You're welcome, of course. It's a great feel-good score, fleshed out significantly from what appeared in the show.

'Charlie's Water Music' is (very appropriately) irresistible!

Oh, what a crush I had on the lovely Ms Dimmock all those years ago...

One Piece Symphony

Composed and Conducted by Tanaka Kouhei & Shiro Hamaguchi



Performed by the Grandline Orchestra & Chorus

Tracklist:

01. The Golden Age of Pirates (11:15)
02. Captain of Dreamers (2:55)
03. Legacy of the Pirate King (9:21)
04. Beyond the Sea (1:43)
05. Port Island (12:36)
06. Skull and Crossbow (4:07)
07. The Straw Hat Pirates (14:57)
08. Overtaken (2:00)
09. Luffy vs. Crocodile (11:50)
10. The Age of Dreams will never end (1:57)

Download Link (http://www.mediafire.com/file/xdcq15txjaejlta/One Piece Symphony.7z)
MP3 / V0 / 320kbps / 10 Tracks


So here it is, my take on a Symphony for one of the finest achievments in music for animation.
Back in the days when I watched One Piece, one thing stood out the most, the musical score.
Even to this day it is one of the most heartwarming scores I ever had the chance to listen to.
It was also my first anime score so the experience is really similar to my first encounter with Star Wars when I first noticed the music of John Williams and became a passionate lover of film music since that day.
One Piece really made me appreciate the whole medium of animation and the opportunity it gives to talented composers who know how to write music that reaches the heart of the listener.
I hope you enjoy my first contribition to the franchise. The full scores for the TV-Series & the movies will be up soon.

Dear God...

WIN!

THANK YOU!

Thanks Klnerfan! This is just what I was after, a digest of the best bits. :)

The suites you've made work well, though I'm a bit bemused to find the fuoco of the New World in there!

Great cover image too.

Well it was actually used in the series for the final battle & aftermarth of one of the One Piece Story Arcs, of course the full movement was edited and much shorter in the series (The edited version will be in the orchestral collection as well as Ave Maria)

Thanks kinerfan for the One Piece Symphony :)
You made my Day ;)

Awesome!!! Looking forward to listening to it!!! Thanks!

Apologies for the double post. The above isn't strictly 'orchestral', but will no doubt be of interest to brass and soundtrack fans (Jakob, there's Euphonium in there ;)).

More from the versatile Jim Parker soon :)

Thanks, Lens! The Black Dyke Band is terrific, but I haven't been able to get my hands on many of their recordings, so this will be fun. :D :D

Also, thanks to klnerfan for One Piece Symphony. I've passed over One Piece for a while now, but I didn't know it was Kouhei Tanaka! I expect good things from this, and I don't think I'll be disappointed.

Thanks again klnerfan for a symphonic version of One Piece [ワンピース] by Kōhei TANAKA & Shirō HAMAGUCHI. You answered my prayers when I posted a couple of days ago that it deserved a richer orchestra, so now it sounds absolutely brilliant.

JIM PARKER - MIDSOMER MURDERS



MP3-128kbps (not my rip)
http://rapidshare.com/files/68307639/Midsomer_Murders.zip.html

Another very entertaining score from Parker, featuring prominent roles for theremin, soprano and piano. I never bought this one back in the day, and it seems pretty impossible to get a hold of now. 128 is the best I could find on the web - sounds ok for the most part, with just a few blips. If anyone could provide a better rip I'd be very grateful. :)

Here for your delectation and delight is Sympathy for Lady Vengeance [친절한 금자씨; Chinjeolhan geumjassi] (2005 film score) by Jo Yeong-wook.

Copied from my CD - MP3, 320 kbps, 78.41 MB, 20 tracks, 45 minutes.

http://www.multiupload.com/2G59VA60CK



I am posting this soundtrack here in the orchestral section as well as the film score one as it contains some lovely variations on music by Vivaldi. Hope you like.

Yen
201008052332

Here is the second one I promised


Frederic Talgorn
Les Enfants de Timpelbach


http://www.multiupload.com/YQVEP773EV


And on the "if anyone is mildly interested" front. I just finished another song mockup for someone.
Again its just a mockup so its just the midi, so don't be expecting it to be polished.
Prologue (http://bit.ly/8Z1WBv)

JIM PARKER - MIDSOMER MURDERS


Thanks Lens!
I am terribly unfamiliar with Jim Parker unfortunately.


One Piece Symphony

Composed and Conducted by Tanaka Kouhei & Shiro Hamaguchi


Another nice share. I haven't listened to New World Symphony in ages, it was quite a nice addition. :)

does anyone have the dead zone 1983 ost michael kamen

I've decided to share one of my favorites. I know that bits of it have been posted before, but never the whole piece (and I believe this is a different recording):


OLIVIER MESSIAEN
Turangal�la-Symphonie
pour piano solo, ondes Martenot solo et grand orchestra
Version r�vis�e 1990
Pierre-Laurent Aimard, piano; Dominique Kim, ondes Martenot;
Berliner Philharmoniker, conducted by Kent Nagano

LAME 3.98r -v0 MP3 | 10 Tracks | 122.35 MB



1. Introduction
2. Chant d'amour 1 (Love Song)
3. Turangal�la 1
4. Chant d'amour 2
5. Joie du sang des �toiles (Joy of the Blood of the Stars)
6. Jardin du sommeil d'amour (Garden of Love's Sleep)
7. Turangal�la 2
8. D�veloppement de l'amour (Development of Love)
9. Turangal�la 3
10. Final

"The Turangal�la-Symphonie is a hymn to joy [...] a joy that is superhuman, overflowing, blinding, unlimited." -- The Composer

"To describe it in non-musical terms, and to grossly oversimplify, I can only say it's completely insane, absolutely gargantuan, evocative, beautiful, and deeply erotic - all at once." -- tangotreats

It was roughly a year ago when I first heard this piece, and at the time I would say that I had little to no ear for modern orchestral music. If I had been given a chance to summarize my feelings on the subject, I would likely have said, "It's a bunch of pretentious, ridiculously complex, harsh and unlistenable noise," or something to that effect; I hated the stuff. But, when watching Kurosawa's late masterpiece Ran, I was struck by Takemitsu's beautiful and tragic score, particularly the cue "Hell's Picture Scroll" during the film's first battle. Satisfying my curiosity in the natural 21st century manner, I went to Takemitsu's Wikipedia entry and found Olivier Messiaen amongst the composer's influences. I stumbled my way to a description of the Turangal�la-Symphonie and ended up going to iTunes to hear the audio samples. I admit that, for whatever reason, I was not initially impressed; then I clicked on the sample for the second track, "Chant d'amour 1." The first few seconds of the sample were relatively dissonant... but then EVERYTHING drops back and, atop a soft brass chord, the solo ondes Martenot comes in with this beautiful, ethereal melody, supported by the upper strings. I had heard the ondes Martenot used in other music (as well as its cousin, the theremin) but only to inspire feelings of the weird and bizarre. Nothing like this -- this was gorgeous, eternal. I played that sample over and over again, seemingly obsessed. Even the others which I had so coolly disregarded earlier began to grow on me. I knew that I had to hear the entire piece. Within a week's time I had gone to the record store and found the Myung-Whun Chung recording, and I immersed myself in it. I listened to it religiously. It was glory, rapture, magic.

I tell this story not to be long-winded but to try and capture the sense of passion that this work is capable of arousing. Tango's quote above is absolutely spot-on: Turangal�la is an orgy of sound. It is massive in every conceivable way, from the scope of its subject to the size of the required ensemble to the dreams and visions it will inspire. It is true that the work is modern in its tonality, but don't let that dissuade you from giving it a try. The slower movements (2, 4, 6 & 8) might lure you in with their beauty, or perhaps the exuberance of Movements 5 and 10 (the latter of which has been posted previously). For those who find modern music distasteful, it might open new doors for you, as it did for me.

I have posted this recording by Kent Nagano and the Berlin Philharmonic because eventually I found the Chung recording to be somewhat muddled, the orchestra vastly overpowering both soloists. The balance seems better overall here, and the playing is still full of fire.

This is a truly magnificent work and I hope you will enjoy it.

YouTube samples:
Movement 2 - Chant d'amour 1 - http://www.youtube.com/watch?v=_AFU7qDitTc
Movement 5 - Joie du sange des �toiles - http://www.youtube.com/watch?v=Tv67YkOWJNA

Part 1 - http://www.multiupload.com/T1RVOKJHJ5
Part 2 - http://www.multiupload.com/LE38BYNMDX
PW: tazed

OLIVIER MESSIAEN
Turangal�la-Symphonie


Fantastic! I like your quote from Tango too :)
I'll comment more after I have listened completely.

Fantastic! I like your quote from Tango too :)
I'll comment more after I have listened completely.

Haha, when did I say that?! It sounds like the sort of thing I would've said but I don't for the life of me remember it.

Either way... this one is going to be a TREAT. I've never heard Nagano's performance of this before, but it's the BPO... so you know you're getting something potentially golden.

This is such an easy piece to foul up, as well. It's a very theatrical work that is really made as much by its performance as it is by its musical quality. When it's done right, it has a bizzarely beautiful sense of glowing, glittering, rapturousness... like a big rambunctious festival of unfettered joy. When it's done wrong, it sounds like a big fat bourgeois mess of dissonance and banal noise. Particularly those big hyper-romantic gestures in the Chant D'amour movements.

I had the Myung-Whun Chung recording too - with the Bastille Opera Orchestra, wasn't it? I always thought it was pretty good, but I had another favourite back then that I had I borrowed from the local library, but I can't remember who was playing it...

It was this piece that really opened me up to dissonance as well... Like you, I was in "that" frame of mind when I first heard this - I was a silly age, 12 I think, and it just sounded like a bunch of pretentious garbage - "Oh, no - MODERN music!" etc... but there was something there that made me give it a chance... it's weird, it's like a button clicks in your head and you think "Holy crap, I get this stuff now..." and you stop thinking in terms of consonance and dissonance... and there are parts of this piece where the line between them is blurred so much it doesn't really matter anyway. It's not easy going, and it's not for the timid... but this is definitely one of those pieces of "music to hear before you die" -- and bizzarely enough, it's in my provisional playlist for my own funeral. (You think a guy like me would let somebody else pick what music to play at his funeral?) ;)

Haha, when did I say that?! It sounds like the sort of thing I would've said but I don't for the life of me remember it.

To properly cite my sources ;): http://forums.ffshrine.org/~forums/showpost.php?p=1172302&postcount=681


I had the Myung-Whun Chung recording too - with the Bastille Opera Orchestra, wasn't it? I always thought it was pretty good, but I had another favourite back then that I had I borrowed from the local library, but I can't remember who was playing it...

That's the one. I liked it as well, but I loved the piece so much I starting sampling others and eventually I wanted to hear those solos more in the forefront, so I found this Nagano recording. I've read opinions that state this is stupendous and others that say its a muddled mess; personally, I'm in the former camp.

I'm hoping to see this live in October with the LA Phil. It's like a litany in my head: "You must hear this live. You must hear this live. You must hear this live..."

To properly cite my sources ;): http://forums.ffshrine.org/~forums/showpost.php?p=1172302&postcount=681

I'm hoping to see this live in October with the LA Phil. It's like a litany in my head: "You must hear this live. You must hear this live. You must hear this live..."

Blimey, November 2008... Time flies, it really does.

I've "nearly" heard this live about twelve times. Every time, something happens and I don't make it - sold out, can't afford it, family emergency, had to work that night, etc... Bloody annoying. It's the same with Mahler's 8th - it's like there's some force of nature that just doesn't want me to hear it in a concert hall. :/

I'm going to post one of my favourites tomorrow - one that I *DID* get to hear live. Another gargantuan modern classical work... Schoenberg's Gurrelieder. I think it was posted in the Classical thread a few weeks ago, but this one is (in my humble opinion, of course) a performance that knocks the living daylights out of any other... It's a live recording by the Philharmonia from 2009 with a big difference; the role of the speaker is performed by a woman. I ended up chatting to some of the choir in the car park after the performance; they talked about how they'd performed the piece the night before in Birmingham and very nearly, but not quite nailed it... and then 24 hours later they did it in the Barbican centre and they absolutely did it to perfection. There was something very special in the air that night - everything was just glorious - I'd dragged along my fiancee against her will, who pretty much only tolerates classical music to placate me... and at the end of it even she was completely overwhelmed... Come to think of it, I nearly didn't make that one either - I got lost crossing the river (anybody who drives in London will understand) and was late getting to the hall - then somebody's car broke down in the queue to the car park and about five hundred cars had to reverse out on to one of London's busiest main roads during rush hour. Got into the Barbican centre finally to find that the ticket desk had lost my tickets. Fortunately they did find them... and we made it into the auditorium literally with 30 seconds to spare.

I'm going to post one of my favourites tomorrow - one that I *DID* get to hear live. Another gargantuan modern classical work... Schoenberg's Gurrelieder. :)

YES! Well I already have a copy. But still a wonderous piece.

I'm going to post one of my favourites tomorrow - one that I *DID* get to hear live. Another gargantuan modern classical work... Schoenberg's Gurrelieder. I think it was posted in the Classical thread a few weeks ago, but this one is (in my humble opinion, of course) a performance that knocks the living daylights out of any other...

*rubs hands in eager anticipation

Thanks for the Waxman shares-one of my favorites-Yul Brynner playing- well- his real race almost-rousing score-anyone come across Waxman's "Song of Terezin" about the Holocaust? Thanks again for the excellent Waxman

Mike, great and wise post about the choices artists make-I'm a poet and man the money is not there and I've done everything to make a living-the poetry was written whatever and that's important-Van Gogh only sold one painting-poor Dutchman but Pablo Picasso made quite a bit painting till he was 90 or so--

So, It's been confirmed,

FSM is releasing an EPIC 14 CD set of the music for Star Trek: The Next Generation, Starfleet Academy and Starfleet Command written by composer Ron Jones sometime this September. This has to be the largest ever single release of Star Trek music in, well, ever! I'd love to say I'm going to order this one, but not sure if it that will be possible with the price tag (and me having no job! :( )


from the FSM website (http://www.filmscoremonthly.com/daily/article.cfm/articleID/6528/Upcoming-FSM-TV-CDs-Plan-Your-$$/)

Then probably in the first week or two of September�we hope�is FSM Box 05. This is the long-rumored Ron Jones box set of Star Trek: The Next Generation music. 14 discs, $149.95, limited to 5000 copies�40 complete episode scores, plus some previously unreleased "Best of Both Worlds" cues and Ron's two Interplay computer game scores. All in immaculate stereo. The packaging is in the style of the R�zsa box: the booklet has an introductory essay and track listings (and lots of ST:TNG art), with comprehensive liner notes to be posted online. Did you guys know this was my dream project? I fantasized about putting this together ever since I fell in love with the scores twenty years ago. In fact it was twenty years ago almost exactly that "The Best of Both Worlds" aired.

Thanks for Ground Force and Midsomer Murders- never thought I'd see those around! Also, I came across an article you might find interesting, folks.

http://www.reuters.com/article/idUSTRE63I0S420100419

The part that I found slightly disappointing was all about the cost-cutting and budgets; with more money being spent on films and productions in total, they're still shaving it off and whittling it down using the music!

Thanks for Ground Force and Midsomer Murders- never thought I'd see those around! Also, I came across an article you might find interesting, folks.

http://www.reuters.com/article/idUSTRE63I0S420100419

The part that I found slightly disappointing was all about the cost-cutting and budgets; with more money being spent on films and productions in total, they're still shaving it off and whittling it down using the music!

It doesn't surprise me... Hollywood is finally realising that the type of scores that get recorded today simply aren't getting value for money out of the orchestra. Name a summer blockbuster score in recent years that would have suffered with 60 musicians instead of 90, or even no musicians. MV/RC scores typically use the orchestra like a synthesiser anyway, so honestly, would Iron Man or Transformers be any different at all if it had no live musicians whatsoever?

This just strikes me as the next step in the chain.

First, we have big expensive orchestral scores performed by big expensive orchestras. Then we have shitty incompetent electronic synthesiser scores performed by big expensive orchestras. Then we have shitty incompetent electronic synthesiser scores performed by shitty electronic synthesisers...

I worry about all those recording orchestras, particularly those in the States... how do the Hollywood Studio Symphony, for example, maintain their standards when they spend the whole year performing MV dreck and only once in a blue moon get to play something like Afrika, or one of Mike Verta's scores? If you rest, you rust... What happens when even the garbage summer blockbusters stop calling?

The Fall of Civilization

If they are lucky they can start to play for game and anime music only.
With fine gentleman like Lennie Moore around, it would certainly help their reputation ;)

On a side note, huge gaming review sites and reviewers around the world are already complaining if a score for a game is not "orchestral". I believe that's a good sign.

@Tango
I have been saying this for a while. If these composers don't know how to properly use an orchestra, why are studios even bothering to give them funding for the recording sessions? Of course the music may be so simple that it doesn't cost that much.

It doesn't surprise me... (Snip)


@Tango
I have been saying this for a while. If these composers don't know how to properly use an orchestra, why are studios even bothering to give them funding for the recording sessions? Of course the music may be so simple that it doesn't cost that much.

Indeed, but it's something of a worrying trend. Ironman probably wouldn't be better or any different without live musicians; but because of this awful trend, real worthy and proper scores, and much better composers, are going to suffer from the same treatment.


If you rest, you rust...

Heh, I'm sure there's plenty of other great music (and not just scores!) to play in between every MV vomit.

I worry about all those recording orchestras, particularly those in the States... how do the Hollywood Studio Symphony, for example, maintain their standards when they spend the whole year performing MV dreck and only once in a blue moon get to play something like Afrika

On that topic, I have had to see plenty of scores that make me just go "Why?"
And I would like to give an example of this, just so you can understand what I mean.
Here is 5 measures of a string part of a page from one of those generic big blockbuster scores.

()

Yes you are reading that right. My question is why pay for talented live musicians if you are just going to drown it out with sickeningly overwritten, lets call it "music". The fact that there are so many string parts going on at once is ridiculous. I have no problem with experimenting with unique orchestrations, after all Bernard Herrmann used 9 Harps in the orchestra for Beneath the 12 Mile Reef and it was great. My point is that when you do things like that, it takes a lot of thought, talent, and time to make it something unique and not just a muddled mess of sound. So if thats how you want to write, so be it, but why waste the orchestra when you could probably do the same with a synth.

Now on the other hand I have had the pleasure to see wonderfully written scores such as Afrika. Here is a couple of string measures of Afrika for comparison.

()

Now here we have a complex score, but it isn't a mess. It is clear, concise, and you can tell there was a lot of thought put into it. Certainly deserving of the fine orchestra that recorded it.

On that topic, I have had to see plenty of scores that make me just go "Why?"
And I would like to give an example of this, just so you can understand what I mean.
Here is 5 measures of a string part of a page from one of those generic big blockbuster scores.

FFS... did you transcribe that or did you find it somewhere?

What a joke.

It just smacks of keyboarding mixed with copy and paste. That's not composition - it's a static bunch of noise. If I were in an orchestra and somebody put that in front of me, I don't know what I'd do...

FFS... did you transcribe that or did you find it somewhere?

What a joke.

I wish I could say I made that up. Unfortunately that is from a real score by a "big name" in hollywood. Someone can probably figure out which movie. I literally just scanned that section because its so rediculous. I almost cried when I saw that.

I wish I could say I made that up.
Unfortunately that is from a real score by a "big name" in hollywood.
I almost cried when I saw that

Which one? Because it's impossible to tell from that repetitive, completely generic crap... :/

On that topic, I have had to see plenty of scores that make me just go "Why?"
And I would like to give an example of this, just so you can understand what I mean.
Here is 5 measures of a string part of a page from one of those generic big blockbuster scores.

()
[/URL]


HA! That contains in it some of the worst practices we we were told /not/ to do in composition! Good grief. And you're right; it's not worth wasting money on. The problem is, because of things like this, when somebody does something unique, and interesting can't... because it's all perceived as being, well, not worth it due to the damn quality standard set. I know nobody here would think like that, but talking to people IRL gives quite a different impression...

On a related note, after some hard negotiation I may be receiving some copies of original, handwritten scores soon. If anybody is interested, drop me a message...

That is a small sector of Young Bruce Falls from Batman Begins which is a Zimmer section. The small sections that are James Newton Howard are much much much more cohesive.

Ah our dear friend Zimmer
I will not say anything about the score (there is little to say about it anyway) but I would like to know what sound effect they used for Joker's Theme, sounded like razor blades massacred an e-guitar string.

Essentially what I'm saying is, why would you use a talented live orchestra to record that when its written so you could play it with a synth orchestra and it would sound the same.

Here is 5 measures of a string part of a page from one of those generic big blockbuster scores.

Dear Lord, that is an abomination. I'm sure that anyone in my music theory classes in high school could have written a more concise and interesting section. The fact that this is the current industry standard makes the bile rise into my throat.

If only there was some way to lock Hans alone in a room with Bernard Herrmann for five minutes... There would be fireworks.

Dear Lord, that is an abomination. I'm sure that anyone in my music theory classes in high school could have written a more concise and interesting section. The fact that this is the current industry standard makes the bile rise into my throat.

If only there was some way to lock Hans alone in a room with Bernard Herrmann for five minutes... There would be fireworks.

I never studied music full stop, and I could do better than that whilst drunk.

Zimmer would leave that room a changed man...

Z: Oh, wow - Bernard Herrmann!
H: Who in the hell are you supposed to be?
Z: Why, I'm a massively famous, ridiculously wealthy film composer just like you.
H: *angry twitch*
Z: That song you did, North By Southeast or something; dead cool.
H: *approaches Zimmer and punches him hard in the nose*
Z: Ow. Didn't you see Gladiator? That was me. Da da, dada da da, Da da, da dadada. Or Batman Begins? Da da da da da da da da da da da da da. Or Pirates of the Carribbean? Da da, dada da da, Da da, da dadada. Oh wait, that was Gladiator again... or was it Transformers. Nah, couldn't have been transformers - I didn't write that... or did I? Hah, can't even remem...
H: *THWACK, THWACK, THWACK* F**K YOU!
Z: Didn't see them, then, I guess? Oh well, it's your loss... You like string orchestras, right? I've got one inside my computer. It's great. You just press buttons on this piano thing, and the computer makes it last for 90 minutes! Then I hand it to 48 orchestrators and they do something to it... dunno what it is, really... makes those violin guys a bit happier though so I guess it's important. Then I get paid five million dollars. We've got so much in common, hey Benny?
H: *hisses* Orchestrators...!
Z: Yeah, you love those guys. I mean, c'mon - we're composers, dude. We can't be expected to be wasting our time with all that donkey work, deciding whether the trumpet guy is going to play the tune or... hang on, we don't do trumpets... OK, the *flute* guy. Ah, crap - we don't do those either. We do violins and them bass things, like what you get in jazz clubs but the guy plays it with this big hairy stick. Well cool. Anyway, somebody else does that. I make the EPIC MUSICS. Or I write down six notes and my buddies down in the studio all write a little bit and then we play it with a f**king 150 piece orchestra - I tell you what, when 150 people are ALL playing the SAME NOTE and we get some grungy vinyl-crackly drum loops on there in post production, that sounds so goddamned epic. You do epic, right? Jerrald and the Astronauts was pretty cool...
H: *Beats Zimmer to death with his ProTools workstation, rips out his intestines and uses them to create a new musical instrument which he uses to score Pirates Of The Caribbean 4, accompanied by a quartet of countertenors all with sore throats, fifty harps, one out of tune viola, one trumpet with its valves removed, and ondes martinot... and makes it sound absolutely out-of-this-world incredible...

I tell you what, when 150 people are ALL playing the SAME NOTE

Yes, that's the way i dislike on how many scores are written today. It's just like every single part of the orchestra must play the same note and loud only just for the sake of it. Otherwise it's not enough "epic".

*Jerrald and the Astronauts* lmao :D

Beats Zimmer to death with his ProTools workstation, rips out his intestines and uses them to create a new musical instrument which he uses to score Pirates Of The Caribbean 4

Wow.

Wow.

I'm sorry... was that a little too graphic?

That instrument you described is so EPIC :D

Yeah I'm glad everyone had the same reaction as I did when I saw that.
Looking at that score I was pretty much like "you are kidding me right?".

Anyway...I'm going to stop talking about this topic and get back to the great music we normally post

H: *Beats Zimmer to death with his ProTools workstation, rips out his intestines and uses them to create a new musical instrument which he uses to score Pirates Of The Caribbean 4, accompanied by a quartet of countertenors all with sore throats, fifty harps, one out of tune viola, one trumpet with its valves removed, and ondes martinot... and makes it sound absolutely out-of-this-world incredible...

I have tears in my eyes... :)

Came up with this a few weeks ago, seems appropriate to share it here as well: Richard Wagner, Bernard Herrmann, and Hans Zimmer walk into a bar... no one survives. Meanwhile, across town, John Williams and Sergei Prokofiev beat James Horner to death with a baseball bat.

But what about Rachmaninov beating Horner? He did steal the danger motif from him after all.

But what about Rachmaninov beating Horner? He did steal the danger motif from him after all.

Perhaps the greater question is... who wouldn't be beating Horner?

EDIT: Such horrific, hilarious reveries are Composer Deathmatches. Perhaps FSM could whip up some web videos akin to a certain MTV series?

Yeah, while they are amusing, we should probably get back to discussing our favorite music. The way this thread is supposed to be.

But of course. Didn't mean to derail us. :)


GIACOMO PUCCINI
I Crisantemi
The Helsinki Strings

256kbps M4A | 12.87 MB




Originally written as a string quartet, this piece is a mournful requiem written by Puccini after the death of his friend, the Duke of Aosta. It is quiet, contemplative, and achingly beautiful.

I played this in high school as a member of a chamber orchestra, and it was my first foray in noticing the beauty that could be found in chords that weren't quite "right" but are nonetheless pleasing to the ear. By no means as difficult a listen as Turangal�la, this is more in the vein of the late Romantics. I have an affection for this piece as played by a string orchestra as this is how I came to know it, but it is wonderful in its original quartet form as well.

My apologies for the m4a format, but I got this from iTunes and didn't want to degrade quality. Hopefully that won't ruin the listening experience.


http://www.multiupload.com/54EX1BKWI7

Point taken, although I personally believe that this thread is about more than posting music. It's developed into all sorts of strange things - a place of friendship, philosophy, original research, study, and the occasional bit of comedy never hurt anybody. Personally, I'd prefer to see some vaguely off-topic banter between the thread's regulars if the alternative is for the thread to disappear all together. Sometimes folk run out of stuff to post... and some of the biggest, best frenzies have come about directly because of these off-topic sessions...

Like about six months ago, a conversation about rampant Final Fantasy fanboyism lead to a fascinating series of posts of some of Uematsu's best albums.

That said, it is about time I posted some music. Got a few coming up later tonight if I can get some decent upload speed running... :/

About the score sheet from Batman Begins...

Why the hell you all hate Zimmer so much? Yes, he killed "true" orchestral film music in Hollywood. But he is still one of the most creative film composers these days. He's trying to find something different, a fine match between orchestra and tons of synths (Dark Knight is awesome). Guy is creative as hell, "Angels and Demons" had the awesomest oldschool electronica in last few years, Inception (while it's bad album) works fantasticly in the movie and "Dream is Collapsing" is one of the greates pieces of the year imo (those brasses...). Even if he and his fellows killed "true film music", he's still great composer (not to mention his music to Prince of Egypt, Thin Red Line, Lion King and... tons, tons of other great film music), and now, everybody seems to forget bout that. So stop bashing him. Maybe he fucked up film music, but he also wrote a lot of great, fantastic, even "legendary" music. Most of his scores are far above the most of today hollywood film music. I'm not a fanboy, but it's annoying that everythin what;s bad in Hollywood is Zimmer. His friends fucked up, not him.

I am not trying to tell you what to listen to (I don't like the majority of Zimmer scores, but i can't stop other people from liking it) and I'm sorry I opened up a can of worms with that example. Again my only point was to ask, why use a great live orchestra when the way you wrote it you could have used a synth orchestra and you wouldn't be able to tell?

No, you did not open anything, and I agree - Verta uses synth to perform orchestra and Zimmer uses live, huge orchestra to perform... synth. It's crazy. Fuck, it's insane. But... It still takes nothing from Zimmer's music (I really would like to think that this mess - similar to my music - in sheet is because of Zimmer's music education or lack of it... but if that was made by skilled orchestrators... strange). Still, U don't need to like him, but - at leats imo - U should respect him as a composer. And you don't need to be so nice, kick me, kill me! But after that... reanimate me. We are kinda awesome community;).

On the other hand, there are worthless piece of shit composers (I can say that without doubt, they are worse than I am), who gets huge orchestra and make them perform ostinatos for an hour... and a half. Or perform a plagiarims from one of the greatest modern american film composers;). I don't understand that.

Imagine "Outcast" performed by synths... Still great music, sounds kinda shitty, but it's still breathtaking composition. Imagine "Transformers" performed by the awesomest orchetsra ever... Still shit. It's not about orchestra or lack of it. It's about talent. I'm sleepy. Sorry for breaking in a middle of something (hope I'll end my thought tomorrow)...

Fanfare!

Blah blah blah:

-Hey Hans, it's my friend - Steve.
-Can he write?
-Not at all!
-So what he can do?
-He can juggle with three apples (apple in polish is jablko...) and a seal!
-FUCK! He's talented. Can he write a score?
-No, he's a worthless piece of shit... but seal is awesome!

Not funny and nonsense, but... Anyway I'm going to sleep now (have to wake up in... 4 hours). Cheers guys!

About the score sheet from Batman Begins...

Why the hell you all hate Zimmer so much? Yes, he killed "true" orchestral film music in Hollywood. But he is still one of the most creative film composers these days. He's trying to find something different, a fine match between orchestra and tons of synths (Dark Knight is awesome). Guy is creative as hell, "Angels and Demons" had the awesomest oldschool electronica in last few years, Inception (while it's bad album) works fantasticly in the movie and "Dream is Collapsing" is one of the greates pieces of the year imo (those brasses...). Even if he and his fellows killed "true film music", he's still great composer (not to mention his music to Prince of Egypt, Thin Red Line, Lion King and... tons, tons of other great film music), and now, everybody seems to forget bout that. So stop bashing him. Maybe he fucked up film music, but he also wrote a lot of great, fantastic, even "legendary" music. Most of his scores are far above the most of today hollywood film music. I'm not a fanboy, but it's annoying that everythin what;s bad in Hollywood is Zimmer. His friends fucked up, not him.


I agree with just about everything you've said. I also understand that this thread is filled, to its credit, with very passionate lovers of orchestra music and intelligent, musically literate people. And it is the natural quality of a passionate fan to hate their antithesis with equal passion. Hence the hate and violent imagery (even if it was meant in the spirit of gallows humor) toward Hans Zimmer.

It would be nice if we could dial down the hate though, if only out of respect for the many readers of the forum who might enjoy the music of composers we regularly and sometimes viciously deride, like Jablonsky or Zimmer. Constructive criticism and healthy debate are excellent but I don't think it's right to make other readers feel as if they have awful taste.

I've been reading this thread for something like a year and a half, and I know that the intelligence and enthusiasm of the regular participants like arthierr, danny, mike and sirus are without question. This thread has produced a lot of fine music and a lot of fine commentary. Let's not undermine that.

(None of this was aimed toward anyone in particular. Just commentary.)

Why the hell you all hate Zimmer so much?

I don't hate Zimmer -- I also greatly enjoyed "Lion King," "Crimson Tide," "Last Samurai," parts of "Dark Knight" -- but I think he has his place and it's sometimes frustrating that his "pop" style has become so prevalent at the expense of the lush orchestral flourishes that I love. I guess the joking might have gone a bit overboard, but I think it was meant as simply a harmless and humorous bit of venting. My apologies to anyone who might have been offended by anything I said.


K�nig der Letzten Tage (A King for Burning) soundtrack
composed by Wojciech Kilar

I know this was posted the better part of a year ago, but I've only recently listened to it and I can't get the "Gloria" out of my head. I've enjoyed Kilar's "Dracula" for several years, and I'm pleased I've found another work of his to appreciate. Nine months late, thanks for sharing!

Well, without wishing to come across as a dickhead, everybody's entitled to their opinion and everybody's entitled to like what they like. It doesn't mean we have to pretend that dreck is good, or that we have to humour folk who want to believe that dreck is good. It's crap. Musically crap. Orchestrationally crap. Creatively crap. Functionally crap. Crap. Doesn't mean it's not damn good fun to listen to sometimes (Gladiator is GREAT driving music,) but also doesn't change the fact that it's crap.

For what it's worth, I don't hate Zimmer - and I don't really hate anybody else. I hate what this collective group have done to film scoring, definitely, as I'm sure many other folk do as well. Zimmer, however, is a superlative businessman, not a superlative composer. I've really REALLY liked some Zimmer scores in the past (DaVinci Code, Simpsons Movie spring to mind) but by and large, his skill level is not anywhere near that of the greats - and in any case, his "music as a corporate product, not as an artform" ideology preceeds him wherever he goes.

I thought getting Zimmer and Herrmann together would be funny - because they're about as different as two people can be, and because Herrmann was notorious for being a stroppy old misery-guts. I took it to its illogical conclusion for a cheap joke. It doesn't mean I want to kill Zimmer or anybody - it just means I made a cheap joke, nothing more nothing less. Scott Adams' "2 of 6 rule" postulates that a joke will work if it has any two of the following characteristics: Cuteness, Naughtiness, Bizzareness, Cleverness, Recognisability, and Cruelty. ;) As my sense of humour is 50% Red Dwarf, 20% Hitchhikers, 20% my grandad, 5% 4chan, 5% Dilbert, it made some sort of sense.

My general dislike of Zimmer, his music, his company, and his company's music is not in the slightest bit based around a base instinct to hate that which is opposite to your personal taste; not at all - and I think Zimmer would fit firmly into my "Meh, not my cup of tea, but whatever, has his good moments I suppose" list if it weren't for the fact that he has effectively conquered 98% of the Hollywood scoring map, and exerts such influence over the decision makers that the 2% who remain must emulate his example to one extent or another, or face unemployment. To have done this breaks some of the most basic, sacred rules of art; most notably, the idea that diversity, uniqueness, personality, humanity and creativity are the things that breed genius, not generic emulation, blandness, and mechanics. He's not there to advance the artform, or to become a better musician, or to contribute something to film and society at large... he's there to make a lot of money running a big company.

Anyway - I'm sorry, I'm banging on and on about this. I'll stop now. Good night folks. :)

Yes, he killed "true" orchestral film music in Hollywood.

Doesn't this look like something important for you, something he could be a little blamed for? Again, don't forget the NAME of this thread, and the particular SENSIBILITY of the people here. Orchestra means a lot for us, and to "kill" it, as you say, is not a slight fault.



But he is still one of the most creative film composers these days. He's trying to find something different, a fine match between orchestra and tons of synths (Dark Knight is awesome). Guy is creative as hell

Ahem. Not too complicated to be so "creative" when you don't actually compose the music, but instead rely on an army of young, moreless talented, submissive, obedient young composers, ready to anything in order to get to compose 3 minutes of music for a blockbuster.

Indeed, Zimmer rarely composes himself his scores (except the early ones), but is more like a music director who assigns "his" composers to score such or such parts of the movie based upon their particular skills. Sad for his fans but true. So let's be fair and attribute the possible "creativity" to these poor exploited, often un-credited composers.



"Dream is Collapsing" is one of the greates pieces of the year imo (those brasses...).

I listened to this piece, since you cited it. And... I'll quote YOU:

On the other hand, there are worthless piece of shit composers (I can say that without doubt, they are worse than I am), who gets huge orchestra and make them perform ostinatos for an hour... and a half.

Good description. A series of simplistic, un-developed ostinati, performed by an atrocious mix of orchestra an synth. "Those brasses" ?! Is it a joke? Man, it's one of the most crappy, synthetic brass sound I've heard. I believe my old Yamaha DX7 had better brasses...



So stop bashing him.

I don't believe this is how this thread works. Censorship about personal opinions and tastes is not really welcome here. So please don't tell anybody that they shouldn't express a negative opinion about a certain composer if they have one.



Verta uses synth to perform orchestra and Zimmer uses live, huge orchestra to perform... synth. It's crazy. Fuck, it's insane.

This is a very pertinent and clever remark. Bravo.



-Hey Hans, it's my friend - Steve.
-Can he write?
-Not at all!
-So what he can do?
-He can juggle with three apples (apple in polish is jablko...) and a seal!
-FUCK! He's talented. Can he write a score?
-No, he's a worthless piece of shit... but seal is awesome!

Your humor is a bit like your music, isn't it? :P


And please, PLEASE everybody, STOP apologizing for being funny. There's not enough humor in this thread, in it's a marvelous thing that there's been some lately.

So please more (good taste) humor! ;)

And may I add:


Thanks a lot for the great contributions!
Ah, so much to catch up...

I'd just like to point out that Zimmer *does* compose his own music. If he didn't, he wouldn't accept or receive the composer credit. Keep in mind that this is someone whose ego isn't too large to share the billing or relinquish it altogether. (He wrote the themes for "Pirates of the Carribean," but he let Klaus Badelt have the credit.) Moreover, it's a downright lie to say that the composers who work under Zimmer are often un-credited. The credits to the movies themselves refute this.

I'd just like to point out that Zimmer *does* compose his own music. If he didn't, he wouldn't accept or receive the composer credit. Keep in mind that this is someone whose ego isn't too large to share the billing or relinquish it altogether. (He wrote the themes for "Pirates of the Carribean," but he let Klaus Badelt have the credit.) Moreover, it's a downright lie to say that the composers who work under Zimmer are often un-credited. The credits to the movies themselves refute this.

As you seem to have a rather "selective" attention, let me show again some words I used, more visibly this time:

Indeed, Zimmer rarely composes himself his scores (except the early ones), but is more like a music director who assigns "his" composers to score such or such parts of the movie based upon their particular skills. Sad for his fans but true. So let's be fair and attribute the possible "creativity" to these poor exploited, often un-credited composers.
Which means, I indeed said: Zimmer *happens* to compose some stuff, as a lead composer, but since a long time, and probably more and more, his scores are a team effort, made by several composers of his crew.

Before suggesting I'm a LIAR, you should have come with MUCH BETTER arguments than "Oh, Zimmer is a Holy Man, his heart is so pure and his soul so straight that he would *NEVER* take credit for someone else or "forget" to mention who composed what."

I've been in movie scores for YEARS, and I've seen dozens of time, on various boards, in many reviews, that when Zimmer's name appears alone on the cover of the album, he's most of the time only a lead composer, sometimes just writing themes, or only scoring certain parts, or even just giving a general direction and supervising the result. That's a method, his method. That's how he makes scores since years. Everybody knows this in the business.

For instance, take a look at this list of scores by Zimmer, and count how many times "(co-wrote)" appears: http://www.filmtracks.com/composers/zimmer.shtml

As I previously said, Zimmer is "like a music director who assigns "his" composers to score such or such parts of the movie based upon their particular skills." Here's a part of an interview with Geoff ZANELLI about this (Btw, this interview is very interesting and reveals a lot about this subject):

http://www.hans-zimmer.com/fr/newsite.php?rub=interview_zanelli

Steve Jablonski, Klaus Badelt and Harry Gregson-Williams are different composers with their own way of thinking and composing. Do you have to adapt to them or do you come with your own musical point of view ?And what do you think they give to you and you to them doing that kind of collaboration ?

I think you'll find each composer has a unique way of looking at things. I get called a lot to do action scenes by some people, probably because I like to bash things [laughs]. And Harry calls me a lot because I'm a guitar player.

It's true though - I admit this point - that his ghostwriters are often mentioned *somewhere*, but, you have to thoroughly search for their names to see them, and you almost NEVER know who exactly composed what. Here's a part from a review about this precise problem:

http://www.filmtracks.com/titles/pirates_caribbean2.html

Zimmer obviously had more time for this sequel score, though that didn't stop him from assembling at least seven ghostwriters to aide him once again in his efforts (whether or not they actually qualify as "ghostwriters" is another issue that will wait until later in the review). [...] it was Bruckheimer's vision of the Hollywood blockbuster that has given birth to Zimmer's now famous sound and methodology. That methodology of Zimmer includes the use of ghostwriters, and as mentioned above in this review, a note about those ghostwriters should be made. It was speculated by the hapless representative of another soundtrack site that the seven co-writers of this Dead Man's Chest score shouldn't be referred to as "ghostwriters" because they are credited in the booklet. Indeed, a "ghostwriter" is one who "gives the credit of authorship to someone else," and these Media Ventures clones are indeed credited. But are they really? Are their names on the covers of the CD booklet? Are their names on the movie poster? Are their names listed next to Zimmer's in the primary credits during the film? Are their names in a larger-than-minimum font size in the album booklet? And, perhaps most importantly, are they recognized for the extent of their contributions? Do we know what, exactly, they wrote? The answer to all of these questions is no, and that's why they're still ghostwriters. One would hope that with all these auxiliary composers, the diversity of the scores would range far better from the usual Hans Zimmer parade of sounds. And, as with before, it's hard to believe that none of these people took a clue from the music in the actual "Pirates of the Caribbean" ride at Disneyland.

But he's not alone in this case. It's funny how some people seem to simply ignore the fact that most composers nowadays, not only Zimmer (but he's the champion of this) have additional music composers, sometimes credited, but sometimes not, in which case they're actual "ghostwriters". It's a fact. It's well known for instance that James Horner uses this practice often, at times helped by Don Davis, or even... Jablonsky.

And, in order to back up and conclude my argumentation, here are a series of quotes, from various places.

http://www.filmtracks.com/titles/inception.html

It should also be mentioned that Zimmer also relies on two additional writers ("ghostwriters," as the controversy allows) this time around.

http://www.filmtracks.com/titles/inception.html

Instead, it's no surprise that Zimmer's star power (and loyal ghostwriter Lorne Balfe) ended up attached to the production

http://www.filmtracks.com/titles/pirates_caribbean.html

A number of problems faced Zimmer, though. First, he couldn't contractually take credit for the score because of an agreement with another studio at that exact moment. There are varying accounts of exactly how much of Pirates of the Caribbean he actually wrote, with some claiming that the quantity is as much as in any of his other collaborative scores. For legal reasons, however, his contribution was technically restrained to some synthesizer programming and consultation. Primary credit was shifted to composer Klaus Badelt, a relative newcomer in the Zimmer gang who had been moving up the ranks of the organization since his involvement with Gladiator and who was known at the time for his two other summer blockbusters, The Time Machine and K-19: The Widowmaker (both of which highly derivative of other scores, but ranging from adequate to enjoyable in the context of their own films). Under Badelt, the list of regular Media Ventures artists composing snippets for the project included Ramin Djawadi, James Dooley, Nick Glennie-Smith, Steve Jablonsky, Blake Neely, James McKee Smith, and Geoff Zanelli. With one music supervisor, eight composers, nine orchestrators, three conductors, and Zimmer serving as the "overproducer," you immediately got the impression that this was a potentially frightening Media Ventures nightmare.

http://www.filmtracks.com/titles/pirates_caribbean3.html

Another issue that won't be addressed in this commentary to the extent that it was discussed in the Dead Man's Chest review is the role of the ghostwriters in the creative process. Six of the seven ghostwriters from the second score returned for At World's End, along with most of the production crew. If you disagree with the label of "ghostwriter" being applied to them, then seek the Dead Man's Chest review once again for the reasons why they indeed are ghostwriters. One of the overarching problems with the score for At World's End, despite its more numerous strengths in individual moments, is that it seems badly fragmented. As such, it's a score that doesn't transcend to become more than the sum of its parts.

http://www.hans-zimmer.com/fr/newsite.php?rub=interview_zanelli

About Film credits, is Hans Zimmer the only one to compose with additional writers or just the one who credit them ?

He's absolutely not the only one to compose with additional writers. I can't speak for everyone of course, but I touched upon it earlier, that there are people out there still ghostwriting. Does everyone use additional writers? I don't know that for sure, but I do know that there are a whole lot of hardworking people out there who don't see a credit for it.

Yes, he killed "true" orchestral film music in Hollywood.


I was definitely to light on that;).


On the other hand, there are worthless piece of shit composers (I can say that without doubt, they are worse than I am), who gets huge orchestra and make them perform ostinatos for an hour... and a half.

Good description. A series of simplistic, un-developed ostinati, performed by an atrocious mix of orchestra an synth. "Those brasses" ?! Is it a joke? Man, it's one of the most crappy, synthetic brass sound I've heard. I believe my old Yamaha DX7 had better brasses...

Awesome use of my own words against my own words:D. Still, I love this track;P.


I don't believe this is how this thread works. Censorship about personal opinions and tastes is not really welcome here. So please don't tell anybody that they shouldn't express a negative opinion about a certain composer if they have one.

I'm far from trying to censor anyone, I was rather thinking that opinion about Zimmer is kinda overused and... a bit boring. But say whatever you want, I always can disagree;).


Your humor is a bit like your music, isn't it? :P

Good one:D.

Heh, I think filmtracks hits it spot on with Zimmer and MV in general. Some of the "avoid it" lines are quite amusing, but if you want a real laugh, see the review on Clash of the Titans.

As you seem to have a rather "selective" attention, let me show again some words I used, more visibly this time…

I called you out on lying about Zimmer "often" not giving credits to the composers he collaborates with, which you did lie about by the way. (Now you're backing up and admitting that he does give credit, but apparently not enough. I disagree on that point as well.)


Which means, I indeed said: Zimmer *happens* to compose some stuff, as a lead composer, but since a long time, and probably more and more, his scores are a team effort, made by several composers of his crew.

Answer me this: Why didn't Zimmer take the credit for the first Pirates movie? If writing themes is all Zimmer needs to do to get a lead composer credit, and if he wrote the main themes for the original movie, then why did Klaus Badelt get credited instead?



And, in order to back up and conclude my argumentation, here are a series of quotes, from various places.

And by various places, you mean Film Tracks and the official Hans Zimmer fan site. On a somewhat related note, I put as much stock in Film Tracks as I do in Armond White. Not only are the reviews on their site terribly formatted, but they often review the composer or the method/style instead of the music.

(And before you take this as an invitation to post more links.… You didn't need to prove that Hans Zimmer's scores are collaborative efforts, because he doesn't try to hide that fact. Whether or not the composers he works with are "ghostwriters" is speculation. I doubt they see themselves as ghostwriters, and I doubt that Zimmer doesn't do enough to earn the "composer" credit. One thing that's certain is that Zimmer does work on his music, whether he writes it or supervises its arrangement or even performs it.)


Heh, I think filmtracks hits it spot on with Zimmer and MV in general. Some of the "avoid it" lines are quite amusing, but if you want a real laugh, see the review on Clash of the Titans.

All I see is a very tall, self-indulgent wall of text. Tim Rogers would be proud.

I believe this thread should be spared from the pointless Zimmer discussions.
He is mentioned too often on this board already and I think he does not deserve to be mentioned here at all.
The nature of this thread is about orchestral music as a form of art. If I want to discuss rock music, electronic music or jazz, there are other threads for that.
Zimmer's music is certainly not on the same level as the stuff that has been posted here and I hope this will not change anytime soon.

Anyway, I will soon finish my upload of the complete score of One Piece. I guess it will take one or two days more (My internet connection sucks :()

ASCAP credits for the first POTC soundtrack:

FOG BOUND (Badelt/Zimmer)
THE BLACK PEARL (B./Z./Jablonsky)
BLOOD RITUAL (B./Z./Dooley)
BOOTSTRAP'S BOOTSTRAPS (B./Z./McKee Smith/Zanelli)
BARBOSSA IS HUNGRY (B./Z./Zanelli)
HE'S A PIRATE (B./Z./Zanelli)
THE MEDALLION CALLS (B./Z./Djawadi)
MOONLIGHT SERENADE (B./Z./Dooley/Djawadi)
ONE LAST SHOT (Z./Djawadi)
SKULL AND CROSSBONES (B./Z./Glennie-Smith/Djawadi/Zanelli)
SWORDS CROSSED (B./Z./Jablonsky/Zanelli)
TO THE PIRATES' CAVE (B./Z./Djawadi/Dooley)
UNDERWATER MARCH (B./Z./Neely/Glennie-Smith)
WALK THE PLANK (B./Z./Djawadi)
WILL AND ELIZABETH (Z./Djawadi/Jablonsky)


I believe this thread should be spared from the pointless Zimmer discussions.
He is mentioned too often on this board already and I think he does not deserve to be mentioned here at all.
The nature of this thread is about orchestral music as a form of art. If I want to discuss rock music, electronic music or jazz, there are other threads for that.
Zimmer's music is certainly not on the same level as the stuff that has been posted here and I hope this will not change anytime soon.
*Agrees*

Heh, I think filmtracks hits it spot on with Zimmer and MV in general. Some of the "avoid it" lines are quite amusing, but if you want a real laugh, see the review on Clash of the Titans.

I didn't know this one. What a blast - and so true! Excellent recommendation. Here's the direct link for people seeking a good laugh. :D


Editorial Review: Clash of the Titans: Ramin Djawadi/Various
http://www.filmtracks.com/titles/clash_titans.html



ASCAP credits for the first POTC soundtrack:

FOG BOUND (Badelt/Zimmer)
THE BLACK PEARL (B./Z./Jablonsky)
BLOOD RITUAL (B./Z./Dooley)
BOOTSTRAP'S BOOTSTRAPS (B./Z./McKee Smith/Zanelli)
BARBOSSA IS HUNGRY (B./Z./Zanelli)
HE'S A PIRATE (B./Z./Zanelli)
THE MEDALLION CALLS (B./Z./Djawadi)
MOONLIGHT SERENADE (B./Z./Dooley/Djawadi)
ONE LAST SHOT (Z./Djawadi)
SKULL AND CROSSBONES (B./Z./Glennie-Smith/Djawadi/Zanelli)
SWORDS CROSSED (B./Z./Jablonsky/Zanelli)
TO THE PIRATES' CAVE (B./Z./Djawadi/Dooley)
UNDERWATER MARCH (B./Z./Neely/Glennie-Smith)
WALK THE PLANK (B./Z./Djawadi)
WILL AND ELIZABETH (Z./Djawadi/Jablonsky)

There's only a little problem in your list: it's rather incomplete. It only gives the main composers. For instance, BLACK PEARL, as a mentioned earlier, has apparently eight composers. Where are the credits for the 5 other ones, for those who wrote only 2 or 3 minutes here and there?

HOWEVER, enough Zimmer talk for now. 1) because I hate to talk about him, and 2) because I have very little free time in my hands, therefore it shouldn't be wasted in vain, worthless subjects.

So let's get back to authentic, quality orchestral music, and friendly discussions between real gentlemen. ;)

Arthierr, briefly - I'm sure you're right. It's barely half the story. I've seen a much more thorough listing researched and partly intuited by a hardcore fan (infinitely more sensitive than me to the 'nuances' that go into this corporate soup). I didn't think it worth quoting in full. Still, the mind boggles!

There are two Worlds in operation here that are irreconcilable:
Zimmer the visionary, the emblem of the age that "needs less hate and MORE recognition"
VS Zimmer the suffocating business program. And "come on, it's samey, formulaic, brutalisingly unsubtle SHITE".

I know which side I'm on ;)

With any luck I'll have some more Jim Parker up tonight/tomorrow and another composer who hasn't yet featured in the thread.. :)

I'll remain on the side that believes Zimmer is a visionary. Collaboration doesn't indicate the absence of a guiding vision.

I'll stand on the side that believes Zimmer is a visionary. Collaboration doesn't indicate the absence of a vision.

I know that the Zimmer conversation is old and finished, and I have no wish to re-ignite hostilities... but...

Well, I won't say a damn thing. I'm sure that whatever you *think* I might want to say is pretty much what I actually would... Warmest respect and greetings to all - and I PROMISE there will be some music from me tomorrow!

Goodnight ladies and gents. ;)

*shrugs* I still like Zimmer too, though I don't like many of his MV contemporaries' efforts that much. I try to have an open mind both for orchestral efforts and the "fusion" (orchestral combined with pop/rock/electronica/etc.) efforts that are prevalent right now. Zimmer HAS done some purely orchestral efforts in the past, though, such as Pearl Harbor, so he does have some relevance in this thread whether you like it or not.

I love purely orchestral music, but I like "fusion" music too. Is there anything wrong with that.

I love purely orchestral music, but I like "fusion" music too. Is there anything wrong with that.

Not in the least. :)

I'll remain on the side that believes Zimmer is a visionary. Collaboration doesn't indicate the absence of a guiding vision.

No problem, dude. If that's your opinion, your personal vision of things, then good for you. Be happy with it and enjoy your stuff, even if some people disagree with you. A world without a myriad of nuanced opinions would be so boring. ;)

Now, what about participating to this thread with what drawns us together, instead of quarreling over what divides us? For instance, I believe you're a fan of Kōichi Sugiyama and Kouhei Tanaka, right? Well, me too! See, there are ways to get along in here.

(But I don't promise there won't be anymore Zimmer / MV / RC bashing... :p)




Koichi Sugiyama
Symphony Ideon


Oh yes, a Sugiyama album I didn't even know! Thanks a lot. :)



I love purely orchestral music, but I like "fusion" music too. Is there anything wrong with that.

Me too, mate.

But that's absolutely not what I reproach to Zimmer. I have nothing against this kind of music: David Arnold's James Bond scores, Richard Jacques' Headhunter or various anime scores feature a remarkably brilliant mix of orchestra / pop / techno. The problem with Zimmer is... Oh, here we go again.

Well, I'm tired, and I just said enough Zimmer talk... for the moment. So, maybe another time. ;)

I thought it odd that this ended up in Video Game Music Download Links, but I thought I'd give this thread a bump to make it easier to find.

Also, I've been listening to Ideon and it's quite nice. Thanks, ShadowOnTheSun.

(edit: nevermind, I guess it's in film now. That works! ---thanks, Sarah!)

we had a lot of threads to sort out, some are bound to slip through

thanks for pointing it out though

and major thanks to jessie for helping

Well...this is different... wasn't expecting the change. took me quite some time to find the orchestral thread :P But located once more it is, so all is well

Dare one ask where "Classical by request" is filed??

ED - It's in Video Game Downloads (NOT A PLACE FOR REQUESTS)!!! :S

I knew the best threads would lose out in this reshuffle.

Dare one ask where "Classical by request" is filed??

Ha, found it with google! It's in video game music as well:

Thread 58159

It should be slotted in to Film and TV - it's the natural partner to the Orchestral thread :)

I hope that some good moderator will sort this out.

I propose that this forum be renamed "Film, Television, & Classical Music Download Links" to be more inclusive. Classical music is a natural progression for folk new to film music - and a lot of us share a passion for both anyway. On a strict basis of genre similarities as well, logically it belongs.

(Also, the educator in me would like the classical thread to be in this subforum for exposure; if it goes somewhere else nobody will ever see it.)

Yes, I'd second both of those proposals.

Better have it on its own than mixed up with that VGM crowd ;)

Has anyone heared of Jeremy Soule's next big project yet: http://www.gametrailers.com/video/manifesto-diary-guild-wars-2/702658

Fans of Soule can expect something great to come.

I'm glad to hear that he is officially scoring this! I hope that we get treated to a fully performed score this time! His music sounds much better that way (like in Eye of the North).

I think Total Annihilation and Quidditch World Cup are his best work by far but I hope he will deliever another marvelous score this time. He has a unique style unlike any other game composer I know and huge potential.

total annihilation is incredible

too bad soule is a cunt

Not the biggest fan of Soule - both the man and the musician. He has arrogance like no other composer; not satisfied with "regular" terminology, he describes himself as a "symphonist" when in fact he is actually a keyboard player with a **VERY** good quality sample library. An expensive synthesiser does not a symphony make. A musician of the calibre of, say, Bernard Herrmann or Leonard Rosenman, has a right to be a self-aggrandising uppity so-and-so. A Jeremy Soule? A guy who happened to get lucky with a demo tape? Nah, sorry. Jeremy Soule - hack, fake, pretender.

ANYWAY, here is some music - and to celebrate the lovely new categories of the forum, here's something that really doesn't fit in anywhere. I've been threatening to post it for more than two years now but you know the way it goes... so here it is, at last...




TOLGA KASHIF
Queen Symphony (2002)
(featuring melodies composed by Queen)



My Rip - LAME 3.98.4 -V0 - Plays gaplessly on equipped players

http://uploadmirrors.com/download/33TGJ9OO/TK-TQS.rar

SCANS: http://uploadmirrors.com/download/0SEMDO7T/TK-TQS-SCANS.rar

The Royal Philharmonic Orchestra (leader: Rolf Wilson)
The London Voices (director: Terry Edwards)
The London Oratory School Schola (director: Michael McCarthy)
John Lenehan (piano)
Nicola Loud (violin)
Fran�ois Rive (cello)
Tolga Kashif (conductor)
Julian Kershaw (orchestrator)

Well, from that list of credits, you know you're going to get something special... but how special? Very special. If you're expecting just another "classic rock" album, with limp orchestrations of well-known songs, your expectations will be exceeded. Tolga Kashif's work is, in fact, a fully fledged six movement symphony - constructed from the ground up with Queen's raw material. Not merely arrangements of Queen songs, but as the name implies, a coherent concert piece in its own right that utilises the melodies and harmonies.

The style is shamelessly filmic - some commentators have noted this as a weakness, and one of the usual spectacularly imbecilic Amazon reviewers has written it off as "funeral music", but in my opinion they're rather off the mark. Julian Kershaw, who orchestrated the piece from Kashif's very detailed sketches due to time constraints, frequently works with George Fenton - his work can be heard on The Blue Planet, Deep Blue, Planet Earth, and Earth - amongst others, and for other composers, Stardust, Around The World in 80 Days, and Dinotopia.

So, what we have here is an hour of hopelessly romantic, grandoise, sweeping, fun, and not at all tawdry, symphonic music - which really allows the source material to shine. Queen's music always had a certain symphonic quality in its construction - so of course it made sense that a piece like this should be written sooner or later!

The piece received its world premiere in the Royal Festival Hall in London, on November 6th 2002. The piece was recorded by the same forces in the studio at around the same time as the concert, yielding this CD.

Some people say this is the biggest piece of crap ever made. Some people say it's 21st century classical music's finest masterpiece. It is neither; it is what it is - a massive symphonic love letter to Queen. It's heaps of fun, and it's well worth your time - even if you don't like Queen.

...And, if you have the opportunity to hear it in the concert hall, as I did in 2007 (in Northampton's Derngate Theatre, with the Royal Philharmonic and Kashif conducting) it is *well* worth getting along to it. It's performed rather regularly in the United Kingdom, and still from time to time around the world as well.

Oh yeah, and sorry about the scans and the cover - I know, they're all crinkly and horrible. This CD was divorced from its jewel case and booklet a few weeks after I got it in 2003. The case got smashed; the disc was stored in a new case, but the booklet disappeared and turned up again four years later screwed up at the bottom of a bag of old Christmas decorations. (Don't ask me...) -- So, there you go - sorry. :P

Enjoy. :)
TT

I've been having similar troubles myself. Took me three tries to get Delius up!

Bloody "fair use policies"! >:Z

Right, it's up finally!
I think I'm going to do my uploading at work from now on. I did a test 100mb upload today and it took six seconds. *grumbles*
Enjoy Queen, folks - I'm off to bloody bed now! :)
Goodnight!

Nice one TT. I bought the Queen Symphony for my dad when it came out. Wasn't too taken with it then, but you've made me want to revisit. I had no idea that Kershaw was involved, and even linked with Dinotopia!

Speaking of 'Earth', I bought the blu the other day in the vain hope of an undeclared lossless score track. Is it available in cd form? It seems mad, considering it's the Berlin Phil and all. Perhaps there's a way to separate the narration and effects..? At least the former is in its own discreet channel.

Anyway, here's a quicky:


JIM PARKER - THE GOLDEN SECTION
Performed by The Wallace Collection
John Wallace - trumpet
John Miller - trumpet
Paul Gardham - horn
Simon Gunton - trombone
Robin Haggart - tuba

MP3-V0
http://www.multiupload.com/DUPSYI90FM

This is a characterful little suite for brass ensemble inspired by 6 famous paintings. Anyone who enjoyed Ground Force will be delighted with these - they have a more serious edge, but are nevertheless full of Parker's usual sense of humour and panache.

I'll remain on the side that believes Zimmer is a visionary. Collaboration doesn't indicate the absence of a guiding vision.

A visionary? lol

I think you misunderstand. The biggest problem people have with Zimmer isn't that he consistently collaborates with one or more composers on a project. The problem is that for years and years now every score he writes sounds pretty much like the one before that.

There's no evolution. There's no originality. There's no complexity. There's only regurgitated themes, chord progressions and structures. It's predictable. It's boring. It's simply been done before. By him, no less.

Zimmer can be a good composer. He's written several great scores. That much is true because he uses them in everything he's done in the past 10 years.

As a composer it's kind of insulting when people actually praise him and defend him for this. If Beethoven just rearranged his 5th symphony every time he wrote a "new" symphony, his career as a composer would have ended pretty quickly. Zimmer does pretty much exactly that and consistently receives praise from people (not critics and other composers) and claim he's the greatest composer living today. It's pretty sad, really.

Nice one TT. I bought the Queen Symphony for my dad when it came out. Wasn't too taken with it then, but you've made me want to revisit. I had no idea that Kershaw was involved, and even linked with Dinotopia!

Speaking of 'Earth', I bought the blu the other day in the vain hope of an undeclared lossless score track. Is it available in cd form? It seems mad, considering it's the Berlin Phil and all. Perhaps there's a way to separate the narration and effects..? At least the former is in its own discreet channel.

Anyway, here's a quicky:


JIM PARKER - THE GOLDEN SECTION
Performed by The Wallace Collection
John Wallace - trumpet
John Miller - trumpet
Paul Gardham - horn
Simon Gunton - trombone
Robin Haggart - tuba

MP3-V0
http://www.multiupload.com/DUPSYI90FM

This is a characterful little suite for brass ensemble inspired by 6 famous paintings. Anyone who enjoyed Ground Force will be delighted with these - they have a more serious edge, but are nevertheless full of Parker's usual sense of humour and panache.


Sounds great so far! Thanks, Lens.

JIM PARKER - THE GOLDEN SECTION
Performed by The Wallace Collection


Indeed this is good fun. Every piece has a wonderful charm and character to it.

Finally the upload is done, damn upload speed, but here it is:

One Piece: The Ultimate Music Collection

Composed & Conducted by Tanaka Kouhei & Shiro Hamaguchi



Orchestral / Romantic / Adventure / Regal / Action / Jazz

Info: MP3 / 320 kbps / 210 Tracks / 4CDs / Insert Tracks by Dvorak, Beethoven & Schubert / Over 6 hours of orchestral music


Download Links:

Music from the Series: The Complete Score

Download CD1 (http://www.mediafire.com/file/31f6wxw1a1uxut3/One%20Piece%20-%20Complete%20Score%20%28Music%20from%20the%20Seri es%29%20CD1.7z)

Download CD2 (http://www.mediafire.com/file/7doa7cm8gtar11w/One%20Piece%20-%20Complete%20Score%20%28Music%20from%20the%20Seri es%29%20CD2.7z)

Music from the Movies: The Score Collection

Download CD1 (http://www.mediafire.com/file/h5c69q4edg35qjc/One%20Piece%20-%20Complete%20Score%20%28Music%20from%20the%20Movi es%29%20CD1.7z)

Download CD2 (http://www.mediafire.com/file/rjbnobg60eu96nb/One%20Piece%20-%20Complete%20Score%20%28Music%20from%20the%20Movi es%29%20CD2.7z)


Maybe one of the best anime scores ever composed and I've given it the treatment it deserves (The Original BGM Collections were horrible in my opinion).
The music had a huge impact on my view of animation and japanese composition in general (The episode where Ave Maria by Schubert is played and a character chooses death for not betraying his friend & ideals is a moment that brought me to tears). One Piece made it possible for me to discover Oshima, Amano, "Kanno", Sahashi, Sato, Senju and all the others.

Edit: Hiluluks Requiem (Ave Maria).mp3 (http://www.mediafire.com/file/ecc6y876488376y/Hiluluks%20Requiem%20%28Ave%20Maria%29.mp3)

Also many thanks for the Queen Symphony, Tango, it's awesome

A fantastic, fantastic upload. You always seem to surprise us with your releases, klnerfan. But there does seem to be a small problem...

Ave Maria seems to have an error. I suggest a re-upload of that MP3 so that we can replace the faulty file.

Thanks for this post of One Piece music. Was it intentional that the tracks show in alphabetical order?

[QUOTE=tangotreats;1523357]Not the biggest fan of Soule - both the man and the musician. He has arrogance like no other composer; not satisfied with "regular" terminology, he describes himself as a "symphonist" when in fact he is actually a keyboard player with a **VERY** good quality sample library. An expensive synthesiser does not a symphony make. A musician of the calibre of, say, Bernard Herrmann or Leonard Rosenman, has a right to be a self-aggrandising uppity so-and-so. A Jeremy Soule? A guy who happened to get lucky with a demo tape? Nah, sorry. Jeremy Soule - hack, fake, pretender.

Tangotreats@ I like this kind of passion. Agreed.

klnerfan, have you heard Kouhei Tanaka's work on "Overman King Gainer"? That's my favorite material of his.

I've never heard of Queen Symphony, so huge thanks for posting it here (I love Queen!). Thanks Tango:).

And I'm not sure if I like new forum:(.

if you guys have feedback about the new system, put it in the thread for it. it's not like we're not open to feedback on the issue !

Thanks kinerfan for this great One Piece Music :)

Well to answer your questions:

@Siriusjr: Yes, it was intentional since there is no clear indication of an offical order and since the series is still ongoing I have no idea in what order the tracks will be used.

@spaceworlder: No but thanks for the recommendation, more Tanaka is always something to look forward to.

I occasionally do such projects when I feel like it or if the music deserves such treatment.
My recent one has been Starcraft 2 for example but that wouldn't be appropiate for this thread (maybe I post it somewhere else ;)).
This has developed from a habbit of mine to edit, alter or change the music of a game (or any other media) to my liking so that it better matches the atmosphere and I have a better experience when I play the game (I use Hotkeys for my mediaplayers most of the time).
For Napoleon: Total War I pretty much created a new experience from putting everything from Tchaikovsky to Wagner in a collection and also put them in the context of the game itself (battle music, overworld music etc.).
I created a huge library of music appropriate for any kind of game just in case the original score will dissapoint me because if there is one thing that I absolutly hate, it's bad or generic music in a good or outstanding game (or movie but changing the music in a movie is much more difficult when you can't turn it off).

Ok cool, just checking before I tag it with track numbers :)
BTW, I just got back from The Expendables and loved the main theme Brian Tyler wrote. Its elegant and patriotic.

Was the movie any good? It seems to be getting some very mixed reviews.

Its great if you can ignore weak plot for great action, explosions and humor.

So, I'm a little lost on one thing, klnerfan. You keep mentioning how these One Piece posts are your "contribution" to the series, but you never say how you've affected the music. What have you done to affect or change the music involved. Did you just staple the tracks together to look like suites, have you arranged them somehow, what?

I think he cut out the crap from the soundtracks so only the good tracks are left. There are WAY too many non-score tracks on the numerous one-piece soundtracks. I certainly appreciate the work done for this because by themselves, I can't really enjoy the music of one piece.

I think he cut out the crap from the soundtracks so only the good tracks are left. There are WAY too many non-score tracks on the numerous one-piece soundtracks. I certainly appreciate the work done for this because by themselves, I can't really enjoy the music of one piece.

You can't appreciate the work because the main albums come with j-pop you or anyone can easil just delete?

There's this three-disc release called the "One Piece BGM Collection" which compiles all the BGM from the three soundtrack collections and contains only a smidgeon of the pop/image songs. It's the best official release of the music.

Not the biggest fan of Soule - both the man and the musician. He has arrogance like no other composer; not satisfied with "regular" terminology, he describes himself as a "symphonist" when in fact he is actually a keyboard player with a **VERY** good quality sample library. An expensive synthesiser does not a symphony make. A musician of the calibre of, say, Bernard Herrmann or Leonard Rosenman, has a right to be a self-aggrandising uppity so-and-so. A Jeremy Soule? A guy who happened to get lucky with a demo tape? Nah, sorry. Jeremy Soule - hack, fake, pretender.

Agreed. Totally overrated. He seems capable of the occasional nice moment, but mostly his music sounds like it's fumbling in the dark.



TOLGA KASHIF
Queen Symphony (2002)
(featuring melodies composed by Queen)

Loving this! Usually this sort of thing is dripping with cheese, but this is tasteful and just really well done. (Although my download didn't include any scans? Oh well; not a huge concern for me, just curious. :) )

Hello

will anyone nbe able to record this tonight ?

TONIGHT's 'Film Night at Tanglewood' featuring John Williams and the Boston Pops will be broadcast online at 99.5 All Classical Radio. The show begins at 7pm with an hour of interviews and features, and the concert begins at 8pm (EST).

Thanks!

TOLGA KASHIF
Queen Symphony (2002)


I was expecting that this would be only a mere cover symphonic version of the Queen songs, but it is much better than something like that. Even for the most hardcore Queen fans, they would have a hard time recognizing the songs in which the music pieces were based.
And i'm loving the violin solo part in track 3.
Thanks Tango for sharing.

Guess who's back with his newest piece of music? No, not John Williams. Me. This sucks, I know xD.


MONSTER Orchestral Story by me;)



Ok, so this is my most ambitious project ever. It's long as hell, but this time, it's not all in one track. I decided to write a piece about MONSTER. So I called it... "Monster";). And I added "orchestral story", cause I actually wanted to tell a story... again heh (titles are self explanatory)*. It consists of 4 pieces, where which one of them ilustrates a different stage of monsters march (btw, it's rather big beast, like Godzilla). It supposed to be dark, intense, rather serious music, without catchy themes or melodies. Not sure if I managed to do it, although in my opinion I was not very far from it.

Music itself is not very complicated (lot's of long sounds for example) and may sound chaotic and odd (even quirky) at times, but most of things you hear were made on purpose (except for bad production values).

And yes, I took by an accident a little motif from Medal of Honor Frontlines in finale, so credit to Giacchino there;).

So if U wanna check my biggest piece ever try this one:D.


Streaming: http://soundcloud.com/herbaciak/sets

Download: http://www.megaupload.com/?d=6KEGJYIZ

* Imho it's the best way to get inspiration...

(Although my download didn't include any scans? Oh well; not a huge concern for me, just curious. :) )

*facepalm*

Knew I'd forgotten something -- post now updated with scans as a separate RAR. :)

Guess who's back with his newest piece of music? No, not John Williams. Me. This sucks, I know xD.


MONSTER Orchestral Story by me;)


So if U wanna check my biggest piece ever try this one:D.
[CENTER]
Streaming: http://soundcloud.com/herbaciak/sets

Download: http://www.megaupload.com/?d=6KEGJYIZ

* Imho it's the best way to get inspiration...

I have tried both links and for some reason the tracks will not play on soundcloud and I have been unable to download the tracks from megaupload despite several tries. Could you try to do something because I really like the previous tracks you have posted and would like to hear these.

Soundcloud works for me, perhaps you should try a different browser.
This is some interesting stuff herbaciak although I hear something in the music that sounds to me like clipping. It is far too dark for my tastes though and is more stress inducing than I would hope which in a way means you succeeded.

Sibelius & Grieg
Academy of St.Martin-in-the-Fields


Jean Sibelius
1-3 Karelia Suite
4. Swan of Tuonela

Edvard Grieg
5-9 Holberg Suite
10-11 2 Lyric Pieces

http://www.multiupload.com/TGBLFXPQTK


and on a different note, I don't know if any one saw this the first time I posted it, because no one really said anything
Prologue (http://bit.ly/8Z1WBv)
Again sorry about the midi

Its great to see more Grieg posted here. Wonderful composer.

Shadow, thanks, I can never hear enough Karelia Suites! Does anyone know if Neville Marriner is still conducting? I've got a feeling he's retired.

RE Prologue: I hadn't commented on this because I didn't know what to say - it's lovely, tastefully done, with restraint. The only bit that jars slightly is the triangle transition to the second section.

Herbaciak - absolutely wonderful! This is easily my favourite of the music you've posted. It sounds more structured and less stream-of-consciousness, but still entertainingly unpredictable :) The samples are pretty good too.

Shadow, thanks, I can never hear enough Karelia Suites! Does anyone know if Neville Marriner is still conducting? I've got a feeling he's retired.

RE Prologue: I hadn't commented on this because I didn't know what to say - it's lovely, tastefully done, with restraint. The only bit that jars slightly is the triangle transition to the second section.


I'm not positive if he is still conducting anywhere...I'm thinking he is mostly retired as well.

About the prologue thing...i probably should have explained the progression of the song because it changes so much.
It was an rpgish thing. So in the beginning the hero is asleep, quiet village at night. Then at the triangle the alarm is sounded when invading evil army shows up, which is why its jarring. Then it is the next morning, our hero is walking about the damaged town talking to survivors trying to figure out what happened. And the towns people around are cleaning up the wreckage and bodies, which explains the death toll at the end. So at the end the hero is off to usurp the evil invaders. Very 90's rpg

Marriner is still about - not quite as prolific as he once was, but for a man of 86 one can hardly complain... He conducted a Vaughan-Williams concert in Nashville in February; that's the most recent concert appearance I can find, but he still shows up occasionally.

Harry Rabinowitz was born in 1916 and conducted Gabriel Yared's score for "Cold Mountain" in 2003, aged 87. He conducted at least one concert in 2009 (AGED 93!) which I nearly went to bit missed due to illness. By various accounts his conducting was a little... bizzare, but then eccentricities make an artist unique! Could he be the oldest living (active) musician of all time? (Off topic, I know - sorry folks.)

What about Elliott Carter? He's still composing, if that counts as active (does in my book ;)). Born in 1908. Aged 101!

What about Elliott Carter? He's still composing, if that counts as active (does in my book ;)). Born in 1908. Aged 101!

Indeed writing keeps your mind sharp. He just wrote a bass clarinet concertino with orchestra at the age of 100

Thanks for the Jim Parker music Lens of Truth (and for the lovely paintings). I have Parker's music on CD as background to the poet John Betjeman and it melds wonderfully.

Because someone was asking for it, here's both discs combined of Overman King Gainer, Kouhei Tanaka at his most GAR. When you get the chance of a lifetime to score a Giant Robot show with Manly Men and ninjas in fucking Antartica, helmed by Mr. "Kill Em All" Acquired-Taste Incarnate Yoshiyuki Tomino, it's hard not to get a little hot-blooded, despite the sub-degree cold. Enjoy, and let me know if it's too big so I can split up the discs.

http://www.megaupload.com/?d=0OKH6YGK

I haven't listened to this whole thing myself yet, so I may just do one of my trademark, forum-reaming epic reviews come soon, provided any actually likes or appreciates them.

Here's something that probably would have had more relevance a few months ago, but I've only just now finished it:


YOKO KANNO
Aquarion Symphony
Performed by the Warsaw Philharmonic Orchestra
Edited by TazerMonkey

FLAC & MP3 LAME 3.98r -v0 | 6 Tracks | 42:19



Movement I - Aquarion
Movement II - Dance
Movement III - Sad Oracle
Movement IV - Flight
Movement V - Exodus from Heaven
Movement VI - Love

This is a compilation of my own design (and my first such experiment). Inspired by streichorchester's comment that, in this soundtrack, Kanno had practically composed a cantata, as well as remembering there was some interest in having more of Kanno's orchestral music shared, I took it upon myself to isolate the orchestral tracks from the albums and arrange them into a pleasant listening order. Eventually, I decided to try my hand at taking the existing tracks and configuring them into something resembling a symphonic structure -- this is the result.

I have tried to retain as much of the music as possible, but listenability and "flow" were the paramount concerns; some movements are simply the existing tracks spliced together while others are more heavily edited. I suppose this fits the definition of "bleeding chunks," but hopefully you will find the transitions mostly smooth.

Enjoy :)

FLAC:
http://uploadmirrors.com/download/0UQP8HHN/YK-ASflac.zip.001
http://uploadmirrors.com/download/WL6AF5TF/YK-ASflac.zip.002
http://uploadmirrors.com/download/1E1LOMCO/YK-ASflac.zip.003
http://uploadmirrors.com/download/0CZWQHWI/YK-ASflac.zip.004
Pass: tazed

MP3:
http://uploadmirrors.com/download/170H5O5E/YK-ASlossy.zip
Pass: tazed

Wunderbar post, Tazer, thanks a lot. With poor Kanno tied up in yet more Macross Frontier business, it's nice to pull up some of her endless repotoire of classics to stem the withdrawl, and Aquarion was always one of my faves: sophisticated yet soulful, stately yet explosive, Kanno at her most classical(save perhaps for The Creation), yet brimming with modernity, though I'm guessing the sublime Cyberfolk Music and Psychedelic Academy were omitted for their electronic sensibilities. Looking forward to see how were wonderful work sounds in this new format. Thanks again :)

Thanks for Overman King Gainer but (1) please make your post a little more detailed so others notice it (2) I don't think it should be tagged together as one soundtrack if it is specifically soundtrack 1 and soundtrack 2 that are separate. I'll post comments once I listen to them.

I concurr, the presentation is absolutely invisible for the many visitors browsing the thread. Thanks anyway for posting, NaotaM.

Btw, may I point out that these osts have already been posted by respectively me (ost 1) and spaceworlder (ost 2):



Kouhei Tanaka
Overman King Gainer ost 1 and 2 (320k)

Thread 55144

Here's something that probably would have had more relevance a few months ago, but I've only just now finished it:

Fascinating! I haven't listened yet but I know this is going to be interesting!

I only have one comment prior to playing it... Kanno's scores lways struck me as not lending themselves particularly well to editing or reconfiguring, since almost every cue is in reality an immaculately constructed example of symphonic form in itself. So many scores - with cues explicitly composed as cinematic cues and not symphonic showpieces - lend themselves to this treatment because you can take pieces and use them to create a symphonic structure... but when it's already inherently part of the music?

I tried to do this a few times already with Escaflowne, and always ended up abandoning it because any editing I undertook spoiled the very deliberate sense of ebb and flow. Chopping up these completely self contained four minute symphonies and joining them together so they still make sense seems to me an almost impossible undertaking.

So... how's it going to turn out?

*begins to listen* ;)

Thanks too all of you for your opinions. I'm really glad that - to my surprise - you mostly liked it;).


This is some interesting stuff herbaciak although I hear something in the music that sounds to me like clipping.

Yeah, that can be true, cause I had some big problems with mastering and overall volume balance (for example my choir library went completely bonkers...). Guess I have to reinstall everything (including windows), but I hate doing that...


It is far too dark for my tastes though and is more stress inducing than I would hope which in a way means you succeeded.

Love that comment, even if I think, that this piece has some kind of strange humour in it (at times). Maybe it's just my imagination;).


absolutely wonderful! This is easily my favourite of the music you've posted. It sounds more structured and less stream-of-consciousness, but still entertainingly unpredictable The samples are pretty good too.

Tried to do it as coherent as I could. Glad it feels that way... even if only partialy.


I have tried both links and for some reason the tracks will not play on soundcloud and I have been unable to download the tracks from megaupload despite several tries. Could you try to do something because I really like the previous tracks you have posted and would like to hear these.

Thanks mate, glad U like my music. So if U still can't listen to my newest work try this link: http://rapidshare.com/files/413298053/Monster_-__Orchestral_Story.zip

Ow, and thanks for Kanno. And as for Queen Symphony - after first listen I thought that it didn't give the justice to source material, but after second listen it grew on me. Really good work, so thanks again for posting.

p.s.
And guys, could you say in specific (although it can be not very specific "specific";)) what you liked in my piece and what you didn't (just like Tango did with my previous)? Hope I'm not asking for too much. Thanks in advance. Ow, and try to forget about samples and overall mastering...

Kouhei Tanaka
Overman King Gainer ost 1 and 2 (320k)

Thread 55144


Speaking of which, that thread should seriously be moved to the new anime music section.

Makes you wonder if it would not be better to give this thread it's own section as many posts are already a mix of all other subforums.
I think that would be the best solution.

Desperately trying to find THE HIRE (BMW FILMS) OST. Can anyone PLEASE, PLEASE HELP?

Thanks Shadow for Sibelius & Grieg :)

Desperately trying to find THE HIRE (BMW FILMS) OST. Can anyone PLEASE, PLEASE HELP?

Oho, someone's confusing this thread with another popular thread recently closed. And moreover to ask for a Media Ventures score! lol

I hope people won't turn to this place to make random requests...

Edit: Correction - the music is by PrimalScream Music, but some regular MV composers also participated.



Has anyone heared of Jeremy Soule's next big project yet: http://www.gametrailers.com/video/manifesto-diary-guild-wars-2/702658

Fans of Soule can expect something great to come.

The game: massive piece of awesomeness.

The music: sounds good. There's really a sort of enthusiasm, excitement in it, like if the composer was "taken" by the greatness of this project. This looks promising.

YOKO KANNO
Aquarion Symphony


I'll certainly check it out.


Thanks Shadow for Sibelius & Grieg :)

No problem, some great pieces in there. :)

Herbaciak I can't quite process your new piece yet... I have listened to it twice trying to make sense of it but I can't quite figure out what to say yet.
I'll let you know what I think when I can find the words.

yay :)

Thanks for posting your Aquarion compilation, TazerMonkey.

I only have one comment prior to playing it... Kanno's scores lways struck me as not lending themselves particularly well to editing or reconfiguring, since almost every cue is in reality an immaculately constructed example of symphonic form in itself. So many scores - with cues explicitly composed as cinematic cues and not symphonic showpieces - lend themselves to this treatment because you can take pieces and use them to create a symphonic structure... but when it's already inherently part of the music?

This is very true. In fact, I would go so far as to say that I failed to arrange a symphonic structure. Because the pieces are so tightly constructed to begin with, I had to wait for transitions that were, more often than not, climactic moments... hence the abundance of rallentandos. I think the last "movement" turned out the best because the main transition, between "First Love Final Love" to a passage from "Carthage Nova," was fairly subtle. Then, there are also transition problems stemming from my lack of experience with audio editing (the horn blast going from "Heaven's Gate" to "BLAQUARION" being the most wince-inducing example) that ruin moments that I think would work musically if someone were to attempt this "for realz" and do a re-recording, something parsecs beyond my resources and musical experience. I still believe it is possible to rework this material into a proper symphony because, despite wearing its inspirations baldly, it is composed with more than enough beauty and complexity to stand on its own for the better part of an hour, but such a task requires greater musical creativity and deftness than I possess.

That said, I don't think this experiment was a total failure. I enjoy this listening order (and hopefully others do as well :)) and I think I learned a bit. My humblest apologies if I made anyone's ears bleed. :-\

FAR from a failure... More comments later, but just to say now...

There are problems with Aquarion's soundtrack CDs which are amplified a hundred fold on your symphony. Some of the terrible transitions aren't your fault. Some tracks on the CDs are playing at the wrong speed; something hideous went wrong during the mastering. If you try to mix these tracks with the good ones, your transition will sound instantly out of tune.

If you don't have perfect pitch, or relative pitch (which I have) you don't really notice these problems on a track by track basis... but they're very apparent when a good track and an affected one are played together without a break.

Some minor, very subtle pitch corrections are needed on these particular tracks.

[EDIT: Let's have some fun - I've got too much time on my hands. I'm sorry this is a little off-topic drift, but I guess it's kinda relevant to discuss audio editing technique if it helps us learn more and therefore upload better stuff...

I had a play with that particularly jarring transition between Exodus and Heaven's Gate... originally at 4:55 in Movement V (Exodus from Heaven).

http://uploadmirrors.com/download/1NNFQBWG/- transitions.mp3

There are two examples: First is the straight transition but with a minor pitch correction in Exodus. It doesn't jar any more. Second takes the concept a little bit further with the pitch correction on Exodus combined with a full semitone reduction on Heaven's gate so the transition now does a nice cadence and makes a little more sense musically.

There's so much fiddling around you can do - of course, it means ten times the effort, but sometimes a little bit of this can really help with that utopian, almost impossible ideal - imperceptible edits.

Now everybody can also laugh at my stupid sounding voice. This is what happens when you were exposed to Cockney and Home Counties accents in equal measures during growing up... a bizzare hybrid; half common half posh.

I tried to do a symphony for Marimite (yes, really - the missus asked for it) but I gave up in the end because of this problem; virtually every single track was affected, and by different quantities relative to each other. Absolute nightmare.

Here's something that probably would have had more relevance a few months ago, but I've only just now finished it:

YOKO KANNO
Aquarion Symphony
Performed by the Warsaw Philharmonic Orchestra
Edited by TazerMonkey



Just downloaded this, and am about 6 minutes in. Why have I never listened to this score before? It's amazing so far! Thanks for sharing your symphony version with us!

Regardless of the plagiarism and the lingering (justified) questions over who actually composed and orchestrated this... it is one hell of a piece of music. It really does feel like a symphonic entry in the classical repertoire; that it's an anime score composed in 2005 absolutely beggars belief.

For me, it betters even Escaflowne and turns out as Kanno's finest work; Macross Frontier in 2008 was a bit of a disappointment in comparison... and for fairly obvious reasons a fully orchestral Kanno score doesn't come around very often at all, particularly in the anime arena. She seems to be averaging one every three years at the moment...

Macross Frontier in 2008 was a bit of a disappointment in comparison...

I'm fairly certain Tally Ho! was supposed to have choir vocals around 2:06 (you know, the part that references Shostakovich's DSCH motif (http://en.wikipedia.org/wiki/DSCH_motif)) and 1:33 in Battle Frontier that seems based on "We Three Kings." Those little additions would have helped given the score more "oomph" but I'm 99% certain they were cut from the final recording.

In the name of spreading more Tanaka love, here's something I haven't seen around, and in fact spent many forthnights seacrhing for.


Yuusha no Ou GaoGaiGar OST 1 and 2
by Kouhei Tanaka





Ost1: http://www.megaupload.com/?d=AFWXP4FE

Ost2: http://www.megaupload.com/?d=OT6V7IBZ

Enjoy! I'll have GaoGaiGar Final and GRAND GLORIOUS GATHERING up tommorow.

There are two examples: First is the straight transition but with a minor pitch correction in Exodus. It doesn't jar any more. Second takes the concept a little bit further with the pitch correction on Exodus combined with a full semitone reduction on Heaven's gate so the transition now does a nice cadence and makes a little more sense musically.

HOLY CRAP!!! :D The second sample sounds about a million times better!

That's very unfortunate about the audio problems with the originals. I will be the first to admit that pitch was never one of my strong points as a musician, and I couldn't really tell that was an issue. I can hear that the transitions don't quite mesh in the edit, but as to the difference interval... my ears just aren't that perceptive. I still have both the original unaltered tracks and the Audacity project files... it's very tempting to go back and fix everything as best as possible for a later reupload (might be a little while; I'm starting a new job next week so my free time will greatly diminish), but I would likely need some assistance/advice on finding those intervals.


Now everybody can also laugh at my stupid sounding voice.

I think my voice sounds stupid as well; it must be a fundamental truth that we are all terribly embarrassed at the sound of our own voices (save, perhaps, for James Earl Jones). You actually sound very much like a friend of mine except, of course, for the difference in accents. I myself seem rooted in the typical Midwestern accent with the occasional syllable soaked in a Kentucky drawl, which I suspect I picked up from my mom.


Regardless of the plagiarism and the lingering (justified) questions over who actually composed and orchestrated this... it is one hell of a piece of music. It really does feel like a symphonic entry in the classical repertoire; that it's an anime score composed in 2005 absolutely beggars belief.

Indeed. If such questions didn't surround this work, I'd have no reservations declaring it one of the very best works I've ever heard; hell, it's still remarkable even when taking everything into consideration.


Yuusha no Ou GaoGaiGar OST 1 and 2
by Kouhei Tanaka

Naota, thanks for sharing this. I'm really enjoying the music, but that album art is GINORMOUS. ;)

Album art? *looks closely*

I see nothing...

Just want to make a reference to the soundtrack of Poppoya (Railroad Man), opened and shared by Nikitos in this thread:
Thread 78758

It's a sweet and gorgeous soundtrack with music by Ryoichi Kuniyoshi and theme composed by Ryuichi Sakamoto.
Recomended.

In the name of spreading more Tanaka love, here's something I haven't seen around, and in fact spent many forthnights seacrhing for.

[CENTER]Yuusha no Ou GaoGaiGar OST 1 and 2
by Kouhei Tanaka

Thanks for this. Actually I downloaded long ago some GaoGaiGar osts, knowing it was Tanaka who composed them, but I didn't even have the time to try them. Since you recommend them, now is a good occasion to do it.

Oh, btw, between "invisible" and "can be seen from space", there's certainly a right way to present your posts. ;)

More Tanaka to come! (hopefully) :)

Thanks for the Tanaka, and like everyone else said. Dear lord that is huge cover art!

I don't know if anyone cares because this isn't orchestral, but this thread is often more than just that. But I decided to do a speed arrangement where I sit down at the piano and arrange and write out the arrangement while I sit there. Then I record it later that day. I do it just for the practice every once and a while. The original material used this time is from Alan Menken's Hunchback of Notre Dame.

Hunchback of Notre Dame Speed Arrangement (http://www.fileden.com/files/2009/6/24/2487612//Hunchback of Notre Dame.mp3)

Let me know what you think


I have an upload on the way soon, too

Thank you
I love Alan Menken's work and for Hunchback he was apparently on steroids. Such a powerful score and your piano arrangment is very good too.
From the intro of Bells of Notre Dame to Out There to Heaven's Light/Hellfire, it is really great and should be orchestrated (or at least synth-orchestrated).

I recently discovered something great and want to share it with you. It is a collaboration of two composers I like for very different reasons. Here is the result:

Pretty Cure Allstars DX

Composed by Naoki Sato & Yasuharu Takanashi



Download Link (http://www.mediafire.com/file/s7cw4ht3f3tc5fz/PrettyCure%20Allstars%20DX.7z)
MP3 / 192kbps / 34 Tracks / 70MB


The first track "Prelude" has something I connect to Mario Galaxy, I don't know why but it sounds appropiate enough to be in the game.
"Light of Hope" (Takanashi) and "Last Battle" (Sato) are also standouts and really beautiful.

In any other thread I would ignore this Cure Allstars ost but ill check it out.

Can I ask - Can someone provide me a link to the fantastic debate you guys had over Zimmer, featuring that hideous score extract from The Dark Knight (String section playing amateurish, synth-like 16th and 8th note repetitive permutations of a d minor triad)? I loved that. Particularly the jokes featuring Herrmann co and beating the crap out of Zimmer and Horner.

I've tried the new search feature, but it's only come up with very recent results.

In any other thread I would ignore this Cure Allstars ost but ill check it out.

My sentiments exactly! However, I may have gotten because of Naoki Sato...anyway, thanks klnerfan!

Well that's one way to make the forum whiter-than-white!

If nothing else this should curb my unhealthy addiction to smilies and winkies.


Can I ask - Can someone provide me a link to the fantastic debate you guys had over Zimmer, featuring that hideous score extract from The Dark Knight (String section playing amateurish, synth-like 16th and 8th note repetitive permutations of a d minor triad)? I loved that. Particularly the jokes featuring Herrmann co and beating the crap out of Zimmer and Horner.

I've tried the new search feature, but it's only come up with very recent results.

That *was* very recent. Like, a few pages back?

I just gave myself the worst scare -- this thread wouldn't load. I thought maybe it'd gotten futzed in the overhaul or something... and then I saw the view option had been switched to "Hybrid mode." Thankfully, linearity has been restored and blood pressure has lowered to within tolerable limits.

Shadow, your "Hunchback" arrangement is wonderful. I agree that it's probably Menken's best work and you've done a fine job of capturing its essence. Would love to hear more.

klnerfan, I'll give "Pretty Cure" a listen. That art looks like a 12-year-old boy's LSD fantasy wet dream, for which "Galaxy"-esque music seems oddly appropriate. ;)

Shadow, your "Hunchback" arrangement is wonderful. I agree that it's probably Menken's best work and you've done a fine job of capturing its essence. Would love to hear more.

Thanks for the kind words everyone. Like I said there are a few things I would change about it now after giving it some time. But overall I am pleased with the outcome.


Can I ask - Can someone provide me a link to the fantastic debate you guys had over Zimmer, featuring that hideous score extract from The Dark Knight (String section playing amateurish, synth-like 16th and 8th note repetitive permutations of a d minor triad)? I loved that.

It all started on This Page (http://forums.ffshrine.org/film-television-classical-music-download-links/57893-big-orchestral-action-music-thread-242.html)
Like I said before, that conversation is over with, so please no one try and start that again.

Crosspost of The Lion In Winter by John Barry. Enjoy :D





http://forums.ffshrine.org/film-television-classical-music-download-links/78915-lion-winter-john-barry.html

Just a heads up for fans of Michiru Oshima (I know there is a few of you guys here on this thread =)). The OST for The Tatami Galaxy or Yojōhan Shinwa Taikei which was composed by her is available on the internets. I don't have a direct download link for it, but I downloaded it from Nipponsei (torrent). Thats it, enjoy!!
=)

Just a heads up for fans of Michiru Oshima (I know there is a few of you guys here on this thread =)). The OST for The Tatami Galaxy or Yojōhan Shinwa Taikei which was composed by her is available on the internets. I don't have a direct download link for it, but I downloaded it from Nipponsei (torrent). Thats it, enjoy!!
=)

You could always upload it. That's where most people get their "download links" around here, they upload them.

Also, thanks for the Lion in Winter, Sanico!

ShadowOnTheSun, I finally listened to your short hunchback arrangement, and I thought it was very nice!

Michiru Oshima Yojouhan Shinwa Taikei OST
2010 - Nipponsei - 320kbps - Scans
Romantic|Orchestral|Piano|European|Woodwinds

Download (http://rapidshare.com/files/414496927/MO-YjhnShnwTk.rar)
PSW: smile
Huge thanks to Nipponsei for posting this! I changed the tags a bit and embedded the small 400x400 album art before posting.

You could always upload it. That's where most people get their "download links" around here, they upload them.


Sorry. I didn't know what the rules are for posting stuff that isn't mines. I'll know for next time, learning from Sirusjr's example.

Thanks Sirusjr for uploading.

Thank you Sirusjr for the latest soundtrack by Oshima.

Hi folks - still around but pc has been raped by some spectacular virus so this is coming from my mobile phone... bizzare thing is that I was doing nothing at the time except browsing the shrine.... I wonder if some malware came along for the ride in thex forum upgrades....? Anybody else having any trouble lately? Will be back soon hopefully following a complete system reinstall.... seeya later ... gr

hum interesting. My installed antivirus detected a virus today when i started browsing but before i login to the shrine. Not sure if it's related or not. There's always nasty virus out there. The virus name is Meredrop, but is now removed from the pc and i didn't noticed anything strange beyond that.

Very cool news for Castlevania Lords of Shadow:
The game's musical score is being written by catalan film composer �scar Araujo. He aimed to create a very epic yet melancholy score to suit game and emotional story. He recorded the scores with a 120 piece orchestra and 80 person choir during a recent session. While much of the score will feature original music, it will integrate some previous Castlevania themes.
Square Enix Music Online :: Video Game Music News (http://www.squareenixmusic.com/musicnews2.php?subaction=showfull&id=1282515729&archive=&start_from=&ucat=7&)

I only hope that's not "120 piece orchestra + 80 person choir" as in WALL OF SOUND Remote Control overcompensation.

I know nothing of Araujo, or whether he's good, bad or mediocre (increasingly, the last two are one and the same for me). Yet it sounds promising - genuine melancholy isn't something you hear a lot of these days in scores (Senju, take a bow!).

I only hope that's not "120 piece orchestra + 80 person choir" as in WALL OF SOUND Remote Control overcompensation.

I know nothing of Araujo, or whether he's good, bad or mediocre (increasingly, the last two are one and the same for me). Yet it sounds promising - genuine melancholy isn't something you hear a lot of these days in scores (Senju, take a bow!).

My own post several months ago:


Here other spanish work that I love it. Fully epic, a mix between the old scores by Miklos Rozsa and the force of Basil Poledouris.

It is a score for a animated movie titled El Cid, La Leyenda (2003) by Oscar Araujo.

(http://www.subirimagenes.com/otros-cidleyenda0602498617-1785136.html)

MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=1M9H2RDK)

Track listing

1. La fuerza de mi coraz�n (04:10)
Song
2. Heroes (01:47)
3. Sin honor (01:48)
4. Caballero (02:47)
5. Tolerancia (03:28)
6. Duelo (08:10)
7. Encuentro a media noche (01:12)
8. En la corte (01:38)
9. Amor imposible (01:51)
10. El legado (02:49)
11. Almoravides (02:07)
12. Noche en Valencia (02:15)
13. Partida (01:36)
14. Conspiraciones (01:31)
15. Lucha de libertad (01:57)
16. Sin mirar atr�s (02:16)
17. La muerte del rey (02:12)
18. Encuentro con Sancho (02:05)
19. El reino de un sue�o (03:55)
Song
20. The power of a broken heart (04:10)
Song

Total Duration: 00:53:44

---------- Post added at 06:28 AM ---------- Previous post was at 06:26 AM ----------

Sirusjr, do you still look for Garbo by Fernando Vel�zquez? I have the original CD that I can rip for you.

Although I don�t write too much I read you always.

Best!

Thanks mate, I'll check it out this evening.

These filmax animation guys don't look too shoddy either.

Well, the movie is funny.

I liked it, however is not as it were a Pixar or Dreamworks movie, more budget limitations of course.

In this video you can appreciate the music and the movie, jejeje:

YouTube - El Cid, la leyenda - Parte 8 (http://www.youtube.com/watch?v=Qu9QBvV4ra0&feature=related)



Nice suites with some of the best themes by Jerry Goldsmith, John Williams and Jame Horner. No my upload, credits to NeotheOne:

Jerry Goldsmith, the Tribute Symphony

Tracklist:

01. Intro & Universal Studios Fanfare (0:41)
02. Main Titles / Locutus (Star Trek First Contact) (2:13)
03. Carolco Pictures Logo (0:13)
04. The Dream (Total Recall) (2:51)
05. The Dress Waltz (Legend) (2:16)
06. The Carousel (The Haunting) (0:56)
07. The Poppy Fields (The Shadow) (1:13)
08. The Klopek (The 'Burbs) (1:57)
09. The Warriors (The 13th Warrior) (1:17)
10. The Sand Volcano (The Mummy) (4:33)
11. Ave Satani (The Omen) (2:00)
12. The Legend (The Wind and the Lion) (3:04)
13. Main Titles (Rudy) (3:26)
14. The Trees (Medicine Man) (4:28)
15. Gremlins Rag (Gremlins) (0:52)
16. End Credits (Gremlins 2: A New Batch) (3:06)
17. Carol Anne's Theme (Poltergeist) (3:32)
18. Theme from Forever Young (Forever Young) (2:37)
19. Love Theme from Chinatown (Chinatown) (1:55)
20. No Thanks (The Secret of Nimh) (1:26)
21. The Construction (Explorers) (2:23)
22. Main Titles / Argo City (Supergirl) (2:09)
23. No Diamonds (King Solomon's Mines) (1:10)
24. Night Life/Main Titles (Basic Instinct) (3:55)
25. Katya (The Russia House) (2:16)
26. Theme from Powder (Powder) (2:06)
27. Bloody Christmas (L.A. Confidential) (2:36)
28. Lancelot & Guivenere (First Knight) (1:20)
29. The Parachutes (Air Force One) (2:01)
30. Main Titles / Ba'ku Village (Star Trek Insurrection) (2:13)
31. Questions (Rambo III) (2:16)
32. Main Titles/Mulan's Decision (Mulan) (3:04)
33. Betrayal (Under Fire) (3:03)
34. Fanfare for Oscars (0:42)
35. Main Titles (Patton) (0:47)
36. Life is a Dream (Star Trek V: The Final Frontier) (3:00)

Length: 1:19:38
Format & Quality : MP3 320kbps

MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=GIPMUIZ0)

John Williams, The Symphony

Tracklist:

01. Star Wars Main Titles (Star Wars Episode IV: A New Hope) (1:31)
02. The March From 1941 (1.941) (2:04)
03. Minority Report (Minority Report) (1:59)
04. Journey to the Island (Jurassic Park) (2:24)
05. The Magic Of Halloween (E.T. the Extra-Terrestrial) (1:57)
06. Across the Stars (Star Wars Episode II: Attack of the Clones) (4:25)
07. Theme from Sabrina (Sabrina) (2:07)
08. The Reunion (A.I. Artificial Intelligence) (2:51)
09. Hedwig's Theme (Harry Potter and the Philosopher's Stone) (1:53)
10. Remembering Childhood (Hook) (2:11)
11. Prologue (Born on the Fourth of July) (1:00)
12. Main Title and First Victim (Jaws) (1:33)
13. Duel of Fates (Star Wars Episode I: The Phantom Menace) (2:26)
14. Children's Slave Crusade (Indiana Jones and the Temple of Doom) (2:10)
15. Turning Back the World/The Flying Sequence (Superman: The Movie) (2:48)
16. Princess Leia's Theme (Star Wars Episode IV: A New Hope) (1:14)
17. Han Solo And The Princess/The Asteroid Field (Star Wars Episode V: The Empire Strikes Back) (3:39)
18. The Basket Game/Marion's Theme (Raiders of the Lost Ark) (2:39)
19. Luke and Leia (Star Wars Episode VI: The Return of the Jedi) (4:32)
20. Fawkes the Phoenix (Harry Potter and the Chamber of Secrets) (3:13)
21. End Credits (The Dance of the Witches Reprise) (The Witches of Eastwick) (2:33)
22. Escape From Venice/Scherzo For Motorcycle And Orchestra/Brother Of The Cruciform Sword (Indiana Jones and the Last Crusade) (4:38)
23. Theme from Schindler's List (Schindler's List) (3:53)
24. Theme From Angela's Ashes (Angela's Ashes) (2:27)
25. Seven Years in the Tibet (Seven Years in the Tibet) (2:49)
26. Dry Your Tears Africa (Amistad) (1:57)
27. Prologue (J.F.K.) (2:57)
28. The Patriot (The Patriot) (3:18)
29. Somewhere in my Memory (Home Alone) (2:49)
30. Resolution And End Title (Close Encounters on the Third Kind) (1:36)
31. The Throne Room and Finale (Star Wars Episode IV: A New Hope) (0:31)
32. Raiders March (Raiders of the Lost Ark) (1:34)
33. Hedwig's Theme (Harry Potter and the Philosopher's Stone) (0:20)

Length: 1:19:54
Format & Quality: MP3 320kbps

MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=YUNTTNLX)

James Horner, the Golden Years Symphony

Tracklist

01 - Universal Pictures 75th Anniversary Logo (00:00)
02 - The Plaza of Execution (The Mask of Zorro featuring Willow) (00:56)
03 - Willow's Theme (Willow) (04:12)
04 - A Storm is Coming (The Perfect Storm) (06:25)
05 - Josh & Vinnie (Searching for Bobby Fisher) (09:25)
06 - The Machine Age - Part I (Bicentennial Man) (11:20)
07 - Kaleidoscope of Mathematics (A Beautiful Mind) (12:10)
08 - The Flying Circus (The Rocketeer) (13:20)
09 - Southampton (Titanic) (15:12)
10 - A Call to Arms (Glory) (18:57)
11 - Legends of the Fall (Legends of the Fall) (20:58)
12 - For the Love of a Princess (Braveheart) (24:15)
13 - The Cornfield (Field of Dreams) (27:45)
14 - Casper's Lullaby (Casper) (29:54)
15 - Main Titles (An American Tail) (32:31)
16 - Epilogue / End Credits (Star Trek II: The Wrath of Khan) (35:00)
17 - The Ascension / End Credits (Cocoon) (39:18)
18 - The Shape Of Things To Come (Includes Happy Who-lidays) (The Grinch) (42:12)
19 - Main Title (Honey, I Shrunk the Kids) (44:07)
20 - Sacred Guardian Of The Mountain (Mighty Joe Young) (45:19)
21 - Main Title (Brainstorm) (47:54)
22 - Main Titles (The Name of the Rose) (49:28)
23 - Main Title (Contains Traditional Gaelic Song) (Patriot Games) (51:25)
24 - Main Title (The Pagemaster) (54:00)
25 - Main Title & Colwyn's Arrival (Krull) (56:08)
26 - Main Title/A Rare Day For The Boys (Something Wicked This Way Comes) (59:08)
27 - Main Title (Sneakers) (1:02:08)
28 - The Machine Age - Part II / The Wedding (Bicentennial Man) (1:03:50)
29 - Main Title/Balto's Story Unfolds (Balto) (1:06:28)
30 - The Great Migration (The Land Before Time) (1:08:51)
31 - Ripley's Rescue (Aliens) (1:12:45)
32 - End Credits (Apollo XIII) (1:15:35)
33 - My Heart Will Go On (Instrumental Version) (Titanic) (1:17:05)

Length: 1:19:58
Format & Quality : MP3 320kbps

http://www.megaupload.com/?d=7S15D76V

Enjoy!

Yes garcia I still search for Garbo, please post.

Also today Kritzerland provides a MONUMENTAL new release of an expanded score to One-Eyed Jacks

This is such a "grail" to many on FSM boards that I suspect by the time I get my copy it will have sold out. Disc 1 contains the original LP presentation while disc 2 contains the complete score in just under 74 minutes!
http://www.kritzerland.com/jacks.htm

Thank you garcia27 and thank you NeotheOne!

Fantastic posts. Thanks everyone.

Here is something exciting I found out today
Killzone 3 Soundtrack Detailed News | Video Game Event News, Latest Trailers | GameTrailers.com (http://www.gametrailers.com/news/killzone-3-soundtrack-detailed/2407)

It looks like 2011 will be an absolute blast for orchestral music lovers :D

Also today Kritzerland provides a MONUMENTAL new release of an expanded score to One-Eyed Jacks. This is such a "grail" to many on FSM boards that I suspect by the time I get my copy it will have sold out. Disc 1 contains the original LP presentation while disc 2 contains the complete score in just under 74 minutes!
'Holy Grail' gets thrown around so much on FSM it can't be long before it enters official marketing speak! But this score is a treasure. Not least because Friedhofer is so under-represented. Its also one of his best, with more than a touch of Goldsmith about it.

Fantastic posts. Thanks everyone.

Here is something exciting I found out today
Killzone 3 Soundtrack Detailed News | Video Game Event News, Latest Trailers | GameTrailers.com (http://www.gametrailers.com/news/killzone-3-soundtrack-detailed/2407)

It looks like 2011 will be an absolute blast for orchestral music lovers :D

i hoe its more than 20mins this time. as for lords of shadow, the trailers have music from the game and it has a too much modern feel about it. we�ll see. if its good, there will be a collectors edition with the score.

Thanks for the 3 Suites garcia 27 :)

THE SCARLET PIMPERNEL
Suite
Michal Pavlicek



MP3-V0
http://www.multiupload.com/UL3CJ0Z4C3


This score is rather bitty and unsatisfying on album, so here's a sneaky suite. It's very suspense orientated, and weirdly, parts remind me of Basic Instinct. Enjoy! :-)

Edit: New link. I realised earlier that I encoded the wrong WAV!

Garbo: El Esp�a by Fernando Vel�zquez:

Review (from MundoBSO (http://www.MundoBSO.com))

For this magnificent documentary the composer develops his score in two well-defined and established dramatic levels: first, and in a dominant position, an ironic, sarcastic, playful tone; secondly, an austere and evocative dramatic music. The first level is substained in a retentive principal theme, of jazz air and with the use of a whistle, who knows many variations and which is applied with the clear intention that the viewer empathize with the nerve and insouciance with which the character unfolded in lands as sensitive as dangerous, but not frivolizing but highlighting his picaresque.

In the second, Vel�zquez places his creation at the epicenter of the tragic events of the war and its consequences on the defenseless population. He does this with emotional and heartfelt music, warm and also loving, where stands out the use of a cello and that reminds, although only as a reference, the music of Georges Delerue. Overall this is a solid work, adequately applied and structured, which includes some songs (pre-existing and also by the author, who also sings one of them).

http://s3.subirimagenes.com:81/otros/previo/thump_5033651garbospymms10013.jpg (http://www.subirimagenes.com/otros-garbospymms10013-5033651.html)

Track listing

1. The Man Who Saved the World (01:34)
2. Garbo: The Spy (01:58)
3. Spanish Civil War (01:30)
4. Don Quijote (00:47)
5. Lisbon Lies (01:23)
6. Malta Siege (02:31)
7. The Nazi Menace (01:15)
8. The Illusive Spy (02:02)
9. The Early Years: Barcelona (01:35)
10. The Net in Motion (03:30)
11. My Contribution to Humankind (00:59)
12. Garbo's Vivace (01:39)
13. Operation Dream (01:44)
14. Network of Spies (01:09)
15. Assignment: Venezuela (02:00)
16. Road to Caracas (01:19)
17. Peccatoribus (Non Est Qui Adjuvet) (04:00)
18. Nihil Sum (05:55)
19. Mars in Ball (02:04)
20. End Credits: Garbo's Theme (04:52)

Total Duration: 00:43:46

Format: wav

RapidShare: 1-CLICK Web hosting - Easy Filehosting (http://rapidshare.com/files/414737673/Garbo__23-08-2010_22-54-28_.rar)

http://www.multiupload.com/5ZXDI2R4J6

John Williams - SpaceCamp - 1986, Intrada 2010
|Orchestral|Sweeping|Adventurous|

MP3 VBR V-0 + Scans
Download (http://rapidshare.com/files/414729562/JW-SC-In.rar)
PSW: smile

FLAC|LOG|CUE + Scans
Download (http://hotfile.com/dl/64142330/d873403/JW-SpcCmp-In-FL.rar.html)
PSW: smile
This release is limited to 3000 copies. It sold out quickly.

Thanks for this masterpiece.

Erich Wolfgang Korngold, Samuel Barber
Violin Concertos, Much Ado About Nothing
London Symphony Orchestra, Andre Previn


Barber, Concerto for Violin & Orchestra, Op. 14
1. I. Allegro
2. II. Andante
3. III. Presto in moto perpetuo

Korngold, Concerto for Violin & Orchestra, Op. 35
4. I. Moderato nobile
5. II. Romance: Andante
6. III. Finale: Allegro assai vivace

Korngold, Much Ado About Nothing
7. I. The Maiden in the Bridal Chamber
8. II. Dogbery and Verges, March of the Watch
9. III. Scene in the Garden
10. IV. Masquerade, Hornpipe

http://forums.ffshrine.org/f92/e-w-korngold-samuel-barber-violin-concertos-79061/#post1529388

Absolutely divine recording! Thank you!

I'm interested in having a listen to Garbo The Spy, unfortunately the download limit has been reached. Any chance of a re-up?

Thanks.

---------- Post added at 11:39 AM ---------- Previous post was at 11:38 AM ----------

I'm interested in having a listen to Garbo The Spy, unfortunately the download limit has been reached. Any chance of a re-up?

Thanks.

---------- Post added at 11:39 AM ---------- Previous post was at 11:38 AM ----------

Uploading again!

New link added!

New link added!

That's very kind of you. Thanks a lot.

Erich Wolfgang Korngold, Samuel Barber
Violin Concertos, Much Ado About Nothing
London Symphony Orchestra, Andre Previn



Thanks! I've recently begun listening to Korngold's film score, but this will be the first of his concert works that I've heard.

Dust Of Time - Eleni Karaindrou 19@320 / 107,34 MB



MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=NKF508DV)

Track List
Track List

Le Temps Perdu
Dance Theme Var II
Notes I
Seeking Var II
Waltz By The River
Unravelling Time I
Tsiganiko I
Dance Theme Var I
Seeking
Memories From Siberia
Unravelling Time II
Notes II
Tsiganiko II
Seeking Var I
Dance Theme
Le Mal Du Pays
Nostalgia Song
Solitude
Adieu

Review:

By John Kelman

For nearly 20 years Greek composer Eleni Karaindrou has been scoring the films of fellow countryman Theo Angelopoulos, perhaps the single greatest nod to ECM producer/label head Manfred Eicher's ongoing love of both music and film�and, in particular, the way the two, at their best, seamlessly intersect to create something bigger than either one alone. The most obvious and quoted instance of how music elevates film has been Bernard Hermann's memorable score to Alfred Hitchcock's Psycho (1960)�in particular the infamous shower scene�proving that the best soundtracks often act as near-subliminal augmentation to the images, enhancing the emotions, the broader drama and greater subtleties that make a film not just good, but great. Outstanding soundtracks are often more felt than heard when incorporated with film, yet equally stand alone as compelling works.
Karaindrou's legacy of six previous releases of film music continues with Dust of Time, her first following the sweeping live performance career retrospective of Elegy of the Uprooting (ECM, 2006). While there's nothing especially new here�Karaindrou's continued integration of traditional Greek folk music and instrumentation into contexts ranging from small ensembles to full symphony orchestras�it's a largely intimate soundtrack that uses more expansive instrumentation sparingly, with violin, violoncello, accordion and harp the dominant voices in this tale of love lost and regained, told over the backdrop of significant 20th Century events including Watergate, Vietnam, the death of Stalin and the fall of the Berlin Wall.

Largely melancholic, it's Karaindrou's remarkable ability to find perfection in the combination of instruments�evoking with the greatest of care the deep yet subtly worn feelings that are at the core of this moving film�that remains her greatest strength. Whether it's the surprisingly gentle combination of piano with string orchestra on the coda ("Adieu") or with full symphony orchestra on the more dramatic "Seeking," it's Karaindrou's skill at working with the power of silence and greater potential of nuance that avoids melodrama and, instead, explores the nooks and crannies of perhaps a narrower range to create great significance with but the sparest dynamic shift.

Karaindrou also knows how to work with stasis. Following violoncellist Renato Ripo's moving solo introduction to "Memories from Siberia" the piece ultimately revolves around a pedal tone, but with the elegant intertwining of violoncello, accordion, French horn, oboe and bassoon, Karaindrou speak volumes with the greatest economy. Gentle beauty comes from violinist Sergiu Nastasa's melancholic theme over Maria Bildes' sparse harp on "Le temps perdu," while Karaindrou's piano creates the simplest of lyrical themes over accordionist Dinos Hadjiordanou's soft cushion.

Just as Angelopoulos' film possesses a clear narrative, so too does Karaindrou's score create an arc all its own. Exploring shades of feeling with an attention to detail that's made her Angelopoulos' scorer of choice since 1986's The Beekeeper, Dust of Time, in its naked exploration of perhaps the most profoundly human emotion of all, is yet another high watermark in a career defined by musical milestones.


my greek friend Yannis introduced me to the female composer Eleni Karaindrou, maybe you'll like her too!

Dust Of Time - Eleni Karaindrou 19@320 / 107,34 MB


This is gorgeous. I have never heard of Eleni Karaindrou before, time for me to look up more works.

ok......




Eternity And A Day - Eleni Karaindrou (1998)



18@256 / 84,61 MB

MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=G7NQFM7V)

TRacklist
01 - Hearing The Time
02 - By The Sea
03 - Eternity Theme
04 - Parting A
05 - Depart And Eternity Theme
06 - Borders
07 - Wedding Dance [Traditional]
08 - Parting B
09 - To A Dead Friend
10 - Eternity Theme Variation I
11 - Depart And Eternity Theme Variation I
12 - Bus - Part I
13 - Depart And Eternity Theme Variation II
14 - Bus - Part II
15 - Trio And Eternity Theme
16 - The Poet
17 - Depart And Eternity Theme Variation III
18 - Depart


Review


Classical Net Review:
Karaindrou's simple score is quiet and eloquent. She uses few raw materials, the most prominent of these being a melancholy, dance-like theme that would not have been out of place in one of Chopin's mazurkas. Through all its repetitions, what gives it life is the varied scoring, which goes from solo piano to string orchestra. (At times, the string orchestra is joined by other instruments: oboe, clarinets, bassoon, french horn, mandolin, and accordion.) Karaindrou's music speaks little but implies much, and the more you hear it, the more it implies: it's like a Persian rug that develops faces if you stare at it for long enough. It gets under your skin and opens up a space that is filled by sadness and silence. The success of this album (and its predecessors) is partly due to ECM producer Manfred Eicher, who adapted Karaindrou's original score to shape this album, which is not an "original soundtrack" in the usual sense of the word. This CD is a true collaboration.

This music is truly haunting, and it will be enjoyed by a diverse group of listeners – everyone from devotees of foreign "art house" films, to those who buy into ECM's artistic philosophies, of which one seems to be that "less is more." Less is a great deal indeed, with Eternity and a Day.



---------- Post added at 01:47 PM ---------- Previous post was at 01:39 PM ----------






Ulysses' Gaze - Eleni Karaindrou (1995)

17@320

MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=384W010L)

tracklist
01 - Ulysses Theme
02 - Litany [Variation I]
03 - Ulysses Theme [Variation I]
04 - Womans Theme
05 - Ulysses Theme [Variation II]
06 - Ulysses Theme [Variation III]
07 - The River
08 - Ulysses Theme
09 - Ulysses Theme Litany
10 - Ulysses Gaze
11 - Byzantine Psalm [Traditional]
12 - Ulysses Theme [Variation IV]
13 - Ulysses Theme [Variation V]
14 - Ulysses Theme [Variation VI]
15 - Ulysses Theme Lento Largo
16 - Litany [Variation II]
17 - Ulysses Theme [Variation VII]

Review
All Music Guide:
Eleni Karaindrou's long, fruitful partnership with Greek filmmaker Theo Angelopoulos has given birth to several scores for his award-winning films. However, perhaps no previous Karaindrou score contains the evocative power of her compositions for Ulysses' Gaze, the film about memory, artistic quests, and war that won the Grand Prix du Jury at the 1995 Cannes Film Festival. An extended suite for viola, oboe, accordion, trumpet, horn, cello, voice, and string orchestra, Ulysses' Gaze embodies the themes of longing, nostalgia, loss, memory, and obsession that are the film's subjects. The string orchestra is employed to provide a wavering dark current beneath the bright notes of Kim Kashkashian's viola and the wind players, which bloom above like the icons of memory. The theme associated with "A," the central character who serves as the Ulysses of the film's title, is a constant repetitive framework upon which small vignettes of European folk music and elegiac song are built. The effect mirrors the film's journey across a portion of Europe torn apart by political divides and war, but more importantly provides small fragments of the pure images of peace and beauty that are so essential for Ulysses to find. Stacia Proefrock, All Music Guid

I like the new clean look of the site, but those titles in yellow have to go! And before I could always advance to the next page by clicking the page icon at the bottom, but I now have to scroll off to the right first to see the icon. Is there something I should be doing differently to avoid this extra step?

I've never said it before, but a big "thanks" to all of you who contribute to this site and upload music for the rest of us.

Yeah the lighter colors dont look very good on the new white background. I have changed my usual light green to a darker green for posting to contrast better with the background but i'm not about to go back and change every post I ever did. Just try highlighting the text you can't read to give it a contrast.

There's also a handy 'Timewarp' option in the forum skin settings to take you back to the more nocturnal look of old :)

Everything looks better with the "Timewarp" setting.

Ahhh the darkness returns....can see the forum without being blinded anymore..LOL

Here is something exciting I found out today
Killzone 3 Soundtrack Detailed News | Video Game Event News, Latest Trailers | GameTrailers.com (http://www.gametrailers.com/news/killzone-3-soundtrack-detailed/2407)

It looks like 2011 will be an absolute blast for orchestral music lovers :D

Considering what he's done with the other two games, this release rates a 'Do Want'. And let's hope they actually release it in a timely fashion... like, around the same time as the actual game.

Taro Hakase, Yuji Toriyama - Symphonic Poem Hope
Arranged by Yuji Toriyama, Robin Smith
Performed by Royal Philharmonic Orchestra
Featured in the end credits of Final Fantasy XII
MP3 VBR V-0 from Gamemp3s

Download (http://rapidshare.com/files/415301670/Hope.rar)
PSW: smile

Lossless Provided by nothingtosay - Also includes promotional video
Download (http://www.multiupload.com/T0C695UYJM)

This suite is slightly under 9 minutes long and yet one of the most beautiful pieces of music from Final Fantasy, rivaling even the Angela Aki song in the credits. I tried to search this thread to see if it had been posted previously but as the word Symphonic is used far too often I found too many results to check easily. If you haven't heard this, you must give it a listen.

Hey, was digging through some stuff this morning and found I have a copy of the Wild Arms 2nd Ignition soundtrack by Michiko Naruke, that I forgot I had. Are any of you interested if I upload it?

John Williams Compilation

Here is a John Williams compilation that i made today.






I know this is from way way back in the thread, but would it be possible to re-upload this compilation if you still have it, Sanico? It looks terrific!





This is my Jerry Goldsmith's compilation:



Best and enjoy!!!

This was still online! What a surprise...

Anyway, this also looks amazing. Thanks a bunch!

[center][color="Green"][B][Size="4"]Taro Hakase, Yuji Toriyama - Symphonic Poem Hope


I never quite understood why they would go to the trouble and expense of coming to London, hiring one of the world's most prestigious orchestras... and using it to record nine minutes of this stuff. It's incredibly nice, don't get me wrong - but 90% of it stretches even the term "orchestral" almost to breaking point and it certainly isn't symphonic in any way, shape or form. They could have achieved basically the same thing at home for less money. In my view, if you're going for the RPO, it's because you have something substantial - a meticulously orchestrated, classically oriented piece, and you want the best... you don't hire them as a backup ensemble to sweeten the mix on your nine minute light pop track.

*sigh* I know you'll be thinking what a snob I am, etc, etc... You're probably right, but hey ho.

Thanks for posting - lovely to hear this again though. I used to have it and like so much fine music it got sucked out of the airlock into oblivion courtesy of my mortal enemies Seagate...

I'll be back properly in a week or so as I'm off on holiday tomorrow to a place so remote there is no internet connectivity! It looks like it's going to piss down with rain for the entire week so I doubt I'll get much sunbathing or swimming done... but it'll still be nice to get away from work, etc.

Take care folks :)
TT

Another Karaindrou:

Eleni Karaindrou - Trilogy : The Weeping Meadow (2004)



16@320 / 83,4 MB

MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=RA5K4F7Y)

Tracklist
1The Weeping Meadow3:56


2Theme of the Uprooting I1:08


3Waiting I4:18


4Memories3:34


5The Tree2:42


6Young Man's Theme I1:56


7The Weeping Meadow I3:23


8Theme of the Uprooting II1:18


9Waiting II2:02


10Theme of the Uprooting3:06


11Prayer4:14


12The Tree2:44


13On the Road3:38


14Young Man's Theme2:10


15Theme of the Uprooting III1:10




Review
Film and orchestral music composer Eleni Karaindrou has made a beautiful and moving statement with THE WEEPING MEADOW. A native of Greece, Karaindrou's influences are decidedly European, and within the music, one can hear the stamp of impressionistic composers like Erik Satie, avant garde innovators like Bartok, as well as Greek and Balkan folk forms. Karaindrou's music also traffics in 20th-century minimalism, creating tense, atmospheric spaces that feel empty and dense at once (one of the composer's frequently used motifs involves "patterns" that recall the tingling, polyphonic gestures of Phillip Glass).

Although several themes are reprised throughout the album, the combination of ambient textures, folk phrasing (accordions, guitars, and violins figure prominently into several pieces), and lush orchestral work keep the music consistently interesting. The pieces are often set in a minor key, so a somber, melancholic mood prevails yet never feels forced or melodramatic, and the spacious, tasteful arrangements are in keeping with the ECM aesthetic. THE WEEPING MEADOW is largely instrumental, but also features several choral pieces, adding to the variety and depth of the overall palette on this impressive achievement.

more reviews:

The Weeping Meadow - Music From The Original Motion Picture Soundtrack: Music composed by Eleni Karaindrou: Film Music on the Web CD Reviews July 2004 (http://www.musicweb-international.com/film/2004/Jul04/weeping_meadow.html)

Thanks a lot for your contributions and welcome to the thread, Sorei.

I look forward to hear them this weekend. I didn't know this composer so it'll be interesting.

Thanks a lot for your contributions and welcome to the thread, Sorei.

I look forward to hear them this weekend. I didn't know this composer so it'll be interesting.

thanks, arthier :)

It was suggested to me to post them here, I would not thought of that myself for the scores are no 'action' scores.
My greek friend Yannis introduced me to Eleni and I am addicted now, I found almost all of her work.

:)
I hope you'll like it too.

(meaning: there's still more to post if wanted... *lol*)

This thread isn't based on action only anymore since a long, long time. ;) I leave the thread's title as it is as an "homage" to the sudden, initial, intuitive "vision" that appeared when I had the idea to create it, but now this place is for any kind of orchestral music, preferably rare and tasteful, as your posts seem to be.

I know this is from way way back in the thread, but would it be possible to re-upload this compilation if you still have it, Sanico? It looks terrific!


Sure. It will take some time to find the tracks, copy, organize and upload, but i will working on it.


Tango, enjoy your vacation :)

Sure. It will take some time to find the tracks, copy, organize and upload, but i will working on it.


Oh, so you don't have it together in one place still. Well, if it's a pain, don't worry about it. However, if you do it, thanks!


sorei, I've been listening to the Eleni Karaindrou that you posted and it is quite nice. She has a unique, but very greek style that comes together very well. Thanks!

sorei, I've been listening to the Eleni Karaindrou that you posted and it is quite nice. She has a unique, but very greek style that comes together very well. Thanks!

at first I was afraid the 'greek' thing would be dominating everything, well, at least for my taste it doesn't, it is there and present, but in a more discrete way ( for my ears).
I love the subtlety and the melancholy in the scores.

And I am glad you like it too. :)


Would there be interest for Jan A.P. Kaczmarek scores? Another one of my favorites...

Sorei from what I hear this is very much the kind of music for this thread. I think you should also consider that you don't want to post it all in a short period of time. As much as I love the idea of posting a ton of stuff at once, I think its best to spread it out over time to make it more enjoyable to everyone here.

---------- Post added at 07:55 AM ---------- Previous post was at 07:52 AM ----------

Also, cross post from Film Score thread, more beautiful Japanese music posted by Nikitos. The first one with the horrible cover is mostly synth orchestral but still very nice. It is very reminiscent of early Sakimoto.

Tamiya Terashima - The Chef, 1995



Format: mp3
Bitrate: cbr 224
Size: 84 MB



1. Aperitif Prelude (0:38)
2. Animato Provence Style (1:44)
3. Black Caviar Affectuoso (3:09)
4. Alegro Millfeuil (2:31)
5. Fish Pomposo Soup (3:00)
6. Paella Misterioso (1:45)
7. Spinach Komodo (1:42)
8. Rhapsody Scandinavian Style (1:50)
9. Sheep Roast Beef Fuga (1:56)
10. Champignon Pesante (1:45)
11. Moor Oysters Cruster (1:44)
12. Green Caneloni for Pianist (2:45)
13. Maestoso German Style (2:18)
14. Ethnic Style Ballade (Chase the Chance!) (2:09)
15. Green Papaya Largo (2:06)
16. Spicy Nocturne (1:47)
17. Nice Style Scherzo (1:58)
18. Papyot for Horn and Strings (2:24)
19. Herb Sentimental (1:55)
20. Percussion for Red Wine Sauce (1:40)
21. Cherry Tempestuoso (1:49)
22. Apricot Cantabile (2:58)
23. Chef Special Dessert (6:48)



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

Tamiya Terashima - Iguana no Musume (Iguana's Daughter), 1996



Format: mp3
Bitrate: cbr 224
Size: 87,5 MB

1. Once Upon a Time in a Faraway Island (MainTheme) (3:37)
2. Crystal Awakening (4:13)
3. Another Me (5:56)
4. Nightmare (4:34)
5. Your Song (instrumental) (2:21)
6. Just Another Day (3:58)
7. How Many Full Moons and Sighs (2:50)
8. Somebody Saw the Wind (3:00)
9. Ideal (7:03)
10. My Favorite (4:06)
11. Unconscious Memory (3:58)
12. Encounter... and Reencounter (3:50)
13. Family (1:59)
14. Facing Forward (3:13)


http://www.megaupload.com/?d=1N9YQA4U


Tamiya Terashima - Han Ochi (Half a Confession), 2004







Format: mp3
Bitrate: cbr 224
Size: 76,9 MB



1. City at Dawn (2:04)
2. U Turn (1:23)
3. Half a Confession (1:19)
4. Contract Killer (1:42)
5. Two Blank Days (2:02)
6. Debate (1:39)
7. Hidden Things (0:59)
8. False Testimony (1:32)
9. After the Dream (Gabriel Faure) (2:38)
10. Somebody to Live For (0:48)
11. Crossing the Bridge (4:31)
12. Somebody to Take Care For (2:41)
13. A Glimpse of the Present in the Past (4:16)
14. Unrealized Wish (5:08)
15. Thanks for Life (2:07)
16. A Notebook (2:22)
17. The Confession (3:46)
18. Please... Live (1:59)
19. Koe (Voice) (Instrumental) (5:48)




http://www.megaupload.com/?d=GPXYV34Z

Sirus, that is very nice, but you may want to save some for later. :D :D

I'm just kidding of course! I haven't heard of that composer before, but I'll check it out. Thanks for the cross-post, I definitely would have missed it otherwise.

Garbo: El Esp�a by Fernando Vel�zquez:

Review (from MundoBSO (http://www.MundoBSO.com))

For this magnificent documentary the composer develops his score in two well-defined and established dramatic levels: first, and in a dominant position, an ironic, sarcastic, playful tone; secondly, an austere and evocative dramatic music. The first level is substained in a retentive principal theme, of jazz air and with the use of a whistle, who knows many variations and which is applied with the clear intention that the viewer empathize with the nerve and insouciance with which the character unfolded in lands as sensitive as dangerous, but not frivolizing but highlighting his picaresque.

In the second, Vel�zquez places his creation at the epicenter of the tragic events of the war and its consequences on the defenseless population. He does this with emotional and heartfelt music, warm and also loving, where stands out the use of a cello and that reminds, although only as a reference, the music of Georges Delerue. Overall this is a solid work, adequately applied and structured, which includes some songs (pre-existing and also by the author, who also sings one of them).

http://s3.subirimagenes.com:81/otros/previo/thump_5033651garbospymms10013.jpg (http://www.subirimagenes.com/otros-garbospymms10013-5033651.html)


RapidShare: 1-CLICK Web hosting - Easy Filehosting (http://rapidshare.com/files/414737673/Garbo__23-08-2010_22-54-28_.rar)

Multiupload.com - upload your files to multiple file hosting sites! (http://www.multiupload.com/5ZXDI2R4J6)

THANKS!

Jan A.P. Kaczmarek - The Third Miracle (1999)



21@256 / 95,9 MB
RapidShare: 1-CLICK Web hosting - Easy Filehosting (http://rapidshare.com/files/283634265/TheThirdMiracleJanAPKaczmarek__1999_21_256.rar.htm l)

tracklist
1. Interrupted Dream/Opening Titles (01:32)
2. Bystrica at War (02:49)
3. First Prayer (02:15)
4. Frank & Roxane (03:31)
5. Before Your Eyes (02:53)
6. Prayer at the Lake (01:26)
7. Falcone (01:47)
8. Domine Jesu (01:11)
9. Call from Bystrica (02:10)
10. Helen O'Reagan (02:48)
11. They Call you a Miracle Killer (00:42)
12. Meeting Maria (02:57)
13. Ordinary Woman (02:16)
14. Maria in the Hospital (02:32)
15. I Wanted It to Be True (02:15)
16. The Confession (01:55)
17. Unfinished Love Story (02:54)
18. Farewell (01:08)
19. Memories from the Lake (02:20)
20. The Bleeding Statue (03:19)
21. The Third Miracle (04:47)

Total Duration: 00:49:27

review

The soundtrack to Agnieszka Holland's The Third Miracle features a score by Jan A.P. Kaczmarek, who also scored Holland's 1997 film Washington Square. Kaczmarek's orchestral score reflects the film's themes of faith, doubt, and love. ~ Heather Phares, All Music Guide

Simply Beautiful
This soundtrack is stunning in its simplicity yet powerful in its ability to inspire and transport. The music is haunting but not melancholy. It will touch all your senses as well as your heart and soul. I advise even those who may have not seen the film to purchase this soundtrack, you will not be sorry. This soundtrack is the best since the soundtrack for the Thin Red Line. Pop in the CD, light the candles, turn down the lights, sip your favorite wine, relax, let go.....


This album is a masterpiece and beautiful beyond belief, everyone should own this for their private collection. Several inspiring themes throughout, performed by the Polish Radio Orchestra and conducted by Tadeusz Wicherek, with the Warsaw Female Choir. A stand out - "BEFORE YOUR EYES" lyrics by Elzbieta Biekuszko with music by Kaczmarek is so beautiful, with liner notes listing the poetic hymn lyrics, just wonderful.
The entire album is enthralling and haunting, almost mesmerizing in content. It is difficult to compare to any other score I've heard recently, very meditating and relaxing for an evening by the fireplace with a good book. An album certainly good for the soul - almost brings a tear to the eye. Don't pass this one up - "The Third Miracle"!



---------- Post added at 09:17 AM ---------- Previous post was at 09:15 AM ----------


Sorei from what I hear this is very much the kind of music for this thread. I think you should also consider that you don't want to post it all in a short period of time. As much as I love the idea of posting a ton of stuff at once, I think its best to spread it out over time to make it more enjoyable to everyone here.[COLOR="Silver"]



I'll keep that in mind. :) Still I use the days when there is time, there are days when there is none (for this)

Everyone reading this probably has more history on this site than me, so I'm in no position to complain. Please consider the following a humble observation...

Having finally listened to many scores I had downloaded, I was not happy (see avatar) to find several were totally synth and 2 completely in mono (apparently DVD-rips). Now, I'm not really against this---I just wish the people who posted the items would have taken the time to reveal the nature of what it is they were offering (assuming they knew). Such consideration could save me (and you) lots of download time and those precious Rapidshare "points."

Remember that Elfman "Music for a Darkened Theatre Volume THREE" that appeared and had everyone in a tizzy. And remember how many subsequent posts it took to finally find out it was not a commercial release (despite the clever labeling) but a fan-made compilation?

Remember the last time you used the word "tizzy"?

What scores did you download that turned out all in synth from this thread? Were they synth orchestral or simply other type of synth? Also I don't see why mono should be labeled, especially when some scores are only available in mono. Would you avoid the score for The Spiral Road by Jerry Goldsmith because the Varese Club release is mono? I certainly wouldn't miss out on that fantastic score because it is in mono. Many scores were originally recorded in mono and so should be released in mono.

You're right Sirusjr, of course, there's nothing wrong with mono, if that's the only way to get it. The 2 unreleased scores I was referring to were from movies from 1978 & 1983 and, judging from this particular member's previous posts, I took to be promos. You take your chances with promos (and bootlegs) but I figured there was a good chance I'd get stereo. A mono DVD-rip I didn't expect.

I know to check soundtrackcollector.com, but they aren't totally complete in this area. I should probably just ask before I download next time. But, with all due respect to the great people who offer music here, it also isn't that hard to include something like "this score has never been released, so here's a personal DVD-rip I made." Some already do, and I'm grateful for that info.

I'm a newbie. Am I asking too much?

I know to check soundtrackcollector.com, but they aren't totally complete in this area. I should probably just ask before I download next time. But, with all due respect to the great people who offer music here, it also isn't that hard to include something like "this score has never been released, so here's a personal DVD-rip I made." Some already do, and I'm grateful for that info.

I'm a newbie. Am I asking too much?

I can imagine the people who make a dvd rip and then post it would do that.
Sometimes you download something and you do not know it is a dvd rip (happens to me), maybe not even it is mono (maybe you just download and HAVE it, never listen to it - again, happens to me) and then someone asks for something like this, you post it and do not know a thing about it....

But normally I add the info that I don't have a clue to origin or sfx, if I post something like that...

And yes, sometimes asking proves helpful too :)

Well yes I agree a DVD Rip should be marked as such just as a game rip should be marked.

Cross-post of a score you probably would all ignore but its so beautiful!!





44 tracks 46:41
http://www.megaupload.com/?d=X0HWB2C4

Enjoy!

This score is NOT what you would expect from the cover. Rather than the usual bleak, horror score, the score to Fido is orchestral and beautiful. For those of you unfamiliar with Fido, the movie is about a world in which humans have zombies for pets after the zombie outbreak. Or it might be better to call them slaves. The main character in the movie is a little boy who has a zombie who suddenly one day starts to go out of control. The score is vibrant and alive with bright and beautiful colors to match the 50s atmosphere of the movie. The score is an absolute joy to listen to and highly recommended!

[center]Tamiya Terashima - The Chef, 1995




You know, Tamiya Terashima doesn't seem that well known, but if you're looking to get more of him Tales from Earthsea (love it or hate it Ghibli film) is a great place to start. I'll upload it if anyone's interested.

I believe that score has been posted around here before but I don't recall if it was in this thread.

Nice posts everyone!

Sorei - these Karaindrou scores are much appreciated. I find I have to be in a rather 'greek' mood when I listen to them. She clearly loves the folk music of her country! It also reminds me I should get round to watching some Angelopoulos films. :)

Yepsa - Are you sure you've not mistaken us for the film/vgm hunt thread? There's probably more info per post here than anywhere else in the forum. DVD-rips, format, sound quality etc are usually clearly marked.

Guys, wanna tell you that you should check Ace Combat X� - Joint Assault Rip by Jessie

Thread 79287

I'm not huge fan of Ace Combat music, but on this one, there's a lot of great orchestral music (definitely more than an hour). Really solid thing.

This is my first post and I wanted to thank all of you for the great scores out there! Without any real knowledge of the Final Fantasy series (is that sacrilegious?), I happened upon your site while searching for a particular score...and am I ever glad I signed up.

A little about my musical interests -- "Classical" music has always appealed to me. While I like many genres (currently Power or Progressive Metal and Classical dominate my listening days), I have loved the power of big orchestral pieces. Whether it be Mahler/Bruckner or Dvorak or Daugherty or Hovhaness, my classical interests have often varied tremendously. In some ways, I feel more in touch with some of the scores than I might for some contemporary classical composers as they provide a neo-romantic power that still interests me a great deal.

I'm anxious to sift through and find the scores you have uncovered for our listening pleasure. Thanks again for all of your hard work.

I am not sure, but if Eleni fits here, I have the feeling this one might fit here too: I searched the thread for it but did not find the composer (or the album) here... so:




Finding Neverland - Jan A.P.Kaczmarek (2004)




23@320 / 138 MB

MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=4UZBIC6P)


tracklist:
1. Where is Mr. Barrie?
2. The Park
3. Dancing With the Bear
4. The Kite
5. The Chess
6. Neverland - Piano Variation in Blue
7. The Spoon on the Nose
8. The Pirates
9. The Marriage
10. Children Arrive
11. Drive to the Cottage
12. The Peter Pan Overture
13. Peter
14. The Park on Piano
15. The Stairs
16. Impossible Opening
17. The Rehearsal
18. Neverland - Minor Piano Variation
19. The Play and The Flight
20. This is Neverland
21. Why Does She Have To Die?
22. Another Bear
23. Forgotten Overture

review
Bolstered by a winning performance by Johnny Depp, Finding Neverland is being heralded as one of the best films of this year, which I would agree with. It is quite engaging for its full running time, has an excellent pace and writing, the characters always seem truthful in their actions and behavior and there is a sense of magic about the film. Much of this credit can also be presented to Jan A.P. Kaczmarek. His score as heard in the film works wonders, remaining subtle and understated yet strongly supporting each scene with heartfelt emotion.
The album begins with "Where Is Mr. Barrie?". Pizzicato strings, chimes and piano bound about like giddy children. More strings and woodwinds join, all in high registers, the energy consistent, and then this is all augmented by a sprightly boys choir. The style is pleasant light classical, but with a dollop of mischief added. "The Park" stays in the upper registers with strings, flutes and oboes and what sounds like a pennywhistle, to underscore J.M Barrie's Scottish heritage. "Dancing With The Bear" scores the first scene of Barrie showing the children the all-encompassing power of their imagination, as his faithful dog magically is seen as a giant waltzing bear, all accompanied by a Russian-influenced tune. High range strings and piano soar sweetly in "The Kite", while "The Chess" presents the main theme in a plaintive setting and this then leads directly into "Neverland – Piano Variation In Blue", a gorgeous piano solo variation of the same thematic material.
The fun, playful side is explored again in "The Pirates", as Barrie leads the children and their imagination on a grand pirate journey, highlighted by strident brass and strings. The more adult, dramatic aspects of the story are heard in "The Marriage", a sad, melancholy cue for strings, harp and woodwinds, painting a portrait of how his relationship with his wife slowly deteriorated as he spent more time with the widow's children. "The Children Arrive" revisits the sprightly melodic material from the first track, as solo piano dances along in the upper registers in order to accompany a group of orphans invited to witness the opening of Barrie's play, Peter Pan.
"The Peter Pan Overture" is actually performed on screen by the pit orchestra for the aforementioned opening night of Barrie's masterpiece, and is also based on the light, innocent textures of "Where Is Mr. Barrie?". The solo piano returns in "The Park on Piano", a lovely variation on the pennywhistle/woodwind melody heard in the short track "The Park" and endemic to the album, not heard in the film itself. The orchestra returns in "The Stairs", in the more melancholy vein, but then brightening into "Impossible Opening" as a delightful waltz tempo playfully takes over, soaring through the strings, woodwind and piano. Acoustic guitar highlights the measured pace of "The Rehearsal", while "Neverland – Minor Piano Variation" is another winning piano solo of grace and tenderness.
"This is Neverland" begins gently with subtle high strings and mid-range flute, before the playful side cautiously emerges, the pennywhistle and woodwinds join in and all sections soar in representation of visiting Neverland for the first time. The thematic material is culled from the "Neverland – Piano Variation In Blue" track, but heard here in a full orchestral guise and is all the more magical because of it. The boys choir returns in "Why Does She Have To Die?", a very affecting and glowing cue. "Another Bear" is an extended, bolder variation on the earlier cue "Dancing With A Bear", still in the waltz tempo and slight Russian flavor and then finally the album closes with the "Forgotten Overture", itself imbued with giddy, child-like energy presented in woodwinds first and then into strings and boys choir. This mirrors the textures heard in the opening track and is a fine way to round off a fine score, which is emotional without being sappy or syrupy, has marvelous piano solos and charming sense of wonder throughout.



---------- Post added at 12:43 PM ---------- Previous post was at 12:43 PM ----------

I am not sure, but if Eleni fits here, I have the feeling this one might fit here too: I searched the thread for it but did not find the composer (or the album) here... so:




Finding Neverland - Jan A.P.Kaczmarek (2004)




23@320 / 138 MB

MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=4UZBIC6P)


tracklist:
1. Where is Mr. Barrie?
2. The Park
3. Dancing With the Bear
4. The Kite
5. The Chess
6. Neverland - Piano Variation in Blue
7. The Spoon on the Nose
8. The Pirates
9. The Marriage
10. Children Arrive
11. Drive to the Cottage
12. The Peter Pan Overture
13. Peter
14. The Park on Piano
15. The Stairs
16. Impossible Opening
17. The Rehearsal
18. Neverland - Minor Piano Variation
19. The Play and The Flight
20. This is Neverland
21. Why Does She Have To Die?
22. Another Bear
23. Forgotten Overture

review
Bolstered by a winning performance by Johnny Depp, Finding Neverland is being heralded as one of the best films of this year, which I would agree with. It is quite engaging for its full running time, has an excellent pace and writing, the characters always seem truthful in their actions and behavior and there is a sense of magic about the film. Much of this credit can also be presented to Jan A.P. Kaczmarek. His score as heard in the film works wonders, remaining subtle and understated yet strongly supporting each scene with heartfelt emotion.
The album begins with "Where Is Mr. Barrie?". Pizzicato strings, chimes and piano bound about like giddy children. More strings and woodwinds join, all in high registers, the energy consistent, and then this is all augmented by a sprightly boys choir. The style is pleasant light classical, but with a dollop of mischief added. "The Park" stays in the upper registers with strings, flutes and oboes and what sounds like a pennywhistle, to underscore J.M Barrie's Scottish heritage. "Dancing With The Bear" scores the first scene of Barrie showing the children the all-encompassing power of their imagination, as his faithful dog magically is seen as a giant waltzing bear, all accompanied by a Russian-influenced tune. High range strings and piano soar sweetly in "The Kite", while "The Chess" presents the main theme in a plaintive setting and this then leads directly into "Neverland � Piano Variation In Blue", a gorgeous piano solo variation of the same thematic material.
The fun, playful side is explored again in "The Pirates", as Barrie leads the children and their imagination on a grand pirate journey, highlighted by strident brass and strings. The more adult, dramatic aspects of the story are heard in "The Marriage", a sad, melancholy cue for strings, harp and woodwinds, painting a portrait of how his relationship with his wife slowly deteriorated as he spent more time with the widow's children. "The Children Arrive" revisits the sprightly melodic material from the first track, as solo piano dances along in the upper registers in order to accompany a group of orphans invited to witness the opening of Barrie's play, Peter Pan.
"The Peter Pan Overture" is actually performed on screen by the pit orchestra for the aforementioned opening night of Barrie's masterpiece, and is also based on the light, innocent textures of "Where Is Mr. Barrie?". The solo piano returns in "The Park on Piano", a lovely variation on the pennywhistle/woodwind melody heard in the short track "The Park" and endemic to the album, not heard in the film itself. The orchestra returns in "The Stairs", in the more melancholy vein, but then brightening into "Impossible Opening" as a delightful waltz tempo playfully takes over, soaring through the strings, woodwind and piano. Acoustic guitar highlights the measured pace of "The Rehearsal", while "Neverland � Minor Piano Variation" is another winning piano solo of grace and tenderness.
"This is Neverland" begins gently with subtle high strings and mid-range flute, before the playful side cautiously emerges, the pennywhistle and woodwinds join in and all sections soar in representation of visiting Neverland for the first time. The thematic material is culled from the "Neverland � Piano Variation In Blue" track, but heard here in a full orchestral guise and is all the more magical because of it. The boys choir returns in "Why Does She Have To Die?", a very affecting and glowing cue. "Another Bear" is an extended, bolder variation on the earlier cue "Dancing With A Bear", still in the waltz tempo and slight Russian flavor and then finally the album closes with the "Forgotten Overture", itself imbued with giddy, child-like energy presented in woodwinds first and then into strings and boys choir. This mirrors the textures heard in the opening track and is a fine way to round off a fine score, which is emotional without being sappy or syrupy, has marvelous piano solos and charming sense of wonder throughout.

Thank you for posting the Finding Neverland soundtrack with its amazing piano solo tracks!

I really liked the movie and definitely noticed the soundtrack when watching it, but you made me discover how good it is. The first track reminded me of the compositions of Danny Elfman in Edward Scissorhands and the entirety of the soundtrack was bliss. I could listen to it for hours.

Are there any similar soundtracks with great piano solos and "light-hearted" compositions?

Are there any similar soundtracks with great piano solos and "light-hearted" compositions?

Off the top of my head i can think of Kikujiro by Hisaishi (Piano and light-hearted).

Thanks, I'll try to find it somewhere. I have not seen Kikujiro, but I like Joe Hisaishi compositions.
EDIT: Found it. Thank you, I really like it!

Now I bring you one of the most beautiful and thrilling ballet scores ever written for the theatre. If you have never heard the main melody, Spartacus & Phrygia, Requiem, or Adagio themes before, you are in for a real treat. An example of orchestral writing at its finest. Khachaturian's Spartacus is stunning, melodious, lively, and just plain gorgeous. Enjoy


Aram Khachaturian
Spartacus: Complete Ballet


Act I
1. Introduction
2. March of the Gladiators & Egyptian Dancing-Girl
3. Phrygia's Dance & Scene of Seperation
4. Dance of the Greek Slaves
5. Scene and Dance with the Crotales
6. Etruscan Dance
7. Aegina's Variation and Bacchanal
8. Fight of the Blindfold Gladiators
9. Gladiator's Death
10. Revolt of the Slaves & Phrygia's Jubilation

Act II
11. The Via Appia & Dance of the Shepherd and Shepherdess
12. Slaves' Variation & Dance on the Shields
13. Arrival of Spartacus and His Narrative
14. Parting of Spartacus and Phrygia
15. Introduction and Dance of the Nymphs
16. Aegina's Dance
17. Aegina and Crassus
18. Adagio
1. Crassus's Dance
2. Dance of the Gaditanian Maidens and Spartacus's Victory
3. Spartacus and Crassus Fight

Act III
4. Scene Crassus and Aegina
5. Bustle
6. Spartacus and Phrygia
7. Scene
8. Entry of Spartacus
9. Entry of the Merchants & General Dance
10. Aegina's Dance
11. General Dance
12. Entry of Spartacus, Quarrel, and Harmodius's Treachery
13. Final Battle
14. Spartacus's Path
15. Death of Spartacus and Requiem

Samples: Adagio (http://www.fileden.com/files/2009/6/24/2487612//1-18 Adagio.mp3), Entry of Spartacus (http://www.fileden.com/files/2009/6/24/2487612//2-08 Entry of Spartacus.mp3), Spartacus & Phrygia (excerpt) (http://www.fileden.com/files/2009/6/24/2487612//2-06 Spartacus and Phrygia.mp3)

Thread 79467

thanks for this!

sorry to bother, but could you reup this soundtrack, I really do want this soundtrack, because I am a huge fan of B. Herrmann and Sinbad movies. I would appreciate it very much. thank you very much.

Hey, I was curious if anyone had the orchestral score for Martian Successor Nadesico? I have the song collection on CD, but would love to have the score. Did an extensive search of the forum for it to see if anyone had posted it before, but could not come up with anything. Massive thanks and cookies in advance if someone has it

thx for sharing.

JIM PARKER - CONCERTO FOR CLARINET AND STRINGS
David Chernaik conducting the Apollo Chamber Orchestra
Ian Herbert - Clarinet



Thread 79549

As requested, it is now re-uploaded and added new links of the custom John Williams compilation i made for the orchestral thread.

John Williams Compilation (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/16.html#post1160532)

Well, FSM Has officially released info and pictures on the massive 14CD Star Trek Next Generation soundtrack release. Really really wish I wasn't broke....

There are samples of the tracks on the FSM link if you look through the track listing on the right
Film Score Monthly CD: Star Trek: The Next Generation: The Ron Jones Project (http://www.filmscoremonthly.com/cds/detail.cfm/CDID/451/)
First Look at FSM Ron Jones Project 14 CD TNG Music Box Set (Now Available For Pre-order) | TrekMovie.com (http://trekmovie.com/2010/08/31/first-look-at-fsm-ron-jones-project-14-cd-tng-music-box-set-available-for-pre-order/)

Tiny request please - Does any one have John Barry's Swept from the Sea album and an Expanded Dances with Wolves please? Thanks!

Tiny request please - Does any one have John Barry's Swept from the Sea album and an Expanded Dances with Wolves please? Thanks!

dances with wolves 24@320 packing (and later uploading) :)

Thanks in advance @sorei!

Dances with wolves - John Barry 24@320 / 170 MB


MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=CK5ER19A)


tracklist
Dances With Wolves (Expanded edition)



Released in 1990.
Composer John Barry.
Edition released in May 2004.


Track listing

01. Main Title / Looks Like A Suicide (Expanded Version) (07:34)
contains previously unreleased music

02. Ride To Fort Hayes (02:02)

03. Journey To Fort Sedgewick / Shooting Star / John Dunbar Theme / Arrival At Fort Sedgewick (Expanded Version) (04:55)
contains previously unreleased music

04. The John Dunbar Theme (02:18)

05. The Death Of Timmons (02:25)

06. Two Socks / The Wolf Theme (01:31)

07. Stands With A Fist Remembers (02:11)

08. The Buffalo Robe (02:12)

09. Journey To The Buffalo Killing Ground (03:39)

10. Spotting The Herd (01:49)
previously unreleased

11. The Buffalo Hunt (Film Version) (04:33)
previously unreleased

12. Fire Dance (01:40)

13. Two Socks At Play (01:59)

14. Falling In Love (03:04)
previously unreleased

15. Love Theme (03:46)

16. The John Dunbar Theme (02:06)

17. Pawnees / Pawnee Attack / Stone Calf Dies / Toughest Dies (06:15)
contains previously unreleased music

18. Victory (01:03)
previously unreleased

19. The Death Of Cisco (02:14)

20. Rescue Of Dances With Wolves (02:09)

21. The Loss Of The Journal / The Return To Winter Camp (02:08)

22. Farewell And End Title (08:46)

23. Bonus Track - The Buffalo Hunt (Album Version) (02:44)

24. Bonus Track - The John Dunbar Theme (Film Version) (02:22)
previously unreleased


Total Duration: 01:15:25



Review
Back in 1990, when Kevin Costner's hugely successful directorial debut Dances with Wolves swept the Oscars, it marked the first time in decades that the Western had been taken seriously (in the years following we would see Unforgiven and Open Range). Costner's adaptation of Michael Blake's novel, about disillusioned Civil War officer John Dunbar who is accepted into a Sioux tribe on the American frontier, was the subject of much derision prior to release; the detractors were quickly silenced when it rode away with 7 Oscars. The film was an enormous commercial and artistic success, grossing over $400 million worldwide, featuring a careful performance from the director himself in the lead, a firm commitment to filming as much as possible in authentic dialect and jaw dropping cinematography from Dean Semler. Costner's desire to flesh out the Sioux characters, who in previous years would have been neglected in the backdrop, works brilliantly, and there is strong support from Graham Greene and Mary McDonnell (respectively, as shaman Kicking Bird and Dunbar's eventual love, Stands With a Fist).
With Dunbar every step of the way is a magnificent, Oscar-winning comeback score from John Barry, who had been laid off some years previously due to oesophageal surgery. It was Barry's last hurrah; in opposition to the resurrection of an old genre as seen in the film, Barry delivered possibly his final masterpiece, a wonder of at least half a dozen themes, stand-alone moments of immense beauty (for which he is of course known), thrilling action and sombre reflection.
In the grandest sense of the best film scores, the album takes the listener on a journey, starting with the melancholy snare drum/choral opening, "Looks Like a Suicide", as Dunbar attempts to take his own life. We are also introduced to the lovely main theme; a somewhat straightforward trumpet-led melody that, though beautiful and justly heralded, must be less impressive when compared with the score's other achievements. Its stand alone recognition on the string section in track four (of the expanded album) however is breathtakingly gorgeous: sad, lonely, hopeful and reflective. It even gets a laid back harmonica rendition later on, adding to the texture and authenticity of the score.
Chief among the incidental sections is the heavenly rising string work in "Journey to Fort Sedgewick" (when coupled with Semler's awesome lensing of the Dakota vistas, it's hard to imagine a better marriage of image and music); the rousing homage to westerns of old in "The Buffalo Hunt"; and the sinister, bass heavy theme for the violent Pawnee faction ("The Death of Timmons") who become increasingly prominent as the film goes on.
Yet it's the careful interweaving of these moments that defy the critics claiming Barry is guilty of reinstating themes ad infinitum. Wolves is the ultimate rebuttal: never a moment goes by when he isn't introducing something new or reshaping a previous theme. It's an interesting contrast to his Oscar winning Out of Africa, a slimmer, yet perhaps more emotionally direct score consisting primarily of two themes. Here the listener is almost overwhelmed with treasures.
"Two Socks/The Wolf Theme" is one of the score's most delightful, a gossamer light wind piece capturing the delicacy and beauty of the frontier's lupine symbol. "The Buffalo Robe" introduces an air of nobility for the Kicking Bird character, and his integral relationship with Dunbar, while the material for the buffalo themselves ("Spotting the Herd"), tonally, cleverly skews close to the above, a basic two note horn structure linking the Sioux with the animals central to their way of life. Barry is also able to contort white man Dunbar's theme into something truly anguished in "Journey to the Buffalo Killing Ground", suggesting the desire for destruction and violence in the settlers invading the Sioux lands. The final and perhaps most beautiful principal idea to be introduced is the heartbreakingly romantic "Love Theme", something that starts tentatively before burgeoning into full-blown amour as Dunbar and Stands With a Fist get married.
All of the above is developed, heightened and bettered as the score proceeds, painting a terrific, nostalgic view of a lost way of life. But of course the sense of sadness becomes increasingly pervasive towards the climax as the tragic (real-life) events come to deny the Sioux their heritage and freedom. "The Death of Cisco", as Dunbar's horse is cut down by his former allies, is an intensely sad piece, before "Rescue of Dances With Wolves"/"The Return to Winter Camp" briefly restores a note of heroism and hope as Dunbar is rescued by his tribe and reunited with his wife. The love theme gets a particularly glorious rendition in the latter.
Yet, of course it can't last and, as Wolves and Stands With a Fist go "to talk with those that would listen", so Barry wraps up his multitude of themes in a magnificent 9 minute "Farewell/End Title", encompassing every conceivable emotion, all undershot with the tragic, inevitable sense of melancholy as the Sioux people pass into history. Barry's efforts also go with them “ Dances With Wolves is a score for the ages and perhaps the crowning glory of a glittering career. A masterpiece. You can find this extended soundtrack CD at Amazon.co.uk in the UK, or Amazon.com in the US.

Well, FSM Has officially released info and pictures on the massive 14CD Star Trek Next Generation soundtrack release. Really really wish I wasn't broke....


If Ron Jones doesn't receive even a cent of royalties from this release I'm downloading it the day it is put online. If he does I might reconsider, but this "limited edition" nonsense has got to end.

I fail to see the connection between the composer getting royalties and the limited edition stuff. As to the first, I think that it does suck if the composer doesn't get royalties but unless he somehow reserved rights in the soundtrack or royalty rights in his contract then maybe he isn't legally entitled to royalties. As to limited edition stuff, the only way that we are able to get releases of many of these older soundtracks now is by lower print runs because then the AFM (american federation of musicians) is willing to lower the fees they charge for licensing the music. Often times a limited edition is the only way to make it profitable for the labels when they don't think they are going to sell more than 1,000 or even 2,000 copies. Sure it would be nice if this box set was unlimited like the two recent James Horner star trek 2 and 3 that FSM put out but considering the nature of boxsets they probably decided there was a more limited market.

Yoshihisa Hirano - Break Blade Chapter 2 OST
8 tracks - 15 minutes
Orchestral|Choral|Action


MP3 VBR V-0
Download (http://rapidshare.com/files/416858107/Break_Blade_Chapter_2.rar)


WV+Log
Download (http://rapidshare.com/files/416858106/YH-BBCH2-FL.rar)
PSW: smile

If Ron Jones doesn't receive even a cent of royalties from this release I'm downloading it the day it is put online. If he does I might reconsider, but this "limited edition" nonsense has got to end.

I would love for it not to be limited either, so that maybe someday, when I am employed once more, I can buy the set *sigh* but alas, this is the way it has to be.

On an up note though, one of my other die hard trekkie friends IS buying it and will be letting me borrow it ;)

Yoshihisa Yirano - Harukanaru Toki no Naka de 3 - Owari Naki Unmei Soundtrack
Choral|Small Ensemble|Horror
MP3 320kbps|76MB

Download (http://rapidshare.com/files/416937036/Haruka3_Owarinaki_Unmei.rar)
PSW: smile

This is very similar to Bantorra with the small ensemble and the horror feel. It seems this can only be purchased if you buy the limited edition of the DVD of the OVA so this should be sufficient for most people.

I'm just using royalties as an example. I just don't see the logic behind these deals with the copyright owners to make these things limited. If I were Ron Jones I would be pissed that in a perfect, law-abiding world only 5000 people would get to buy and hear this music on CD. There is obviously something wrong with that notion.

I think it's more an issue with how expensive it is to secure rights from Paramount/CBS for producing the soundtrack set. I'm sure Ron Jones would be more than happy for more than 5000 people to have this set, but to get rights for more than a limited run from the people who actually own them music is another matter

The limited issue *issue* can be frustrating, but I understand the business/rights reasons for it. The odd thing is that the sell-out rate seems to have inexplicably increased. Absolute gems that were issued a few years ago, like Goldsmith's Logan's Run (in any calculation one of his finest), still sit around gathering dust in the FSM stock cupboard - but these days EVERY new release seems to go like hot cakes! There's some kind of hype/zeitgeist/fetish(cult?) phenomenon with soundtrack labels that's occurred in the last few years, specifically sustained and enhanced by the 'limited' factor, and of course the clamorous sweats generated over at the FSM boards.

The benefit is that we're probably in the golden age of score collecting; the detriment is you-snooze-you-lose!

When STTNG was on tv on a Wednesday evening I had cub scouts, so I missed the show in its initial run, and these scores. The samples I've heard sound ok, but for non-fans, could this be too much of a good thing?

I wouldn't be surprised if many filmscore and music lovers miss out here because of the impending army of Trekkies.

I didn't know that some members were actually musicians and that some share their own piece of music. Thanks because I appreciate it. It's nice

METROID: OTHER M
Kuniaki Haishima
(Selections)



5 tracks / 20MB
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Just a brief sampler for those who don't want to wade through 100-odd tracks of mostly undistinguished ambience and beats. While this soundtrack will no doubt be a disappointment to long-time admirers of the series, "Other M" has something none of its forebears do; the end credit is a lovely adventurous orchestral piece, marred only by a ropey keyboard choir (must be saving the budget for Zelda ;)).

Thanks go to Jessie for converting the game audio files into mp3.

There must have been some provision that in order to produce more copies, a higher percentage of the royalties (or whatever) must be paid to the copyright holders (suits who know nothing about music or art, only money.) So an agreement was reached that for 5000 copies, only a small percentage is paid in royalties and FSM can still pull in a tidy profit. If any more copies are produced then FSM's profit margins go down, even if they sell out too.

And yeah, the collector mentality has always prevented prevented people from enjoying art. Collectors, in the sense that they are also hoarders, are scum.

There must have been some provision that in order to produce more copies, a higher percentage of the royalties (or whatever) must be paid to the copyright holders (suits who know nothing about music or art, only money.) So an agreement was reached that for 5000 copies, only a small percentage is paid in royalties and FSM can still pull in a tidy profit. If any more copies are produced then FSM's profit margins go down, even if they sell out too.

And yeah, the collector mentality has always prevented prevented people from enjoying art. Collectors, in the sense that they are also hoarders, are scum.

I think another issue with this set might also be that its securing the rights to release the scores for FORTY episodes and two games. If CBS was stingy and decided to itemize each and every one individually that could rack up the costs for FSM massively as well

El Cid, La Leyenda (2003) by Oscar Araujo is a wonderful score indeed! Is it possible to get it in FLAC or 320 though?
Any help would be greatly appreciated!

[SIZE=1]---------- Post added at 09:32 PM ----------

Lens - thanks for this short sampler. I'm playing this game right now and there is so rarely any BGM that I find myself using movie scores to supplement. I just can't stand ambience in games. This is one of the first games I've played where I am wishing the developer would let me skip the cutscenes because the characters are so useless and I really don't care what happens to the marines or what samus' back story is.

Streich - how do you distinguish between the collector who hoards and the collector who listens to everything and enjoys it? I think without the collectors we wouldn't have access to so many fantastic releases. If enough Intrada titles don't sell out I would think that at some point Intrada would go under. That's why you have collectors like myself who post sold out scores online, to keep people from spending crazy money on the secondary market.