestion that I join the Forum. His Monodies for cello and piano were performed right before my piece.
One of the most difficult aspects of being a composer in a situation such as this is trying to find the balance between enjoying what you're listening to and listening on a more analytical level. I found myself trying to find this at many points throughout each of the concerts and would say that, in my own opinion at least, was fairly successful. If you do nothing but listen analytically you might miss the point. If you do nothing but listen for enjoyment (though there's nothing wrong with this from time to time) you might also miss a larger point. Balance is key, Daniel-san.
Overall the experience was really great. One I look forward to again soon.
Monday, August 28, 2006
Gonna Fly Now
Maynard Ferguson died Thursday night at the age of 78.
For those that don't know Ferguson was one of the greatest jazz trumpet players who ever lived. He could play ridiculous high notes. He quit school at 15 to start his own big band and played with a lot of other big bands in the '50s. He gave the Stan Kenton Orchestra its signature sound (screaming high, screaming loud).
He scored a big hit in the 1970s with his cover of Bill Conti's "Gonna Fly Now" from Rocky and almost instantly made the big band a viable art form again only this time fusing rock, jazz, bop and anything else that caught his fancy (like Indian classical music).
I got to see him in concert once.
It was the end of my freshman year and he and his band, Big Bop Nouveau, came to play at a church in Kansas City. 2 others and I made the trek from Saint Joseph to south Kansas City for the concert. One of the guys, Kevin, was also a bop trumpet player (an extraordinarily talented one with an ego to match) who had heard Maynard play so many times that the road manager recognised him and he eventually earned a tour jacket...which you couldn't actually buy. We got to the church and I realised I was about $15 short. Kevin paid for my ticket for which I will be eternally grateful.
Move over, Gabriel, you're playing second trumpet now.
For those that don't know Ferguson was one of the greatest jazz trumpet players who ever lived. He could play ridiculous high notes. He quit school at 15 to start his own big band and played with a lot of other big bands in the '50s. He gave the Stan Kenton Orchestra its signature sound (screaming high, screaming loud).
He scored a big hit in the 1970s with his cover of Bill Conti's "Gonna Fly Now" from Rocky and almost instantly made the big band a viable art form again only this time fusing rock, jazz, bop and anything else that caught his fancy (like Indian classical music).
I got to see him in concert once.
It was the end of my freshman year and he and his band, Big Bop Nouveau, came to play at a church in Kansas City. 2 others and I made the trek from Saint Joseph to south Kansas City for the concert. One of the guys, Kevin, was also a bop trumpet player (an extraordinarily talented one with an ego to match) who had heard Maynard play so many times that the road manager recognised him and he eventually earned a tour jacket...which you couldn't actually buy. We got to the church and I realised I was about $15 short. Kevin paid for my ticket for which I will be eternally grateful.
Move over, Gabriel, you're playing second trumpet now.
Thursday, July 27, 2006
The Cue Sheet
So the Pikey threw down and I have accepted the challenge. It's hard to wittle 450 film score recordings down to your 10 favourite cues. Unlike the Pikey, though, mine are in no particular order as the aforementioned task was difficult enough. Miklos Rozsa got kicked off the island for crying out loud!
Anyway, here's my list, some thoughts on each and some of the runners-up.
The Big Rescue – Superman (John Williams) – This is the moment that would make or break this film. The entire cue (fugue and all) is captivating and brilliantly paced with a near-perfect dramatic shape.
The White Tree - The Lord of the Rings: Return of the King (Howard Shore) - First of all, let's call it what it really is, the Lighting of the Beacons. I nearly wet myself when I first saw this scene in the theatre. Is there really anything that has to be said here? It's one of the most beautiful blends of music and picture ever run through a projector.
Journey to the Line - The Thin Red Line (Hans Zimmer) - As has been discussed before, I'm no huge fan of Zimmer. I care for this movie even less (don't say I don't get it, either, unless you really want me to pounce). But it is necessary to give credit where it's due. If you were to tell me that I had 10 seconds to come up with the single greatest cue Hans has ever written I would only need 2 and this would be it. All comparisons to Barber's Adagio for Strings aside this is probably one of the most subtle, detached (therefore emotionally heightened) and gorgeous pieces Hans has ever written.
The Hand of Fate, Part II - Signs (James Newton Howard) - This won't be the last one the Pikey and I have in common. This is a perfect complement to the climax of the film. Few directors think about their films the way Shyamalan does. He eschews convention. Even in this instance he chooses not to use the opening stinger in the film because it's "obvious" and a cheap scare tactic. One of the things I think is so brilliant in this particular cue is the way it more-or-less encapsulates the camera movements in the film. For much of the film Shyamalan ignores fancy camerawork and quick editing and let's his film breathe through the performances of its actors. The first real sense of motion in the music is reflected in the first real motion of film where there's that beautiful, swooping crane shot that covers Graham and the kids and moves into the house with Merrill and the alien. Can you tell this is one of my absolute favourite films?
Overture (Main title) - North by Northwest (Bernard Herrmann) - I know the accepted attitude is that Vertigo is Alfred Hitchcock's masterpiece and that there are few greater marriages of music and film in the history of cinema than the scene d'amour when Scottie (Jimmy Stewart) finally makes over Madeleine (Kim Novak). That being said, North by Northwest is my favourite Hitchcock/Herrmann collaboration. The suits at MGM originally wanted something jazzy and "Gershwinesque" for the opening title sequence (by the perennially brilliant Saul Bass). Instead Herrmann incorporates South American dance rhythms into the overall substance of the score. Somehow it works brilliantly.
Riding the Fire Mares - Krull (James Horner) - This is one of the standout cues of the score. In it Horner demonstrates his full powers as a master of variation technique and orchestral colour. It was a bit of a toss-up between this and The Widow's Web from the same score with its cascading arpeggios and Herrmannesque orchestral crashes but ultimately this won out. I know that Krull is bad. Really bad. It's one of my absolute favourite bad movies. It is, though, my absolute favourite Horner score. Nowhere in his entire output is he as melodically inventive and full of orchestral colour as he is here. Also there seems to be some sort of internal logic that holds the score together very nicely where it seems to have a feeling of inevitability at every climax point. I have done no analysis to back my claims up, though. It's more of a feeling.
Valhalla/Viking Victory - The 13th Warrior (Jerry Goldsmith) - Again the standout cue of the score despite the fact that Crichton had Goldsmith rescore the actual battle music in favour of a more atmospheric, electronically-dominated approach. Don't get me wrong, I love the battle music here, but it's actually the music that bookends the battle that really does it for me. The prayer sequence in particular demonstrates Goldsmith's mastery of building tension. So much so that Ridley Scott would dump the very good cue that Harry Gregson-Williams wrote ('Rise a Knight') in a similar scene in Kingdom of Heaven and use Goldsmith's music.
Toccata and Dreamscapes - Final Fantasy: The Spirits Within (Elliot Goldenthal) - I think that if I were asked to cite my favourite example of modernist film music that could instead have been written for the concert hall this would be it. I know the Pikey chose the 'Adagio and Transfiguration' but that's because he likes Richard Strauss.
The Demise of Mrs. Baylock - The Omen (Jerry Goldsmith) - This is sheer choral and orchestral terror. 2 minutes and 42 seconds of it. I can't imagine how much fun it must have been to write this piece and just unleash all hell's fury.
The Battle of Hoth/The Asteroid Field - The Empire Strikes Back (John Williams) - I'm with the Pikey on this one. They may be separate cues, but it's essentially one continuous cue. And it's a (thematic!) 20-minute orchestral tour-de-force (pun intended). I'd just like to see one of the Zimmer boys attempt to come up with something like this! And just to be clear it's 6(!) cues on the 1994 boxed set strung together as one forming a coherent, unified and dramatic whole.
Runners up, or, Those that I could live without but would be grumpier to do so:
The Mission - The Sum of All Fears (Jerry Goldsmith) - Easily the highlight of this score and wretched film performed by up-and-coming soprano Shana Blake Hill.
Theology/Civilization, Wifeing - Conan the Barbarian (Basil Poledouris) - Because there should be pretty tunes somewhere on one of these lists. I guess. If I have to.
Prelude/Outer Space/Radar - The Day the Earth Stood Still (Herrmann) - This is simply brilliant and one of the most amazing orchestral combinations you'll ever encounter anywhere. Electric violin and bass, high and low theremins, four pianos, four harps and 30 or so brass make up the orchestra. The energetic, propulsive staccato piano figures capture the foreboding and the mystery of what is to come.
Ontological Shock - The Matrix (Don Davis) - Everything about this cue feels right. It did absolutely what it had to do in capturing the inevitability of this moment. Using wonderful modern techniques I might add.
Desert Chase - Raiders of the Lost Ark (John Williams) - Perfectly (and entertainly) photographed and edited in nearly every way, this isn't a chase, it's an 8-minute ballet.
The Flying Circus - The Rocketeer (James Horner) - Another wonderful cue that demonstrates Horner's mastery of variation technique and orchestral colour.
Those We Don't Speak Of - The Village (James Newton Howard) - Tense, gutwrenching and, ultimately, one of the most gorgeous pieces in the entire score.
Tournament Speech - Shrek (Harry Gregson-Williams/John Powell) - This cue makes me laugh every...single...time...I listen to it. Why? Two words: falling brass.
Main Title - The Great Train Robbery (Jerry Goldsmith) - A fun-filled and entertaining romp through Victorian England. Goldsmith perfectly captures (as usual) the charm of Sean Connery and Donald Sutherland's characters and clearly as a good time with the score. It's amazing that he wrote this score in the same year as Alien and Star Trek: The Motion Picture simply because their diversity.
Battle in the Mutara Nebula - Star Trek II: The Wrath of Khan (James Horner) - Once again Horner creates an early splash before his ideas (those that were actually his) became tired and worn. This cue, though, captures everything this movie is about and sounds like an epic seafaring adventure that just happens to be set in outer space adventure (Horatio Hornblower in outer space is how Nicholas Meyer described it).
Exiled - The 13th Warrior (Goldsmith) - Two from The 13th Warrior?!? He must be off his rocker for sure now. Listen to it. Behold the glory that is 8 French Horns playing in unison! Not to mention it's rousing as all hell.
Anyway, here's my list, some thoughts on each and some of the runners-up.
The Big Rescue – Superman (John Williams) – This is the moment that would make or break this film. The entire cue (fugue and all) is captivating and brilliantly paced with a near-perfect dramatic shape.
The White Tree - The Lord of the Rings: Return of the King (Howard Shore) - First of all, let's call it what it really is, the Lighting of the Beacons. I nearly wet myself when I first saw this scene in the theatre. Is there really anything that has to be said here? It's one of the most beautiful blends of music and picture ever run through a projector.
Journey to the Line - The Thin Red Line (Hans Zimmer) - As has been discussed before, I'm no huge fan of Zimmer. I care for this movie even less (don't say I don't get it, either, unless you really want me to pounce). But it is necessary to give credit where it's due. If you were to tell me that I had 10 seconds to come up with the single greatest cue Hans has ever written I would only need 2 and this would be it. All comparisons to Barber's Adagio for Strings aside this is probably one of the most subtle, detached (therefore emotionally heightened) and gorgeous pieces Hans has ever written.
The Hand of Fate, Part II - Signs (James Newton Howard) - This won't be the last one the Pikey and I have in common. This is a perfect complement to the climax of the film. Few directors think about their films the way Shyamalan does. He eschews convention. Even in this instance he chooses not to use the opening stinger in the film because it's "obvious" and a cheap scare tactic. One of the things I think is so brilliant in this particular cue is the way it more-or-less encapsulates the camera movements in the film. For much of the film Shyamalan ignores fancy camerawork and quick editing and let's his film breathe through the performances of its actors. The first real sense of motion in the music is reflected in the first real motion of film where there's that beautiful, swooping crane shot that covers Graham and the kids and moves into the house with Merrill and the alien. Can you tell this is one of my absolute favourite films?
Overture (Main title) - North by Northwest (Bernard Herrmann) - I know the accepted attitude is that Vertigo is Alfred Hitchcock's masterpiece and that there are few greater marriages of music and film in the history of cinema than the scene d'amour when Scottie (Jimmy Stewart) finally makes over Madeleine (Kim Novak). That being said, North by Northwest is my favourite Hitchcock/Herrmann collaboration. The suits at MGM originally wanted something jazzy and "Gershwinesque" for the opening title sequence (by the perennially brilliant Saul Bass). Instead Herrmann incorporates South American dance rhythms into the overall substance of the score. Somehow it works brilliantly.
Riding the Fire Mares - Krull (James Horner) - This is one of the standout cues of the score. In it Horner demonstrates his full powers as a master of variation technique and orchestral colour. It was a bit of a toss-up between this and The Widow's Web from the same score with its cascading arpeggios and Herrmannesque orchestral crashes but ultimately this won out. I know that Krull is bad. Really bad. It's one of my absolute favourite bad movies. It is, though, my absolute favourite Horner score. Nowhere in his entire output is he as melodically inventive and full of orchestral colour as he is here. Also there seems to be some sort of internal logic that holds the score together very nicely where it seems to have a feeling of inevitability at every climax point. I have done no analysis to back my claims up, though. It's more of a feeling.
Valhalla/Viking Victory - The 13th Warrior (Jerry Goldsmith) - Again the standout cue of the score despite the fact that Crichton had Goldsmith rescore the actual battle music in favour of a more atmospheric, electronically-dominated approach. Don't get me wrong, I love the battle music here, but it's actually the music that bookends the battle that really does it for me. The prayer sequence in particular demonstrates Goldsmith's mastery of building tension. So much so that Ridley Scott would dump the very good cue that Harry Gregson-Williams wrote ('Rise a Knight') in a similar scene in Kingdom of Heaven and use Goldsmith's music.
Toccata and Dreamscapes - Final Fantasy: The Spirits Within (Elliot Goldenthal) - I think that if I were asked to cite my favourite example of modernist film music that could instead have been written for the concert hall this would be it. I know the Pikey chose the 'Adagio and Transfiguration' but that's because he likes Richard Strauss.
The Demise of Mrs. Baylock - The Omen (Jerry Goldsmith) - This is sheer choral and orchestral terror. 2 minutes and 42 seconds of it. I can't imagine how much fun it must have been to write this piece and just unleash all hell's fury.
The Battle of Hoth/The Asteroid Field - The Empire Strikes Back (John Williams) - I'm with the Pikey on this one. They may be separate cues, but it's essentially one continuous cue. And it's a (thematic!) 20-minute orchestral tour-de-force (pun intended). I'd just like to see one of the Zimmer boys attempt to come up with something like this! And just to be clear it's 6(!) cues on the 1994 boxed set strung together as one forming a coherent, unified and dramatic whole.
Runners up, or, Those that I could live without but would be grumpier to do so:
The Mission - The Sum of All Fears (Jerry Goldsmith) - Easily the highlight of this score and wretched film performed by up-and-coming soprano Shana Blake Hill.
Theology/Civilization, Wifeing - Conan the Barbarian (Basil Poledouris) - Because there should be pretty tunes somewhere on one of these lists. I guess. If I have to.
Prelude/Outer Space/Radar - The Day the Earth Stood Still (Herrmann) - This is simply brilliant and one of the most amazing orchestral combinations you'll ever encounter anywhere. Electric violin and bass, high and low theremins, four pianos, four harps and 30 or so brass make up the orchestra. The energetic, propulsive staccato piano figures capture the foreboding and the mystery of what is to come.
Ontological Shock - The Matrix (Don Davis) - Everything about this cue feels right. It did absolutely what it had to do in capturing the inevitability of this moment. Using wonderful modern techniques I might add.
Desert Chase - Raiders of the Lost Ark (John Williams) - Perfectly (and entertainly) photographed and edited in nearly every way, this isn't a chase, it's an 8-minute ballet.
The Flying Circus - The Rocketeer (James Horner) - Another wonderful cue that demonstrates Horner's mastery of variation technique and orchestral colour.
Those We Don't Speak Of - The Village (James Newton Howard) - Tense, gutwrenching and, ultimately, one of the most gorgeous pieces in the entire score.
Tournament Speech - Shrek (Harry Gregson-Williams/John Powell) - This cue makes me laugh every...single...time...I listen to it. Why? Two words: falling brass.
Main Title - The Great Train Robbery (Jerry Goldsmith) - A fun-filled and entertaining romp through Victorian England. Goldsmith perfectly captures (as usual) the charm of Sean Connery and Donald Sutherland's characters and clearly as a good time with the score. It's amazing that he wrote this score in the same year as Alien and Star Trek: The Motion Picture simply because their diversity.
Battle in the Mutara Nebula - Star Trek II: The Wrath of Khan (James Horner) - Once again Horner creates an early splash before his ideas (those that were actually his) became tired and worn. This cue, though, captures everything this movie is about and sounds like an epic seafaring adventure that just happens to be set in outer space adventure (Horatio Hornblower in outer space is how Nicholas Meyer described it).
Exiled - The 13th Warrior (Goldsmith) - Two from The 13th Warrior?!? He must be off his rocker for sure now. Listen to it. Behold the glory that is 8 French Horns playing in unison! Not to mention it's rousing as all hell.
Monday, July 17, 2006
O, for a Muse of fire!
About this time every year the Heart of America Shakespeare Festival presents their outdoor production of Shakespeare in the Park. This year's production is one of my personal favourites, Henry V (the honors for my favourite belong to Macbeth).
Die Frau and I went out twice. Once about two weeks ago and again Friday night. When you're watching a good production of the Bard you get pulled in, almost forgetting it's theatre. Wait a minute. Isn't that the point?!? There are, however, fewer things more agonising than watching bad Shakespeare (or worse, being forced to listen to your high school classmates read it aloud in the most boring possible!).
The production was quite good. The acting, for the most part, was terrific. Except the Dauphin. I told J (as in J and C, J who still doesn't have a blog, hi J) that he acts like he wants to be Harry Lennix when he grows up. He was good. Just a little tooooo melodramatic. The costuming and set design were fantastic. Though I wouldn't have wanted to wear one of those costumes Friday night as it was still around 85 degrees and humid as hell an hour after sundown! There was music. Some of it played as underscore but it mostly played during scene changes. I'm not sure what the attempted effect was but it seemed a bit distracting to me. The "Royal Music" sounded a bit too "Welcome to 79th Academy Awards!" and the "Peasant Music" was a little too Titanic, but I suppose it did it's job.
I'm convinced that there are fewer speeches written in any language that, when done well, can make you want to take up arms quite like the St. Crispin's Day speech.
Goosebumps.
Twice.
Oh sure, the speech that precedes the battle of Sterling in Braveheart is good. That is, it's good until you understand that it's modeled entirely after the St. Crispin's Day speech. Way to go Randall Wallace.
The other plus of the festival is that, since there is no charge for admission, you can BYOB. Which we did. And food. Good wine, good food, good friends, good Shakespeare. Good grief! That's what I call a good night.
Die Frau and I went out twice. Once about two weeks ago and again Friday night. When you're watching a good production of the Bard you get pulled in, almost forgetting it's theatre. Wait a minute. Isn't that the point?!? There are, however, fewer things more agonising than watching bad Shakespeare (or worse, being forced to listen to your high school classmates read it aloud in the most boring possible!).
The production was quite good. The acting, for the most part, was terrific. Except the Dauphin. I told J (as in J and C, J who still doesn't have a blog, hi J) that he acts like he wants to be Harry Lennix when he grows up. He was good. Just a little tooooo melodramatic. The costuming and set design were fantastic. Though I wouldn't have wanted to wear one of those costumes Friday night as it was still around 85 degrees and humid as hell an hour after sundown! There was music. Some of it played as underscore but it mostly played during scene changes. I'm not sure what the attempted effect was but it seemed a bit distracting to me. The "Royal Music" sounded a bit too "Welcome to 79th Academy Awards!" and the "Peasant Music" was a little too Titanic, but I suppose it did it's job.
I'm convinced that there are fewer speeches written in any language that, when done well, can make you want to take up arms quite like the St. Crispin's Day speech.
Goosebumps.
Twice.
Oh sure, the speech that precedes the battle of Sterling in Braveheart is good. That is, it's good until you understand that it's modeled entirely after the St. Crispin's Day speech. Way to go Randall Wallace.
The other plus of the festival is that, since there is no charge for admission, you can BYOB. Which we did. And food. Good wine, good food, good friends, good Shakespeare. Good grief! That's what I call a good night.
Friday, July 07, 2006
Swash Me Buckles!
It's Film Score Friday kids!
Today's list takes us swashbuckling through the high seas and across the stars!
1. Pirates of the Caribbean (duh)
2. The Sea Hawk
3. Cutthroat Island
4. Treasure Planet
5. 7th Voyage of Sinbad
6. The 13th Warrior
7. Hook
8. Jason and the Argonauts
9. Krull
10. Sinbad: Legend of the Seven Seas
11. Waterworld
Thursday, July 06, 2006
Blogging Superman
I was originally going to post my thoughts on Superman Returns last Wednesday morning after Tuesday night’s premiere. But then I decided to give it a few days in order to mull it over a little more.
Before writing anything else I have to back up. The original Superman films (I & II, we’ll pretend like III and IV never happened) hold a special place in my adolescence and awareness of film in general. Superman was the first film I truly fell in love with as a kid. To this day it's still one of my very favourite films. It was the first film with which I became cognizant of music in film and its ability to tell a story. For my tenth birthday my grandfather gave me a VHS copy of the film. I think I wore out the first 5 ½ minutes of the tape watching the opening titles over and over and over. The old soundtrack album was one of the first compact discs I ever bought. I think I might even have more copies of the score than The Pikey. For me, few moments in cinema/music are greater than the moment during the helicopter sequence of Superman: The Movie in which Christopher Reeve pulls his shirt open to reveal the “S” to the accompaniment of John Williams’ theme in the home key of C major. It just tells you musically from the outset that everything is going to be okay. Rarely since have I encountered moments in film that were so perfect, so inevitable. The Lighting of the Beacons in The Return of the King springs to mind as one of those moments of perfect melding of music and picture.
With that in mind one can hopefully gain a greater grasp of what this new film means to me.
My initial reaction to Superman Returns was one of awe and joy. I hadn’t experienced that much excitement and energy from an audience in a movie theatre since the Special Edition of A New Hope in 1997. Also since I’d never seen any of the original films in the theatre I’d waited 28 of my nearly 29 years to see that title sequence and hear that music on the big screen. WOW!!!
I think that Brandon Routh was cast well enough. Obviously they went out of their way to find someone that looked like Chris Reeve. I think he was a little uneven at times but we should cut the kid a little slack. He’s got big boots to fill and it’s his first film. I think that Kevin Spacey makes quite a good Lex Luthor. I think he gets to explore the darker side of the character in a way that Gene Hackman never really got to. That’s not a slight against Hackman, either. We all know how terrific he can be in those roles. James Marsden is, as always, quietly terrific and has what is probably the most sympathetic role in the film. I think that the weakest performances in the film are in the female roles. Parker Posey, who I think is terrific in Christopher Guest’s films, is flat-out boring here. It seems like she more-or-less phoned it in. This may be a result of direction, too. I don’t know. While Posey was a yawn I think Kate Bosworth was a downright poor casting decision. I think this part would have been better suited for someone like Miranda Otto who we all know can be tough and vulnerable rather than flat and bad. I think that perhaps the strongest casting choice was Frank Langella as Perry White. I enjoyed the fact that he wasn’t high-strung and barking orders like Jackie Cooper in the original films or J.K. Simmons in Spiderman. Cool, calm and collected=good.
As far as the film itself is concerned it’s obvious that it was made with a lot of love. They served up enough trivial minutiae that those of us who know the originals well were able to get all geeked up about certain aspects of it (like the piece of kryptonite that was found in Addis Ababa in the third film that Lex and Co. stole from the Museum of Natural History). Production values are tremendous. The special effects are wonderful and the airplane sequence is downright breathtaking.
As far as the music goes, John Ottman proved that he actually can write a warm melodic score when given the chance. I think his incorporation of the original themes are well done. It's just that, too. An incorporation. It's not like the sequels where there's little or no new music, just the original cut-and-pasted. My biggest problem with the score is actually in the performance of the main title itself. I realise it's *a march* and that it's not supposed to be about subtlety. It is, however, supposed to be about musicality and the Hollywood Studio Symphony's performance isn't shaped nearly as well as the LSO's performance from the original recording (this could also be a mixing issue). I suppose that my other quibble musically is how Ottman hit us over the head with the theme when Superman first appears. There's no inevitability about it. John Williams' build-up to the theme during the helicopter sequence of the original is textbook for building tension. With Williams we have to wait until 3 minutes into a sequence that is almost 6 minutes before we get the first true statement of the theme! But when we get to it, it sounds perfectly natural and even inevitable.
The shortcomings of the film are things inherent to the genre. The characters are all ultimately 2-dimensional; the female sidekick to the bad guy always has a change of heart; the story is pretty thin. Just like the first film it’s basically a land grab by Lex that drives the plot. I understand that writing a good story for a comic book film is a difficult thing to do; too simple and you wind up with the mess that is Batman and Robin; too weird and you get The Avengers (okay, technically not a comic book film, but I thought I'd throw it out there anyway) too complex or convoluted and you get the unintelligible The Hulk; non-existent and you get Spawn. You get the idea. I do also wonder where they are planning to go with their little subplot. It could ultimately become a serious story liability in the sense that they have written themselves into a corner with it.
There was one story element that I had a serious problem with. When Lex is in the Fortress of Solitude it appears that the hologram of Jor-El doesn’t recognize Luthor and just assumes that it’s Kal-El. There’s a scene on the DVD of the original that’s not in the theatrical prints (and I’m pretty sure was never in any of the television versions either) in which Superman is clearly interacting with the hologram (or whatever; it just seems easiest to use this term) and that it’s not pre-programmed with every possible response. Also, in Superman II he pretty clearly interacts with his mother to the extent that she appears to take physical form. I realize that Marlon Brando is dead, but that problem has been digitally circumvented before with Oliver Reed in Gladiator and Sir Laurence Olivier in Sky Captain and the World of Tomorrow. Come to think of it Olivier has been resurrected twice. There’s a scene that was reinserted into the DVD of Spartacus in which the audio had degraded beyond the point of usage and they had Anthony Hopkins come in and do his best Laurence Olivier impression (bet you didn’t know that, did you?). But I digress.
Ultimately I loved the film. It is not as good as the first or second film in the series but I saw it as a continuation of those stories. A lot of critics have kind of showed their dissatisfaction with the fact that Routh is too much like Reeve, there is too much incorporation of the original music and there are too many little hommages to the original films in the series. I tend to see it quite the opposite. I think that, for those of us that were raised with the originals, it doesn't matter who you put in the suit, we're going to see Chris Reeve. And as far as the music goes, why not incorporate it? Is anyone actually going to write music that captures the spirit of the character better than John Williams? I don't think so. I think Bryan Singer and the writers were just tipping their hats to the originals and knew that they were creating a story that should feel like a natural extension of the originals. This does, however, give them the freedom now to explore new territory in the sequels.
Before writing anything else I have to back up. The original Superman films (I & II, we’ll pretend like III and IV never happened) hold a special place in my adolescence and awareness of film in general. Superman was the first film I truly fell in love with as a kid. To this day it's still one of my very favourite films. It was the first film with which I became cognizant of music in film and its ability to tell a story. For my tenth birthday my grandfather gave me a VHS copy of the film. I think I wore out the first 5 ½ minutes of the tape watching the opening titles over and over and over. The old soundtrack album was one of the first compact discs I ever bought. I think I might even have more copies of the score than The Pikey. For me, few moments in cinema/music are greater than the moment during the helicopter sequence of Superman: The Movie in which Christopher Reeve pulls his shirt open to reveal the “S” to the accompaniment of John Williams’ theme in the home key of C major. It just tells you musically from the outset that everything is going to be okay. Rarely since have I encountered moments in film that were so perfect, so inevitable. The Lighting of the Beacons in The Return of the King springs to mind as one of those moments of perfect melding of music and picture.
With that in mind one can hopefully gain a greater grasp of what this new film means to me.
My initial reaction to Superman Returns was one of awe and joy. I hadn’t experienced that much excitement and energy from an audience in a movie theatre since the Special Edition of A New Hope in 1997. Also since I’d never seen any of the original films in the theatre I’d waited 28 of my nearly 29 years to see that title sequence and hear that music on the big screen. WOW!!!
I think that Brandon Routh was cast well enough. Obviously they went out of their way to find someone that looked like Chris Reeve. I think he was a little uneven at times but we should cut the kid a little slack. He’s got big boots to fill and it’s his first film. I think that Kevin Spacey makes quite a good Lex Luthor. I think he gets to explore the darker side of the character in a way that Gene Hackman never really got to. That’s not a slight against Hackman, either. We all know how terrific he can be in those roles. James Marsden is, as always, quietly terrific and has what is probably the most sympathetic role in the film. I think that the weakest performances in the film are in the female roles. Parker Posey, who I think is terrific in Christopher Guest’s films, is flat-out boring here. It seems like she more-or-less phoned it in. This may be a result of direction, too. I don’t know. While Posey was a yawn I think Kate Bosworth was a downright poor casting decision. I think this part would have been better suited for someone like Miranda Otto who we all know can be tough and vulnerable rather than flat and bad. I think that perhaps the strongest casting choice was Frank Langella as Perry White. I enjoyed the fact that he wasn’t high-strung and barking orders like Jackie Cooper in the original films or J.K. Simmons in Spiderman. Cool, calm and collected=good.
As far as the film itself is concerned it’s obvious that it was made with a lot of love. They served up enough trivial minutiae that those of us who know the originals well were able to get all geeked up about certain aspects of it (like the piece of kryptonite that was found in Addis Ababa in the third film that Lex and Co. stole from the Museum of Natural History). Production values are tremendous. The special effects are wonderful and the airplane sequence is downright breathtaking.
As far as the music goes, John Ottman proved that he actually can write a warm melodic score when given the chance. I think his incorporation of the original themes are well done. It's just that, too. An incorporation. It's not like the sequels where there's little or no new music, just the original cut-and-pasted. My biggest problem with the score is actually in the performance of the main title itself. I realise it's *a march* and that it's not supposed to be about subtlety. It is, however, supposed to be about musicality and the Hollywood Studio Symphony's performance isn't shaped nearly as well as the LSO's performance from the original recording (this could also be a mixing issue). I suppose that my other quibble musically is how Ottman hit us over the head with the theme when Superman first appears. There's no inevitability about it. John Williams' build-up to the theme during the helicopter sequence of the original is textbook for building tension. With Williams we have to wait until 3 minutes into a sequence that is almost 6 minutes before we get the first true statement of the theme! But when we get to it, it sounds perfectly natural and even inevitable.
The shortcomings of the film are things inherent to the genre. The characters are all ultimately 2-dimensional; the female sidekick to the bad guy always has a change of heart; the story is pretty thin. Just like the first film it’s basically a land grab by Lex that drives the plot. I understand that writing a good story for a comic book film is a difficult thing to do; too simple and you wind up with the mess that is Batman and Robin; too weird and you get The Avengers (okay, technically not a comic book film, but I thought I'd throw it out there anyway) too complex or convoluted and you get the unintelligible The Hulk; non-existent and you get Spawn. You get the idea. I do also wonder where they are planning to go with their little subplot. It could ultimately become a serious story liability in the sense that they have written themselves into a corner with it.
There was one story element that I had a serious problem with. When Lex is in the Fortress of Solitude it appears that the hologram of Jor-El doesn’t recognize Luthor and just assumes that it’s Kal-El. There’s a scene on the DVD of the original that’s not in the theatrical prints (and I’m pretty sure was never in any of the television versions either) in which Superman is clearly interacting with the hologram (or whatever; it just seems easiest to use this term) and that it’s not pre-programmed with every possible response. Also, in Superman II he pretty clearly interacts with his mother to the extent that she appears to take physical form. I realize that Marlon Brando is dead, but that problem has been digitally circumvented before with Oliver Reed in Gladiator and Sir Laurence Olivier in Sky Captain and the World of Tomorrow. Come to think of it Olivier has been resurrected twice. There’s a scene that was reinserted into the DVD of Spartacus in which the audio had degraded beyond the point of usage and they had Anthony Hopkins come in and do his best Laurence Olivier impression (bet you didn’t know that, did you?). But I digress.
Ultimately I loved the film. It is not as good as the first or second film in the series but I saw it as a continuation of those stories. A lot of critics have kind of showed their dissatisfaction with the fact that Routh is too much like Reeve, there is too much incorporation of the original music and there are too many little hommages to the original films in the series. I tend to see it quite the opposite. I think that, for those of us that were raised with the originals, it doesn't matter who you put in the suit, we're going to see Chris Reeve. And as far as the music goes, why not incorporate it? Is anyone actually going to write music that captures the spirit of the character better than John Williams? I don't think so. I think Bryan Singer and the writers were just tipping their hats to the originals and knew that they were creating a story that should feel like a natural extension of the originals. This does, however, give them the freedom now to explore new territory in the sequels.
Tuesday, June 27, 2006
Superman Playlist
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)
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)
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?
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