If you don't know where to start i'd start with Dragon Quest IV, VII, or Best of


Koichi Sugiyama
London Philharmonic Orchestra
Dragon Quest V: Heaven's Bride


1. Overture
2. Castle Trumpeter
3. Melody in an Ancient Town ~ Toward the Horizon ~ Casino ~ Lively Town
4. Magic Carpet ~ The Ocean
5. Melody of Love
6. Monsters in the Dungeon ~ Tower of Death ~ Dark World
7. Make Me Feel Sad
8. Violent Enemies ~ Almighty Boss Devil is Challenged
9. Noble Requiem ~ Saint
10. Satan
11. Heaven
12. Bridal Waltz

http://www.multiupload.com/15MKYJ3X23

If you don't know where to start i'd start with Dragon Quest IV, VII, or Best of


Koichi Sugiyama
London Philharmonic Orchestra
Dragon Quest VI: The Phantom World


1. Overture
2. At the Palace
3. In the Town ~ Happy Humming ~ Inviting Village ~ Folk Dance ~ In the Town
4. Through the Fields ~ Wandering Through the Silence ~ Another World
5. Ocean Waves
6. Flying Bed
7. Pegasus ~ Saint's Wreath
8. Evil World ~ Satan's Castle ~ Frightening Dungeon
9. Brave Fight
10. Melancholy
11. Ocarina ~ The Saint
12. Devil's Tower
13. Dungeon ~ Last Dungeon
14. Monsters
15. Demon Combat
16. Eternal Lullaby

http://www.multiupload.com/9VU2SH5EWV



Koichi Sugiyama
London Philharmonic Orchestra
Dragon Quest VII: Warriors of Eden


1. Overture
2. Morning in Eden
3. Saraband
4. Echo of Horns Throughout the Castle
5. Strolling in the Town
6. Heavenly Village
7. Days of Sadness
8. Memories of a Lost World ~ Moving Through the Present
9. Shadow of Death
10. Fighting Spirit ~ World of the Strong
11. Sphinx ~ Mysterious Sanctuary
12. Aboard the Ship ~ Pirates of the Sea
13. To My Loved Ones
14. Screams from the Tower of Monsters
15. With Sadness in Heart ~ A Safe Haven
16. Magic Carpet
17. Over the Horizon
18. Orgo Demila
19. Triumphal Return ~ Epilogue

http://www.multiupload.com/6ULK50WQT7



Koichi Sugiyama
Tokyo Metrapolitan Orchestra
Dragon Quest VIII: Journey of the Cursed King


1. Overture
2. Traveling with a Wagon
3. Peaceful Town ~ Quiet Village ~ Alchemy Pot
4. Strange World ~ Marching Through the Fields
5. Chatting
6. Cold and Gloomy ~ In the Dungeon Depths
7. Healing Power of the Psalms ~ Friar's Determination
8. Over Sorrow ~ Hurry! We are in Danger
9. Mysterious Tower
10. Reminiscence ~ Go Topo Go!!
11. War Cry ~ Defeat the Enemy

1. Rememberances...
2. Majestic Castle ~ Gavotte de Ch�teau ~ Majestic Castle
3. Poet's World
4. Memories of an Ancient Ocean
5. Stalked by Fear
6. Ruins of Darkness
7. Sanctuary
8. Heavenly Flight
9. Nearing our Destiny
10. Dormaguez ~ Great Battle in the Vast Sky
11. Sky, Ocean, and Earth

http://www.multiupload.com/IM6UA5F06O

Whoa, Dragon Quest blow out!! Thanks Shadow! Especially DQIX. I'll be downloading your best of too :)

Wow thats lots of dragon quest symphony stuff. Thanks for that, I already had the complete dragon quest symphony box from a torrent but they are highly recommended.

Wow thats lots of dragon quest symphony stuff. Thanks for that, I already had the complete dragon quest symphony box from a torrent but they are highly recommended.

well dragon quest viii and ix aren't in the box set i believe

Yeah :) I grabbed DQIX and I think the torrent also included DQVIII 2cd symphonic.

Could someone reup elmer berstine heavy metal please?

Look there (and next time please use the "search" function before requesting).


Elmer Bernstein - Heavy Metal: The Score (FSM)

http://forums.ffshrine.org/showpost.php?p=1283908&postcount=2721


Lens: thanks for this rare Barry!


Doublehex: Basilisk looks interesting, but I do hope it's really orchestral this time. ;) (because if it's not, it would just disappoint the people visiting and downloading from this thread).


ShadowOnTheSun: Many kudos to you for such an impressive series of posts! I long intended to post those here, or at least to gather the links from other places they've been posted in FFS, but now this big task is done.

Bravo!



Yeah :) I grabbed DQIX and I think the torrent also included DQVIII 2cd symphonic.

Could you please post this DQVIII 2cd symphonic, Sirusjr? I don't believe I have it, and it would complete things up.

Jeff Mills And Montpellier Philarmonic Orchestra Blue Potential 2004 Live Classic & techno verry verry good Style John Williams Star Wars & Don Davis The marix

http://rapidshare.com/files/163375284/_tresor_223__Jeff_Mills_And_Montpellier_Philarmoni c_Orchestra__-Blue_Potential.zip

Cool! Our good friend Herbaciak already posted the Youtube version of this (quoted underneath), but there was no downloadable mp3 version available, which is a pity, isn't it? Now thanks to you there is one. :)


Recently I dicovered something very curious and I'm still not sure how I feel about that curiosity.

Under youtube link (that I posted below;)) you can find full concert of Jeff Mills - techno DJ. Yes, techno DJ (well, at least wikipedia says that;)). So U probably thinking now: what the hell is this herbaciak guy posting here?! Is he insane? Well, yes, partially for sure, but...

I had no idea who the hell was Mills till few days ago, I discovered this concert on one of portals 'bout "new music" - you know, electronica, post rock and other stuff - cause I sometimes like to listen to something of those genres. So, back to the essence, I post this here bacuse it is... well, orchestral. Yes, it's orchestral arrange of techno music. And to be honest, it's impressive and quite original orchestral work (at least for me). There are tracks big and monumental (incredible 4art, reminds me of Davis' Matrix) and crazy, trippy, WTF stuff (Keatons Theme, final Sonic Destroyer for example). So it's overall great, right? Well, no...

There is always frickin "BUT". And the "but" is quite annoying here, 'cause this stunning orchestral work goes with... the worst, most trivial electronic beat I've heard since some time. Sometimes it blends ok (but only ok) with the orchestral performance, but sometimes it just annoys as hell. But also there is another "but" - not all of the tracks here incorporates this crappy beat. So, if you are interested in refreshing, sometimes ass-kicking but flawed experiment, than give it a try. And now I think, after what I wrote, that I like it more than I thought at first time;).


Jeff Mills & Montpelier Philharmonic Orchestra - Blue Potential
http://www.youtube.com/watch?v=3wPbNf1jhzM

Look there (and next time please use the "search" function before requesting).


Elmer Bernstein - Heavy Metal: The Score (FSM)

http://forums.ffshrine.org/showpost.php?p=1283908&postcount=2721


thank you this version was the one I wanted but was nowhere here and the original post was removed from rapidshare.

E.T. The Extra Terrestrial (1982, Complete) - John Williams exellent



http://hotfile.com/dl/30772630/3c66720/ETThExtrTrrstrl_Cmplt-JW.rar.html

Robocop (Basil Poledouris) (1987)

http://www.megaupload.com/?d=10UGXGFC exellent

The Film Music of Don Davis: Hyperspace exellent

http://rapidshare.com/files/11310131/Hyperspace_-_Beauty_and_the_Beast1.rar
http://rapidshare.com/files/11311184/Hyperspace_-_Beauty_and_the_Beast2.rar

Christopher Columbus - Discovery (Cliff Eidelman) exellent


http://rapidshare.com/files/338825574/Cliff_Eidelman.rar

Wowwwwow, Please slow down, my friend.

I really appreciate the fact that you post the scores you like, but the rhythm of your posts is way too fast. No need to hurry like that.

And more important, some of these links come from other places (I checked), so they shouldn't be reposted here unless 1) you use some kind of link protection feature, and 2) you give credit to the original uploader.

Could you please post this DQVIII 2cd symphonic, Sirusjr? I don't believe I have it, and it would complete things up.

thats up there in the dq symphonic suites i uploaded

Ah yes, sorry, didn't see the 2 tracklists. Thanks.

Gradius En Classic I
Composed by Konami Kukeiha Club
Arranged by Norio Maeda / Michiru Oshima / Masamichi Amano / Kunihiro Kawano
Conducted By Ed Welch
Performed by London Philharmonic Orchestra

http://rapidshare.com/files/256536001/gc.rar
pass: http://snesorama.us

great resemblence of the music of gundam symphony

Hanakisou Orchestra Arrange Album Hanakisou Symphony
Composed by Akiko Shikata
Arranged by Akiko Shikata / Kousuke Suzuki
Conducted By Konstantin D. Krimets
Performed by Moscow International Symphonic Orchestra

http://www.megaupload.com/?d=CVWAV66L

Lineage II Chronicle II Complete Game Score
Original Soundtrack by Bill Brown
Performed by The Seattle Symphony

http://rapidshare.com/files/167042591/LIIChII.rar
Password: gamemusichall.net

More stolen links... not to mention stuff that's already posted... With the utmost respect...

Links may be stolen, but LALALAND RELEASES INDEPENDENCE DAY COMPLETE!!!
:-) :-) :-)

Just found Nobunaga's Ambition Supreme Record in the Request Forum. Quality MP3 Lame 3.98.2 -V0
VGMdb (http://vgmdb.net/album/15313) entry
Grab it from here here (http://forums.ffshrine.org/showthread.php?p=1436389) or here (Thread 57031)
Thank you Jessie.

boujour or good evening are what what Q'una will have live performances by john williams avai if you like it there if you pouvier in meter on the site

boujour or good evening are what what Q'una will have live performances by john williams avai if you like it there if you pouvier in meter on the site

gesundheit! seriously, is that a code of some form?
ID4 complete is not enough good news, Avatar 3cd complete appeared on ebay, confirmed by FSM as real. Won�t be long until it hits ffshrine.

boujour or good evening are what what Q'una will have live performances by john williams avai if you like it there if you pouvier in meter on the site

...My God, the computers have become self aware!

...My God, the computers have become self aware!

and they still run with windows...

I'm not really excited about ID4 of Avatar 3cd. Avatar was not that special of a soundtrack to me, even in the context of the movie itself. I also never really got into David Arnold's style. I am, however, excited for the upcoming Alan Silvestri - Eraser Expanded by La La Land that should be out this month.

I'm not really excited about ID4 of Avatar 3cd. Avatar was not that special of a soundtrack to me, even in the context of the movie itself. I also never really got into David Arnold's style. I am, however, excited for the upcoming Alan Silvestri - Eraser Complete by La La Land that should be out this month.

ID4 is one of those scores that finalized my transformation to a full-blooded filmscore-fan.i heard the cd 3 times while waiting in cinema for the films premiere (which has been delayed by 2 hours) and to make thinks even weirder, the movie i saw on the same evening was Eraser. The Eraser CD is not complete, but expanded. Leaving out some suspense stuff should get the right parts on it. But some alternates/unused cues are awesome, too.

John Barry - Zulu - Silva America SSD 1095 - 1964 (1999)
|Romantic|Orchestral|Tribal|Epic|
FLAC/MP3

Thread 74538


John Barry - The Last Valley - Silva Screen FILMCD 355 - 1970 (2001)
|Romantic|Orchestral|Epic|Tribal|
FLAC/MP3

Thread 74538

Sirusjr!! You posted Zulu! I really love this score! Brilliant movie too! I have it on LP. Thanks mate! Will be nice to be able to listen to it in my car again now that I don't have a cassette player to play recorded taps on lol :P

and they still run with windows...

So not only will our robot overlords turn us into meat processing machines to power them, but they will also be very incompetent.

I think I finally found the solution to the problem of knowing what anime soundtracks are being released! This web site has a section for anime soundtracks and lists them all in order of release with most recent first, even including preorders. It doesn't give you much more than a list but knowing what is coming lets you check out the anime that are getting soundtrack releases elsewhere and decide if you want to buy it.
http://jpophelp.com/scripts/newsite/proddetails.asp?position=1&dnum=20&region=ALL&artist=Animation%20Soundtrack

I'm receiving threats from all quarters to the effect that I MUST see Alice in Wonderland. Is it wrong that an animator, devoted cinephile, and former admirer of the talent involved has NO interest in seeing it?

Plans are already underway for Burton's next project (http://www.youtube.com/watch?v=3dyGpCrFdX4).

Don't go see it, just listen to the wonderful music. The story is not very well executed and feels as if it lacks purpose and weight.

Friends, forgive this slightly tangental piece of news ;) A promising new rpg is on the horizon from the creator of the original Final Fantasy, Hironobu Sakaguchi, as follows:






I'm guessing the score will be Uematsu. The official site (http://www.nintendo.co.jp/wii/slsj/) has a couple of short samples that sound well done. Hopefully indications of a mostly orchestral soundtrack (and one that will have some good adventuresome material..?).

I don't know why I have a good feeling about this one on so little.

I don't know why but i have good feelings about that one too Lens.
I'm uploading more Takayuki Hattori for anyone who liked Romance of the Three Kingdoms V.

I want to let everyone know about some new releases by MoviescoreMedia as well as one release I totally missed that happens to be by the same composer as one of the new ones. They are all orchestral and from samples great stuff!


UN TICKET POUR L'ESPACE (A TICKET TO SPACE) (PRE-ORDER) (CD)
Composed by: Erwann Kermorvant
French composer Erwann Kermorvant, who studied film composition at UCLA and combines a distinct Hollywood sound with his very own voice, wrote a grand symphonic score for this French sci-fi comedy. The scoring is playing the drama and action seriously in the veign of some of the great comedy scores by Elmer Bernstein and Maurice Jarre, and the music pays tribute to the great science fiction film scores by composers such as John Williams, Jerry Goldsmith and James Horner. Big romantic space music, great thematic material, some fun cinematic in-jokes, and ferocious action music for the giant mutant space turkey (!)... This score is too entertaining to be missed!
http://www.screenarchives.com/title_detail.cfm/ID/13619/UN-TICKET-POUR-LESPACE-A-TICKET-TO-SPACE-PRE-ORDER/



BIG CITY (PRE-ORDER) (CD)
Composed by: Erwann Kermorvant
Our second release of rousing orchestral music by Erwann Kermorvant is, just like Un ticket pour l'espace a film produced by Gaumont. Big City is a rare film - a French western - and the composers took the opportunity to write a score that reflects the great musical heritage of the genre. Featuring infectious themes (the main theme will undoubtedly appeal to fans of Aaron Copland, Alfred Newman and... Bruce Broughton), powerful action with an emphasis on pounding percussion, beautiful romantic writing - and a very charming waltz too - this is a rich and highly entertaining score. Welcome to enter the musical world of Big City and Erwann Kermorvant - you won't be disappointed!
http://www.screenarchives.com/title_detail.cfm/ID/13620/BIG-CITY-PRE-ORDER/


HIERRO (PRE-ORDER) (CD)
Composed by: Zacarias M. de la Riva
Working for the second time with talented Spanish composer Zacar�as M. de la Riva (who was recently nominated for an IFMCA Award for our Imago Mortis score), we are excited to present the highly emotional, c and exciting orchestral score from Spanish drama thriller Hierro. De la Riva�s score for the film is a dark journey where dissonant writing (inspired by Polish composer Krzysztof Penderecki�s avant garde music) meets stirringly captivating suspense and action music that recalls the music of soundtrack masters Bernard Herrmann and Jerry Goldsmith and beautiful, reflective solo piano music. Music performed by The Kiev Symphony Orchestra and Chorus.
http://www.screenarchives.com/title_detail.cfm/ID/13578/HIERRO-PRE-ORDER/


IMAGO MORTIS (CD)
Composed by: Zacar�as M. de la Riva
Young composer Zacar�as M. de la Riva is yet another stunning example of the current Spanish film music movement, which has given us great scores by composers such as Alfons Conde, Roque Ba�os, Javier Navarrete, Fernando Vel�zquez... His score for the Italian/Spanish horror film Imago Mortis is a stylish, both dark and beautiful orchestral/choral score that is best described as belonging to the gothic tradition of horror film music. Starring Geraldine Chaplin, the film, where terror is carried out using 'thanatography', opened in Italy in January and is expected to premiere in Spain and other territories later this year.
http://www.screenarchives.com/title_detail.cfm/ID/12592/IMAGO-MORTIS/

here is a collection of classic Falcom games played by the London Symphony Orchestra
some glorious moments on the album



Falcom Sound Team J.D.K
Arrangements by Takayuki Hattori
Falcom Neo Classic: From Studios in London City


Sample (http://www.fileden.com/files/2009/6/24/2487612//01 Lilia Symphonic Suite.mp3)
1. Lilia Symphonic Suite
2. Josephine
3. Off the Deep End ~ La Valse Pour Xanadu ~ Dragon Slayer ~ The Legend of Heroes
4. Wanderers from Y's
5. Cursed Earth: Desert ~ Cursed Oasis, Village ~ Medusa's Neck
6. The Legend of Heroes Suite

http://uploadmirrors.com/download/0B9LQ6Z8/THFNC.zip


I can also plan on uploading Intelligent Qube composed by Takayuki Hattori

UN TICKET POUR L'ESPACE (A TICKET TO SPACE) (PRE-ORDER) (CD)
Composed by: Erwann Kermorvant

please download

BIG CITY (PRE-ORDER) (CD)
Composed by: Erwann Kermorvant

please download

warstar - If I understand your posts correctly you are asking for links to those two releases. As indicated, they are not released yet. I did order those four soundtracks linked and will likely post them when I get them. However, I also suggest anyone who is entranced by the samples to support this wonderful label and order the discs for themselves.

Ticket to Space and Big City sound right up my street. They will be ordered before long :) But despite the name-dropping of Penderecki, Herrmann and Goldsmith, I'm not warming to de la Riva from the samples. Thanks for posting - either because I'm rather busy, or because I'm getting crustier by the day, I find it difficult keep up to date with everything these days ;)

Shadow, thanks for the Hattori posts!

No problem Lens. I figure since I was always complaining about my lack of knowledge of various new releases, it would be a good idea to post news here now that I am following updates through FSM msg board and other outlets. Speaking of which,

MAURICE JARRE
THE MESSAGE / LION OF THE DESERT
Coming Soon from Tadlow Music


A Double CD featuring 2 of the greatest film scores from MAURICE JARRE :
Composer of LAWRENCE OF ARABIA, DOCTOR ZHIVAGO, RYAN’S DAUGHTER,
A PASSAGE TO INDIA, WITNESS.
BONUS FEATURE: THE WORLD PREMIERE RECORDING OF GIUBILEO by MAURICE JARRE A Cantata for Symphony Orchestra and Large Choir. Composed for the Jubilee Celebrations of the Vatican 12 Minute Work based on Jarre’s themes from LION OF THE DESERT, RIVER WILD and SOLAR CRISIS. Performed by the acclaimed CITY OF PRAGUE PHILHARMONIC ORCHESTRA and CHORUS.
http://www.pragueorchestras.com/lion.htm

I link directly to Tadlow's web site because Screenarchives doesn't have samples of this wonderful release and its cheaper to buy direct from the source.

Shadow, thanks for the Hattori posts!

I have alot of respect for the man. Not only because he is a gifted composer/arranger but that he takes time and puts alot of attention into often over looked pieces and really gives them the attention and treatment they deserve. Like much of this album is over looked by the musical community because it is old falcom music, but he can take the music with all the limitations it had and flesh it out so wonderfully.

I never tire of listening to his recordings.

more on the way for people interested

Friends, forgive this slightly tangental piece of news ;) A promising new rpg is on the horizon from the creator of the original Final Fantasy, Hironobu Sakaguchi, as follows:

I'm guessing the score will be Uematsu. The official site (http://www.nintendo.co.jp/wii/slsj/) has a couple of short samples that sound well done. Hopefully indications of a mostly orchestral soundtrack (and one that will have some good adventuresome material..?).

I don't know why I have a good feeling about this one on so little.

The original Final Fantasy continues to be one of my favorite games, so I hope Sakaguchi has still got it. That art is beautiful! The ship excites me, I hope we get a 15th-16th century-ish swashbuckling RPG, that would be terrific. We need a good original idea in the RPG genre, and hopefully this is it. I also hope the soundtrack is even better, becase who wants to play a game with dull music?

Also, I'm excited for the Hattori posts, Shadow! I enjoyed the one you posted a while ago from romance of the three kingdoms V, so I'm look forward to these new ones. Thanks!

...whoops, Sorry!

Michael Giacchino scores John Carter of Mars.

Michael Giacchino scores John Carter of Mars.

Whuwhat?

̴m not quite familiar with the story and the making of the movie, but i recall it being the first LIVE ACTION Pixar Movie.Which is strange, but interesting. Also it is very Avatar-like from what i�ve heard. But this is the biggest opportunity for a full blown sci-fi adventure score Michael ever had. This should destroy his Star Trek Score completly, hopefully.

Also, some facts for Debneys Iron Man. 99 member orchestra, 60 singers, Lisbeth Scott, Heavy Metal, homages to Goldsmith, David Arnold. This should be good.

Just found Nobunaga's Ambition Supreme Record in the Request Forum. Quality MP3 Lame 3.98.2 -V0
VGMdb (http://vgmdb.net/album/15313) entry
Grab it from here here (http://forums.ffshrine.org/showthread.php?p=1436389) or here (Thread 57031)
Thank you Jessie.

Oh this is good, this is VERY GOOD! Thanks for the heads-up! This is truly YAMASHITA in superb shape. The music is just flamboyant, and every single note seems appropriate. It's one of those rare albums that give me an impression of near-perfection. Not to mention the very high quality of the rip made by Jessie.

Since this is an absolutely WONDERFUL album, that I recommend IMMENSELY, here's some more visibility for it:


Kousuke YAMASHITA
Nobunaga's Ambition Supreme Record

|MP3|LAME-V0|221MB|

Credits to Jessie

http://forums.ffshrine.org/showpost.php?p=1436389&postcount=2






Links may be stolen, but LALALAND RELEASES INDEPENDENCE DAY COMPLETE!!!
:-) :-) :-)

Again!? As this is one of the scores which gave me some true musical orgasms, I already downloaded somewhere, long ago, an excellent complete 2 CDs. It was pretty complete, in fact. Did they find some more hidden cues to release another album?



I'm receiving threats from all quarters to the effect that I MUST see Alice in Wonderland. Is it wrong that an animator, devoted cinephile, and former admirer of the talent involved has NO interest in seeing it?

Plans are already underway for Burton's next project (http://www.youtube.com/watch?v=3dyGpCrFdX4).

This one is a total blast! And in fact, so true... The Elfman part is just hilarious!



Friends, forgive this slightly tangental piece of news ;) A promising new rpg is on the horizon from the creator of the original Final Fantasy, Hironobu Sakaguchi...

The piece I've heard is beautiful, and such a large scale rpg is good news for us, voracious consumers of rpg music (preferably orchestral). Looks promising!



here is a collection of classic Falcom games played by the London Symphony Orchestra
some glorious moments on the album



Falcom Sound Team J.D.K
Arrangements by Takayuki Hattori
Falcom Neo Classic: From Studios in London City


Actually, I already posted this album here: http://forums.ffshrine.org/showpost.php?p=1233369&postcount=1853 But thanks anyway for this nice initiative, I can see that it's part of a series of Hattori posts. In fact, I didn't really know who the arranger was here, even though I was amazed by the beauty and the technical mastery of some of these pieces.

So, please more Hattori!

Again!? As this is one of the scores which gave me some true musical orgasms, I already downloaded somewhere, long ago, an excellent complete 2 CDs. It was pretty complete, in fact. Did they find some more hidden cues to release another album?

Well that version was a bootleg so this would be an official release of the same content. Perhaps not 100% the same but likely very similar.

First of all, there is no offical 2cd version of ID4 yet. Second, none of the bootlags have the correct film version of the score. Expect heavy changes in the Final Battle Tracks, in the film you can hardly hear its since its buried under explosion sfx.So, great quality plus complete Filmversions and maybe some alternates of which are plenty= Deal.

Well that version was a bootleg so this would be an official release of the same content. Perhaps not 100% the same but likely very similar.

Now that you mention it, maybe, yes. If this is the case then it truly deserves an official release. The original album (that I bought) was so limited, especially concerning these glorious last battle tracks.


I'd also like to mention that someone posted Forbidden Warrior by Mike Verta, probably taken from his website. Here it is:



Mike Verta
Forbidden Warrior

http://forums.ffshrine.org/showthread.php?p=1448022#post1448022




01-Prologue & Main Titles
02-Two Kingdoms
03-Khan's Attack
04-Fight in the Cave
05-The Chosen One
06-An Insidious Plot & Seki's Journey
07-"You Must Learn"
08-Symbols & Lessons
09-The Highest Magic
10-A Mission for Two Brothers
11-"Practice, Child"
12-A Friend
13-Seki Sees the Light
14-The Pirate Lank and Yawn's Message
15-The Wind and the Tree
16-Trapped
17-Forest Escape
18-The Kiss and The Betrayal
19-Duel with Destiny
20-Goodbyes
21-A Family Reunited
22-Main Title - Reprise

̴m not quite familiar with the story and the making of the movie, but i recall it being the first LIVE ACTION Pixar Movie.Which is strange, but interesting. Also it is very Avatar-like from what i�ve heard. But this is the biggest opportunity for a full blown sci-fi adventure score Michael ever had. This should destroy his Star Trek Score completly, hopefully.

Awaiting this with cautious optimism...


Also, some facts for Debneys Iron Man. 99 member orchestra...

Has potential - but every score on the planet has a big orchestra, so this is no guarantee of something decent. You can have five hundred musicians and still wind up with a poxy score. You can have thirty and have the best score in history. Compositional quality and orchestration are everything. Ensemble size has no real impact.


60 singers

...Also has potential, but also is a perfectly standard "big Hollywood score" compliment. Hopefully they'll be doing something other than "Ah ah, ah ah AH ah! Ah ah, AH AH AH AAAH! AAaaaaaaaaaaaaaaaaah! Oooooooooooooooooh!"


Lisbeth Scott

Oh, crap.


Heavy Metal

Oh, CRAP.


homages to Goldsmith,

Nowadays, anybody who writes a time signature other than 4/4 or combines synthesisers with symphony orchestra says they're writing a Goldsmith homage. Alternatively, "homage to Goldsmith" could be marketing speak for "the film was temped with Jerry and the score is a giant ripoff"... ;)

I'll wait to hear the score before I allow the thought of this to excite me... In any case, who'd want a third rate Goldsmith knockoff when they could just play a first rate Goldsmith original?


David Arnold.

How can you homage Arnold? Great composer (sometimes... he hasn't written a decent orchestral action score since 1998; can he still do it? Even if he could, would the studio system allow another Stargate?) but hardly original, or prolific enough to be quoted...


This should be good.

I hope to God you're right. Just bear in mind what mindless crap we got for Iron Man. Debney's score is going to occupy a similar sound world for the following reasons:

a) The studio aren't going to magically permit Debney to reinvent the golden age orchestral action score for Iron Man 2, when the first movie's score was as it was and therefore attracts an expectation.

b) IM1's score sadly did very well in terms of sales, and the mindless, artless, retards the film was aimed at lapped it up. The studio realise quite well that that kind of crap sells. They're not going to be happy with the reviews; you know exactly what will happen: "Ramin Djawadi's Iron Man was SO F*&$@% EPIC - like Gladiator (ZIMMER RU13$) with GUITARS - but this Iron Man 2 just sounds like boring old classical Star Wars music. Who the hell is Jon Debbie anyway?"

I'm sorry - I'm feeling pessimistic right now. But you know it's the truth. ;)

I�m hoping for something like Kull The Conquerer. Even Scorpion King.Just something that perfectly melds modern and classic sound , like every single fucking episode of murray golds dr.who manages.
Also Iron Man 2 choir has lots of russian vocals for the villian.And there is a REAL end credit suite with all themes in full blown statments (surely on the cd, not sure if its in the film)
But i�m even more excited about Predators, Debney already revealed that he will use Silvestris Original Score as inspiration.

I think to some extent you are right Tango although I think it is completely possible to keep some of that old sound while replacing it with some true quality orchestra. Of course I also love heavy metal so if he uses it properly, it could be fantastic!

I think to some extent you are right Tango although I think it is completely possible to keep some of that old sound while replacing it with some true quality orchestra. Of course I also love heavy metal so if he uses it properly, it could be fantastic!

Some guitarist from Rage agianst the Machine is involved.There are some short clips on youtube from Brainstorming sessions with debney and some asian woman. the heavy metal is very heavy.

Actually, I already posted this album here: http://forums.ffshrine.org/showpost.php?p=1233369&postcount=1853 But thanks anyway for this nice initiative, I can see that it's part of a series of Hattori posts. In fact, I didn't really know who the arranger was here, even though I was amazed by the beauty and the technical mastery of some of these pieces.

So, please more Hattori!

whoops sorry about that i did a preliminary search, but figured since Takayuki Hattori albums are fairly uncommon that it wasn't already posted

this thread never fails to rekindle my faith in peoples musical taste (even though as tango pointed out, what sells is crap)

About Iron Man: the 1st movie score was more than mediocre IMO, but since it's Debney this time, we're sure that it will be *better*, but will it reach the level of a full-blown symphonic masterpiece, thematically rich and technically complex, like Lair for instance? Let's cross fingers...



whoops sorry about that i did a preliminary search, but figured since Takayuki Hattori albums are fairly uncommon that it wasn't already posted

this thread never fails to rekindle my faith in peoples musical taste

No prob, this is so good that it deserves to be re-posted ;) And if you have more Hattori, you're very welcome. :)

No prob, this is so good that it deserves to be re-posted ;) And if you have more Hattori, you're very welcome. :)

Indeed good sir, more on the way ;)

About Iron Man: the 1st movie score was more than mediocre IMO, but since it's Debney this time, we're sure that it will be *better*, but will it reach the level of a full-blown symphonic masterpiece, thematically rich and technically complex, like Lair for instance? Let's cross fingers...

don�t expect that, think more of goldenthals SWAT, but more heroic with russian singing choir and occasional massive orchestral outbursts. its definately heavy on heavy metal.combined with huge orchestra. think of kull the konquerer, but more modern.

Indeed good sir, more on the way ;)

Thank you :)



don�t expect that

To be honest, I didn't. ;)


think more of goldenthals SWAT, but more heroic with russian singing choir and occasional massive orchestral outbursts. its definately heavy on heavy metal.combined with huge orchestra. think of kull the konquerer, but more modern.

Good references, I do appreciate in fact the harmonious blend of orchestra and modern sounds - when it's done with talent, and since it's Debney, talent there *will* be, genius there *could* be (but Iron man isn't the best material to support some possible musical genius).

Arthierr requested that I post this here.

Darkside Symphony - Orchestral Music from Resident Evil Darkside Chronicles
|MP3|VBR V-0|58MB|
Converted from Lossless uploaded by Arctic Viper
|Orchestral|Choral|Gothic|

http://rapidshare.com/files/362595719/Darkside_Symphony.rar

Thanks Sirusjr for the Krull score-I had a 2Cd download with wierd sound-to show how old I am I saw the movie as a camp counselor in Chicago and we got free "Krull" glaive frisbees-but even then I marvelled at the music and knew very little of Horner

Takayuki Hattori
Intelligent Qube: Final Perfect Music File


http://www.fileden.com/files/2009/6/24/2487612//12%20Compass%20Points%20to%20the%20Future.mp3

Sample (http://www.fileden.com/files/2009/6/24/2487612/12%20Compass%20Points%20to%20the%20Future.mp3)
1. Opening Chorus
2. Sign
3. The 1st Tide
4. Ecliptic
5. Depths
6. Crisis Visit
7. Courage and Hope
8. Ending Chorus ~ Beginning of the Universe
9. Continental Shirt
10. 4-Horned Tower
11. The 2nd Tide
12. Compass Points to the Future
13. Crisis Evasion
14. Theory
15. Battle to the Death
16. March of the Dark Army
17. Pharoah's Treasure
18. Tectonics Opened Gate
19. Healing Light
20. Sleeping Forest's Song
21. Morgan's Theme
22. Short Blessing
23. Praise the Vanquished

http://uploadmirrors.com/download/12G4XMTA/THIQ.zip




Previously Posted Takayuki Hattori

Symphonic Suite Final Fantasy (Arranged by TH)
Arthierr's flac upload (http://forums.ffshrine.org/showpost.php?p=1339763&postcount=3344)
or mp3 here (http://uploadmirrors.com/download/1N5KB9JB/NUSSFF.zip)

Romance of the Three Kingdoms V (Composed by TH)
http://forums.ffshrine.org/showthread.php?p=1430042&highlight=hattori#post1430042

Ultraman Symphony (Conducted by TH)
http://forums.ffshrine.org/showthread.php?p=1329509&highlight=hattori#post1329509

The Best Of Godzilla - Vol. 1984-1995 (Composed by TH)
http://forums.ffshrine.org/showthread.php?p=1231641&highlight=hattori#post1231641

Wind Symphonic Theme Collection (Arranged by TH)
http://forums.ffshrine.org/showthread.php?p=1225509&highlight=hattori#post1225509

Falcom Neo Classic (Arranged by TH)
http://forums.ffshrine.org/showpost.php?p=1448273&postcount=4541

Thank you :)




To be honest, I didn't. ;)



Good references, I do appreciate in fact the harmonious blend of orchestra and modern sounds - when it's done with talent, and since it's Debney, talent there *will* be, genius there *could* be (but Iron man isn't the best material to support some possible musical genius).

like i said before, murray golds dr.who scores are doing it the WHOLE time. and it works very, very well.incredibly talented guy.get all 4 volumes,now! (if you don�t have them already) one. if not the best tv-score of all time.

sorry for offtopic but i couldn` t stop laughing :

http://www.youtube.com/watch?v=nFicqklGuB0&feature=player_embedded

̴m not quite familiar with the story and the making of the movie, but i recall it being the first LIVE ACTION Pixar Movie.Which is strange, but interesting. Also it is very Avatar-like from what i�ve heard. But this is the biggest opportunity for a full blown sci-fi adventure score Michael ever had. This should destroy his Star Trek Score completly, hopefully.

I hope so. Giacchino is a talented composer, but if he wants to attain Williamsian/Goldsmithian/Hornerian/Poledourisian/Silvestrian/Elfmanian/Herrmannian/Newton Howardian status, he's going to have to do a lot better than Star Trek. Better than Star Trek? Saying that aloud leaves a bad taste in your mouth. I still feel his best work was for Medal of Honor, and I myself rate Lennie Moore's Outcast higher than that. If anyone can usher in a new 1977 with a massive orchestral undertaking that both breaks new ground and respects traditional sensibilities, it should be Giacchino. Now all he needs to do is compose it.

I hope so. Giacchino is a talented composer, but if he wants to attain Williamsian/Goldsmithian/Hornerian/Poledourisian/Silvestrian/Elfmanian/Herrmannian/Newton Howardian status, he's going to have to do a lot better than Star Trek. Better than Star Trek? Saying that aloud leaves a bad taste in your mouth. I still feel his best work was for Medal of Honor, and I myself rate Lennie Moore's Outcast higher than that. If anyone can usher in a new 1977 with a massive orchestral undertaking that both breaks new ground and respects traditional sensibilities, it should be Giacchino. Now all he needs to do is compose it.

This is a job for Vertamaaaaaaaaaaaaaaaaaan!

̴m not quite familiar with the story and the making of the movie, but i recall it being the first LIVE ACTION Pixar Movie.Which is strange, but interesting. Also it is very Avatar-like from what i�ve heard. But this is the biggest opportunity for a full blown sci-fi adventure score Michael ever had. This should destroy his Star Trek Score completly, hopefully.

Sounds promising. In Giacchino we trust :D

How about Alice in Wonderland?
Seems to be the best score from an Elfman/Burton work in recent years. As usual a very addictive theme too.

Sounds promising. In Giacchino we trust :D

How about Alice in Wonderland?
Seems to be the best score from an Elfman/Burton work in recent years. As usual a very addictive theme too.
I love wolfman just as much :) Although the theme in Alice is much more addicting!

Listened to Elfman' Alice in Wonderland score after I saw the movie-uneven like the movie-the choral "Alice Alice" gets boring after a while but it has power-but I like say Big Fish or even Night Breed much better-Elfman is all over the place and mirrors Burton-

Japanese people won't stop surprising me - Intelligent Qube. Puzzle game with orchestral/choral score:D. Thanks for that, it sounds really nice.

And as for Elfman's Alice. For me it's mediocre score, with fantastic theme. Without it there will be almost nothing interesting imo. And the theme itself borrows from his previous works quite much. But it's still awesome. Great idea with singing:).

And I don't know why, but I never liked Giacchino. There are two scores from him that I really love (MoH Frontline and first Lost... and Mercenaries, although this one is mostly Tilton I guess), but rest of his works is totally uninteresting for me. Even UP. In film it works great, but on album it's just mediocre. I don't know, he's fantastic when it comes to technical stuff, definitely good composer but his music just doesn't work for me, it's kinda... empty? Not as empty as Desplat works, but still;). Is this just me?

Giacchino is one of those composers who values orchestration over theme. I often get the sense he is one step away from being the next Bruce Broughton if he could just give us that classic theme Hollywood is allergic to these days. His motivic writing is top-notch, as heard in Star Trek, but there's something missing. Now that he's got an oscar maybe he can start calling more of the shots and break free of those modernist shackles.

Giacchino is one of those composers who values orchestration over theme. I often get the sense he is one step away from being the next Bruce Broughton if he could just give us that classic theme Hollywood is allergic to these days. His motivic writing is top-notch, as heard in Star Trek, but there's something missing. Now that he's got an oscar maybe he can start calling more of the shots and break free of those modernist shackles.

Well, just how the heck is Giacchino a modernsit? He seems as far removed from Zimmer and Co. as I can see. He is exactly the type of Film Composer that I love: pure grand, over the top, beautifully composed, orchestra. I have never had a soundtrack of his that I did not enjoy.

Well, just how the heck is Giacchino a modernsit? He seems as far removed from Zimmer and Co. as I can see. He is exactly the type of Film Composer that I love: pure grand, over the top, beautifully composed, orchestra. I have never had a soundtrack of his that I did not enjoy.

he only failed once, the movie sin. horrible, horrible movie with oldman and rhames and horrible greame revell style giacchino score.no release, never will be one.

Well, just how the heck is Giacchino a modernsit? He seems as far removed from Zimmer and Co. as I can see. He is exactly the type of Film Composer that I love: pure grand, over the top, beautifully composed, orchestra. I have never had a soundtrack of his that I did not enjoy.

Zimmer and Co. can also make scores that are orchestral and beautifully composed (when called upon) but it seems no one is allowed to take it to the next level. Why can't all of Zimmer's scores be as thematically brilliant as The Lion King? I blame the movies, not the composers.

Zimmer and Co. can also make scores that are orchestral and beautifully composed (when called upon) but it seems no one is allowed to take it to the next level. Why can't all of Zimmer's scores be as thematically brilliant as The Lion King? I blame the movies, not the composers.

Which I would agree with, if it weren't for the fact that the vast majority of Zimmer's scores these days are mostly modern, syth heavy scores.

Well, I absolutely adored Michael Giacchino in his old videogame times. I have all Medal of Honor scores in original (I believe they are rare OOP now). But from the moment, he jumped from videogames to films, tv shows and especially Pixar movies, he seems kind of bland and stucked in one place. He needs to write more action and theme based material. I love to see him score some kind of swashbuckling epic (Pirates of the Caribbean 4?), and I assure you, it would have the potential to even surpass Cutthroat Island.

Japanese people won't stop surprising me - Intelligent Qube. Puzzle game with orchestral/choral score:D. Thanks for that, it sounds really nice.

And as for Elfman's Alice. For me it's mediocre score, with fantastic theme. Without it there will be almost nothing interesting imo. And the theme itself borrows from his previous works quite much. But it's still awesome. Great idea with singing:).

And I don't know why, but I never liked Giacchino. There are two scores from him that I really love (MoH Frontline and first Lost... and Mercenaries, although this one is mostly Tilton I guess), but rest of his works is totally uninteresting for me. Even UP. In film it works great, but on album it's just mediocre. I don't know, he's fantastic when it comes to technical stuff, definitely good composer but his music just doesn't work for me, it's kinda... empty? Not as empty as Desplat works, but still;). Is this just me?

I agree with all of this. Giacchino and latter day Elfman are more a case of being thankful for small mercies, rather than of anything I can really savour. You’ve hit the nail on the head about the emptiness thing too.


Giacchino is one of those composers who values orchestration over theme. I often get the sense he is one step away from being the next Bruce Broughton if he could just give us that classic theme Hollywood is allergic to these days. His motivic writing is top-notch, as heard in Star Trek, but there's something missing. Now that he's got an oscar maybe he can start calling more of the shots and break free of those modernist shackles.
Wasn’t Star Trek Giacchino’s big attempt at a classic theme? Like a lot of his scores I found it slick, but laboured and characterless. It failed as a Trek score (IMO) because it totally lacked atmosphere (unforgivable in this series and from a composer who emphasises orchestration) and, even more crucially, it lacked real emotion. The by-the-numbers main theme would be a joy to hear over and over and over if only it existed in some richer context.


Well, just how the heck is Giacchino a modernsit? He seems as far removed from Zimmer and Co. as I can see.
Perhaps I’m not appreciating the finer layers of facetiousness here, but in no way are Zimmer and chums "modernists". Modern, yes, in the most rudimentary sense of ‘up to date’, contemporary, fashionable.. Modernist implies intellectualised, formalistic, structural, disjunctive, angsty, aloof – eg Kubrick, Stravinsky, Picasso.

Things like Incredibles, Up and Star Trek involve a lot of knowing recycling, so perhaps it would be best to consider them post-modern ;) Ultimately, it all comes off as frigid to me; it's like Giacchino's writing what he thinks the music should sound like rather than what he really feels.

Desplat can be even more barren. Occasionally though (very occasionally, considering how prolific he is) you get more of a sense of a cold, lucid intellect at work that can be quite thrilling. You can’t watch the opening sequence of Birth (http://www.youtube.com/watch?v=-hFO9sA7LsA) and tell me that’s not great scoring!

Despite MG's undoubted ability he hasn't done anything to compare with Zimmer's best moments of sincerity (http://www.youtube.com/watch?v=X3Gd8twn4s4), sweep (http://www.youtube.com/watch?v=ML20vIXYVSU) and verve (http://www.youtube.com/watch?v=n0pvFulUd98) ;) Zimmer also has more of a personal voice.

This thread is so massive, I don't even know where to start. I want to find something larger and epic, but also some stuff that has a sad tone but still has a presence.

This thread is so massive, I don't even know where to start. I want to find something larger and epic, but also some stuff that has a sad tone but still has a presence.

You have just described the vast majority of stuff that was posted in the this thread.

EDIT: Oh, and Lens. Expect the counter argument to end all possible counter arguments in the close future.

This thread is so massive, I don't even know where to start. I want to find something larger and epic, but also some stuff that has a sad tone but still has a presence.
I think you should start with every single pack posted in the thread that contains music from multiple composers.
Then I would download one ost posted by each composer mentioned in this thread to see if you like that composer's style.
Once you find something you really like, ask for recommendations that sound similar to it.

Japanese people won't stop surprising me - Intelligent Qube. Puzzle game with orchestral/choral score:D. Thanks for that, it sounds really nice.

yeah i know it was quite a pleasent shock

great pages

Great news! La la Land will be releasing COMPLETE Dragonslayer by Alex North next week. According to the LaLaLand rep on FSM, the earlier releases of the soundtrack were bootlegs. I can't wait to order a copy of this gem!

Great news! La la Land will be releasing COMPLETE Dragonslayer by Alex North next week. According to the LaLaLand rep on FSM, the earlier releases of the soundtrack were bootlegs. I can't wait to order a copy of this gem!

Bootlegs? I thought they were legitimate but longer out of print.
Beware Sirusjr, this ain't your typical grand adventure score with bold music themes. A listen before buying is recommended if you're not familiar to the music.

Yeah Sanico, I always check all the samples they provide with a new release before taking the plunge.

Does anyone have the orchestral King Colossus album that was posted earlier (much earlier) in the thread? There are already several requests for a re-up here (Thread 59111). Sounds tasty.

Thanks in advance :)

Does anyone have the orchestral King Colossus album that was posted earlier (much earlier) in the thread? There are already several requests for a re-up here (Thread 59111). Sounds tasty.

Thanks in advance :)

http://uploadmirrors.com/download/ZJS7DWQZ/IfKC-SSO-BVCH-2812.rar

Hurrah! Sorry, 128kbps - this is just a re-upload of the original poster's RAR. Still, it's a decent enough encode. Sounds excellent.

http://uploadmirrors.com/download/ZJS7DWQZ/IfKC-SSO-BVCH-2812.rar

Hurrah! Sorry, 128kbps - this is just a re-upload of the original poster's RAR. Still, it's a decent enough encode. Sounds excellent.

How did i not know about this one?!
wonderful, thanks for the reup tango

It's a pleasure.

And, to begin the day as I mean to continue it... Looky here, it's some new Toshihiko Sahashi! :-D




TOSHIHIKO SAHASHI
Tomica Hero: Rescue Fire (2009)



NOT MY RIP - Gratitude and full credit to Ranger Of Oz over at the Rangerboard forum. LAME @ 320kbps. No scans.

Orchestral Cues Only (35 mins) - http://uploadmirrors.com/download/XWVUTTI4/TS-THRF-ORCHONLY.rar [My upload, Romaji Track Titles]

Full Album (2 Discs - 1hr 45 mins) - http://www.multiupload.com/GF9WLEDLVE [Original Poster's upload, Japanese Track Titles]

Tomica Hero, for those who don't know, is a shameless Super Sentai ripoff series which exists for one reason and one reason only; to hawk cheap plastic toys to impressionable kids. Rescue Fire is only the second series of this new franchise - the first series of 2008 (Rescue Force) and it looks like it may be the last for the time being - ratings weren't good allegedly and presumably neither were merchandise sales.

Either way, to my utmost joy, Toshihiko Sahashi found himself scoring YET ANOTHER Tokusatsu show - and thankfully Takara Tomy managed to find a reasonable music budget, so he was able to utilise a reasonably well appointed orchestra.

You know EXACTLY what you're going to get with this score even before you play it; as is often the case with Sahashi. Don't go into this expecting a ground breaking new technique or for Sahashi to try something risky and innovative; you'll be disappointed. He's firmly in his comfort zone, writing to his strengths. As is also usual for Sahashi, there's a bit of everything in here; upbeat power anthems with electric guitars and disco rhythms, nostalgic piano-led pieces, and also thankfully thirty five full minutes of unified orchestral score.

There are two uploads here. I have taken the liberty of separating the 35-minutes of purely orchestral cues from the rest of the album for separate presentation - as well as tagging the tracks coherently and in Romaji.

I have also included the original upload as posted by Ranger of Oz. This, of course, is the full two-disc album.

Take your pick; personally as a Sahashi fan, I can't resist *any* of it - the guy may be repetitive, and unoriginal, but he's sure as hell FUN and every note of this score is fun.

If you fancy a smaller download and you're not looking for the heavy rock, synthesiser cues, disco stuff, etc - get the orchestral pack. It's all there, and it's a remarkably coherent listening experience on its own.

Enjoy! :)

Big thanks tango for rescue fire! Very nice stuff.

This is the kind of music Horner should have composed for Avatar ;) After Garasu no Kantai, posted here some time ago, here's another huge Space Opera score composed for a relatively obscure anime: Heroic Age. The highly talented Naoki Sato, another japanese composer specialized in big orchestral music, shows his skills here with a massive symphonic score, often powerful and epic, sometimes lyrical and romantic, and with many great highlights. 100% recommended.

Note: if you don't have goosebumps during the track "Star Way" in cd 1, you're not human. ;)



Heroic Age OST I- Star Way
Heroic Age OST II- Kikan

Composed By Naoki Sato

|MP3|320|240MB|

Credits to citty82

http://tinypaste.com/1d9f9








could you please reupload this OST.

http://uploadmirrors.com/download/ZJS7DWQZ/IfKC-SSO-BVCH-2812.rar

Hurrah! Sorry, 128kbps - this is just a re-upload of the original poster's RAR. Still, it's a decent enough encode. Sounds excellent.
Thanks again TT! What a lovely surprise this is! Really entertaining stuff, with a hint of Rozsa and Poledouris. Shame Sega never gave more of their Megadrive era game this deluxe treatment (The Shining series would be one candidate). And to think the game never even made it out of Japan.

More Sahashi too!!!

ShadowOnTheSun - Falcom Neo Classic is beyond gorgeous! Qube isn't bad either ;) Hattori is rapidly becoming a favourite alongside Hirano. Any further posts (and info) will be greatly appreciated :D

This is the kind of music Horner should have composed for Avatar ;)

:O

http://www.youtube.com/watch?v=U3yc2kzHPqw

people should stop complaining about Hans Zimmer, because of him we have John Powell. And Powells newest score How to Train your Dragon is his best besides XMen 3. By far his best animation score. Huge orchestra and choir, brilliant orchestrations.Wonderful themes, lots of lovely "flight" music, spectacular all-out action cues, beautiful somber quiet moments, not as much as mickey mousing as always....i loved every second of it. best score of the year so far.at least the most exciting.just get rid of the song at the end.

people should stop complaining about Hans Zimmer, because of him we have John Powell. And Powells newest score How to Train your Dragon is his best besides XMen 3. By far his best animation score. Huge orchestra and choir, brilliant orchestrations.Wonderful themes, lots of lovely "flight" music, spectacular all-out action cues, beautiful somber quiet moments, not as much as mickey mousing as always....i loved every second of it. best score of the year so far.at least the most exciting.just get rid of the song at the end.
I don't know if its better than Wolfman but its certainly a wonderful score. Before this, my favorite John Powell score was Hancock so its nice to see him surpass it. I like the celtic feel on a good amount of the score as well.

Hello everyone,

It's been a while since I last visited this thread but let me share something great with you:



Duels of Fate: Orchestral Action Music

This collection contains 22 music pieces which are similar to John Williams "Duel of the Fates" and gave me the same goosebumps as John Williams masterpiece.
Expect over 80 minutes of orchestral bombast and choral action.

Download Link (mediafire) (http://www.mediafire.com/file/njzntxuyz4t/Duels of Fate.7z)

Tracklist:

01. Star Wars: Episode 1
02. Lair
03. Final Fantasy VII
04. First Knight
05. Kameo
06. Medal of Honor
07. Advent Rising
08. Battle of Dark vs Light
09. Escaflowne
10. Shadow of the Colossus
11. Star Wars: Prequel Trilogy
12. Harry Potter and the Half Blood Prince (James Hannigan)
13. Matrix
14. Super Mario Galaxy
15. The Legend of Zelda
16. Dynasty
17. Cutthroat Island
18. Rebuild of Evangelion
19. Star Wars: Episode 3
20. Harry Potter and the Order of the Phoenix (James Hannigan)
21. Final Fantasy VIII
22. Star Wars: Shadows of the Empire

Enjoy

people should stop complaining about Hans Zimmer, because of him we have John Powell. And Powells newest score How to Train your Dragon is his best besides XMen 3. By far his best animation score. Huge orchestra and choir, brilliant orchestrations.Wonderful themes, lots of lovely "flight" music, spectacular all-out action cues, beautiful somber quiet moments, not as much as mickey mousing as always....i loved every second of it. best score of the year so far.at least the most exciting.just get rid of the song at the end.

Just because that he brought a wonderful composer onto the scene does not excuse his horrid musical works.

people should stop complaining about Hans Zimmer, because of him we have John Powell. And Powells newest score How to Train your Dragon is his best besides XMen 3. By far his best animation score. Huge orchestra and choir, brilliant orchestrations.Wonderful themes, lots of lovely "flight" music, spectacular all-out action cues, beautiful somber quiet moments, not as much as mickey mousing as always....i loved every second of it. best score of the year so far.at least the most exciting.just get rid of the song at the end.

Wow, someone's a fan of his X3 scor too? I'm glad I'm not the only one who acknowledges just how epic it is. Definitely gonna get Train Your Dragon now.

Hello everyone,





Thanks for the fine share, however the file is corrupted, only half of tracks can be extracted.

Just because that he brought a wonderful composer onto the scene does not excuse his horrid musical works.

Powell? Take him or leave him. Yes, he's done some good work (X3) and he's certainly a hundred times more talented than most of the other morons in Zimmer's factory put together... but if I had to chose between Powell and Broughton... I'd chose Broughton. Powell and Williams? Williams. Powell and Poledouris? Poledouris. Powell and Goldsmith? Goldsmith.

You forget... Without Zimmer, there might still be a place in contemporary scoring for straightforward good music; guys like Broughton would be scoring summer blockbusters (with intelligent music) and dozens more composers, all far more talented than Powell, would've found their niche. Zimmer's influence has broadly wrecked contemporary Western film scoring; that as a completely coincidental by-product he allowed a reasonably skilled composer some recognition... in my view, does not excuse the wanton destruction (and therefore sidelining of dozens of talented composers past, present, and future) that did, in fact, occur.

it had to happen some day. if not with zimmer, than someone else. and zimmer was not the beginning. it stated with harold faltermeyer. considering todays musical situation i am REALLY glad to have John Powell.One of real small group of composers who knows how to make contemporary music without major sacrifices to quality.another is murray gold.ah and my initial purpose was to tell you how great How to Train your Dragon is...because its simply fantastic and addictive.
Look at the rest of music. each ten years there was a major change in music. that ended in the 90ties. I don�t see any development, just old stuff repeated.the same starts with movies now.more remakes than new original ideas.

Actually most of Powell scores has something interesting, especially his scores to animations, but also his action soundtracks (last Bourne is really good piece of music, Paycheck is incredible, even scores like Italian Job or Mr and Mrs Smith are pretty fun to listen). He created his own style and he is very talented guy, not only for Hollywood standards. It's not his fault that he was "created" by Zimmer. And after all I prefer rather original Powell, instead of "note thieves" like Amano or Kanno;).

Ow, and "Dragons..." are awesome piece of music, adventourous, joyfull score.


guys like Broughton would be scoring summer blockbusters (with intelligent music)

What does intelligent music mean to you? I'm really curious.


Powell and Broughton... I'd chose Broughton. Powell and Williams? Williams. Powell and Poledouris? Poledouris. Powell and Goldsmith? Goldsmith.

So, a bit of black magic, and maybe one of them will live longer, and two of them will be back - as ZOMBIE COMPOSERS:D.

What does intelligent music mean to you? I'm really curious.

If you have to ask, then the question cannot be answered.


So, a bit of black magic, and maybe one of them will live longer, and two of them will be back - as ZOMBIE COMPOSERS

I was simply illustrating that, whilst Powell undoubtedly has skill and I do certainly enjoy some of his music, I doubt that many people would honestly say that his music stands up when compared to the very best of the best.

Besides, quite frankly even a dead man could probably muster up better music than some of the undignified tripe that RC/MC (the company, its composers, and its insufferable lackeys alike) grind out these days.

hater: Point taken, although Harold Faltermeyer didn't create a company that virtually sapped all humanity and artistry from the genre, and then manufacture dozens of compositional clones of himself who eventually created a monopoly and mandated that every single score ever written by anyone, anywhere, for any film had to sound exactly like Beverley Hills Cop. ;)

Faltermeyer was an 80s guy writing 80s music for 80s films... and he did it very very well indeed. (And still does, judging from Cop Out.) Point is, if you hated him, you didn't have to listen to him.

herbaciak - what I think he means by intelligent music is music that tells you more about what is going on in a movie than what is actually on screen rather than simply doing its part to state the obvious.

John Barry - Raise the Titanic - Silva America SSD 1102 - 1980 (1999)
|Romantic|Orchestral|Epic|


John Barry - Raise the Titanic - Label X LXSACD 1001 - 1982 (2005)
|Romantic|Orchestral|Relaxing|

Thread 75019

For those of you who haven't heard the good news,
details haven't been released but a cd release of Symphonic Fantasies has been confirmed.

For those of you who haven't heard the good news,
details haven't been released but a cd release of Symphonic Fantasies has been confirmed.
Thankfully its not being put out by Eminence who is just now getting around to shipping their latest release that was supposed to be out in the beginning of January. Then again its probably going to be available in the same form as the Symphonic Shades.

Thankfully its not being put out by Eminence who is just now getting around to shipping their latest release that was supposed to be out in the beginning of January. Then again its probably going to be available in the same form as the Symphonic Shades.

yeah that delay was rediculous,
Valtonnen & crew are also finally working on Symphonic Legends: Music and Symphonic Odysseys: the music of Nobuo Uematsu too

UN TICKET POUR L'ESPACE (A TICKET TO SPACE) (PRE-ORDER) (CD)
Composed by: Erwann Kermorvant

please music download

BIG CITY (PRE-ORDER) (CD)
Composed by: Erwann Kermorvant


please music download

Warstar - those albums aren't released until next week. I am planning on posting them once I get the albums.

John Powell (Score-CD)

Tracklisting:
01. This Is Berk (04:12) Main Titles
02. Dragon Battle (01:55)
03. The Downed Dragon (04:16)
04. Dragon Training (03:10)
05. Wounded (01:25)
06. The Dragon Book (02:22)
07. Focus, Hiccup! (02:05)
08. Forbidden Friendship (04:10)
09. New Tail (02:47)
10. See You Tomorrow (03:52)
11. Test Drive (02:35) Main Theme
12. Not So Fireproof (01:11)
13. This Time For Sure (00:47)
14. Astrid Goes For A Spin (00:45)
15. Romantic Flight (01:55)
16. Dragon’s Den (02:28)
17. The Cove (01:10)
18. The Kill Ring (04:27)
19. Ready The Ships (05:13)
20. Battling The Green Death (06:18) Epic
21. Counter Attack (03:02)
22. Where’s Hiccup? (02:43)
23. Coming Back Around (02:49) Main Theme (Reprise)
24. Sticks & Stones (04:08) - J�nsi
25. The Vikings Have Their Tea (02:04)


Download Link removed (Buy it)


Probably my favorite movie score of 2010 and it is everything I hoped it would be and went even beyond my expectations.
A ravishing orchestral score which is very thematic, joyful and bombastic in nature but unlike Powells last works cohesive and consistent in quality.
Every track that is build around the Main Theme ("This is Berk", "Test Drive", "Battling the Green Death", "Coming Back Around") is really great to say the least.
The last time I felt something like this was when I listened to Lair. It's that good.

I can only give my highest recomendation for the movie

thanks klnerfan, but usually its not best to put new releases in this thread
also its a verese soundtrack, which can't be shared on this board

We tend to just discuss new soundtracks in this thread because you can easily find where they are on the board or elsewhere if they are posted. Speaking of which, did anyone get a chance to listen to The Message/Lion in the Desert by Maurice Jarre? Such a nice score :) Plus the same label is going to release a re-recording of Lawrence of Arabia soon.

Are we really going to start posting MSM scores on a regular basis? That's a tiny label who regularly take a loss just to get these scores out there. It's a one man band and they literally depend on sales of each successive release in order to stay in business.

They're cheap and easily available - both as physical CDs and as MP3 downloads. At least wait until they're out of print...

Also, regards Varese albums... I've seen a lot of cases on the board lately where somebody posts a Varese, removes the link, and invites users to PM for the download. Varese asked this forum not to post its releases; that is exactly what is happening all the same. This takes place in other threads regularly, but I thought this thread was morally more mature than to think of loopholes and workarounds to nullify Varese's request.

Can we please - at least in this thread - respect Varese's perfectly legitimate wishes (not to mention legal and moral rights) not to share their albums. They're probably still watching us; these regular, sneaky violations are hardly likely to endear us. The last time, they were courteous, friendly, and respectful. The next time they may decide to play dirty; in which case, Goodbye folks - nice knowing you... :(

How to Train Your Dragon: Why is everybody raving about this so much? Are we really so jaded that we now see anything that breaks the Zimmer mold as exceptional? IMHO this is a thoroughly average score - a bit of fun, and very little else. And yet, it probably IS the best (mainstream) score of the year so far. That's a fact to be mourned, not celebrated.

Fargo




http://rs296.rapidshare.com/files/121552727/OST_-_Fargo.zip

no pass

Are we really going to start posting MSM scores on a regular basis? That's a tiny label who regularly take a loss just to get these scores out there. It's a one man band and they literally depend on sales of each successive release in order to stay in business.

They're cheap and easily available - both as physical CDs and as MP3 downloads. At least wait until they're out of print....
See on the one hand this is something I consider but on the other hand I feel if they are posted people might discover the label's efforts like I did and support them. I wouldn't even know they were out there if I hadn't downloaded and listened to mutant chronicles and I Sell the Dead in full and started to keep up with the label. If you have some suggestions besides my previous post of simply linking to the samples I am open to listen and consider something in between posting and not posting if it makes sense.

Is it that hard to admit that it is an exceptional score which offers really everything that filmscorefans enjoy so much? i mean when was the last time a score was so brilliantly build around the themes, which themeselves are incredibly enjoyable and won�t get out of your head? this score is animations cutthroat island, no less.even with the slight comedy touch.the only thing that would have made it even better would be an end credit suite of all themes in new orchestrated versions. all the themes are great, and soo addictive.there must be some real hate in you on modern composers if can�t enjoy it as much as we do.

Is it that hard to admit that it is an exceptional score which offers really everything that filmscorefans enjoy so much? i mean when was the last time a score was so brilliantly build around the themes, which themeselves are incredibly enjoyable and won�t get out of your head? this score is animations cutthroat island, no less.even with the slight comedy touch.the only thing that would have made it even better would be an end credit suite of all themes in new orchestrated versions. all the themes are great, and soo addictive.there must be some real hate in you on modern composers if can�t enjoy it as much as we do.

My friend, if I believed it, nothing would give me greater pleasure than to admit it. You cannot speak for all film score fans - you can speak only for yourself, as I can speak only for myself. It doesn't give me everything that I enjoy about film music - it gives me a quick bit of fun, some wonderful noises, but ultimately forgettable. It didn't last in my head for longer than a few moments; not a single note. I shan't be giving up Chinatown, The Blue Lagoon, Artificial Intelligence, Star Trek The Motion Picture, or any of dozens more, for this. As I said before, it's fun and it's a cut above most of the dreck that we hear today - but that doesn't mean it's the best thing ever; merely the best of a bad bunch which, as folk who remember a time when the artform was still vibrant and alive, gives the illusion of being better than it is.

I mean you or anybody else no disrespect at all in saying these things; I simply find it disappointing. Both in itself, and at the reaction it is provoking in film music circles: It's as if we've all been locked up in a prison for ten years and then we are allowed to walk around the grounds for a few moments every day - compared to the alternative, it is bliss... but compared to the thought of absolute freedom, it serves only to remind us of what we can't have.

I do not understand why you accuse me of hate, and tell me that effectively it is impossible for any sensible, decent person to thoroughly adore the score. I find that thought - and the indirect insults you place upon my character as a result - most offensive and almost as disappointing as the score itself. Mostly we agree; on this occasion, we do not - and you attack me personally because of it. THAT... is a shame.

For the record, though I feel absolutely no need to defend myself against such wild, baseless assumptions... I have no hate for modern composers. I have an intense hatred of the current Western film scoring climate, the lowest common denominator target audience it has adopted, and therefore the pressures and restrictions it places upon composers today - whether they're veterans in the genre or if they're just starting out. John Powell has wonderful potential - probably more than any of the former MV/RC brigade, but he's not realising it yet. I await the time when circumstances permit him to write the next Star Wars with great anticipation and joy. I await with equal vigor the time when all composers - new and old - find themselves once again able to write real music for films, and constrain themselves by nothing whatsoever but their own imagination and creativity.

:)

Forgive the double post, but I figured it was necessary to separate the tone of my previous post and the tone of this one - as they're very different. :)

Here's another entry in my "Upgrade A Crappy Sounding Rip Of Something Popular" series - this time, I take great delight in offering you...


Inuyasha Koukyo Renka: Wind - Symphonic Theme Collection
Various Artists
Performed by the Japan Philharmonic Orchestra



MY ENCODE - LAME 3.98.4 -V0 / Scans included

http://uploadmirrors.com/download/8VL0EBTY/VA-IKRWSTC2.rar (NEW LINK)

For those folk who don't know, this is a ravishing album of various songs from the TV Anime "Inuyasha" each of which have been arranged for full orchestra by a jaw-dropping group of exceptional composers - Kaoru Wada, Akira Senju, Toshihiko Sahashi, Tomoyuki Asakawa, Kazuki Kuriyama, Michiru Oshima, and Tayayuki Hattori. It finishes off with a seven minute fantasia of sorts, in which Wada expands on his famous "Inuyasha" theme.

There is a rip of this album circulating - it's at 192kbps, and sounds absolutely appalling. For whatever reason, the ripper of this version chose not to rip the CD digitally - but instead passed it through an analogue recording stage, introducing hiss and various other artifacts.

This brand new digital rip finally allows this wonderful album to shine as it was intended. As a final benefit, I have performed a slight re-equalisation prior to encoding, that completely compensates for the original slightly dull recording quality, and truly allows the Japan Philharmonic to glimmer.

For more notes on the music, I shall now quote myself (more or less verbatim) from April of 2009, where I commented on this album at length...

This is unprecedented. You take pop theme songs from a series, you give one each to a ridiculously talented classical composer and say "Arrange, please!" -- and each composer responds with a sensitive arrangement in their own unique style.

Wada's own orchestration of "Change The World" begins the album - and you know instantly what you're in for. These aren't just simple arrangements; they're complete reimaginations - larger than life, grandly-scaled symphonic tone poems. Wada takes what sounded like a particularly trite melody and turns it into a rousing overture.

Every Heart could only ever be re-worked by Senju - a warm, intelligent, romantically-minded composer; ten seconds in, his hallmarks are completely evident, and off he goes; a beautifully whimsical piece.

Toshihiko Sahashi begins his arrangement of Owarinai Yume with a grand fanfare, and whips it up into a lovely piece of borderline disco-esque musical theatre that recalls Lloyd Webber's Cats (and others) - stirring, bright, and enthusiastic.

Dearest - a lovely impressionistic arrangement by Asakawa for reduced orchestra; simple, to the point, and a very daring way to tackle the song.

Kuriyama strays furthest from the genre with Fukai Mori, backing up his orchestral arrangement with contemporary percussion. Whilst somewhat lacking in imagination (this arrangement is certainly closer to the original song than the others; begging the question "what is the point?") but ultimately it's competent - whilst probably the least-inspired arrangement on the disc, it's still more than worth a listen.

Wada's arrangement of Shinjitsu No Uta is a very intimate piece for string orchestra and piano; tender and understated, with strings shimmering and gliding over an almost effervescent piano, it certainly rates as one of my favourite pieces of the album.

Oshima brings back the full orchestra and jumps straight in to "I am" with a powerful orchestral flourish that begins a very classicaly oriented arrangement. A wonderful mini symphony, with ravishing orchestrations and a wonderful feel-good bounce that really brings out the best of the song's cheerful melody.

Hattori's take on Grip! is fascinating; he completely reimagines the song as a touching sparsely arranged piece for reduced orchestra; no showing off, no symphonic acrobatics; just a wonderful warm, glittering piece.

Two more arrangements from Wada finish the album; My Will is noble and powerful, and the finale Inuyasha Gensou is a six-minute fantasia on his powerful Inuyasha theme; bringing the album to a ravishing close.

Just wonderful!

Enjoy! :)



[Edit: Knackered link replaced. Upgraded to from LAME 3.98 to LAME 3.98.4 encode resulting in minor sound quality increase and ~2mb off the final file size.]

i did not intend to attack you, tango. i feel exactly the same way. yet am unable to say it out loud. i tend to try to defend scores which i really like against all odds (ended up not being able to be taken serious on at least two boards for my ridicously hyperboled g.i.joe review :-) )
just try not to say something bad about empire strikes back or independence day....

Inuyasha Koukyo Renka: Wind - Symphonic Theme Collection
Various Artists
Performed by the Japan Philharmonic Orchestra



Brilliant Tango, Brilliant! I really love this album. Fantastic music and I am happily upgrading to your higher quality version now :D

Though, always, when I hear the opening notes about 35 seconds into the first track I immediately think of Blake's 7, which the opening sounds very much like. Not that this is bad, I love the Blake's 7 theme too.

Everyone else, if you haven't listened to this album yet, do yourselves a favor! You will love it. Massive glorious orchestral joy every moment of it! Listen and enjoy. You will not be disappointed.

I absolutely respect your opinion although I don't share it. I've listened to the thing twice now and I'm not sure I could sit through it a third time because I find it so one dimensional; it's wonderfully orchestrated, but in my mind it's still generic.

[Edit: That is directed at hater, in case you hadn't worked that out already.] ;)

Peace :)

JRL3001 - It's a pleasure. It's always been one of my favourites and I've always absolutely hated the rotten sound quality on the popular circulating rip. I hope this helps more people enjoy this great album.

I absolutely respect your opinion although I don't share it. I've listened to the thing twice now and I'm not sure I could sit through it a third time because I find it so one dimensional; it's wonderfully orchestrated, but in my mind it's still generic.

Peace :)

you were faster than my edit.

you were faster than my edit.

Haha, no problem. :)

I swear I'm not saying this just to rile you up -- but I never really clicked with ID4 either... Though it has been a long, long time since I gave it a proper spin... I think I shall give it another chance...

Hey guys, I just want to give mention to a rip of an excellent sounding game called Mafia that has emerged from a year long sleep here (Thread 53776). It includes both the orchestral score and the soundtrack by Various Artists, tagged and numbered. The only thing it is missing is the fact that the artist is Vladislav �imůnek, not the Bohemian Symphony Orchestra, and a cover image, which I shall supply here ().

Check it out, and don't forget to give kudos to the man who originally ripped it for our enjoyment.

tango i agree with you, its an decent score with wonderful orchestrations
but when it comes down to it, there isn't alot of melodic material we haven't heard before

Haha, no problem. :)

I swear I'm not saying this just to rile you up -- but I never really clicked with ID4 either... Though it has been a long, long time since I gave it a proper spin... I think I shall give it another chance...

wait for the definite lalaland version.i�m a sucker for big orchestral action music!
damn. i don�t know about you guys, but how many persons do you know for real (internet doesn�t count) who like scores as much as you do?

damn. i don�t know about you guys, but how many persons do you know for real (internet doesn�t count) who like scores as much as you do?

My fiancee isn't quite as obsessed as I am, but she's very much into film scores... and she caught the Jerry bug from me. She can now listen to absolutely anything by him, having never heard it before, and know who wrote it. I don't know if I'll ever have a prouder moment than when I put on Freud and she said "That... is Goldsmith, isn't it?" [At the other end of the scale, my grandad; he tries, gawd bless him... but he fails. Krull was on TV a couple of nights back and he turned to me and said "Is this by that Goldstein bloke you like?"]

Apart from her, most of my other friends and aquaintances have very little time for film music; it holds no importance for them and if they notice it in a movie, it's bad. And my former boss, who is a staunch Zimmer devotee who claims John Williams is a boring idiot who should just retire, and make room for massively talented individuals like Ramin Djawadi and Harry Gregson-Williams (Wolverine? BEST SCORE EVER!) who absolutely rock... You can imagine I don't talk film music with this guy too often, because on the rare occasions we do, I feel my deeply repressed violent side bubbling to the surface. ;)

damn. i don�t know about you guys, but how many persons do you know for real (internet doesn�t count) who like scores as much as you do?

my best friend comes close, but not quite and another good friend appreciates it and can pick out some good composers
other than that pretty much no one

consider you lucky. the only person i had to share my hobby with left germany and lives now in atlanta.there is one other, he is obssessed with xray dog.thats all. but i could swear that one day i heard someone listening to the mummy not far away. never figuered out who it was, sadly.maybe just accidentaly activated the isloted score track or something. oh well...

You are all jealous of Djawadi because he's quite an handsome guy^^ sexpot

You are all jealous of Djawadi because he's quite an handsome guy^^ sexpot


charisma 18, zero skillpoints

damn. i don�t know about you guys, but how many persons do you know for real (internet doesn�t count) who like scores as much as you do?

Good question. Independently, I've never met anyone really into film music. I have introduced and cultivated an interest in the likes of Goldsmith and Herrmann in many of my close friends (it helps that most of them are, purely coincidentally, musical in some way).

A lot of classical music fans, however, are VERY sniffy about about the whole thing. I know one composer who utterly hates film scores and thinks they're nothing more than generic, crowd-pleasing, degenerate rubbish; of course, his awareness is limited to what's going on now. The odd thing is he'll happily listen to the most vile, mind-numbing techno, pop, and all those de-humanising forms of 'dance' music whose myriad pretended specificities I can't be bothered to list. He also has rather popular and unrefined taste in movies themselves, and the only score I've ever heard him praise (unironically, mind you) was The Dark Knight!

But I'm starting to give up on engaging that sort of thing 'in the round' and just accept how absurdly compartmentalised most peoples tastes really are.

To continue that point, how can you even be a film fan if you don't engage with the music on a more than superficial, passive level? And we know how many people out there love to announce themselves as 'Film Buffs' because they've seen all three Godfathers. AND Amelie.

Another problem is the general discomfort in popular culture with orchestral music. Hence, it should only work subliminally and barely be acknowledged. The upcoming score for Tron by Daft Punk will no doubt be trumpeted and ecstatically recieved because they're recognised as an acceptable part of mass culture. [Don't get me wrong, I'm looking forward to it immensly myself] And it's hardly worth rehearsing where Zimmer and RC fit into the scheme of things.

I guess what I'm saying is that film music is kind of caught between the prejudices and ignorance of both 'high' and 'low' culture. It's a great shame, and may partly explain the current climate that's so stifling to creativity.


You are all jealous of Djawadi because he's quite an handsome guy^^ sexpot
Sanico, my dear, you don't know what we look like ;)

It's really depressing that the once great film age of Williams, Horner and Goldsmith has come to an end, it's been a long time since I have listened to something as outstanding as Hook, Braveheart or Star Wars.

But it makes me happy that Japan and it's Anime Industrie with their composers crafted such masterpieces like Giant Robo, Super Atragon, Hellsing Ultimate, Heroic Age, The Dissaperance of Haruhi and Xam'd.
Nowadays I'm way more excited about the upcoming score for an anime than for a movie.

Thankfully, the game industrie also has evolved from 8-bit melodies to outstanding orchestral scores like Outcast, Afrika, Gothic 3, Lair, Killzone, Medal of Honor, Order of the Phoenix and Super Mario Galaxy.
Some really talented composers became famous because of their achievments for a video game and made it to Hollywood.

Heck, even Zimmer can compose something passable once in a while (see At World's End or The Pacific).

So I'm quite optimistic that film music will be what it once was, maybe not anytime soon but I believe it will happen nonetheless.

@tangotreats: Now that I've listened to Dragon a few more times I still think it's above average. Granted, it's anything but very complex and sometimes a bit too loud and simple but at least for me, it's enjoyable. Maybe that has to do with the fact that the Main Theme reminds me of Band of Brothers, I don't know why.

Great discussion guys. I agree that its sad what we have as Tango loves to continue to remind us but I do love How to Train Your Dragon. Since nobody seems to have a suggestion as to how to properly post yet not post the upcoming MSM albums, I think I am taking the side of posting them rather than not as soon as they come. Although I may refrain from posting them in lossless :P

Also thanks for the upgrade to this Inuyasha Wind album :D

I just finished How to Train Your Dragon. Agreed on best soundtrack of 2010 so far. Once again John Powell has wowed me.

OMG! New rip of Inuyasha! The one that is circulating in internet sucks big time, which is sad cause it's awesome score:). So thanks Tango for this one (although I can't dload it for now, from any of the mirrors... strange... will check later).

And Cutthroat Island of animation is HGW's Sinbad! That's fantastic piece of music, full of awesome themes, great orchestration and pure joy:). And what happened with guy behind it? I have no words for that.

And as for composers or musicians, or classical music fans who dislikes or even despites film music. I knew guy like that, and all what he could say was that film music is poor version of classical music (or something like that). What does it mean? Dunno. But he was probably right. Glad I didn't say that I like game scores;).


He also has rather popular and unrefined taste in movies themselves, and the only score I've ever heard him praise (unironically, mind you) was The Dark Knight!

Actually - I said that before - TDK is great score, definitely better than the movie. But people tend to look at it like flawed orchestral crap, but I look at it like really good electronica:).


To continue that point, how can you even be a film fan if you don't engage with the music on a more than superficial, passive level?

It bothers me too. Even when I read - suposedly - professional reviews, sometimes there is not even one sentence about music. Was it good? Bad? Was it there? But for example 5 lines of babbling about CGi...


Hey guys, I just want to give mention to a rip of an excellent sounding game called Mafia that has emerged from a year long sleep here.

One of my faves in VGM world. Great piece of music and main theme is just mindblowing

i did a search through the thread and didn't find this one (only some gradus vita)
Its the bonus disc that came with Hellsing OVA IV of the Warsaw Philharmonic recordings of Hellsing Ultimate.


Hayato Matsuo
The Warsaw Philharmonic
Hellsing Ultimate (Bonus Disc)


1. Gradus Vita
2. Kuro Inu to Mukade no Koushin
3. Letzte Bataillon
4. Stolzer Aristokrat
5. Feuerkreuz
6. EMIA
7. Daitai hei moro
8. Apocalypse Now!
9. Merche Funebre
10. Der Freisch�tz Nr.9 Terzett (Weber)

http://www.multiupload.com/YGY0FB8YT4

Thanks for that, shadow! I'm moderately interested in Hayato Matsuo, and this should be interesting. Thanks again.

BREAKING NEWS! JAMES HORNER TO SCORE KARATE KID REMAKE!
http://filmmusicreporter.wordpress.com/2010/03/24/breaking-news-james-horner-to-take-over-karate-kid-remake/
No more Orvarsson

Hayato Matsuo
The Warsaw Philharmonic
Hellsing Ultimate (Bonus Disc)


This link doesn't seem to bring me to a page.

Works just fine for me...

That's odd. It worked, so that's good. Thanks though, ShadowOnTheSun!

Well, when I tried it, it said the servers could not be found. It looks like the site itself is having problems.

I can't bring myself to engage too much into debates about film music's current "climate", but I would like to chime in to point something out here.

Blaming Zimmer for the "destruction of film music" and all manner of hyperbolic infamy attributed to him is misleading. I mean I'm sure he appreciates the publicity, but I always get the impression that you guys are kind of missing the point. What changed the music is ultimately not one man's stylistic innovations — as far as I'm concerned that's giving him more credit than he deserves.

I think Zimmer's success was being able to toss his style into the ring during the exact time period in which film itself was undergoing a transition. It's difficult to find a word that encompasses what I'm talking about, but hopefully you'll be able to understand what I'm getting at when I say that the "tone" of films has changed drastically since the days your "greats" were scoring. I put greats in quotation marks because I don't like calling them that. We toss "genius" around far too much in our society as far as I'm concerned, and it encourages us to ignore the paradigm shifts that media and society have undergone. Was Jerry Goldsmith "greater" than Joel now? Is Broughton "greater" than John Williams? Or Maurice Jarre? Or Elliot Goldenthal? If you keep categorizing things like that, you'd need a giant flowchart to show the hierarchy of "greatness" among film composers. And why?

Recall that film music is rarely about music and then film. It's about the film. Always. The music bends, no matter what, to the needs of the film. And as the notion of "film" has become more concretized, has matured, has evolved, so too has its need for music. I don't think that, if we're being honest with ourselves, we can say that a film like The Dark Knight (to use an ubiquitous example) would have benefited from a Broughton score. Or even a Williams one. Williams, for example, has demonstrated his ability to "get with the times" to a certain extent with scores like War of the Worlds with its subtle, brooding approach. It's a different era of film-making and requires a concurrently different scoring approach. Does that approach result in the same kinds of symphonic listening experience that it used to? Hardly ever. Does it fit its film better? Depending on your tastes, absolutely.

I'll qualify that statement. Someone insinuated that modern scores are too "obvious", that they don't communicate or address the underlying portions of a film. I wonder how that stands to reason. Is The Dark Knight's one-note whine more obvious than the roaring fanfares of El Cid? Is Sunshine's ambience more obvious than the classical selections from 2001: A Space Odyssey? Is Wall-E's mickey-mousing more obvious than Bugs Bunny's? I know that at least in my work, that's the first question I ask a director during the spotting: what's going on underneath here, what am I not seeing, and is the audience supposed to be let in on it or no? And I'm definitely not the only one who does this. And today's "subtlety" in film scoring sometimes occurs on a totally different level. Graeme Revell (of all people) implemented a brilliant trick in his score for The Crow, whereby from the point of the character's transformation into The Crow and all the way to the end of the film, there's a constant sub-bass rumble that's almost out of hearing range. Why? Because it's unsettling, because it's creepy, and because it subconsciously makes people feel uneasy — which was what was called for, what the film needed.

So where does that leave fans of film music? In a really awkward spot, actually. Those of us who truly enjoy the craft that went into those symphonic masterpieces will easily be able to look upon today's scores with derision, snubbing our polished noses with disdain at the pedantic trash that pokes its simplistic head out of the depths of the sound mixes as we blast Korngold scores from the heights of our ivory towers.

...I'm being unfair, of course, but then so are you guys. I'm writing all this specifically because I have every bit as much appreciation for those "greats" and their work as you do, but I also realize and embrace that the times are a-changin'. If you judge today's art by yesterday's standards, you're doomed to disappoint yourself. It's called living in the past and it will bring you nothing but cognitive dissonance. I for one don't want all of today's art to sound like yesterday's. I don't want film music to stagnate, I don't want the film medium to be satisfied with outdated standards. I want progress, and I'm prepared to accept that sometimes that means departing violently from comfortable shores. Change is scary, but it's also inevitable.

Today's film music is significantly different and needs to be appreciated as such. Sometimes it won't be much fun to listen to outside its film (The Hurt Locker, etc.) but does that make it inferior film music? Inferior music? Where do you draw the line? Well, you draw it wherever the hell you want to — I realize that.

My point with all of this was just to make sure that those who do come down so hard on modern film scoring realize that there is just as much craft and artistry that goes into today's "great" scores as yesterday's. It is not the same craft, but I don't believe one is more valuable than the other. It's a matter of perspective, and I think as appreciators of any art we must strive to have a balanced and fair perspective whenever possible, within the framework of our personal preferences.

Now, I'm going to go continue being a jaded plebeian who enjoys the impeccable orchestration, memorable (if terribly derivative from previous works) themes, and lively sound of How To Train Your Dragon. Thanks for reading so much if you did. :)

I can't bring myself to engage too much into debates about film music's current "climate", but I would like to chime in to point something out here.

[snip for brevity]

Fascinating post, and one I would like to make a number of comments on - but those will wait for later. I do agree with most of what you say, and I feel that perhaps you've misunderstood some of the more vitriolic "anti-modernity" shorthand that we use here, and have drawn the conclusion that we haven't thought it through. Entirely understandable. A lot of the points you raised will make... uncomfortable reading for some, which is of course a good thing; if one can sustain a well-wrought challenge to his views, consider the challenge fairly, and still in good conscious maintain those views... then he is stronger and more assured than before.

There are two issues; there is the fact that modern film making tends to breed scores of a lesser quality (you know what I'm getting at; don't try to tell me that Iron Man is artistically equal to Schindler's List or Chinatown, etc) and there's the additional problem that the lower expectations and lower quality requirements is breeding lesser composers... or at the very least, it's not allowing composers the opportunities to hone their craft as they could do in the days of olde.

Creating music out of ambient noise, pads, and well-trodden contemporary cliches - HOWEVER superficially appropriate they may be in their film, and however well they function - is a world away from composing something that intelligent, measured, thought out, thematically rich, developed, and imaginatively arranged.

Sure enough, people today would argue that those concepts are out dated... and that if you can really score a movie with rumbling noises and a couple of Korg keyboards, then it makes no difference anyway. There is the lowest common denominator. Quality NEVER mattered to most people. But it mattered because film makers and composers alike wanted to make something great that would stand the test of time. They didn't just work out what their audiences thresholds were and play to them - they created something that could be proud of.

You argue that film music isn't just about the music; it's about the film. This is true, but this has ALWAYS been the case! When Star Wars was being made, it looked like a tacky Sunday afternoon kids movie. Even the producers have stated that they had no great ideas for it, and no pretenses that it was great art. And look at where it stands today. Look at what Williams accomplished; did his music make Star Wars? Unlikely, but I wonder if it would have the same staying power today if it had received a cheap seventies score like any 1977 audience would've expected and been entirely happy with, going in to see a silly movie about a hairy man, an annoying prat, a gay robot, and a chick with weird hair banging her brother. ;) [Star Wars fans; do not flame me - I describe the movie like this to illustrate a point. I don't like Star Wars the movie, but I have utmost respect for its fans.]

It's because of that personal strive for quality that Korngold's Golden Age scores are still attracting brand new fans, and later efforts like Star Wars, Indiana Jones, etc, will all be remembered forever... whereas The Dark Knight, Iron Man, POTC, etc will be forgotten. Star Wars is thirty three years old. In 2041, the "scores" I discussed above will be of roughly the same vintage. I'm willing to bet you that in 2041, orchestras will STILL be playing concerts of Star Wars, but they won't of any of these other contemporary disasters. An example of modernity at its worst - quick, throwaway entertainment designed to do its job, make a big pack of money, and then disappear.

I am tempted to say, though - with the utmost respect, and a slight hint of tongue-in-cheek - that your comments on this particular matter are somewhat biased, as you are indeed a modern composer working in the modern musical vernacular.

I am so sleepy... Respect and friendship to you all, as always of course, and goodnight. :)

D

Hey tango,

I know you especially have thought it through, so my post was more aimed at the general population of Zimmer-bashers. And you're quite right that I am biased by virtue of what I do, but then we're all biased — it's not like we can make any objective statements. :P

You're also right to point out that in many cases this paradigm shift has led to scores that required almost no craft. There are exceptions to everything. What I was getting at was more along the lines that just because something does not have themes, and is not played by an orchestra does not automatically disqualify it from consideration as a wonderful score.

To the Star Wars example, yes it was all still about the film back then, but the point is that the film itself required a different aesthetic at the time. The kind of score that John Williams produced was perfectly appropriate for the film at that time, but if a similar film would come out today with the same kind of music, I think you would find most people would consider it tacky and overdone. On that note though, I think that John Williams' score did do a lot to make the film...he imparted a sense of grandeur to what was otherwise really a B movie with stratospheric production values. A really entertaining B movie, at the top of its genre, but...you know.

You may well be right about what the orchestras will be playing in 2041 — but then we may not even have orchestras anymore. And the number of brand new fans that Korngold attracts is vastly inferior to the number of brand new fans that Pirates of the Caribbean attracts. I know several people, intelligent and cultured people, who began listening to film music because of Pirates of the Caribbean. It really spoke to them, made them notice the intricacy and accessibility of certain orchestral music (ironic since the first score was like 60% samples, but whatever). Those same people find Korngold to be hopelessly hammy and almost humorously theatrical, and I can understand them. I'm in the weird in-between generation. Korngold was truly far before my time, even though I appreciate his work more than most. All that being said, you and I will hopefully both be waiting in line in 2041 to watch an orchestra play something, and whether it's Star Wars or Pirates of the Caribbean, my hope is that it will still be enjoyable to us both.

I also don't think that any of today's true film composers go into a project thinking they'll write a quick throwaway turd that will net them money and be forgotten. Many wannabes likely have that approach, but anyone who does this because they truly love doing it — those of us who would do it for free if we could pay rent with manuscript paper — still do their best to be crafty and intelligent about what they produce, even if the needs of the film dictate that the product be ambient, or noisy, or athematic, or scored for bowed eggbeater and distorted taiko ensemble.

It's a delicate process though...there is a LOT of competition, Hollywood-level gigs are exceedingly difficult for an unconnected (but gloriously talented) composer to get, and consistent work is tough no matter what. Under those circumstances, one can't always ignore the audience in favour of personal fulfillment. The audience must be included in that fulfillment, because otherwise no one will hire you again, and then you don't get to write any music. It's vicious, and it's probably not as conducive to true innovation as it should be, but it's the way of the world.

Interesting topic for discussion though. :)

I agree to some extent with your points Mathazzar that certain modern music can be good without having all the wonderful things we got to expect from older scores. As many of you know, I didn't start purchasing soundtracks until 2007 or so and at the start I was heavy into Zimmer. Now why was I heavy into zimmer to start? Because most of his soundtracks are instantly accessible and grabbed me. However, I also recently deleted all my zimmer I had on my hard drive because it wasn't keeping my interest.

This brings me to Tango's point of the lasting appeal of scores. It may be true that Zimmer's music has that extra ability to appeal to the masses and that is wonderful but at the same time, anybody who is hooked by that has to find other better music to truly keep their interest for longer than a short while. Sure I can go back and listen to The Dark Knight from time to time but I don't get the same excitement as when I pop in The Mummy Tomb of the Dragon Emperor or something from Randy Edelman. It is the same way with any music. Certain things can grab you and excite you for a few listens and then after that fade away. I think what we all want is to have more in the latter category of music that holds your attention for years down the road.

When John Williams wrote Star Wars, that particular style of symphonic scoring was not in vogue - electronic and pop scores ruled the day. Neither in vogue was the tone of the film, it being a straight-ahead, optimistic good-guys-triumph-bad-guys kind of movie at a time when the theaters were dominated by gritty, "dark" films which reflected the overall sense of depression in the country. We were fresh from Vietnam, a corrupt and ousted president, an oil crisis; feelings were low, so the movies were The Towering Inferno, and The Poseidon Adventure and Aiport. A large part of the reason Star Wars was so huge was because people were so desperately ready to feel something else. I recall no less a person than Walter Cronkite commenting that people wore "May the Force Be With You" buttons as a sort of badge of optimism. They might as well have read, "Hope and Change." Does this sound familar?


Hans Zimmer has not destroyed film music. Young filmmakers with less training, experience, and context have seized upon the feelings of their audience and created films which utilize elements familiar to them - videogame graphics, and music with pop roots.

But also, part of the reason the "old school" music isn't in vogue today is because few composers of my generation can do it. They're not trained symphonically, and they don't seek to learn. Filmmakers have a funny way of using mainly what they have access to.

But like in the late 70's all the gritty "realism" and depression gives way under its own weight eventually. That's what 3D is all about: filmmakers trying to make movies fun again, despite the content. Gimmicks they know how to do; it's easier than actually making good movies. But that's not all filmmakers. I meet young talented directors all the time who love and understand the value of music which has as much storytelling sophistication as the script. And the pendulum swings. We still listen to symphonic music hundreds of years old because emotionally it's still relevant. Its staying power has been proven, so relax.

There is absolutely no question that today's symphonic scores are pale imitations of yesteryear's scores; that's true on the starkest musicological level; it's a fact. That they might be satisfying is proof that one can get used to hanging by one's thumbs. But let's not wish away satisfaction. If you like what you hear, it's a gift; enjoy it.

Remember, the only constant is change.


_Mike

...But let's not wish away satisfaction. If you like what you hear, it's a gift; enjoy it.
Really well said, Mike, that's what I was trying to get across. :)

...but if a similar film would come out today with the same kind of music, I think you would find most people would consider it tacky and overdone.

Good point, and sadly I'm inclined to agree, to a point... Folk who haven't opened their minds to the finer scores of yesteryear seem to think that type of score is easy to do, or that because it's so "in your face" it lacks subtlety. Not so - the subtlety is in different places, but it's undoubtedly there.

And, whilst I could quite happily sit down and write a score, right now, that would fit extremely well into the current Hollywood genre... there is no way in hell that I could write Star Wars, or anything similar... and if I ever were to be able to do something a tenth as good, it would only be after years of study and dozens of attempts.

There are a lot of people around who can make the sounds - but in naive, untrained hands, they can completely be cheap, tacky, and overdone.

I think massive, symphonically busy, theatrical scores really take some doing... but if somebody did one today, and they did it right and at appropriate places, I think it could completely work. (I walked in on my mother watching an old pirate movie the other day. I don't know what it was; it wasn't scored by Korngold, but whoever did was guilty of trying to pull off Korngold's acrobatics without his acumen. All blow and no go. The scene that was playing at the time made me burst out laughing; a man was sitting in a motionless lifeboat. The score was going absolutely INSANE; hyperactive brass fanfares, fast string runs, shrill woodwinds, rolling timpani and clashing cymbals... Very much in the 40s style of completely shameless melodramatics; where the music is going so fast you actually start to feel vaguely uncomfortable... And it was SO BANAL. It was nothing more than somebody going hell for leather on orchestrational autopilot.

Later on, a very limp fight broke out aboard the ship and we had probably twenty brass blasting out 16th note fanfares fortissimo, and it got even worse. This was the sort of music you'd hear in Tom and Jerry - and absolutely SOD NOTHING was actually happening in the film (unless you count half a dozen sleepy looking unshaven men stumbling around waving blunt swords at one another while a chained-up thoroughly stupid looking woman with enormous breasts and impossibly tidy lipstick looked on as "something happening"...)

Point is, it was overdone, it didn't belong with the images, and the music itself had no merit beyond being loud, incredibly virtuosic (in the most turgid way possible) and impossibly fast.

I don't really know why I told that story. Damn. Never mind.


Those same people find Korngold to be hopelessly hammy and almost humorously theatrical, and I can understand them. I'm in the weird in-between generation. Korngold was truly far before my time, even though I appreciate his work more than most.

I find it hard to get people who came to film music via Zimmer to appreciate Korngold... but almost without failure, they can develop an interest in some of the leaner, but no-less intelligent symphonic scores of the 70s and 80s. Something like Capricorn One - Goldsmith at his late 1970's finest. Not at all theatrical, not overdone, and never a note played at the wrong time.

Don't get me wrong - I don't feel that there's room for truly Golden Age style writing in Hollywood today - not yet, anyway. Current film-making styles do not at all lend themselves to Korngold, Steiner, or Rosza. Perhaps they will come full circle and they will again, who knows?

But... I do believe that the style of symphonic scoring as pioneered by Williams and co, and later the works of Goldsmith and Poledouris, etc, would still work incredibly well.

I'm sure our very own Mike Verta would agree with that sentiment...? Do you think you could approach a modern film with your traditional style of scoring - melodic, thematic, motivic - record it with a large unaugmented symphony orchestra, and come out with a score that fit the movie, served it completely, AND satisfied the criteria that it must also be good music? I think you could, in fact I'm sure of it.


I also don't think that any of today's true film composers go into a project thinking they'll write a quick throwaway turd that will net them money and be forgotten.

If Ramin Djawadi went into Iron Man thinking "I am going to write a GREAT SCORE. One that will redefine the genre. One that will be remembered for decades to come. One that will be analysed, disected, performed, and universally adored." then that completely proves my point about composers completely lacking requisite skills...

Or, alternatively, he thought "Right, I have a job to do. They want a contemporary action score. OK, that means they will want a standard MC/RC effort. No surprises, no risks. Let's throw lots of guitars and rock in there as well; young people like all that crap. It'll probably sell more albums if it sounds like heavy metal. I can make a mint from this damn thing and I really won't have to work all that hard. GREAT!"

Shall we place bets as to his most likely thoughts? ;)

Man that sounds like it must have been a spectacular film she was watching. :D


Do you think you could approach a modern film with your traditional style of scoring - melodic, thematic, motivic - record it with a large unaugmented symphony orchestra, and come out with a score that fit the movie, served it completely, AND satisfied the criteria that it must also be good music? I think you could, in fact I'm sure of it.
I agree entirely, and Mike is more than capable. The question is whether or not that score still sounds like the old ones did in terms of outside-the-film listening given that it would necessarily have to be different in tone to match the moods of modern films. That, and would the producers ever actually want that today? I really hope they come back to wanting it so that Mike and his very few peers with similar level of craft and taste can rise up to the occasion.

As for that last bit...I think I already addressed it in my original statement. Remember the part where I mentioned "today's true film composers"? So why are you bringing up Djawadi? ;)

But sarcasm aside, I would venture to guess that none of the great composers at any point in time who wrote a magnificent film score went into it thinking anything beyond the first sentence. All the rest ("...One that will redefine the genre. One that will be remembered for decades to come. One that will be analysed, disected, performed, and universally adored.") is hyperbole and would have been rather narcissistic of them. I believe they thought going into it that they would do their best to write a great score for the film, and have fun doing it.

And in that last part I think they have something in common with Ramin. He may not have thought he was going in writing a great score, but I guarantee you he probably had a hell of a good time putting together Iron Man's score.

Well, when I tried it, it said the servers could not be found. It looks like the site itself is having problems.

I put up a new link in case the old one isn't working at the time


Also on the topic at hand. I think that no matter the "climate", if something is truly well crafted it will shine. For example i know a bunch of anime watchers that are into electronica, but if i ask them what their favorite anime song is they tell me Gradus Vita (http://www.fileden.com/files/2009/6/24/2487612//01 Gradus vita.mp3) from Hellsing.

Im not saying that good stuff can't be looked over, but when you really try and put out a good product people will often respond.

IIs Broughton "greater" than John Williams? Or Maurice Jarre? Or Elliot Goldenthal? If you keep categorizing things like that, you'd need a giant flowchart to show the hierarchy of "greatness" among film composers. And why?

Williams > Broughton > Goldenthal > Jarre

Too easy!

FSM support.

Civil? F*** off! You suck! You and me, outside, right now. Let's settle this like men.

Civil? F*** off! You suck! You and me, outside, right now. Let's settle this like men.

:D tango, how many times have we heard that "debate" (not in this thread mind you)

Many many times... and not once from me! (Though I seem to find myself on the receiving end of that sort of attitude on a disproportionately high number of occasions...)

Do you want some too? One at a time or all at once; it's all the same to me. I will just get some of my coats.

[Only Brits, and incredibly sad geeky ones at that, will get the two jokes there.]

Blaming Zimmer for the "destruction of film music" and all manner of hyperbolic infamy attributed to him is misleading..

I think Zimmer's success was being able to toss his style into the ring during the exact time period in which film itself was undergoing a transition. It's difficult to find a word that encompasses what I'm talking about, but hopefully you'll be able to understand what I'm getting at when I say that the "tone" of films has changed drastically since the days your "greats" were scoring.

I Agree 100%. It’s interesting that you characterise it as a shift in ‘tone’; I bollock on about this all the time, but tone is such a hard thing to pin down, and often it’s difficult to say exactly what you mean. A while ago I made pretty much the same point in another thread and it started a flame war. [Although perhaps I didn’t express it quite as neutrally ;)]

Zimmer shouldn’t become the scapegoat for the way things have gone. I’m totally with you on it being a case of his coming along at the right time - and it should be said, very shrewdly capitalising on it.


If you keep categorizing things like that, you'd need a giant flowchart to show the hierarchy of "greatness" among film composers.
You don’t. You just need your own perceptions and plenty of healthy debate with other people who appreciate the artform. If we’re honest about it, we all create a kind of hierarchy of what’s most meaningful (to ourselves) in our own minds – that’s why discussions such as these can be so rewarding, because they shake us from complacent ways of thinking.

I understand the sort of oppressiveness you’re getting at, though, and canonising one composer over another is an ugly business. BUT this kind of thing is art’s best defence against the goldfish bowl of populism, against fadiness and forgetfulness. Also in film music, at an ‘official’ level, these schematics are only ever faintly implied. Look at the eclecticism of heroic labels like FSM, Intrada and (it hardly needs to be said) Moviescore Media.


It's called living in the past and it will bring you nothing but cognitive dissonance.
Williams and Goldsmith were fully aware of great figures that had gone before, and what they achieved; likewise Steiner, Korngold and Herrmann of Mahler, Debussy, Wagner, Strauss etc etc. This isn’t something that necessarily threatens contemporary achievement or understanding, but enriches it. Why in particular should Zimmer, Jablonsky, Gregson-Williams or Powell be exempt from that ‘tradition’?? If they were unduly neglected I’d see where you’re coming from. And if indeed human discourse has moved on from the need for concepts of ‘greatness’ in arts and culture, why should it even be an issue?

A more real oppressive scenario, however, is that Zimmer is pretty much synonymous with film music to the wider audience, and that the style he has engendered is starting to look more and more like a hollow repeating formula. Applying the same techniques to any subject matter doesn’t sound to me like ‘the music bends, no matter what, to the needs of the film’. The homogenised tone of contemporary Hollywood shouldn’t be inverted as some sort of expressive freedom or ultimate artistic goal that composers delicately attend to. What are so frequently characterised as a barbaric army of ‘Zimmer bashers’ are in actual fact only a small handful of people who hold a different view to the vast majority; in pop terms, a niche within a niche within a niche. They might occasionally be vociferous, forceful arguers (naming no names ;)), but this is precisely in proportion to the overwhelming weight of popular opinion. We need dissenting voices people! Is it so hard to believe that some folk just genuinely don't jive with this stuff?

An awareness of greatness (or lack thereof) needn’t interfere with ‘satisfaction’ either, as has been implied. And I suspect it doesn’t in most cases. You’d all fall about laughing if I told you some of the absolute tripe that I enjoy on a regular basis, but I don’t have to pretend in the sameness of everything or that Great Art is a lie in order to enjoy it.


I walked in on my mother watching an old pirate movie the other day.
Could it have been The Black Swan? Not a brilliant film by any stretch of the imagination. The score was Alfred Newman, who at his best is incredible. The music seems unremarkable by Newman’s standards, but I only know it from hearing it in the movie. The main reason I sought it out is that I love early Technicolor.

The point about ‘old movies are so LOL’ though has reminded of why I dread the experience of going to classic film screenings these days. Just to be clear, I don’t attach this attitude in general to you Tango, or Mathazzar, and agree that Black Swan (if that’s what it was) is a pretty silly camp-fest. But it seems that modern audiences are so conditioned on films whose whole purpose is to be ‘cool’ that they find almost anything outside of that tonal range risible. I went to see RAN, of which I was already a devoted admirer, at the student cinema in York back in 06, and there was smug laughter from everyone through practically the whole movie. It made it unbearable to watch, absolutely soul destroying. It seemed to crescendo at moments of stylised theatricality in the performances – but, hello, this is the whole point! I only give that as an example because it’s one of the most ‘unfunny’ films I can think of. It’s happened time and time again. The audience that sits chuckling with superiority because ‘Oh my god, that decor is soooooo 50s’ in a Douglas Sirk movie - made in the 50s - are the same jaded bunch that can’t get enough of the empty, starched, retro fashion show of Mad Men. Why do these people bother? Because their pretentious enough to want to ‘tick the box’ of seeing the film, but too ‘hipsterish’ and emotionally one-dimensional to give it a chance? Sorry, that was totally off-topic. I needed to vent :).

As for Korngold being hammy, well, you know what they say.. more korn than gold ;)

Nah, I certainly don’t subscribe to that, but on a superficial acquaintance with his music you could be forgiven for it. The more you know of Korngold the more you appreciate the supreme poise, craft and, yes, emotional nuance of his music. Films like Robin Hood, Sea Hawk etc didn’t take themselves seriously in the way that modern films do. The unashamed joie de vivre of the scores reflect that.

Anyway, I’d love to respond more fully to the excellent posts over the last page or so, but it’s early morning here, and I don’t switch on to life till lunch ;) Thank you all for a thought provoking breakfast!

Hey Mike!

Great to see you in here again!

Its funny you mention the movies of the 70's, my mom was just today, again telling me how dark and depressing so many movies of that era were and how Star Wars was such a refreshing change, a movie where the good guys were good guys and won the day, rather than something gritty and offering little in the way of a true good guy, but rather someone who was borderline and often did not make it to the end of the film. The music does match the mood of the film, and Star Wars was a return to the classic adventure's that we got all through the early part of the century (The Sea Hawks and Prince Valiant come to mind as a comparison!)

And your last statement is a very good point. Things will change. Like with anything else nothing is permanent and goes through phases. I'm personally hoping sooner rather than later. I miss the grand film scores of the 80's and early 90's. There's still people writing the types of film score's I love, just not as many. I wish so bad that there were more. And some just don't seem to put much effort into it either, which is sad.

An example is the last few Harry Potter film's scores, ever since John Williams stopped working on them. They have become increasingly simplistic, small and well, just lacking a sense of fun and mischief Williams had brought to the scores. Which is a terrible shame, since the 3rd films score, I think, was really starting to take the themes somewhere grand. Williams had developed them over a total of 3 films and by the 3rd one we really got a sense of where things were going and it was a treat to see musical themes evolving right before our eyes. I'm miffed that again, the director of the films has chosen not to try and get Williams to do the last 2 films scores. I can only wonder how the music would have turned out if he had.

anyways, I'm rambling. I am very glad though, that there ARE some people who are trying to keep the great orchestral scores going. And when they get a gig and put our a brilliant score I am all the more happy and grateful :)

Big discussion here I see. But I'm here for another reason.

First of all - Resonance of Fate. Tanaka score is awesome, I really love the mood of his music. And that's a good news. The bad is that out of 6 CDs 5 are Sakuraba. Yeah, 5 hours of his music. Fuck him;P.

Second - maybe you guys know Baba Yetu. Well, I think you do;). So, maybe U also know that man behind it, Christopher Tin released whole album called "Calling all Dawns". And if you don't then... Now you do;). It's basically collection of orchestral songs (sung in many languages) written by Tin. And I love this album. It's very nice, pleasent to the ear, not very challenging piece of music - which doesn't mean it's bad, 'cause it's not. It's kinda... easy-listen. I don't wanna post whole album, instead of it I give you the link to Tin's official site, where you can hear most of the thing (samples are more than 2 minutes each, so u can get image of it quite easily).


http://www.christophertin.com/callingalldawns.html

Hope you like it guys. And if it's here aleady then sorry. I really hate search engine on this forum (and I think it hates me too;)).

Herbaciak - its more like 2 discs of Tanaka because there are 40 tracks on the soundtrack composed by him totaling about 80 minutes of music. Plus, if you had ordered any soundtrack that included sakuraba on there if you don't like his style I would have laughed at you. I on the other hand ordered it well knowing that sakuraba was going to do a heavy amount of progressive rock which I love.

Plus, if you had ordered any soundtrack that included sakuraba on there if you don't like his style I would have laughed at you.

Yeah, I know there's 80 minutes, which is actually one full CD. That' s how I count it;).

And I actually loved Sakuraba's music back in a time, but he annoys me now more than... Ramin Djawadi;). He was a great composer, he wrote a lot of awesome, beautiful music, but now, he is one of most repetitive composers I've ever knew. He's still writing to RPGs, his scores are still HUGE and it looks, that somewhere during his creative road, he completely forgot that quantity doesn't equal quality. His scores sounds the same, hell, he doesn't even try to make sound 'em different (is this really that hard to use different sample library once in a while? Such small thing will give his music a bit of fresh air...). And sorry, but almost 5 hours? Especially when most of the tracks are in two versions is a bit too much. Imagine your favourite band. And now imagine that they are about to release new album. And playtime of it will be about, well you guessed, 5 hours. You really think there is a band which can write 5 hours of music in few months, even one year, without being repetitive (ergo boring)? Well I don't believe in it. Listening to the music should be about pleasure, and for me there is no pleasure in listening to 5 hours of similar tracks (in mood, instrumentation etc.), and dreaming that I will actually hear something awesome once in a while.

But to be completely honest I still can listen to his old albums like Star Oceans 1, 2 and 3, first Valkyrie Profile, first Baten Kaitos, Shining Force, even Trusty Bell, his AWESOME live concerts, Gikyoukuonsou... He DID a tremendous portion of great music. But now? Well I really don't care for him.

And after all, I really thought that proportions on Resonance of Fate would be a bit more balanced. You know, fifty-fifty or something like that. Seems I was foolish to believe that. Well, it happens.

Yeah but I love the B-side versions of most of these tracks. The A versions are usually electronica and boring but the b-sides are pure progressive rock with great use of common synthesizers and drums.

So i just wrote a piece for a trailer for an adventure game.
Keep in mind that its supposed to be fun and over the top, not a piece of serious classical music.
Also i am in no way a professional, so don't be too harsh. Sorry for the midi sounds and mixing.

Sounds pretty good. It feels like something you'd expect to hear on final fantasy or grandia.

Forgive the double post, but I figured it was necessary to separate the tone of my previous post and the tone of this one - as they're very different. :)

Here's another entry in my "Upgrade A Crappy Sounding Rip Of Something Popular" series - this time, I take great delight in offering you...

[CENTER]Inuyasha Koukyo Renka: Wind - Symphonic Theme Collection
Various Artists
Performed by the Japan Philharmonic Orchestra



MY ENCODE - LAME 3.98.2 -V0 / Scans included



The link seems to be down now, I was hoping to check this out.

Well, as we speak of it, here it is:

http://d.imagehost.org/0271/vceinc01-store_1943_2646879.gif

Trinity and Beyond (The Atomic Bomb Movie) - William T. Stromberg (320k)
http://rapidshare.com/files/101363584/TaBcbr.part1.rar
http://rapidshare.com/files/101367178/TaBcbr.part2.rar

Music Composed and Co-orchestrated by William T. Stromberg; Conducted by William T. Stromberg; Addtionall Music by John Morgan, Lennie Moore and Edgardo Simone; Co-orchestrated by John Morgan, Lennie Moore and Edgardo Simone; Performed by The Moscow Symphony Orchestra.

"An acclaimed documentary about the development of nuclear weapons charting the progress of mankind's most destructive idea from the first tests in the New Mexico desert through China's development of its own bombs, Trinity and Beyond is narrated by William Shatner and attracted praise from all quarters on its release in 1997. Directed by Peter Kuran, who made his name as a visual effects man at Industrial Light and Magic (working on Star Wars was something of a big break!), he saw good music as being paramount to his film and so wisely enlisted the services of William Stromberg, not a household name to the general public, but certainly one to lovers of classic film scores." (From Moviewave)

01. Monument Site / TNT Test (3′00)
02. Newsreel Part 1 & 2 (2′44)
03. Fat Man & Little Boy (1′49)
04. Hiroshima / Nagasaki Requiem (3′31)
05. Crossroads (1′18)
06. Armada Annihilation (2′13)
07. Deus Vult (2′19)
08. Nautical Graveyard (1′58)
09. Operation Sandstone (2′20)
10. Improved Stockpile Bomb (1′10)
11. Russian Parade (1′05)
12. Operation Ranger Able (2′22)
13. Operation Greenhouse (1′10)
14. Boosting With Tritium / The George Device (2′42)
15. Precursor Of Grable (2′32)
16. Castle Bravo (3′40)
17. Operation Wigwam (1′28)
18. Thermonuclear Cherokee (1′59)
19. The Hood Device (2′48)
20. Operation Hardtack / Teak And Orange (3′23)
21. Russian Monster Bomb / Operation Dominic (3′07)
22. Christmas Island Test (2′18)
23. Thor Missile Tests (2′59)
24. Chinese Work Song / Chinese Army (3′31)

Total Playing Time: 57′26

I was wondering if you could reupload this score since the link seems to be dead.

The link seems to be down now, I was hoping to check this out.

BUGGER, broken already! No worries - reuploading now. :)

Thanks for the super quick reply, appreciate it :)

does anyone know any anime music sites where i can get single op/ed nd alum and the sites r updated regually ? thank you

I get them from http://tokyotosho.info/?cat=2 but you have to use bittorrent. They usually have new singles up soon after release.

Inuyasha Symphonic Theme Collection now reuploaded. Go grab it before Uploadmirrors stuffs up yet again... http://uploadmirrors.com/download/8VL0EBTY/VA-IKRWSTC2.rar (Original post updated too.)

Regarding End Of Eternity... What can I say? I'm crushingly disappointed. You've no idea how much it pains me to say that, but I find Tanaka's material for the most part, rotten. Three or four good orchestral cues, a great deal of ambience, and some wonderful pieces inexplicably spoiled by percussion loops. (See "Upper World" - all the makings of a propulsive, Goldsmithesque, brusque brassy action cue, and "Resonance Of Fate" where a lovely orchestral finale finale is completely wrecked.)

Perhaps I'm being unfair... but I think I was expecting the score of Tanaka's career here... and what I got was about ten minutes of excellence, ten minutes of excellence spoiled by poppy beats, and an hour of drabness.

Incidentally - stats: Tanaka's score 1:22:48 (82 minutes, 48 seconds) Sakuraba's score 4:49:34 (289 minutes 34 seconds) - meaning the album is 28% Tanaka, 72% Sakuraba. Note that not all of Tanaka's score is symphonic and of the pieces that are, a significant number are reduced ensemble or the full ensemble "augmented" with inappropriate electronics or percussion loops.

:( :( :( :(

I honestly haven't made it all the way through the score yet, maybe that is a sign that I should cancel my order. There are certainly some nice tracks from where I got through but its not really worth the full price from what I've heard. About half of the sakuraba tracks are electronica rather than rock and not very interesting.

I honestly haven't made it all the way through the score yet, maybe that is a sign that I should cancel my order. There are certainly some nice tracks from where I got through but its not really worth the full price from what I've heard. About half of the sakuraba tracks are electronica rather than rock and not very interesting.

I'm enjoying the bad Sakaruba tracks more than the good Tanaka ones... and that's saying something coming from the likes of me. Please listen and make up your own mind though; whatever you do, don't use my judgement to decide whether or not you want to purchase. I may be having a bad day... or you may like it...

Let's just say that it completely falls under my expectations.

I'm enjoying the bad Sakaruba tracks more than the good Tanaka ones... and that's saying something coming from the likes of me. Please listen and make up your own mind though; whatever you do, don't use my judgement to decide whether or not you want to purchase. I may be having a bad day... or you may like it...

Let's just say that it completely falls under my expectations.
I think that my earlier comment of not making it through the score deals more with how repetitive it is than anything else. I will have to make my own personal edit of it sometime to cut out the A versions and a few other tracks that were kinda blah. For example - Square Garden Red and Green plus Square Garden White what the hell is this music.

Well, I really like Tanaka's work. It has awesome mood (saxophone? hell yeah!), the use of synths is crazy (they sounds like... well, like crap, but somehow they feel just right) and also I adore the beats (Upper World is great!) - not because they are awesome, but because they are so unexpected. But mostly I like Tanaka's part because of forementioned mood. It's kinda dark, a bit gloomy... I don't know, but it just got to me. So I'm far from being dissapointed. Imo it's a score that everybody should check and make his own judgement.

And Tango, thanks for stats:D.

And just where are people getting this huge album of Tanaka's? @-@ Lnk please?

I'm uploading the full End of Eternity/Resonance of Fate to rapidshare for those who hate torrents.
EDIT: posted here: Thread 75190

Randy Miller - Pirates of the Plain -Composer Promo
|MP3 VBR V0 - 90MB|
|Orchestral|Adventurous|Swashbuckling|Action|

http://rapidshare.com/files/368859031/Pirates_of_the_Plain_-_Composer_Promo.rar

Does anyone here happen to have the soundtrack to Mutiny on the Bounty (1962) by Bronislau Kaper? I skimmed around the forms and found not but dead links. Would be ever so grateful if someone does

You are welcome, i'm glad, that you like this track. i'm very astounded how much different musictrends in Hisaishis Works are included, but all are so beautiful, warm and emotional. by the way, i would upload the whole album, when you like it ^^

Ah, ups, almost forgot...arthierr, here, a little gift for you ^^

Vienna Symphonic Orchestra Project Vol. 7


Kbps: 320

01. Could It Be Magic, original by Take That 04:24
02. Earth Song, original by Michael Jackson 07:45
03. Conquest Of Paradise, from the Movie 1492: Conquest of Paradise 05:05
04. Heaven For Everyone, original by Queen 05:21
05. Lemon Tree, original by Fool's Garden 03:09
06. An Angel, original by the Kelly Family 04:44
07. Love Is All Around, original by Wet Wet Wet 05:28
08. Golden Eye, original by Tina Turner 03:50
09. Have You Ever Really Loved A Woman, original by Bryan Adams 04:51
10. Mayor's Fanfare (Song Of Good Will) 04:19
11. Magic Reprise 00:57

VSOP Vol.7 (http://www.sendspace.com/file/nkwce6)

I was wondering if you could reupload all of this series since sendspace does not seems to contain the links anymore.

Hello everyone I would like to know if what qun Aurra of the FHB games Huxley by Kevin Riepl

What if the FHB q'un avai its setrrai Yper download the good of this site

Hello everyone I would like to know if what qun Aurra of the FHB games Huxley by Kevin Riepl

What if the FHB q'un avai its setrrai Yper download the good of this site

My God, I actually know what this guy wants. It's a miracle, considering his debauchery of the English language.

Coming to the party late, as usual. Just wanted to share an experience that I had which, I think, says a great deal about modern scores and the typical movie viewer.

A friend of mine ordered a soundtrack. What she got was the score and her exact words were "All it was was a collection of background music".

To me, that kinda says it all.

Hello everyone I would like to know if which q' Aurrai the b�o of Huxley by Kevin Riepl

if you have the b�o of this pourri� album tested you of found for downloaded on your site its tightened well

many gen Na have a chance has to have this album

pourri�vous tested sought or of found to same me jarrive step found tested if daN your with dimensions you pourri� found this album

I thank you for davoir listened to my message

Coming to the party late, as usual. Just wanted to share an experience that I had which, I think, says a great deal about modern scores and the typical movie viewer.

A friend of mine ordered a soundtrack. What she got was the score and her exact words were "All it was was a collection of background music".

To me, that kinda says it all.

heartbreaking, but unfortunately probably a common sentiment among most of the movie crowd

heartbreaking, but unfortunately probably a common sentiment among most of the movie crowd
I saw this on the reviews on Amazon from Leap Year. The soundtrack had some very nice music by Randy Edelman and everyone was annoyed because it had no "songs" that were in the movie.

The irony is that most of the music people do enjoy (ie pop music) is used as background music to activities people do in their everyday lives (ie working, studying, exercising, driving.)

I saw this on the reviews on Amazon from Leap Year. The soundtrack had some very nice music by Randy Edelman and everyone was annoyed because it had no "songs" that were in the movie.

The problem with orchestra is that it is the most "think man's" form of music out of all of the variations out there. The human race has fallen to such a point that to think after school is an anomaly, not an expectation.

Hi mates, long time no see! Good to see this thread highly active: Orchestral Music FTW! As usual thanks a lot for the great posts (especially the new Sahashi!).


There's a lot to catch up in here, but as I tried to DL some of the albums posted lately: BIG PROBLEM - uploadmirrors has apparently lost most (all?) of their links. Result: some albums are now unavailable, especially some posted by Tango and Shadow. For instance I tried to DL Intelligent Qube and Dragon Quest IX: Protectors of the Starry Sky, but they're both broken. Could you please reup them, Shadow?


I also have a special announcement: I'll post soon an amazing score composed by one of the composers frequenting this thread. The good man has finally decided to re-orchestrate and publish for the 1st time one of his finest creations. This is something truly impressive, I'd even say prodigious, especially when you know that he composed it in high school, when he was 17! In fact this score is superior to the vast majority of what comes from Hollywood nowadays. If you don't believe me, then wait a little, you'll be soon convinced...

Koichi Sugiyama
Tokyo Metropolitan Symphony
Dragon Quest IX: Protectors of the Starry Sky
|Originally uploaded by ShadowOnTheSun|


1. Overture IX
2. Angelic Land
3. Destiny ~ Prologue to Tragedy
4. Oboe Melody in the Castle
5. Beckoning ~ Dream Vision of our Town ~ Tavern Polka ~ Beckoning
6. Hills and Meadows ~ Together in the Fields ~ Soaring in the Sky ~ Hills and Meadows
7. Village Bathed in Light ~ Village in Darkness
8. Build-up to Victory ~ Confused Ambitions
9. Gloomy Cavern ~ Dungeon Waltz ~ Atmosphere of Death
10. Gathering Place ~ Altar of Change ~ Sadness of the Heart
11. Sandy's Theme ~ Sandy's Tears ~ Sandy's Theme
12. Pathway to Good Fortune ~ Cathedral of Emptiness
13. Final Battle
14. Journey to the Star-Filled Skies ~ Defender of the Star-Filled Skies

http://rapidshare.com/files/369335986/KSDQIX.rar

I can't bring myself to engage too much into debates about film music's current "climate", but I would like to chime in to point something out here.

Blaming Zimmer for the "destruction of film music" and all manner of hyperbolic infamy attributed to him is misleading. I mean I'm sure he appreciates the publicity, but I always get the impression that you guys are kind of missing the point. What changed the music is ultimately not one man's stylistic innovations — as far as I'm concerned that's giving him more credit than he deserves.

[...]

Yep, you're right.

Your post just opened my eyes. Every assertion in it is SOOOO original, so wonderfully unique and ground-breaking. None of us here already figured out long ago (and certainly years before you) what you express in it so eloquently. We were all, as you say, "missing the point". How dumb and naive we are!

Also, I used to believe that there was something timeless in these symphonic masterpieces from Hollywood, that the "greats" (who aren't such anymore thanks to your post) were the worthy successors of the classical / romantic composers from the late 19th century, that there was something common in their way of doing grand, lush, lyrical symphonic music for big orchestra. But noooo, I was so wrong, it's called "living in the past and it will bring nothing but cognitive dissonance", to use your own words. Now I realize that "newer is better" and "older is crappier". So, if I apply this principle, I can tell that Djawadi is better than Horner, who's better than Korngold, who's better than Dvorak, etc. It was so obvious!

Sorry if I don't answer your post more precisely, but I don't have time nowadays to spend 1 hour consulting 150 times my french-english dictionary to do so. However, you sure had some bollocks to come here and say "hey guys, you were all wrong, here's why", and only for that, I applaud you! ;)



Sirusjr: thanks for the re-post :)

Arthierr,

That was definitely not the interpretation I was hoping to elicit with my post, but I understand where you drew it from. :(

I'm sorry if I've offended you with my re-statement of what was apparently obvious and unproductive. Evidently I lack the wisdom to judge these composers as you do, or to know well enough to stay out of discussions among more qualified people on an internet forum.

As I stated in my post, I do thoroughly appreciate and enjoy the music of all of those composers, from Korngold to Zimmer, and my intended point was that I think it would be nice if more folks were willing to stop mud-slinging and enjoy the work that these people put out. Apparently I missed.

So again, I'm sorry — if the others who replied so politely to my post earlier were feeling the same as arthierr and just not saying it, then I apologize to you folks too.

yeah Arthierr, im working on reuploading the upload mirrors links
thanks sirus for reupping that one for me, one more i don't have to do

I think I understand the point you are trying to make Mathazzar - which is that you should listen to new music and decide for yourself and not judge based on some standards you would have if this was 1980. I certainly have no problem doing that and quite enjoy some newer soundtracks for what they are.

Arthierr,

That was definitely not the interpretation I was hoping to elicit with my post, but I understand where you drew it from. :(

I'm sorry if I've offended you with my re-statement of what was apparently obvious and unproductive. Evidently I lack the wisdom to judge these composers as you do, or to know well enough to stay out of discussions among more qualified people on an internet forum.

As I stated in my post, I do thoroughly appreciate and enjoy the music of all of those composers, from Korngold to Zimmer, and my intended point was that I think it would be nice if more folks were willing to stop mud-slinging and enjoy the work that these people put out. Apparently I missed.

So again, I'm sorry — if the others who replied so politely to my post earlier were feeling the same as arthierr and just not saying it, then I apologize to you folks too.

Nah, dude. ;)

Irony doesn't necessarily mean hostility. Even though my reply now looks with some distance a little "vigorous", I'd actually rather qualify it as "facetious", and I didn't mean to be offensive - I hope you understood that.

The only thing that bothered me a little in it was some bad choices of words: "you guys are kind of missing the point", "you're doomed to disappoint yourself. It's called living in the past", "unfair", etc. You perfectly have the right to have your own opinion, and express it here, but you shouldn't do it in a way that seems to say :"You're wrong, here's the truth". You should adopt a more subtle approach: "I respect your opinion but I have a different one, so let's discuss".

Except this little thing, your post is quite brilliant and very eloquent, and often true and pertinent, even though, as I said, you're mostly saying glaringly obvious facts for people who are used to know movie music since many years. Some others statements are highly arguable, but I won't start a discussion about them since I consider they follow from some different opinions and sensibilities. Don't forget that you're posting your opinion in the "Big Orchestral" thread, so people here are *likely* to argue in favour of more orchestra in movie music.

Now you're totally welcome to post any of your thoughts here, and of course your beautiful music as well. By the way, this is the occasion to ask you something: as you're a young and talented composer, often doing orchestral stuff, you must have some kind of promo / sample album. If this is the case, how about posting it here? The better you're known...

^Absolutely Sirus.

And Arthierr! Nice to see you back :)

When Mathazzar said 'missing the point' btw I think he had the impression that we obsessively bash Zimmer as the root of all evil - understandable to a degree. I know when I encounter an argument I broadly disagree with, I tend to 'cherry pick' certain aspects and essentialise it; perhaps so it's easier to shrug off. The lengthiness and sincerity of Mathazzar's post shows that he wasn't simply trying to tell us we're full of shit.

It saddens me that to some this thread seems to present an orthodoxy of judgement on orchestral / film music. One of the things that drew me in in the first place was the sheer variety and passionate debate - about everything from technical and stylistic features to individual composers to the potential future of orchestral composition and practice. The regular loyal posters obviously lead to recurring themes, but there is no consent, other than (I think) we agree that the orchestra is the most wondrous meta-instrument the human race has devised. This is not a Zimmer bashing club - all have very different ideas and tastes. For starters, I'm sure I'm the most far gone on the "culture is dead" hobbyhorse (but I try my best to rein it in ;)).

I'm certain everyone here keeps an open mind to new music as well. Maybe in some instances we even try to *will* it to be better than it is (see Avatar). But keeping an open mind isn't the same thing as accepting the status quo, and it's perfectly legitimate to feel disappointed by 'changing' standards.

Where I depart, Mathazzar, from your argument entirely is at the deconstruction of 'greatness' and assertion of newness for its own sake. For me, enjoying Goldsmith, Herrmann, Rozsa etc has nothing to do with 'living in the past' and everything to do with the richness I get from it in the here and now, the very immediate emotions it imparts (plus everything on top that the word emotion doesn't do justice to); and furthermore, the very real presence of a great mind and a great human spirit. It's purely academic to me, when I'm hearing the vibrancy and life in this music (and indeed in Haydn, Beethoven, Wagner, Sibelius..), that it was written years and years ago. Good music is timeless, and aren't we at a privileged point in history to be able to savour it all!

No need at all for apologies. Great posts!

Well said Lens. As I read this post I am listening to my wonderful copy of Knights of the Round Table/The King's Thief that FSM released in 2003. The music is glorious in lossless!

That's an amazing sounding recording for its vintage.

I wish I could say the same about Newman's Song of Bernadette, which I've got on now. I'm sure Varese did all they could. But I'd die of joy if McNeely and the RSNO got to it, or Stromberg. Ethereal isn't in it! I could cry every time Bernadette's theme shimmers on high :swoon: :puppydog: :swoon:

Hi guys,

Well besides the poor wording choice on my part with some of my needlessly direct assertions, I think the problem is also partly that my post should have been directed at a different audience, one that doesn't already take these things as "Duh". You'll have to forgive me, I write for a review site (http://anonym.to/?http://www.tracksounds.com) in my spare time, and sometimes we get the most retarded commentary coming to us from the film music community at large — I guess I should have written to them, not you fine folks.

Sirus, that's exactly right, and again it's more proof that you folks are way ahead of me here. Preaching to the choir. :P Lens, I really like that last paragraph...presence of a great mind and spirit, that's a lovely way of putting it.

Arthierr, you're right about the album and I really should put one together. I'm delivering two short film scores this week and it's been hectic, but I'll see what I can do. The issue is that (being young and "modern") it's very rare that I get called on to actually exercise whatever breadth of orchestral writing ability I may have. I'm sure you know how it it is. Everyone wants pads, fads, and synth drums these days. And the short films that I tend to get called for don't really need a huge and intricate orchestral sound to begin with. Mind you, that's allowed me to have a LOT of fun making my own sounds and twisting them, but doesn't do much for my orchestral repertoire. Anyway, that being said, I put together a short EP of some tracks I did a little while ago (I've polished up my template since then) for a horror film. It was a really fun little film to score, even if it was pretty rushed. I was channeling my inner Chris Young a bit, albeit with a smaller ensemble. You're more than welcome to see what you make of it:

I Believe In Mary Black (http://soundcloud.com/mathazzar/sets/i-believe-in-mary-black-original-soundtrack)

Meanwhile, I'm in the midst of a conundrum and it's called The Pacific (HBO miniseries, not the ocean). I've been watching it (part 3 was last night here) and I'm having second thoughts about the music....listening to it on album at first I thought it was a step down from Kamen's wonderful Band of Brothers material, but watching The Pacific within the show....gah. It's really quite moving. The restraint almost seems annoying on album, but when you watch it with the show it really hits the spot. Has anyone else been watching it?

Lens - I have the same problem with the majority of the Miklos Rozsa Treasury. I understand that they are old recordings and can't always be made to sound as great as what I am used to but I couldn't get into a single one of them, especially when compared to the quality of Knights of the Round Table.

Mathazzar - Fantastic score! I especially like Track 5 and the haunting use of vocals. Too bad its only 10 minutes long.

[edit: fevered ranting removed ;)]

I've been enjoying the perspectives you all have been recently sharing. It's refreshing to read thought-out comments from people who are passionate/critical about music. I was just reading this interview with Danny Elfman and thought of Tangotreats -- In the interview, Elfman mentions playing the "Who's that composer?"-game while watching movies (old and new). It amused me to picture a televised version of the game with Elfman and Tango's grandfather hitting a Jeopardy buzzer to guess. The scoreboard may be skewed in Elfman's favor; but not so much as Elfman editorializes that a lot of modern composers are, for various reasons, sounding a lot like other composers...thus making a constant guess of "Goldstein" a potential bet hedger. Anyways, the Elfman-interview is here (http://www.firstshowing.net/2010/03/29/interview-with-alice-in-wonderland-composer-danny-elfman/).


[At the other end of the scale, my grandad; he tries, gawd bless him... but he fails. Krull was on TV a couple of nights back and he turned to me and said "Is this by that Goldstein bloke you like?"]

Michiru Oshima - Sora no Woto Original Soundtrack!
|Orchestral|Relaxing|Romantic|Militaristic|
|Thanks to ANON for posting original FLAC torrent|

MP3|VBR|V0 + Scans
http://rapidshare.com/files/370167814/Sora_no_Woto_OST.rar
FLAC + Scans
http://hotfile.com/dl/35512930/0e642fc/Anon_Sora_no_Woto_Original_Soundtrack_(FLACScans). rar.html

This is a tranquil soundtrack performed by small orchestra with many romantic melodies and sure to touch you. Michiru Oshima is best known for her work on Fullmetal Alchemist, an anime series that she gave a beautiful classical soundtrack. This is worth it for the wonderful trumpet and orchestra rendition of the ever-famous Amazing Grace. Download if you like the beautiful music for anime such as Castle in the Sky or other romantic works by Joe Hisaishi.
SAMPLES:
Track 2: http://www.mediafire.com/?d5xzddyjyyl
Track 17: http://www.mediafire.com/?xtzjmgzojnm

Castle in the Sky is only one of my favourite scores :D I'm sure I'll love this! Downloading now, thanks!

Michiru Oshima - Sora no Woto Original Soundtrack!
|Orchestral|Relaxing|Romantic|Militaristic|
|Thanks to ANON for posting original FLAC torrent|


Thank you Sirusjr and ANON :)
I'm listening track 2 and already like it. Seems to be very pleasing so i can't wait to hear the rest of the album too.

I'm also downloading Clash of the Titans. I know it's Djawadi and there's not big hopes that i will like it, but i should give it a try first. And there's always the magical Rosenthal music from the original movie, to erase the new album from my mind in case if it's another product of the remote control trademark sound.

I'll present soon one Elmer Bernstein album that wasn't posted in the thread before.

Michiru Oshima - Sora no Woto Original Soundtrack!

Oh, my God, what a wonderful surprise to see this so soon! Oshima continues to excel herself at every effort. This music is absolutely timeless, and just dripping with warmth and quality. She writes so eloquently, and in many ways this score feels like a bit of a throwback to her work of the early nineties - but it's fresher than ever.

I will listen very carefully to this and post further gushing comments later on. ;)

Thanks again!

[center]Michiru Oshima - Sora no Woto Original Soundtrack!
|Orchestral|Relaxing|Romantic|Militaristic|
|Thanks to ANON for posting original FLAC torrent|



OOoo just the cover art and mention of Castle in the Sky makes me want to listen to this :)

Michiru Oshima - Sora no Woto Original Soundtrack!



ahh, wonderful
many thanks sirus

Edit:
now that ive finished listening to it i only have one reaction. WOW! What a joy to listen to.

Thanks Sirusjr

Wonderful, this is without a doubt Oshimas best work.
It definetly lets you feel the atmosphere and motive of the show. The score is hearthwarming and uplifting and has a very special mediterranean flair to it.
Michiru has constantly outdone herself with every new score she composed but this one is really something to treasure. Barely does a musical score for any type of Media get better than this.

When you listen to the music you can feel the sadness, isolation and loneliness of a dying world but you can also feel the hope that things are not as bad as they seem and that there is a good side to anything sad that has happened.
Servante du Feu, Amazing Grace, Relique abandon�e, Le pont de pierre and Destin�e portray that very well and are outstanding pieces.
Definently one of my all-time favorites.

The only downside to the offical release are the missing trumpet solos and the instrumental version of servante du feu (does anyone have them by chance ? )

Before I forget, recently I discovered some sort of Promo or Limited Edition Disk of the score (maybe it came with the dvd releases). Most of the tracks (there are 12) are also on the offical soundtrack but there are one or two pieces which are not to be found on the offical release (Melodie de lumiere etc.).
It has also a much better cover and very good artwork. I will upload it soon.

Just stumbled across the samples to Un ticket pour l'espace by Erwann Kermorvant And wow, brilliant from what I can hear! Take a listen if you havn't already

http://www.moviescoremedia.com/tickettospace.html

Here is the Disk I mentioned



Sora No Woto (Sound of the Sky): Promo Score

Composed and Conducted by Michiru Oshima

Tracklist:

01. Servante de feu (4:49)
02. Un lumi�re envo�tante (4:50)
03. Relique abandon�e (3:11)
04. Ciel bleu (1:48)
05. Un bol d'air (1:36)
06. Souvenir perdu (2:09)
07. Le pont de pierre (2:11)
08. Le p�ril (2:06)
09. Destin�e (2:20)
10. Gr�ce infinie (2:09)
11. Apr�s la pluie, le beau temps (1:35)
12. M�lodie de lumi�re (2:34)

Download Link (80 MB, 320kb/s VBO) (http://www.mediafire.com/file/oymxjzzmn2z/Sound of the Sky (Limited Edition).7z)

Artwork included (Sadly, no Trumpet Solos)

Oh, and most important: Buy the Soundtrack, Buy it (seriously, it's that good)

Just stumbled across the samples to Un ticket pour l'espace by Erwann Kermorvant And wow, brilliant from what I can hear! Take a listen if you havn't already

http://www.moviescoremedia.com/tickettospace.html
I second this. I posted a link to samples a few pages back along with other moviescoremedia releases. I think its very interesting that these two Kermorvant soundtracks they are coming out with are a few years old. I would be interested to know how they discovered the music for them.

Here's something special I'm very happy to post. :)



Jeremy Robson
The Knights of Malta

|MP3|192K|85MB|

http://jeremyrobson.com/malta.rar





Let's start with a bit of history. It was about seven years ago, at that time I was making on my own some amateur RPG games, and I needed some good music for them - orchestral, of course. I tried to compose some pieces but they were not at the level I was hoping, plus it was very time-consuming. So I looked for some good midis I could include to my games, but there wasn't much interesting material, almost only amateurish stuff. Then I randomly came across that guy, without much expectation, and... WOW! It was AMAZING! The music was absolutely superb, and the midis were programmed almost perfectly. It was a little miracle. Of course I downloaded all music in his website, notably 3 or 4 complete symphonic scores, artistically superb and professionally made. One of these scores was this very one. At that time it was only in midi form, but Jeremy recently decided to re-orchestrate it and release it at last.

This is some truly impressive material, I'd even say prodigious, when you consider that the author composed it in high school, when he was 17! In fact this score is in my opinion superior to the vast majority of Hollywood's production nowadays. Stylistically close to Horner from the eighties, it shows an incredible musical maturity, is highly cinematic, ingeniously narrative, and deeply emotional. If nobody told me it's a young lad in high school who composed it, I would have believed it was made by an highly experimented and talented professional. One of the fascinating aspects is the fact that it really sounds like an authentic score for a real movie, an adventure / epic blockbuster. I don't know how the composer managed to create this without even having a movie in front of his eyes, but this certainly suppose a powerful and rich imagination to invent a story and its screenplay, and then score it with such a talent!

Now enough talking, let's enjoy to the music!



Ps: I hope you appreciate the cover I especially made for it.

Here's something special I'm very happy to post. :)


Jeremy Robson
The Knights of Malta



I listened to most of this before I forced myself to go to sleep, and it was really good! This is a sensitive, bold, adventurous, but altogether brilliant score. Great job, streichorchester. May you have continued success, because you deserve it!


Also, as a side note, I just ordered a few soundtracks that I'm sure most of you have already, but I'd be more than happy to upload some or all of them should anyone want them. They are:

Ben Hur (remaster of original 1959 recording-2CDs-88 Tracks)
Lawrence of Arabia (1992 Re-record by Philharmonia Orchestra)
Quo Vadis (Royal Philharmonic, 1990, conducted by Rosza)
El Cid (City of Prague, Silva Screen, 2CD)

They should be arriving within 1-2 weeks.

The Ten Commandments

Elmer Bernstein

18 Tracks @ 320 kbps
http://rapidshare.com/files/370474072/The_Ten_Commandments.zip

This is the soundtrack album composed and conducted by Elmer Bernstein, for the classic film The Ten Commandments.
This Cecil B. DeMille epic is not exactly the most subtle film in the world, and so Bernstein composed a big symphonic score with a variety of themes.
The main theme is the one for Moses, and introduced in the first minute of 'Prelude', it's the most played throughout the album. There's also a love theme that you can hear in the first half of 'Love And Ambition, and also a six notes motif associated for God on 'I Am That I Am'. As usual on these biblical movies, there's is a place for some dance source cues, and as far as i know on these types of scores, the use of a theremin played on the track 'The Plagues'.
Some notable action tracks in the 'The Pillar Of Fire' or 'The Bitter Life', and also a march like cue 'The Exodus', that Edward Elgar would be proud of.

Enjoy! :)




Also, as a side note, I just ordered a few soundtracks that I'm sure most of you have already, but I'd be more than happy to upload some or all of them should anyone want them. They are:

Ben Hur (remaster of original 1959 recording-2CDs-88 Tracks)
Lawrence of Arabia (1992 Re-record by Philharmonia Orchestra)
Quo Vadis (Royal Philharmonic, 1990, conducted by Rosza)
El Cid (City of Prague, Silva Screen, 2CD)

They should be arriving within 1-2 weeks.

jakob.nelson, you ordered Lawrence of Arabia but don't know if you are aware that Tadlow music is making a new recording with the city of Prague orchestra, and chances are that this may be probably the definitive recording of Lawrence
http://www.pragueorchestras.com/TadlowWinter2010.pdf
This is one that i will buy when it is available.

Jeremy Robson
The Knights of Malta

Streich this is absolutely fantastic. Very impressive indeed! Great idea to post Arthierr :) I heard Streich's 'Tetris Concerto' on OCRemix recently as well - highly recommended.


jakob.nelson, you ordered Lawrence of Arabia but don't know if you are aware that Tadlow music is making a new recording with the city of Prague orchestra, and chances are that this may be probably the definitive recording of Lawrence.
I'm looking forward to the new recording - Lawrence, both film and score, are just perfect - but I've always been very happy with the Tony Bremner conducted recording. What is considered so inadequate about it? There is a bit more from the ondes martenot compared to the original soundtrack and some tempo variances, but really quite a musical performance. Do I need to listen again?

Thanks for posting The Ten Commandments. A real take-no-prisoners, full-blooded score :)

jakob.nelson, you ordered Lawrence of Arabia but don't know if you are aware that Tadlow music is making a new recording with the city of Prague orchestra, and chances are that this may be probably the definitive recording of Lawrence
http://www.pragueorchestras.com/TadlowWinter2010.pdf
This is one that i will buy when it is available.

Damn. I didn't know that one was in the works, but I might get it as well. I thought about asking you guys which recordings would be the best, but that little voice in my head said "No, buy it nowwww!!". Thanks for the tip, and for the ten commandments!

Question for you composers out there. When you write using sacred choral texts do you often have trouble not comparing it to classics? For example if i wanted to use en terra pax (and so on) when im writing i always diminish what i write because i think of Verdi's Gloria mvt II.

If so any tips in how to avoid that type of thing?

Question for you composers out there. When you write using sacred choral texts do you often have trouble not comparing it to classics? For example if i wanted to use en terra pax (and so on) when im writing i always diminish what i write because i think of Verdi's Gloria mvt II.

If so any tips in how to avoid that type of thing?

I abandoned a (with hindsight, completely hyperactive, over-enthusiastic, over-ambitious) mass a couple of years back because of this. I think it's a problem that gets easier to overcome once you find yourself a style that you're comfortable with. Forget music, and think about the words - think about what they mean, what they imply, and then score your thoughts. I found it easier to concentrate when, to use your example, I stop thinking about "In Terra Pax" as lyrics to a piece of music... and start thinking about it as a heartfelt call for peace.

I suppose that's the big issue with well known texts.

Writing a Gloria is worse; you see the words "Gloria In Excelsis Deo" and your mind just starts playing back fifty thousand Glorias all at once.

Sometimes I wish I could erase given pieces of music from my mind temporarily to ease this very process... ;)

http://ironmanmovie.marvel.com/

click on enter site the hear 14 clips from the score.i can�t stupid ps3. tell me what you hear please. i�ve heard i doesn�t change the first score formula, but brings a proffesional and orchestral element to it.

Well yeah, the producers decided that Iron Man was going to be associated with hard rock - thus the AC/DC album released for Iron Man 2. I don't think the samples can give us a clear idea how much orchestra is used in tracks or how well it is mixed but I at least get a feeling that the orchestra is blended with the guitar and not simply overpowered like is all too common.

Well yeah, the producers decided that Iron Man was going to be associated with hard rock - thus the AC/DC album released for Iron Man 2. I don't think the samples can give us a clear idea how much orchestra is used in tracks or how well it is mixed but I at least get a feeling that the orchestra is blended with the guitar and not simply overpowered like is all too common.

are there real themes?

are there real themes?

Not much of a way for us to tell until the full soundtrack comes out. 30 second snippets are no real indication of any sort of motif or theme.

I've heard it. Don't hold your breath. You will not be able to tell if it's a Spiderman movie, or an Iron Man movie, or a Fantastic Four Movie, or a Hulk Movie, or a G.I. Joe Movie, or a Transformers Movie, or any of 1000 other movies and videogames which are using that identical formula. Though even on the sample of track 6 you'll be able to hear an awfully shameless Goldsmith rip-off thing.


_Mike

I've heard it. Don't hold your breath. You will not be able to tell if it's a Spiderman movie, or an Iron Man movie, or a Fantastic Four Movie, or a Hulk Movie, or a G.I. Joe Movie, or a Transformers Movie, or any of 1000 other movies and videogames which are using that identical formula. Though even on the sample of track 6 you'll be able to hear an awfully shameless Goldsmith rip-off thing.


_Mike

Don't you dare tell me Debney did a horrible job here. Don't you dare. I don't think my heart could take it. :(

Thanks for the comments guys, and thank you arthierr for posting it. Fun fact: I wrote track 5 last December to fill out some other broken ideas I had floating around my harddrive but the rest was written around 2001-02. Has my style changed much? I like to think so.

Thanks for the comments guys, and thank you arthierr for posting it. Fun fact: I wrote track 5 last December to fill out some other broken ideas I had floating around my harddrive but the rest was written around 2001-02. Has my style changed much? I like to think so.

I'll have to take another listen to see if that was so. Steir, most of your compositions are very similar in terms of stone, style and sound I personally have a tough time determining which is more new and which isn't. Not that I am complaining: I love the romantic style of compositions you will get with Hitoshi Sakimoto.

Do you have any other work besides that which is on your site you could share? I personally check your site at least once a month to see if you added anything.

Still waiting for the successor to Cantata for Dancing. :)

THE FILM MUSIC OF ALEX NORTH
Eric Stern conducting the London Symphony Orchestra



MP3-V0
http://rapidshare.com/files/372072799/North.rar

It's time for a little Alex North :) A fabulous compilation of excerpts and suites, showcasing his unique dramatic sensibility, incredible range and supremely authoritative musicianship; not many can compare with this! There's everything from edgy modernism to symphonic jazz to bittersweet romance and gentle pathos, and all played with finesse and sensitivity by the LSO. What's more, it sounds excellent in V0 courtesy of the new iteration of Lame.. ahhhh.

[Note: Unfortunately, I'm not able to offer a scan of the cover because I've lost the cardboard slipcase :( If the (fairly meager) booklet notes are required then let me know]

Enjoy!

THE FILM MUSIC OF ALEX NORTH
Eric Stern conducting the London Symphony Orchestra


Terrific, Lens! After hearing Dragonslayer, Alex North has been on my list of composers to listen to. I'm excited to listen to this!

Thanks lens! I am curious to check out this Alex North as well.

Thanks for the Bernstein TCs -always a rousing score-looking Hawaii-once had it in LP-man that was in the Stone Age-

I've heard it. Don't hold your breath. You will not be able to tell if it's a Spiderman movie, or an Iron Man movie, or a Fantastic Four Movie, or a Hulk Movie, or a G.I. Joe Movie, or a Transformers Movie, or any of 1000 other movies and videogames which are using that identical formula. Though even on the sample of track 6 you'll be able to hear an awfully shameless Goldsmith rip-off thing.


_Mike

Good Lord, it's Total Recall! *grumbles*

...yep, that's it.


_Mike

Good Lord, it's Total Recall! *grumbles*

Sweet! That makes it Conan the Barbarian by association!

Sweet! That makes it Conan the Barbarian by association!

That is amazing.

Sweet! That makes it Conan the Barbarian by association!
I always read Jerry's opening title from Recall as a deliberate homage to Poledouris, announcing "This is an Arnie Movie" with tongue firmly in cheek. Even Terminator opens with a broad melody over an off-kilter rhythmic bass (not an unusual feature in film scores, granted, but these three still stand out). Jerry takes this signature and makes it even more banal, but exciting and upfront at the same time - in the way only Jerry can. You can't help but smile :)

I always read Jerry's opening title from Recall as a deliberate homage to Poledouris, announcing "This is an Arnie Movie" with tongue firmly in cheek. Even Terminator opens with a broad melody over an off-kilter rhythmic bass (not an unusual feature in film scores, granted, but these three still stand out). Jerry takes this signature and makes it even more banal, but exciting and upfront at the same time - in the way only Jerry can.

Yes,he sets a jerry-rigged gold standard for that,I recall.

Am I ascribing Jerry with more sophistication than he had? No.

Does he do a similar affectionate caricature of the Raiders March in King Solomon's Mines. Yes.

Total Recall is a score teeming with ideas - the Conan reference is just the icing on the cake...

:notfucking:

Hello all. Been awhile since I last posted in this thread... anyways, I made a little compilation album for you people. Hope you guys enjoy.

''02-Action'' and ''13-Yuuri'' are from Zangeki no Reginleiv.
''02-Ueki No Housoku - Main Theme'' and ''22- Battle Time Up!'' are from The Law Of Ueki.
''14-Normal Battle - Hikari'' and ''15-Normal Battle - Last'' are from Bakugan Battle Brawlers.

http://www.megaupload.com/?d=LTFH3W3S

I lol'd at ''22- Battle Time Up!''. This song is really good, but when I heard it for the first time, I was like "Wait... this sounds just like ''Burly Brawl'' from the Matrix Reloaded... just not as good."

NINO ROTA - MUSIC FOR FILM
Ricardo Muti conducting the Filarmonica della Scala



Rota doesn't seem to crop up too often in this thread. But I know we all love him ;) Here's something I've just encoded and thought I should share. Beginning with a beautifully rendered suite from The Godfather and ending on a 'symphony' of sorts from Visconti's sweeping romantic epic The Leopard; there's a richness to this music that words can't describe. Muti, now director of the Chicago Symphony, and known for many distinguished classical recordings, creates a programme to really wallow in. The performances are every bit as lush as they should be - top notch!

MP3-V0
http://rapidshare.com/files/373160193/RotaMuti.rar



[Edit: for reasons I don't understand, the track from 8 1/2 has appeared in its own folder within the rar.. Easily fixed. All the contents ARE present and correct]



Enjoy! :)

Thanks lens! I haven't listened to any Nino Rota. If you can suggest some great soundtracks to check out I would appreciate it.

Apart from the ones represented above, I'd recommend Romeo and Juliet, La Strada, Plein Soleil, War and Peace (needs a new recording), Armacord, Death on the Nile. Chandos have recorded several of his classical works and a nice compilation of piano arrangements too.

Here's another entry in my "Actually Purchased In Tokyo" series which I started last year; I still have about three discs to go and I had totally forgotten about this one... until Sora No Woto appeared, and I figured it was time to continue with the recent run of Michiru Oshima we've had... So, here is a disc I don't think has been shared online at all, despite its release last September...


Composed and Conducted by Michiru Oshima
Gokusen - The Movie (2009)
(Studio Orchestra)


http://uploadmirrors.com/download/RUAVFYKQ/MO-GTM-OST.part1.rar
http://uploadmirrors.com/download/1DDIFOSZ/MO-GTM-OST.part2.rar

LAME 3.98.4 - V0 - English Track Titles (not perfect but not bad) - Scans Included

I had originally intended to post this around Christmas time, but when my hard disc crashed, my lovingly prepared rip and full cover scans were lost... Real life interceded, I performed my usual act of forgetfulness, and I never did get around to re-ripping and uploading this wonderful score. Shame on me; nevertheless, thanks to the delay, I have had a chance to improve the track titles and also re-rip with the latest version of LAME. [Note about the track titles; they're not perfect. They were translated with a mixture of three different online dictionaries plus a bit of my own limited Japanese knowledge. Interesting, none of the auto translations I made yesterday matched those I made when I originally ripped this in November... Some translations that did make sense no longer do, and some that didn't before are now quite coherent. So, I have combined the very best to come up with these. I think they're accurate enough; though a native Japanese speaker would probably scoff at them, they serve their purpose. If anybody fancies contributing better translations, go right ahead.] [Note about scans: The back cover scan is very blurry; this is because LED scanners are crap. Every time I try to remove a back cover from its jewel case, I either break the case or rip the cover - so I do not even bother to try any more. I just stick the whole case in the scanner. Sorry it's not perfect; but as far as I'm concerned it's better than me wrecking my CD collection.]

Gokusen, for those of you who aren't familiar, began life like so many TV dramas as a manga - by Kozueko Morimoto. In 2002, it was adapted for television - it was enormously popular and spawned three full seasons, and finally in 2009 a theatrical feature film. It tells the story of Kumiko "Yankumi" Yamaguchi - an idealistic high-school teacher who, for her first teaching job, is assigned a notorious class of juvenile delinquents. She doesn't mind, because she is from a prestigious family of Yakuza (the Japanese mafia) - she has aquired some remarkable fighting skills, and her unusual background (combined with her determined, trusting, kind-hearted nature) allows her to relate to her students in quite a unique fashion.

It's a wonderful series, and I wholeheartedly reccommend it to anybody. Oshima scores all three seasons (and associated specials) so it wasn't a great surprise to see her attached to the theatrical finale. The score reprises themes from the TV show - including the wonderfully anthemic main theme "Road To Gokusen" - into a wonderfully coherent album. The orchestra has a slight upgrade from the TV series too (both in size and quality) although it is still a small ensemble by Oshima's standards. (Standard strings compliment, plus one flute, one oboe, one clarinet, three trumpets, three trombones, piano, harp, and two percussionists. Note the bizzarely small woodwind section and the complete absence of French horns.)

Suffice to say, as usual she makes excellent use of the ensemble.

The score includes everything we've come to expect from Oshima; wonderfully lyrical themes, tender nostalgic solo piano, and even a number of action cues that recall her work on Fullmetal Alchemist. And, of course, there's that cracking main theme that could almost function as a national anthem; it's bold, heroic, and extremely noble.

More comments to follow (and a symphonic suite from the score) but for now, enjoy!

[EDIT: 24 hours later, 83 downloads; and the customary handful of thanks. To the other 75 bastards who download but couldn't even be bothered to say "cheers" - or the idiot who shared my links without permission, credit, or gratitute - I do not upload for you. I don't just pull these things out of my ass - I went into a record store in Tokyo, paid for this disc, brought it home to England, ripped it, scanned it, uploaded it on my crappy internet connection, and provided links for my friends. Why are 99% of people so goddamned ungrateful?]

Stunning, thank you! I'll enjoy listening to this one after tea. The info about the series is also much appreciated by those lesser Japanophiles among us :)

Looks delightful tango. I'll have to download it when I get home. In other news, It seems my order of Tatakau Shisho The Book of Bantorra (Yoshihisa Hirano) got delayed by Yesasia and won't ship until the end of this month when Tegami Bachi ships. Thats what happens when I order them all at once when they are supposed to have the same release date and Tegami Bachi gets delayed a month. But strangely nobody seems to be uploading Bantorra on Japanese trackers.

Further, Lens in response to your post of Rota material, I am not feeling it as far as I got. Its got a nice sound to it but for some reason isn't getting to me emotionally. I'll try later to listen to the second half or maybe some of the other soundtracks you mentioned to see if I like some of his other work.