Tracklisting
1. Suite I After Dark My Sweet [4:47]
2. Suite II Collie and Fay [8:12]
3. Suite III Uncle Bud [11:34]
4. Suite IV The Kidnapping [8:05]
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Thanks very much.
Actually not that great my friend, I don�t like Jarre in the 80�s, because almost all his scores are all Synthisized, I don�t like this kind of Electronic Oriented scores.
We all know, (I think) that he was one of the first to use and Electronic Instrument in a score (The Ondes Martenot that he employed in "Lawrence of Arabia"), but not the first person to incorporate an Electronic Device in Film Music, that was R�zsa, in his score for "The Lost Weekend" when he used the theremin.
But in this examples, the Music was enriched, and worked beautifully, I don�t fully reject the use of Electronics, in a score, but it all depends of the Composer who use them, in the case of Jarre, I guess he abused a liitle bit, I can�t tell that it was a conscious decision, or one based in Economics, or simply that he was a liitle influenced by the work of his son, but definitley not my kind of scores.
Links sent!
We all know, (I think) that he was one of the first to use and Electronic Instrument in a score (The Ondes Martenot that he employed in "Lawrence of Arabia"), but not the first person to incorporate an Electronic Device in Film Music, that was R�zsa, in his score for "The Lost Weekend" when he used the theremin.
But in this examples, the Music was enriched, and worked beautifully, I don�t fully reject the use of Electronics, in a score, but it all depends of the Composer who use them, in the case of Jarre, I guess he abused a liitle bit, I can�t tell that it was a conscious decision, or one based in Economics, or simply that he was a liitle influenced by the work of his son, but definitley not my kind of scores.
Links sent!
Vey well said i don`t like also electronic scores, by the way someone of this forum had said that Hans Zimmer revolutioned film music with his synthesized oriented scores, what do you think of that ?
Do you like Zimmer ?
We all know, (I think) that he was one of the first to use and Electronic Instrument in a score (The Ondes Martenot that he employed in "Lawrence of Arabia"), but not the first person to incorporate an Electronic Device in Film Music, that was R�zsa, in his score for "The Lost Weekend" when he used the theremin.
But in this examples, the Music was enriched, and worked beautifully, I don�t fully reject the use of Electronics, in a score, but it all depends of the Composer who use them, in the case of Jarre, I guess he abused a liitle bit, I can�t tell that it was a conscious decision, or one based in Economics, or simply that he was a liitle influenced by the work of his son, but definitley not my kind of scores.
Links sent!
The Russian Dmitri Shostakovich was one of the first composers to include parts for the theremin in orchestral pieces, including a use in his score for the 1931 film Odna. While the theremin was not widely used in classical music performances, the instrument found great success in many motion pictures, notably, Spellbound, The Red House, The Lost Weekend (all three of which were written by Mikl�s R�zsa, the composer who pioneered the use of the instrument in Hollywood scores), The Spiral Staircase, Rocketship X-M, The Day the Earth Stood Still, The Thing (From Another World), and The Ten Commandments (the 1956 DeMille film). The theremin is prominent in the score for the 1956 short film "A Short Vision"[35] which was aired on "The Ed Sullivan Show" the same year used by the Hungarian composer Matyas Seibel. More recent appearances in film scores include Monster House, Ed Wood and The Machinist[36] (both featuring Lydia Kavina). The DVDs for Ed Wood, Bartleby and The Day the Earth Stood Still and Spellbound (Criterion Collection) include short features on the theremin. Robby Virus, the founder and theremin player of the band Project:Pimento, was featured on the soundtrack to the movie Hellboy (2004).[37]
A theremin was not used for the soundtrack of Forbidden Planet, for which Louis and Bebe Barron built "disposable" oscillator circuits and a ring modulator to create the "electronic tonalities" for the film.[38][39]
Los Angeles-based thereminist Charles Richard Lester is featured on the soundtrack of Monster House[40] and has performed the US premiere of Gavriil Popov’s 1932 score for Komsomol � Patron of Electrification with the L. A. Philharmonic and Esa-Pekka Salonen in 2007
Complete Entry Theremin – Wikipedia, the free encyclopedia (http://en.wikipedia.org/wiki/Theremin)
Do you like Zimmer ?
That�s the most ridiculous thing I�ve ever heard in my entire life!
Please my friend, don�t ask me this publically, I could hurt a lot of feelings with my comments.
Just think, do I ever posted anything by him, or any of his boys?
Yes, me too! Thanks! 🙂
Please my friend, don�t ask me this publically, I could hurt a lot of feelings with my comments.
Just think, do I ever posted anything by him, or any of his boys?
So sorry my friend it won`t happen again, i suspected that you don`t like him, you`re wright your taste is impecable and like you`ve said you like serious film music, not banal sounds !
Just for the record, i do not like also all those Zimmers pseudo composers.
thanks,
Yes me please! It looks romantic 🙂
Listo, saludos!
Do you like Zimmer ?
For what it’s worth, Zimmer didn’t revolutionize anything, he just utilized emerging technology to its full potential. Plenty of other people were also using the technologies and composers were using synthesized scores for several years before Zimmer arrived on the scene. He just happened to combine the two very effectively. If he hadn’t, somebody else would have. It’s the technology that revolutionized the industry, it just so happens that is around the same time Zimmer was rising through the ranks in Hollywood.
Like Erich, I’m not a fan of the big synth movement that took place in the 80s – most of those scores suck – but there are always exceptions. Jarre’s score for The Mosquito Coast is an excellent example. I like Hans Zimmer’s work, for the record. Not all, but a lot. I also like some of the people that have gone through his ‘system’, like John Powell, who has proven himself and made a name for himself of his own through his excellent work, especially on animated films. I only say this because i don’t want anyone to think I’m dissing Zimmer by saying he DIDN’T revolutionize the industry. I just think it’s the technology more than any particular composer.
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Thanks for your time.