There are dozens of composers who wrote music cleverer than Barry's, but none who wrote music more human.

That really hits home, Tango. Out of Africa in particular is absolutely cuts right through me.

A chicken cannot claim ownership of a cake, on the grounds that it laid the egg that was used (in concert with twenty other meticulously selected ingredients) by a skilled baker.

That's a pretty swell metaphor (and, indeed, a clunker of a song.)

I heard on my way into work today. I regret to say that outside of his Bond music -- and even that mostly from watching the films, not the albums -- I have had far less knowledge of Mr. Barry's music than I would like, or should have. On my way home, I plucked up the RSNO rerecordings of "Somewhere in Time" and "Out of Africa," both of which with I had only a passing familiarity. Even the little bit that I've heard already has made it abundantly clear that yesterday we suffered a terrible loss, but I look forward to discovering more of his beautiful music. Like the other greats, he may be gone, but he will never be forgotten.

Hopefully right now, on some other plane of existence, Mr. Goldsmith is purchasing Mr. Barry a pint, welcoming him home.

He will surely be missed.

I know that it's sad time for some of U, but we cannot forget about great music... So I wanna tell you guys that all of U should listen to Sanctum by Hirschfelder. I was totally surprised by that score (even if Hirschfleder is more than decent composer), maybe cause I don't care bout movie, maybe because of other things. Anyway, what he did here is imo the best score of the year till now. At times adventourous, serene, at times dark and gritty, with some pretty solid action cues. It somehow enchanted me. Maybe album could be 10 minutes shorter, without all of that underscore, but it's still more than decent music. Check the samples by yourself:

Amazon.com: Sanctum: David Hirschfelder: Music (http://www.amazon.com/Sanctum-David-Hirschfelder/dp/B004GCL8VS)

It's varese stuff, so try to find it somewhere else. Or just buy it;).

Well said; there isn't a musician alive (or dead, for that matter) who would want the joy and beauty of music to be placed on hiatus for the sake of mourning. Let us resume in earnest, with the greatest respect to the composers - those who are still with us and those who have passed on - who have given us so much, and do so every time we listen to their music.

So, to a happy announcement:

Kousuke Yamashita is scoring the latest Super Sentai series, Kaizoku Sentai Gokaiger. I had somehow suspected he might return due to it being a special anniversary series. As much, there is bound to be a massive budget and Yamashita + lots of money = guaranteed splendid score. The show looks like it's going to be deliciously extravagant and fun - and Yamashita's earlier score for 2005's equally extravagant Magiranger captured that in a particularly unique way; and there were many surprises in the music. (Including a gloriously anachronistic section right in the middle of the opening song - 30 seconds of fully symphonic, purely orchestral linking section; for some reason it makes me burst out laughing just by the sheer ludicrousness of a large symphony orchestra getting the spotlight slap bang in the middle of a pop song from a children's TV series about plastic robots fighting each other.)

Yamashita gives above and beyond the call of duty; and never moreso than in Magiranger. Kaizoku Sentai Gokaiger, I think, is going to be heaps of fun from a musical perspective, and quite frankly the series itself looks like a blast too.

[Edit: This is what happens when you ask Kousuke Yamashita to write a cheesy pop song: http://www.youtube.com/watch?v=GiCTe7CLEJc]

Oh, this is a great occasion to post something I intended to post... "one day".



Kousuke Yamashita
Mahou Sentai Magiranger
Orchestral Suite

2005
MP3 320

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




Great news, Tango! Some of these Super Sentai scores are just pure fun. And Magiranger was IMO one of the best, if not the best of all. But the problem with Sentai albums is that they're made of many mixed tracks, and the orchestral ones often are next to j-pop, synth, or even drama tracks, which makes those albums rather hard to listen for people only interested in the orchestral music. So, long ago (in some cases before this thread even existed), I concocted for myself some orchestral suites out of these albums, simply editing them to "extract" the orchestral music and get rid of the other stuff. Since these suites are already made, why not to post them here? I intended to do it "one day" for the Magiranger Orchestral Suite I made, and your post is the perfect occasion to do this now.

Magiranger's score is FUN, FUN, FUN! It uses a significantly big orchestra, as most Super Sentai scores, and Yamashita doesn't use it by halves! He just pushes all buttons to the max to make the music sound astoundingly imposing, vivid, and enthusiastic (this score should be recommended to depressive people, it might get them better). Magiranger was the first score of Yamashita I heard, and notably explains why I became a fan of the young composer.

Let's hope now that Yamashita renews his previous exploit with Gokaiger. It won't be easy, but if he does, this could be another true musical joy ride to come.

Editing note: this suite contains *all* the orchestral music of the first album of Magiranger, i.e. about 27 minutes of music. There are a few other (non-duplicates) orchestral tracks in the other albums, and I made a second orchestral suite out of them. I can post it on request.

Technical note: this suite has been made *without* any re-encoding. I used Mp3directcut to extract the orchestral parts, so the sound quality is strictly *identical* to the original source, without any quality loss.

Killzone 3 Title: YouTube - Killzone 3 Soundtrack - Theme (http://www.youtube.com/watch?v=aTp9ZlK_K0w)
It seems we get a little bit more Williams this time.

@arthierr: I love it.

Let's hope now that Yamashita renews his previous exploit with Gokaiger. It won't be easy, but if he does, this could be another true musical joy ride to come.

The energy and joy of it all is just glorious, isn't it? And not only that, it's just so well done - far better than anybody really gives it credit for. It's orchestrated up to the hilt (to the extent that, as I have discussed previously, even in the crappy pop songs Yamashita's wonderfully florid arrangements are spotlighted) - and it's thematically tight, intelligent, well written music as well. There are so many scores out there that are great fun, but artistically they're tat - or they're stupendously intelligent but boring as hell... Magiranger shows that you can have fun and be smart at the same time.

Your selection is rather incomplete, though, my friend! The Sentai template is that the first album has 20-25 minutes of orchestral score, the second is songs, the third has about another 25 minutes from the movie, and the fourth and fifth have about another 30-45 minutes between them, including alternates.

There is a lot more good stuff to be had.

If I may enter into the fray, my own orchestral suite (which includes quite a bit from the movie) which, like you, I concocted many moons ago before this thread ever existed. It's five minutes in length and runs continuously with some semblance of narrative, and dispenses with the electric guitars and the tracks with a beat (which I love, but they're not here - so there!) in favour of the more shamelessly symphonic. :)

Download Kosuke_Yamashita_-__Mahou_Sentai_Magiranger__Orchestral_Suite_.mp3 from Mirrorcreator - Upload files to multiple file sharing sites (http://www.mirrorcreator.com/files/1W4A4FHS/Kosuke_Yamashita_-__Mahou_Sentai_Magiranger__Orchestral_Suite_.mp3_l inks)

Thanks for Dead Space 2 Doublehex. :D

The energy and joy of it all is just glorious, isn't it? And not only that, it's just so well done - far better than anybody really gives it credit for. It's orchestrated up to the hilt (to the extent that, as I have discussed previously, even in the crappy pop songs Yamashita's wonderfully florid arrangements are spotlighted) - and it's thematically tight, intelligent, well written music as well. There are so many scores out there that are great fun, but artistically they're tat - or they're stupendously intelligent but boring as hell... Magiranger shows that you can have fun and be smart at the same time.

Wise words. Apart from being technically impeccable, this score also shines by a great personality, a very strong identity, notably thanks to the themes, which are quite distinctive and memorable. It's like if there was a sort of genuine inspiration, a special "magic" in this score (which, given its title, seems rather logical :D).


Your selection is rather incomplete, though, my friend! The Sentai template is that the first album has 20-25 minutes of orchestral score, the second is songs, the third has about another 25 minutes from the movie, and the fourth and fifth have about another 30-45 minutes between them, including alternates.

There is a lot more good stuff to be had.

Yes, my suite only contains all the orchestral music of OST 1. I posted it so people can know about this score, and if they like it, use good old Google to get the other OSTs.

PLEASE NOTE (for people interested): only OST 1, 3, 4 and 5 have orchestral music. OST 3 is highly recommended, since it's the movie score, with a lot of orchestral material. OST 4 and 5 have a few good tracks to nibble.


If I may enter into the fray, my own orchestral suite (which includes quite a bit from the movie) which, like you, I concocted many moons ago before this thread ever existed. It's five minutes in length and runs continuously with some semblance of narrative, and dispenses with the electric guitars and the tracks with a beat (which I love, but they're not here - so there!) in favour of the more shamelessly symphonic. :)

Ha, those choral parts! You don't expect them, and suddenly they appear, taking you by surprise, and bringing with them this sublime melody. Pure greatness. And nice arrangement BTW, your suite cleverly sums up the movie score.



Killzone 3 Title: YouTube - Killzone 3 Soundtrack - Theme (http://www.youtube.com/watch?v=aTp9ZlK_K0w)
It seems we get a little bit more Williams this time.

In the first part maybe, but the second part was typical, cliched Remote Control style to me, although the emphasis on brasses happily saves this piece from being totally "zimmery".



I know that it's sad time for some of U, but we cannot forget about great music... So I wanna tell you guys that all of U should listen to Sanctum by Hirschfelder. I was totally surprised by that score (even if Hirschfleder is more than decent composer), maybe cause I don't care bout movie, maybe because of other things. Anyway, what he did here is imo the best score of the year till now. At times adventourous, serene, at times dark and gritty, with some pretty solid action cues. It somehow enchanted me. Maybe album could be 10 minutes shorter, without all of that underscore, but it's still more than decent music. Check the samples by yourself:

Amazon.com: Sanctum: David Hirschfelder: Music (http://www.amazon.com/Sanctum-David-Hirschfelder/dp/B004GCL8VS)

It's varese stuff, so try to find it somewhere else. Or just buy it;).

Can't get Amazon to load the samples. I'll download it from somewhere then - but for testing purpose, of course.




Wilde
Debbie Wiseman

Elegant, graceful, classy. One of those scores you almost need to be perfectly dressed to listen to. Thank you. :)

The sound is very crisp and has lovely melodies, thanks for sharing Arthierr. Pity the series was filmed in New Zealand, perhaps the producers couldn�t find enough unspoilt scenery in Japan?

Well, well! Coming up a bit later, a brand new Kousuke Yamashita score to keep you going until Gokaiger hits the airwaves - but in the mean time, whilst on the subject of Super Sentai, I'll post a score I've been hiding away for just the right occasion. This seems like it. It's been so long coming that I've even prepared ahead of time my nearly-ubiquitous mini-thesis on it...



MEGUMI OHASHI
Engine Sentai Go-Onger (2008) (Orchestral Score)
Studio Orchestra



LAME at 320kbps. Not my rip. Credit to the original ripper, whatever the good gentleman's name may be...

Download MO-ESG-S.rar from Mirrorcreator - Upload files to multiple file sharing sites (http://www.mirrorcreator.com/files/UXFRULJN/MO-ESG-S.rar_links)

Yes, it's Power Rangers - or more accurately, it's the original series that our good friends in the USA (and Australia, for some reason) bastardise and forcibly manipulate into Power Rangers. Please don't stop reading. This is definitely one of those albums where I'll ask you to suspend your expectations about what sort of music this is going to be... and trust your old buddy Tangotreats.

Super Sentai was initially conceived to rip off Ultraman. Nowadays, it's Ultraman's sillier, more brightly coloured younger brother - and it's INCREDIBLY entertaining. If you ever sat through Power Rangers when you were a kid, and you thought it was just a bunch of fighting interspersed with wisecracking American kids dressed in stupid lycra outfits, think again. These shows actually have plots - and incredibly detailed ones, as each series of Super Sentai runs for around fifty episodes. Proper character development, real emotional content, an appealing plot... it's all here... in addition to the silly monsters and silly outfits, of course!

Grossly over-simplifying, Go-Onger's bad guys are big stinky engines that want to take over Earth by polluting it to hell. In the first episode, they break through into our world in the middle of somebody's wedding; a not-particularly-scary-looking fellow bursts up through the ground in a rubber suit that looks like a big smoke belching diesel engine, proceeds to terrorise the wedding and incinerate the wedding guest's belongings. The Go-ongers show up, and Mr Diesel Engine (otherwise known as Banki) conjures up a bunch of super fighting ninjas out of thin air to beat the living crap out of them.

The Go-ongers get out their mobile phones, and suddenly they're wearing fluorescent lycra outfits and are driving big cars that are in fact living Engines (good guys) from the Machine World. A big ridiculous fight filled with cheap special effects and awkward Engrish battle cries immediately commences, during which we get effectively a five minute advertisment for the deluge of merchandising that Bandai have for sale.

Still with me? Sounds like a load of bollocks, right? Well, yes... it is, but to be honest, who the hell cares? For me, it's just the right balance of pure stupidity (allowing me to have fun with the side of me that never grew up), extravagant fun, and impeccable storytelling.



Best of all, the Minister Of Water Pollution (I am not making this up) is former porn star Nao Oikawa. That's the way it works in Japan - you spend five years making Bukakke movies (not in Nagasaki, though) and then when you get too "old" for porn (26, in Nao's case) you suddenly get a job on kid's television playing a sexy villain with big tits called Kegalesia. I would imagine she's there to keep the adults interested; when you get sick of the fighting plastic cars, you can spend a few moments looking at her in her revealing costume. Then it doesn't seem to matter as much. She has a release valve on her head; when she gets angry (which is frequently) she literally blows off steam. How can you not love this show?

Now it's all in context, let's talk about the music. Since Sentai is largely an excuse for marketing, each series has probably twenty or thirty CDs released - five of which contain the score, interspersed with drama segments and endless versions of the opening and closing songs. On top of that, each track combines three or four usually unrelated cues. So, you have a massive mess - six hours of crap with 90 minutes of score dotted right through the middle.

So, what's this about, then? Well, I've pulled out all the score tracks from the five CDs, split them into their original cues, and arranged them in a vaguely satisfying order. There's probably 90 minutes of score per series, of which about an hour is pure symphonic - that's presented here. There's a bunch of other stuff (some of which features the orchestra but buried under a deluge of electronica) that I have omitted; sorry if these are the cues you're looking for. If you're that desperate, the soundtracks on their own are very easy to find. This upload is about the orchestral score, and specifically about packaging it up in an easy-to-digest form.

There seems to be something of a "House Style" applied to composers working on Sentai - sometimes it's more subtle than others. Toshihiko Sahashi worked on a lot of Sentai in the late nineties and, combined with his Ultraman scores of the same period up to the present day, has effectively established the style.

Megumi Ohashi is also a student of Sahashi... so it's not at all surprising that there is a great deal of Sahashi in this score. If you like his orchestral music, this will fit in very well indeed. The orchestra is medium sized (certainly not as small as some of the horrific ensembles that record for TV in Japan) and it certainly gets a workout.

The score is a touch repetitive, it must be said... they certainly get their money out of their recording budget with three or more different versions of some tracks - one with the percussion mixed down, one with it mixed up, etc, etc... the themes are excellent though so personally I don't have a problem with hearing the same thing a couple of times. I've spaced out the repetitions on this album so you'll barely notice it. Also, there are a lot of short tracks (between 10 and 60 seconds) which had to go in somewhere... I've inserted them between longer tracks to which they are thematically connected, so they function as bridges or as introductions. I think it all works rather well; certainly better than listening to the albums as they come, at any rate...

There's a bit of everything - heroic marches, furious action, tender romanticism, etc.

Also, as far as the track titles go, 90% of them are translations from the original cue titles from the Japanese CD notes, but some aren't. There was one track which contained seven cues from the movie and it had no title... So I've concocted titles. Not perfect, but you have some idea what's going on at least. Japanese speakers - or people who are more intimately aquainted with the world of Sentai than I am - will no doubt balk at these track titles and curse my name with every obscenity under the sun.

Great, great post. I'm amazed by how much this thread actually opens to a wide variety of cultural contents. Orchestral music seems to be connected to so many things nowadays. The Super Sentai franchise (a real pop culture phenomenon) is among them, and your post judiciously brings the attention on an important aspect largely neglected in it: the fact that it features some pretty nice orchestral music.

I also made my own orchestral compilation out of the 5 OSTs of Go-Onger, one or two years ago. There's some quite interesting material in those scores. One of the aspects I particularly appreciate (here and in most Sentai scores) is the fact that the composer never forgets to grant a large importance to melody. So many western scores nowadays tend to neglect this aspect, and overly rely on rhythmic and (simplistic) harmonic development. Where are the themes, guys? Will I have something to hum after the show? Go-Onger is in this regard utterly melodic. It contains many themes, strongly arranged, which give a lot of personality and memorability to the score as a whole.

If you don't mind, though, I have only one complaint about your compilation: all the major action cues are missing! I know, I know - you didn't include them because they feature some modern percussion / electric guitars / electronics alongside the orchestra. I understand this point, but I tend to consider that if there's an orchestra playing, whatever might play alongside, it's still orchestral. The more modern additions don't fundamentally alter the symphonic nature of the music, to me at least. (that's really an old divergence between us, isn't it? ;)) IMO, these rousing action cues are the salt of Sentai scores, so they would have deserved to be included.

Anyway, as a pure symphonic experience, this compilation totally "rocks"... er, no, wait, better not use this word. ;) I mean this compilation is very well done (impressive work), and in its present form, actually sounds like a large scale, extravagant and fun superhero movie score - maybe a little cheesy at times, but these Sentai series never took themselves too seriously anyway!

BTW, I didn't know that Ohashi was a student of Sahashi, that explains why I noticed a lot of familarity between her style and his.


allowing me to have fun with the side of me that never grew up

People should never, ever forget or neglect this side. Our capacities to get marveled at things, to feel some pure and innocent joy, largely stem from it. Without it, only cynism and boredom will fill our lives.


Now, an announcement: my next album posted will be a John Scott score, an amazing piece I just recently discovered in one of my hard drives. :)

Yoshihisa Hirano - Break Blade Chapter 3 OST
Orchestral/Choral - FLAC (38mb) + MP3 VBR V-0 (23mb)

FLAC
Download (http://www.multiupload.com/02XFUZ8ISH)

MP3 VBR V-0
Download (http://www.multiupload.com/MGDI94TEO3)

Thanks for all recent contributions. Especially for Brake Blade. People responsible for the releasing it are not in hurry, aren't they? Anyway, few more minutes of this score is always welcomed.

So many western scores nowadays tend to neglect this aspect, and overly rely on rhythmic and (simplistic) harmonic development. Where are the themes, guys? Will I have something to hum after the show? Go-Onger is in this regard utterly melodic. It contains many themes, strongly arranged, which give a lot of personality and memorability to the score as a whole.

Wholeheartedly agree; I think that's what draws me to Ohashi and Sahashi specifically - everything, everything is a theme, a melody, something you can whistle, something that has personality. So important, so natural, and so comprehensively forgotten in almost all western scores. Even melodic composers (Arnold, Desplat, etc) are turning out scores that are afraid of having a theme. Melodic music is manipulative and old fashioned, say the defenders of RV/MC. Pure insanity.



If you don't mind, though, I have only one complaint about your compilation: all the major action cues are missing!

Point entirely taken. I did point out in the text that these pieces are missing, however - though I do agree, they're excellent and very much in the spirit of the show. This compilation was made for my own amusement and therefore included only the strictly orchestral cues. It was also created with the words of somebody I used to know a few years ago, who claimed that Sentai scores were mostly rock and electronics, with maybe a couple of minutes of orchestra in between - I intended to demonstrate that they are in fact primarily orchestral, symphonic works that occasionally feature percussion, guitars, electronics during furious battles. Though, as I say, I do appreciate that some folk would want these cues - perhaps I should rethink my selection criteria in the future... ;)


Anyway, as a pure symphonic experience, this compilation totally "rocks"... er, no, wait, better not use this word. ;) I mean this compilation is very well done (impressive work), and in its present form, actually sounds like a large scale, extravagant and fun superhero movie score - maybe a little cheesy at times, but these Sentai series never took themselves too seriously anyway!

There's so much stuff I love in here. Track 9 reminds me of Goldsmith - sensible, light synthesisers working with the orchestra, not against it, and supported with a strong melody. Like Magiranger, far finer music than most people would ever think.


BTW, I didn't know that Ohashi was a student of Sahashi, that explains why I noticed a lot of familarity between her style and his.

I now cannot remember where I found that out, but I recall it was a reliable source... There's certainly a great deal of similarities between them; Gundam Igloo, The Third, Blue Dragon, etc - all very like Sahashi, in all the best possible ways. :)


People should never, ever forget or neglect this side. Our capacities to get marveled at things, to feel some pure and innocent joy, largely stem from it. Without it, only cynism and boredom will fill our lives.

They may be the most important words ever spoken in this thread.


Yoshihisa Hirano - Break Blade Chapter 3 OST

SIRUSJR THANK YOU! :D

Now, an announcement: my next album posted will be a John Scott score, an amazing piece I just recently discovered in one of my hard drives. :)

That's great Arthierr. I like John Scot, so i'm anticipating this surprise :)



[COLOR="green"]Yoshihisa Hirano - Break Blade Chapter 3 OST


Thanks Sirusjr.

I promised you a new Yamashita... here is a new Yamashita! Hopefully everybody will forgive me for my failure to include some splendid percussive action cues from Engine Sentai Go-Onger. ;)


KOUSUKE YAMASHITA
Yamato Nadesihko Shinchi Henge (2010)
orchestrated and conducted by Kousuke Yamashita



Not my rip... LAME @320kbps.

Download KY-YNSH.rar from Mirrorcreator - Upload files to multiple file sharing sites (http://www.mirrorcreator.com/files/X2VTDI4O/KY-YNSH.rar_links)

Here's a nice surprise... Once again, a silly TV comedy drama has commissioned a score from a massively skilled composer - and once again, he has responded with some truly splendid music.

I haven't watched the show, but here's a quick synopsis of it, stolen from the D-Addicts Wiki: "Blessed with good looks, Takano Kyohei, a college student, is always suffering from the unreasonable behaviour of customers who want him and the sexual harassment of his store manager. Because of his hot temper, he loses his head on this occasion and is fired from his part-time job. Then one day, the glamorous owner, Ms Nakahara proposes, "I’ll give you free board-and-lodging if you can turn my niece, Sunako, into a lady!" Kyohei and Toyama Yukinojo, Oda Takenaga and Morii Ranmaru, the other guys living together in the same boarding house, are enthusiastic, but the person who appears before the four of them is a spooky girl whose hair covers her face and who loves horror and vampires. And so, their tumultuous communal life begins..."

Sounds a bit daft... but never ever judge a Japanese book by its cover... And certainly never judge the sort of music it might get!

Decent budget - check. Big orchestra - check. Yamashita in a very good mood - check.

In short, just have a listen and then make your judgement.

Yamashita even blesses us with a stupendously fun, everything-but-the-kitchen-sink main titles theme - five minutes of Magiranger-esque fun... a great upbeat piece with electronics, percussion, ubiquitous orchestra, a great theme, and that typical Yamashita feeling that you're always listening to a mini-symphony even when you're actually listening to a cheesy theme from a crappy TV comedy.

The score, proper, is a mix; Yamashita's orchestral pieces constitute about half - then there is some incredibly fun, authentic big-band jazz (which seems to be based upon Don Jackson's Well Swung Fanfare... which means either Yamashita was brought up in London and got up very early in the morning on weekends, or has a ridiculously diverse CD collection!!!) and a bit of cool rock, and a bit of, well, everything. Yamashita does it all so well - and if you don't like any of that extra stuff, there's always a very fine 30 minutes orchestral score to listen to as well.

What can I say? Good fun, and good music - both at the same time. Dear Hollywood: It can be done... you're just not very good at it!

<333 Thanks Tango! This one looks like a lot of fun, can't wait to listen.
Also I am very grateful that you finally zip up a folder within the rar.

Haha! That's because I re-uploaded somebody else's RAR! ;)

Haha, I suspected it'll be this one!

I downloaded it some months ago, when I wanted to complete my Yamashita collection. Nice score, isn't it? Again, everything is fluid, clean and mastered, as usual with this composer. Orchestral action tracks are scarce, but otherwise, there are some really good moments, starting with this glorious 5-minute piece: a pure moment of musical fun, from the first to the last note. The composer obviously had a blast while composing it. Thanks for posting!

I downloaded it along with two other Yamashita scores, for people interested: Teppan Shojo Akane and Yukan Club, both beautiful drama scores and very easy to grab with a little Google search. The interesting thing is that both also have a standout 5-minute piece. Maybe it's a new trend for Yamashita to compose such developed pieces in each of his recent scores? (BTW, the guy who ripped Yukan Club obviously isn't very good at that: he ripped every track in 128k, but for some mysterious - and probably stupid - reason, he ripped the superb 5-minute piece, the best track of the score, the very highlight of the album, in 64k !!! WTF?)



That's great Arthierr. I like John Scot, so i'm anticipating this surprise :)

Here are two clues: 1) it's related to water 2) it's related to litterature. :)

One day I'll post something you're not already intimately aquainted with, I promise. ;)


Here are two clues: 1) it's related to water 2) it's related to litterature.

Is it by any chance a TV movie from the mid 90s...? :D

You're quite perspicacious... ;)

Perhaps my google searching is not very good because I can't seem to find these two Yamashita scores.

Teppan Shojo Akane OST:
http://www.mangas-arigatou.fr/index.php?option=com_flexicontent&view=items&cid=37:ost&id=16929:teppan-shoujo-akane&Itemid=179

Yukan Club OST:
Yukan Club | Asian OST Fanatics (http://dramaost.wordpress.com/2010/03/17/yukan-club/)

...and something else from Yamashita Kousuke :D
Papa to Musume no Nanokakan OST:
Cultura asiatica - (http://yume-07.blogspot.com/2008/10/papa-to-musume-no-nanokakan-dorama.html)

@arthierr The 64k pisses me of. Why would you do that ? (I cannot even find a better version on the net right now)
But sometimes it's not just unnecessary bad quality that pisses me of, but also stupid editing choices. For example, the instrumental version of Servante de Feu (Sora no Woto) and the strings & flute version of Voyage (Fantastic Children) were not on the OST although they were really important and beautiful pieces.
This has happened countless times before and some really great parts of a score are now "lost" until a DVD-rip appears.

Thanks Amodos for the links.

Dear Hollywood: It can be done... you're just not very good at it![/CENTER]

Ha ha ha. Agreed.

Did Bruckheimer REALLY tell Zimmer that? Musically, it makes sense, but...wow does he sound ignorant. Some of Bruckheimer's productions might've been better with a good composer on board the film crew.

Welcome, failsafe123 :)

Musically, it makes about as much sense as saying "Stop with that Mother Teresa shit; you need to be more like Hitler."

I've never known Zimmer to do anything remotely Goldsmithian - and in a career that has lasted so far twelve years longer than I've been alive, I've never known Bruckheimer to display any sort of musical literacy whatsoever.

@failsafe123
Sadly this is the state of "modern" hollywood. It is rumored that Bruckheimer said that after he listened to the score of Tora Tora Tora, and then he wanted something "better", "louder", more "exciting" for Pearl Harbor (God, what commercial and ahistorical bullshit that movie was).
How anyone in their right mind would even mention the words "Goldsmith" and "shit" in one sentence is even beyond my wildest dreams.
But considering the current standard of hollywood film composing I guess nothing should surprise me anymore.

Ah before I forget, there is a new CD with the Warsaw Orchestra for Hellsing, strangely titled "Nazi CD", available here (http://www.bakabt.com/153106-hellsing-music-collection.htm)

Mind, "Tora Tora Tora" was also a piece of shit.

If you mean the movie, then I can accept your opinion. If you mean the score, then I will go to war ;).

Regardless, here is my compilation of a score from Kaoru Wada. It's his least original work BUT also one of his most enjoyable. The reason is simple: It's build around themes from the Nutcracker Suite. Instant win for me.

Princess Tutu



Ballet / Tchaikovsky / Saint-Seans / Mussorgsky

Additional score composed by Kaoru Wada
MP3/ VB0 / ~224kbps / 60 Tracks

Download Part I (http://www.mediafire.com/file/s25r0jcb2aajxc5/Princess%20Tutu%20I.7z)


Download Part II (http://www.mediafire.com/file/wmhd9q1con42ong/Princess%20Tutu%20II.7z)



I've included an english tracklist for those who can't understand german.

Well, what a beast of a score for this wonderful anime. I don't care how often the "classics" appear in modern scores, I judge them simply as part of the score and not just as insert tracks. Especially when the pieces picked for the themes of the characters actually describe the characters and guide the story in this case. I should also note that Ahiru's Theme (Little Overture from Nutcracker) is actually one of my favorite melodies of all time and Kaoru Wada made some wonderful variations for the score. This score also has some of the best recorded versions of parts from classics such as Swan Lake, Pictures at an Exhibition and many others.
The music is one of the things that made this anime so great for me, well, apart from a well told story, likable characters, a great amount of character development and beautiful visuals. It was actually much like experiencing a classic fairytale, certainly influenced by many of such magical stories and also by classical ballet and it's wonderful music but without avoiding the rather "dark" aspects and themes of such stories. The series is handled with a mature take on the classic magical girl anime and never falls into the trap of being too cheesy or too childish. It has a warm and magical atmosphere but it can get pretty intense at times (the music plays a huge part in that). My inner child was certainly as much entertained as my ears were.
I cannot recommend it enough.

"May those who accept their fate be granted happiness, may those who defy their fate be granted glory."

Thanks as always klnerfan for this great music ;)

Ye olde aged pensioners of this thread will remember me talking about a concert at the Royal Albert Hall I attended in 2007, of British film music, conducted by John Wilson. I posted a piece from it (Brian Easdale's Red Shoes Ballet) and waxed my usual lyrical, and the discussion moved on. I had always intended to post a bit more from it but for some reason never did. Recently, the subject of the concert came up again over a cup of coffee in the Barbican centre (consumed in the splendid company of a certain Lens Of Truth, immediately following another concert conducted by John Wilson) and so I have fished it out. I thought to myself, what would you nice people like to hear? Eventually I realised that, being the gluttonous, ravenous consumers of fine music that you are, it would probably be a good idea to post the whole damn thing! And, never wanting to be accused of half-hearted participation in this fine thread, I also thought that you might want to see it too.

So, here goes - this is one hell of a download, clocking in at 900mb, so make sure you know what you're getting; this is a two hour concert featuring a variety of music written for British cinema.


# "Battle In The Air from Battle of Britain (1969)" By William Walton
# "Suite from Anna Karenina (1948)" By Constant Lambert
# "Prelude from 49th Parallel (1941)" By Ralph Vaughan Williams
# "Waltz from Genevieve (1953)" By Larry Adler
# "Theme from Lawrence of Arabia (1962)" By Maurice Jarre
# "Ballet from The Red Shoes (1948)" By Brian Easdale
# "March from The Bridge on the River Kwai (1957)" By Malcolm Arnold
# "Scorched Earth from The Overlanders (1946)" By John Ireland
# "Love Theme from Yanks (1979)" By Richard Rodney Bennett
# "Carry On... Medley" By Eric Rogers
# "Overture from Much Ado About Nothing (1993)" By Patrick Doyle
# "Theme from Shakespeare In Love (1998)" By Stephen Warbeck
# "Suite from Wilde (1997)"By Debbie Wiseman
# "Theme from Chicken Run (2000)" By John Powell and Harry Gregson-Williams
# "Theme from Shadowlands (1993)" By George Fenton
# "Theme from A Bridge Too Far (1977)" By John Addison
# "Harry's Wondrous World from Harry Potter and the Sorcerer's Stone (2001)" By John Williams
# "Theme from The Dam Busters (1955)" By Eric Coates


I know it's big, but it really is great. The music is superb, of course, and the performance is first rate. The conductor, John Wilson, is rapidly becoming a bit of a star here in the UK as the man for film music reconstructions and performance. The variety of styles and panache of playing he extracts from the BBC Concert Orchestra is beyond magnificent. It was one of those nights where everything just went flawlessly. The atmosphere was electric.

If you've never been to the Royal Albert Hall, put it on your bucket list; it really is the most amazing building. I've been a regular visitor for almost twenty years and it still takes my breath away, every single time.




BBC Proms 2007 - Music From Great British Films
Live recording from the Royal Albert Hall, London on July 28th 2007
The BBC Concert Orchestra (leader: Cynthia Fleming)
The Maida Vale Singers (chorus-master: Christopher Dee)
conducted by John Wilson
Cynthia Millar (ondes martinot)
Philip Achille (harmonica)

Presented by Richard E. Grant
Special Guest Appearance by Lord Attenborough



http://www.mirrorcreator.com/files/0B39UXXH/BBCP2007-GBFM-H264-AAC.part1.rar_links
http://www.mirrorcreator.com/files/1TGFY75A/BBCP2007-GBFM-H264-AAC.part2.rar_links
http://www.mirrorcreator.com/files/H7TBKGA9/BBCP2007-GBFM-H264-AAC.part3.rar_links
http://www.mirrorcreator.com/files/K6BRYNCD/BBCP2007-GBFM-H264-AAC.part4.rar_links
http://www.mirrorcreator.com/files/0XISLPAW/BBCP2007-GBFM-H264-AAC.part5.rar_links

5x200mb parts. Container - Matroska MKV, Video H264 CRF 25, Audio VBR AAC Q 40
My encode from live BBC Broadcast as captured from Digital Terrestrial TV
You need a fairly competent video player to watch this. VLC Player, The KMPlayer will work out of the box. Windows Media Player will require a codec pack.

Just thought everyone in this thread would appreciate to know that Stu Philips Battlestar Galactica was just released by Intrada today! The samples sound like a treat!

Wow! I didn't know that was coming... Now, finally, that dreadful Anthology set, with atrocious sound quality, is redundant (like me, but that's another story)... Even from the poor quality samples, it's clear that the quality is exceptional.

@ Tango: What a splendid concert. It deserves the highest praise. Whether it is comedy, TV or music, you can always count on the British to deliver ;)

@ Sirusjr: Fantastic News !

I haven't listened to the Yamashita and Hirano yet, but I have absolutely no doubt it is magnificent. I almost always have a wonderful experience with both of them.



Elegant, graceful, classy. One of those scores you almost need to be perfectly dressed to listen to. Thank you. :)

Indeed Wilde it is quite dignified, but at the same time it isn't emotionless. The music certainly has a soul.


If you mean the movie, then I can accept your opinion. If you mean the score, then I will go to war ;).


I would fight alongside you in a heartbeat.



Princess Tutu


I don't have much experience with Wada, but I do with Camille Saint-Seans, Pyotr Ilyich Tchaikovsky, Modest Mussorgsky. I'll have to look into this one. I'm sure I will have more to say afterward.






BBC Proms 2007 - Music From Great British Films
Live recording from the Royal Albert Hall, London on July 28th 2007


Absolutely splendid! What a wonderful group of Brits (Walton, Arnold, Vaughan Williams, Fenton) although not every piece intrigues me (Warbeck). But overall with Battle of Britain, Wilde, Lawrence of Arabia etc., the selection is just astounding.



If you've never been to the Royal Albert Hall, put it on your bucket list; it really is the most amazing building. I've been a regular visitor for almost twenty years and it still takes my breath away, every single time.

Its on my to do list. I spent a decent amount of time in Austria and Germany, but I haven't had a chance to make it out to Britain yet. For now I'm stuck at home in the States though. I fully intend to work out a way to make it over there in the future.


Just thought everyone in this thread would appreciate to know that Stu Philips Battlestar Galactica was just released by Intrada today! The samples sound like a treat!

I had no idea this was coming out. It should be great!

Princess Tutu

Thank you, mate! Wada + Classical = Win. I also point out that I posted long ago the whole score in the classical thread, I believe.



Recently, the subject of the concert came up again over a cup of coffee in the Barbican centre (consumed in the splendid company of a certain Lens Of Truth, immediately following another concert conducted by John Wilson) and so I have fished it out.

How's good old Lens? long time not seen around. This thread misses you, mate. :)


If you've never been to the Royal Albert Hall, put it on your bucket list; it really is the most amazing building. I've been a regular visitor for almost twenty years and it still takes my breath away, every single time.

You londonians are f**king lucky, you know. How many prestigious halls and world-class orchestras do you have? Try to leave some for other countries, will you? ;)



BBC Proms 2007 - Music From Great British Films
Live recording from the Royal Albert Hall, London on July 28th 2007

Man, this is one amazing post. I tried in the past some of these Proms concerts, there's some great material in them. I'm pretty sure that I haven't seen / heard the 2007 one, so it's quite welcome, especially given the very appetizing program. That's a big download (big applauses for your efforts), but it looks totally worthwhile.

Thanks a lot!

Any chance of a mp3 version?

I just knew somebody would ask that.

Sure, no problem - coming up soon. ;)

I have the worst time being interested in Sentai at all. I'm even picky about Kamen Rider. But this just sold me on Magiranger. Next stop: Tv-Nihon.

---------- Post added at 08:09 PM ---------- Previous post was at 07:28 PM ----------

I'm so excited to see this threat hopping again! Tango, Arthierr, thank you for several in depth posts concerning tokusatsu composing, one of my favorite things in the world! I never realized Kousuke Yamashita did sentai work. His music for Nobunaga's Ambition is some of my favorite.

Tango, I dread what you will say when you hear scores for my movies! Hahaha! I'm one of those filmmakers who loves their synthetic and guitar driven scores. To me it's more about styles of music representing the style of film, more than anything. Though I recently gave a composer who was doing some spec work for me on a new project some pretty in strong feedback after he turned in a piece that was 90% hyper-crunchy fast strumming on an electric guitar. Very disappointed in him.

I'm super jealous you got to attend that proms concert, though. I suppose that's the advantage of being English. Having all that neat culture stuff in your backyard. I must say, I do await an MP3 version....

Wow! I didn't know that was coming... Now, finally, that dreadful Anthology set, with atrocious sound quality, is redundant (like me, but that's another story)... Even from the poor quality samples, it's clear that the quality is exceptional.

Funny thing is a number of users on FSM said that they are perfectly happy with the anthology set and don't need another release.

Central Philharmonic Orchestra of China plays Xuan ZHOU (1991, MP3-320)



Thread 85849

Copied from my CD.

19 tracks, 57 minutes, MP3-320, 132 MB

The most famous singer and actress of Shanghai in the 1930s gets a lovely orchestral treatment and excellent playing by the Central Philharmonic Orchestra of China under conductor Bing-xu HU.
Recorded July 1991 at the Studio of Agriculture Film Corporation in Peking.

All tuneful melodies but tracks 9 (a real tear-jerker) and 17 (lively and playful) are my favourites.

Track list
01. Peddling Bric-a-brac 卖杂货 3:26
02. The Wind in May 五月的风 3:22
03. Picking Betel Nuts 采槟榔 2:24
04. Wandering Singer 天涯歌女 2:59
05. At the Summit 高岗上 1:49
06. A Prayer in Moonlight 月下的祈祷 3:23
07. Susan Picking Tea Leaves 苏三采茶 3:00
08. Cherish Your Youth 莫负青春 2:55
09. Moon over the Street Corner 街头月 3:34
10. Phoenix in Flight 凤凰于飞 3:09
11. Thinking of My Beloved One 忆良人 3:27
12. Hot Cakes 卖烧饼 3:24
13. Cross-examining Hongniang 拷红 3:22
14. At a Meeting after Three Years 三年离别又相逢 3:25
15. Song of Boat-rowing 划船歌 3:29
16. The Road is Long 前程万里 2:09
17. A Mad World 疯狂世界 2:31
18. Cupid�s Arrow 爱神的箭 2:37
19. Spring in Zhongshan 钟山春 3:10

It's sad to see the era of leitmotifs and orchestras waning. I'm sure they'll come back, but Zimmer and Media Ventures seem to be favored (both by Producers and the public at large based on sales of Pirates of the Carribean albums). I would guess that Zimmer doesn't charge as much money as, say, John Williams, Mauricd Jarre, Patrick Doyle, or David Arnold.

The only Zimmer score I regularly do listen to is "Hannibal", and that's mostly for the final track "Vido Cor Meum" which Zimmer DIDN'T even write. I was pleased when Ridley Scott used that cue again in his roadshow version of "Kingdom of Heaven."

# "Battle In The Air from Battle of Britain (1969)" By William Walton
# "Suite from Anna Karenina (1948)" By Constant Lambert
# "Prelude from 49th Parallel (1941)" By Ralph Vaughan Williams
# "Waltz from Genevieve (1953)" By Larry Adler
# "Theme from Lawrence of Arabia (1962)" By Maurice Jarre
# "Ballet from The Red Shoes (1948)" By Brian Easdale
# "March from The Bridge on the River Kwai (1957)" By Malcolm Arnold
# "Scorched Earth from The Overlanders (1946)" By John Ireland
# "Love Theme from Yanks (1979)" By Richard Rodney Bennett
# "Carry On... Medley" By Eric Rogers
# "Overture from Much Ado About Nothing (1993)" By Patrick Doyle
# "Theme from Shakespeare In Love (1998)" By Stephen Warbeck
# "Suite from Wilde (1997)"By Debbie Wiseman
# "Theme from Chicken Run (2000)" By John Powell and Harry Gregson-Williams
# "Theme from Shadowlands (1993)" By George Fenton
# "Theme from A Bridge Too Far (1977)" By John Addison
# "Harry's Wondrous World from Harry Potter and the Sorcerer's Stone (2001)" By John Williams
# "Theme from The Dam Busters (1955)" By Eric Coates

This is simply brilliant, many thanks!

To me it's more about styles of music representing the style of film, more than anything.

Now, you probably won't like any of this - I intend no disrespect to you in saying what I'm about to say.

The primary function of music is emotional, not stylistic; it is the content of the music that is important. It is that which adds that extra dimension to a good story, that is able to articulate the unsaid and unseen. It is thematic interplay (and the appropriateness and musical quality of themes,) internal dialogue, and emotional truth. A good score is never background music or sound design; it is living, breathing composition that influences your impression of the film - subconscious as well as conscious levels.

I also believe that the reason a director hires a composer is because he cannot write the music himself; because he respects and skill and craft of the composer, and the uniqueness his insight can bring to the film. If a director wishes to impose an inherently non-musical vision of his film upon a musician, then he doesn't need a composer - and the quality of his film is probably insufficient to warrant the attention of a composer. He would be better off throwing some library music in there and being done with it; if the purpose of music is to simply mirror, stylistically, what is on the screen, there is no composition, no music, no score.


Though I recently gave a composer who was doing some spec work for me on a new project some pretty in strong feedback after he turned in a piece that was 90% hyper-crunchy fast strumming on an electric guitar. Very disappointed in him.

If I were that composer, I'm afraid I would've left the project! ;)

A director is a film maker; a composer is a music maker. I don't see composers bossing directors around...

Now, you probably won't like any of this - I intend no disrespect to you in saying what I'm about to say.

If I were that composer, I'm afraid I would've left the project! ;)

A director is a film maker; a composer is a music maker. I don't see composers bossing directors around...

Quite the contrary. I've actually argued from your position with film music students before. It was really depressing. I'm a huge proponent of music as character, and many of them argued for music as function, mechanics. They insisted on music as background filler, basically. They used most of the tired arguments I've heard to excuse weak music writing, such as that music shouldn't take center stage or be distracting or trump the actors performance. All things which have solid merit, mind you, but in many cases are used to excuse droning, unthematic scoring.

Perhaps genre would be a better term than style, in my case. For instance, I feel that Vangelis' ambient synth score for Blade Runner is an excellent example of matching genre to content, or Zimmer's score for M:I2. It affects the whole attitude of the work. Though I would say a good score can be Sound Design in some cases, where a composer utilizes samples and effects in their music. I've actually often wanted to use a video game composer who has also does sound design for games in the same roles on a film. I'd be curious to see how their intimate knowledge of one would affect the choices they make in the other.

Also, I think you jump to conclusions about how I work with composers. I also think you too narrowly define a director's job. Our job is to direct the movie, and the music is very much a part of the movie. It all ends up on screen in the end, and that's what we're responsible for. We're the thread that ties all of the departments together, makes sure everyone is on the same page, and encourage everyone to be the best they've ever been. I also, despite how it sounds, don't advocate for director's as the sole creative vision on a film. I find them to be something of the opposite. I prefer to give direction to my team and then let them do what they do best. I know what they are capable of and I know when they aren't reaching it. I spend time with them to work through any problems they're having, to overcome creative difficulties, and help focus the project's creative goals into a cohesive whole. So it is very much the director's business what goes into the score.

In the case of my composer, he delivered a product that was only partly in the direction he was given and not anywhere in his caliber of songwriting. I worked with him on several of my shorts years and years ago and am well aware of what he can do. He's sort of an odd bird in that he dabbles in acting as well as music, so my strong feedback to him was a paragraph break down of the music as his character as if he were an actor performing it. To get him away from thinking of it as filler, as a mechanical entity, which is very much what he gave me. It's his first pass on it too, so naturally there are going to be growing pains. I've rarely seen any artist come onto a project without feeling around for a bit first to get his groundings. And the ones that don't usually are wildly out of sync with the project.

The reason you don't see composers bossing directors around is because a composer works for and with a director, depending on the studio and the director that is. If a composer were to hire a director, then most certainly the director would being taking direction from the composer. No doubt they would have specific goals, looks, and styles they want to accompany their music and would communicate those to the director, and if the director isn't getting what they're after, then I've no doubt the composer would give them appropriate feedback. It's not dissimilar from the relationship a commissioned illustrator has with his client. If the picture isn't what they want, then you rework it. I know because I've worked in that industry too. I've had a writer basically completely redirect me on a project before because he just wasn't feeling the direction things were going in.

Ultimately, filmmaking, more than any medium I've worked in, is collaborative. No discipline stands alone, all disciplines rely on each other. :D

Does anyone know where I can get the Press Start 2008 -Symphony of Games- and the Press Start 2009 -Symphony of Games- music.

masterocho:

As usual, I have no time to give you the lengthy response you deserve... but I will just quickly say that my post wasn't entirely directed at you; it was a more general anti-Prima-donna-Director diatribe that just sort-of came out as a reaction to what you posted. I intended you no disrespect and assure you that I wasn't (intentionally) making assumptions about you and that if I did, I would enthusiastically welcome your clarity and insights. :)

I have spent time on both sides; as a director, and as a composer (though I have scored everything I directed, so have not had the pleasure of working with a composer) and therefore understand your viewpoint.

I walked off a project recently where my brief was to plagiarise Craig Armstrong's World Trade Centre as closely as possible without getting sued. I had another "director" telling me his brilliant idea to fill a gritty documentary with music; and since the documentary was a parody, he decided that it should be blanket scored with comedy music. It is a fact that some (most?) directors have a) no conception of the actual function of music within film, and b) are arrogant beyond all sanity and blindly confident in their ability and position as "head" of the film. These are the sort of guys I'd rather avoid working with ever again, but sadly they seem to proliferate - at least in the world of low-budget indie films where I currently work.

Obviously a composer who is not working to his fullest potential needs a kick in the right direction; I'm big enough to take it, but not if, to formulate a new analogy, I (a builder and bricklayer) am being micromanaged and constantly interferred with by the architect who designed the house; he should do what he is good at, and leave me alone to do what I am good at.

I have found that misunderstandings between directors and composers are often attributed to musically illiterate directors who are unable to articulate what they have in mind - or because they have provided a poor, or incomplete brief. Getting told "write mad organ music" and then getting bollocked because I didn't write the right kind of mad organ music, or because I interpreted "mad" to mean "psychologically unstable" and he had intended it to mean "unbridled schizophrenic lunacy", or because I had selected a cathedral organ when he had intended I use a Wurlitzer... You can imagine my response. (It incorporated several "colourful metaphors" as Mr Spock would say...)

Let's not forget that some of the finest scores in motion picture history have come about because a skilled director has hired a skilled composer, and let him be creative. And musically incompetent directors have failed to understand the greatness scores that were written for them (Ridley Scott springs to mind) and have subsequently butchered said score; the film and the music has suffered as a result.

TT

It's obvious that directors (and producers) have the last word, that they're the managers who indicate to everybody what they have to do, and in many cases, how they should do it. In this regard, I remember an interview of Jean-Pierre Jeunet for Alien: Resurrection, in which he was astonished by the lack of autonomy in Hollywood's filmmaking. Everybody was coming to ask him what, when and how they should do things. And when your crew is composed of 900 people, it quickly becomes quite an harassing task! Jeunet was more used to french-style filmmaking, where everybody is much more creatively free.

But let's be honest, when you hire a renowned composer, someone who's got a significant career, you don't do it randomly: "Just pick the first guy who comes to mind. John Williams? Yeah, why not, that should do, let's try with him." No of course, you hire someone because his style, his artistic temperament, his previous works, fit the vision you have, and even largely surpasses it. Great composers are seeked for their unique style, their own way to appropriate themselves the "soul" of a movie and to translate it, with their own genius, into musical form. As Tango noted, many times in the past, and maybe still sometimes nowadays, great composers were highly respected, they were treated as influential artists, and their personal artistic vision was seeked as a real added value for the movie, something that will make it unique.

The problem with Remote Control is that they transformed the "one composer, one personality, one style" policy into a "twelve composers, no personality, no individual style" one. The artistic value of music, and the importance granted to composers, tend to have significantly diminished these days. I greatly suspect that one of the main causes is that, for some reason, people in the film business today (producers, directors), are either musically illiterate, or just uninterested in classical and orchestral music, contrary to many great directors of the previous decades, who were not only skillful filmakers, but also cultured gentlemen with a genuine interest for good music in itself.

That said, I've got a score coming soon that'll show how ONE man, who composed, orchestrated and conducted it himself, can massively and mercilessly crush twelve Remote Control guys put together. ;)

Does anyone know where I can get the Press Start 2008 -Symphony of Games- and the Press Start 2009 -Symphony of Games- music.

that would be great...

And musically incompetent directors have failed to understand the greatness scores that were written for them (Ridley Scott springs to mind) and have subsequently butchered said score; the film and the music has suffered as a result.

I have to disagree big time on Ridley Scott being "musically incompetent." Jerry Goldsmith's score for "Alien" was great, but ending the movie on Howard Hanson's Romantic symphony was a stroke of genius. Emotionally, it simply feels more "right" than the original (and admittedly nice) credits suite written by Goldsmith. It lends a dreamy feel to the final moments of what is essentially a cinematic nightmare.

I don't think modern directors are "musically incompetent." They simply have a different musical sentiment than what people here are used to. Art needs to change with the times. Different generations need to find their voice. As great as he was, Goldsmith couldn't do justice to "The Social Network."

It's his first pass on it too, so naturally there are going to be growing pains. I've rarely seen any artist come onto a project without feeling around for a bit first to get his groundings. And the ones that don't usually are wildly out of sync with the project.

which is why most score releases contain alternates or unused music

That said, I've got a score coming soon that'll show how ONE man, who composed, orchestrated and conducted it himself, can massively and mercilessly crush twelve Remote Control guys put together. ;)


JOHN SCOTT
20,000 Leagues Under The Sea

Philharmonia Orchestra Of London
Year 1997
MP3 320

Multiupload.com - upload your files to multiple file hosting sites! (http://www.multiupload.com/30FHNB27ZK)




I just recently discovered this score, hidden somewhere in one of my hard drives. It was like finding a 20 € bill in one of your jacket's pocket you usually never use: HURRAY!. I downloaded it long ago and I totally forgot it - what a pity, because it's quite an amazing piece.

Not having seen the show, I can't do much comments about it. However, here's what Wikipedia says: "20,000 Leagues Under the Sea is a 1997 television movie produced by Hallmark Entertainment, based on the novel by Jules Verne and starring Ben Cross as Captain Nemo. It premiered on March 23, 1997. It is most notable for replacing the character of Professor Aronnax's manservant, Conseil, with the Professor's daughter, Sophie, who disguises herself as a boy so that she may accompany her father aboard the USS Abraham Lincoln; she becomes the apex of a love triangle involving Captain Nemo and Ned the harpooner."

Now, concerning the music, since the composer is John Scott, you know you can expect a very solid, intelligent, masterfully crafted orchestral score, and it's exactly what you get. Scott composed here a really ambitious and larger-than-life symphonic score, in which his talent, his erudite knowledge of classical music, his great mastery of orchestration, shine every single minute.

The music is quite classically inspired, mainly late romantic, but the impressionistic influences are also frequent, which is quite judicious since impressionism fits very well the depiction of aquatic environments. There are also some interesting musical tricks, like for instance introducing the theme of the Nautilus by using a dissonant motif (flute + metallic percussion) evoking the sound of a sonar: just brilliant!

Highly recommended!


Now, just a little remark: as I already stated several times, my free time is very limited, but I take some anyway to post such stuff here, so I'd appreciate some minimum gratitude from people leeching from this thread.


So, if you like this post, please say THANKS. It's nice and it'll encourage me to post more for you!

http://www.gamepro.de/index.cfm?pid=386&pk=3331
possibly one of the best videogamescore coming up.and the game is stunning.

Skyrim. ;-)

I have to disagree big time on Ridley Scott being "musically incompetent." Jerry Goldsmith's score for "Alien" was great, but ending the movie on Howard Hanson's Romantic symphony was a stroke of genius. Emotionally, it simply feels more "right" than the original (and admittedly nice) credits suite written by Goldsmith. It lends a dreamy feel to the final moments of what is essentially a cinematic nightmare.

I don't think modern directors are "musically incompetent." They simply have a different musical sentiment than what people here are used to. Art needs to change with the times. Different generations need to find their voice. As great as he was, Goldsmith couldn't do justice to "The Social Network."

Sometimes I think you say this stuff just to bait me. ;)

The misery subjected to Alien wasn't just related to the end credits; there was interference during the composition process (Scott demanded the removal of Jerry's haunting trumpet solo in the Hypersleep sequence, and also for the main title to be re-written so as to exclude the romantic Nostromo theme) and during editing, the score was cut to ribbons and even partially replaced with music Jerry wrote some fifteen years previously for a completely different film. For further evidence of Scott's questionable music literacy, please see the dubious list of "composers" he has worked with beginning in the late eighties through to the present day... :P

I thought Hanson's symphony was lovely at the end of Alien, absolutely beautiful - but I found the lack of connection between it and the rest of the score incredibly disconcerting. At the exact moment where the music should be putting its affairs in order, so to speak, the sudden and unexpected appearance of Howard Hanson jolts me right out of the film. Jerry's end title was gorgeous and thematically consistent with the rest of the film.

As for the "art needs to change" this is certainly true to a point; art needs to continue to innovate. Where "change" is a euphemism for "devolve" or "dumb down" I vehemently disagree.

The Social Network... That was "scored" by some guy from Nine Inch Nails, was it not? No further comment necessary. If ever there were a film and score that were "signs of the times" it is this one. Goldsmith could write a better score for that film today.

With peace, respect, and a pint of beer as always :)
TT

===

Edit:

Hater: Yikes, speaking of Jerry! Do you know who scored that game? I can't find any information at all about the score.

best score this year will be Old Republic, don�t need to be a prohet for this one. The clips are outstanding.Skyrim could be great, love the manly choir.L.A.Noire, as you hear in the video above sounds fantastic and classic, like Black Dahlia or L.A.Confidential.
Any news on a rip from LEGO UNIVERSE Online? Never thought Brain Tyler could write such quirky and adventures classic music.

Thanks so much. I only had a poor video recording of it.

Sometimes I think you say this stuff just to bait me. ;)

The misery subjected to Alien wasn't just related to the end credits; there was interference during the composition process (Scott demanded the removal of Jerry's haunting trumpet solo in the Hypersleep sequence, and also for the main title to be re-written so as to exclude the romantic Nostromo theme) and during editing, the score was cut to ribbons and even partially replaced with music Jerry wrote some fifteen years previously for a completely different film. For further evidence of Scott's questionable music literacy, please see the dubious list of "composers" he has worked with beginning in the late eighties through to the present day... :P

I thought Hanson's symphony was lovely at the end of Alien, absolutely beautiful - but I found the lack of connection between it and the rest of the score incredibly disconcerting. At the exact moment where the music should be putting its affairs in order, so to speak, the sudden and unexpected appearance of Howard Hanson jolts me right out of the film. Jerry's end title was gorgeous and thematically consistent with the rest of the film.

As for the "art needs to change" this is certainly true to a point; art needs to continue to innovate. Where "change" is a euphemism for "devolve" or "dumb down" I vehemently disagree.

The Social Network... That was "scored" by some guy from Nine Inch Nails, was it not? No further comment necessary. If ever there were a film and score that were "signs of the times" it is this one. Goldsmith could write a better score for that film today.

With peace, respect, and a pint of beer as always :)
TT

===

Edit:

Hater: Yikes, speaking of Jerry! Do you know who scored that game? I can't find any information at all about the score.

its not easy to find something out if rockstar games won�t let you.. maybe in april we will know who wrote this score. could be the guy who wrote bully for them, or a real filmcomposer.

I thought Hanson's symphony was lovely at the end of Alien, absolutely beautiful - but I found the lack of connection between it and the rest of the score incredibly disconcerting. At the exact moment where the music should be putting its affairs in order, so to speak, the sudden and unexpected appearance of Howard Hanson jolts me right out of the film. Jerry's end title was gorgeous and thematically consistent with the rest of the film.


I suppose if you think in terms of thematic musical development, it can be jarring. But, from a gut cinematic perspective, it works and it's one of my favorite moments from the movie. (And it introduced a yahoo like me to the works of Howard Hanson!)



As for the "art needs to change" this is certainly true to a point; art needs to continue to innovate. Where "change" is a euphemism for "devolve" or "dumb down" I vehemently disagree.


I think it's more like deconstruction rather than devolving, which isn't a bad thing. That which is deconstructed can once again be reconstructed, and perhaps in better shape than before.



The Social Network... That was "scored" by some guy from Nine Inch Nails, was it not? No further comment necessary. If ever there were a film and score that were "signs of the times" it is this one. Goldsmith could write a better score for that film today.


One of the two composers is a member of NiN, but the score itself is more electronica than industrial rock. I hope you haven't dismissed the movie because of the music, because it's really top notch.

I suspect the composer for Noire might be Vladimir �imunek but I could be wrong.
About big game scores, Old Republic will be the highlight of the year, no doubt.
Skyward Sword is something to look forward to aswell. Maybe Dynamedion will score the next big german game Stronghold 3.
LA Noire will be good, Last Guardian and Diablo 3 have my interest, Killzone 3 might dissapoint. Guild Wars 2, Deus Ex 3 and Homefront have potential.

@arthierr: THANKS :)

"Zelda" music is always good. Any word on whether they're going to record an orchestra for "Skyward Sword"?

Personally, I'm not big on "Star Wars" music that isn't written by John Williams.

who cares about skyward sword Twilight Symphony (http://www.zreomusic.com/2011/02/03/presenting-twilight-symphony) is where its at

"Zelda" music is always good. Any word on whether they're going to record an orchestra for "Skyward Sword"?

Only vague statements that can be taken either way, sadly. I believe that the only "solid" commitment was in an interview nearly a year ago in which, when questioned, Miyamoto said that he expected there would be, as it would be an anticlimax after recording orchestral scores for both Super Mario Galaxies. But let us not forget that they were considering an orchestral score for Twilight Princess, and that never happened. We shall see...


Personally, I'm not big on "Star Wars" music that isn't written by John Williams.

100% agree. I am interested in Lennie Moore's contributions to Old Republic... but that's about it. I cannot fathom why somebody would want to listen to a Star Wars score written by Williams fanboys, when there are six damn Star Wars scores written by Williams himself. The team, aside from Lennie Moore, have not massively impressed me in the past - I think that the music will be, like their previous efforts, a very, very nicely orchestrated turd. Hiring an orchestrator to mimic Williams' orchestral style and playing it with a gigantic orchestra can give you the sound but not the feeling. When I want Star Wars music, I listen to The Empire Strikes Back. Anything else, in comparison, is pointless...


who cares about skyward sword Twilight Symphony is where its at

Twilight Symphony... an ambitious project... but I question some of the decision making processes going on there. If they're really serious, forget the choir - hire an orchestra! They could do it easily for a few grand in Prague, assuming that Nintendo don't sue them immediately thereafter. The synth is good, but it's still synth. Using a real choir (at great expense, and which you know will sing nothing but Oooooh, Aaaaah) and not a real orchestra strikes me as having a choice between dying in a hideous car accident and winning the lottery... and choosing the former.

Edit: I've just seen that they are trying to raise $18,000 to record the choir. They are off their fucking rockers, pardon my language; for $18,000 they could record the whole thing with a real 60 piece orchestra AND a real choir and still have change left at the end. Please tell me which choir costs $18,000 to record sixty minutes of aah aah aah. They are either idiots who are wasting money (donated in good faith) or they are very very clever - they plan to spend $1000 on the choir and pocket the rest. Disgraceful. Anybody reading this; don't give them a penny.

dude they have a 90 PIECE ORCHESTRA!!!!! straight from their website is a quote: “I was given an early taste of this track and I cannot wait to hear what it sounds like when a 90 piece orchestra and choir perform it.” – Destructoid.com, Feb. 3rd, 2011


oh and if the choir goal isnt reached, no one is charged

EDIT: and more questions will be answered in a live interview: Zelda Reorchestrated � Blog Archive � LIVE Interview with Radio Free Gamer (http://www.zreomusic.com/2011/02/09/live-interview-with-radio-free-gamer)

Yeah, I gathered you were touching off on tangental issues. I was sort of like "whoa, that's a really specific rant for something so vague." You won't catch me arguing that just because a director is technically responsible/creatively inclined/within power to boss the composer doesn't mean they know what they're doing. Like Ridely and Alien. To be fair, even Ridley looks back at his young self and hangs his head a bit. He was a huge, arrogant, prick back then. Ah, the arrogant director. It's largely a by product of them never learning other fields, really. Back when I was in college, there was this Indian kid whose mom was a Bollywood producer, and we were talking about directing and I explained how when I decided that's what I wanted to do, already having a background as a writer and artist, I started doing theater and acting, production managing, directing for the stage, teching, even writing music. Because how else was I supposed to know how to direct my crew if I didn't understand their craft, even on a basic level? You know what he said? "Well, I guess I was just born to do it."

I know what you mean about intent getting lost in miscommunication. That happens regardless of discipline, though. I've messed up on illustration and editing work before because what the art director/film directer meant and what they said meant two different things to me. Just try to remember though, that just because they may be illiterate in a different field, doesn't mean their insight isn't valid. Though, in your case, he really shouldn't have gotten his panties in a bunch about it. That's just being a jerk. I feel horrified on your behalf at those experiences.

Lastly, I will say that in many cases, those skilled directors hiring skilled composers often, but not always (Bernard Hermann and Taxi Driver), are pairings of two people who previously knew each other, had worked together, or were friends. There's something to be said about that level of professional assurance and understanding that comes from a personal bond. I'm actually curious now, to find instances of directors hiring an accomplished composer and letting them go to town.

---------- Post added at 08:46 PM ---------- Previous post was at 08:30 PM ----------


In this regard, I remember an interview of Jean-Pierre Jeunet for Alien: Resurrection, in which he was astonished by the lack of autonomy in Hollywood's filmmaking. Everybody was coming to ask him what, when and how they should do things. And when your crew is composed of 900 people, it quickly becomes quite an harassing task! Jeunet was more used to french-style filmmaking, where everybody is much more creatively free.

I remember my first "real" shot direction and everyone on the crew was a sack of potatoes unless I told them what they should do. They were great at their job, but only if someone told them to do it and how to do it. It was terrible. It's a lot of Hollywood brainwashing and an erosion of our pioneering attitude. I think Europe is better about it because your industry is less centralized. there isn't some enormous mega-institution telling you that you can only do things their way or it's not right.

And.... THANKS FOR 20,000!!!! I'm familiar with this production and I'm really surprised to find the score was released!

I have tried to listen to 20,000 leagues under the sea quite a few times and it never really grabbed me. Its nice to see more John Scott posted in this thread nonetheless.

JOHN SCOTT
20,000 Leagues Under The Sea

Philharmonia Orchestra Of London
Year 1997
MP3 320
[/COLOR][/SIZE]

Yay, more John Scott!! I listen to Odyssey of the Belem all the time and have been wanting more, so thank you very much Arthierr.

That is just somebody's comment relating to the fact that a few minutes of it will be performed in concert. Twilight Symphony will be synthesised. And I stand by my original statement; $18,000 to record a choir for an amateur fan project is utterly ludicrous - particularly when it is somebody else's money.

1: Like i said if the goal isnt reached the people are not charged

2: they are asking for donations not forcing people to give it, if you don't want to donate, then don't and besides they are asking their FANS

3: I don't think it's going to be "Ooooooh's" and "Aaaaaaahhh's" BECAUSE they had to have Latin and Italian translator's for the project.

though i do agree that 18.0000 is somewhat ridiculous, but perhaps thats because of having recording John Kurlander (for LOTR etc.) and Jim Davis (Happy Feet, Glee) onboard and thats what they and the choir charge for their services

Jerry Goldsmith - 40 Years of Film Music


Music composed by Jerry Goldsmith


Tracklist

All tracks @ VBR -V0 (Extreme) + covers
http://rapidshare.com/files/446730683/Jerry_Goldsmith_40_Years_Of_Film_Music_-_Disc_1.zip
http://rapidshare.com/files/446750271/Jerry_Goldsmith_40_Years_Of_Film_Music_-_Disc_2.zip
http://rapidshare.com/files/446858504/Jerry_Goldsmith_40_Years_Of_Film_Music_-_Disc_3.zip
http://rapidshare.com/files/446933158/Jerry_Goldsmith_40_Years_Of_Film_Music_-_Disc_4.zip


On what would be his 82nd birthday, I found that today would be a suitable day to share this set as little tribute to Jerry Goldsmith music, and for the members (newcomers or longtime admirers of his music), to enjoy and celebrate. At four discs, and spanning various themes that he composed throughout his career, and even altough there is enough music to complete 2 or 3 CD's more, it is nonetheless a fine compilation of his music, and at the same time a good way to start listening and explore Goldsmith music.

Keep in mind that the music on this set aren't the original recordings found on the soundtracks, but a compilation of re-recordings coming from various sources, including the album 'Goldsmith Conducts Goldsmith', and other album compilations with re-recorded music, with only the exception on the suite of 'Legend', which is the same music version featured on the original soundtrack.

Regarding Twilight Symphony: The fact that a choir is more important than an orchestra is ridiculous. Real Choir with synth lacks depth and emotion. It just doesn't "feel" right. It sounds fake. I would be happy with the entire thing in synth but "demanding" so much money for something that should be considered an extra is a terrible choice (or a genious marketing ploy). Now if it turns out that an entire orchestra (60 should be enough for a fan project) will be used, I will have faith in the project. But keep in mind that you also need a skilled orchestrator to pull it of and they should hire the best they can affort and give him creativity with the source (let him even rearrange the samples). Not to mention legal issues.
I will keep an eye on the project but until I have the confirmation that a real orchestra will be involved, I will remain sceptical.

EDIT: Now that I've seen some of the staff comments, it seems they will use a live orchestra, but it certainly is up to interpretation: "Twilight Symphony is being made for ourselves just as much as we're making it for the fans. We want to push this album as far into professionalism as we can, and having the experience of recording a live orchestra and a live choir is invaluable. If we don't make our best efforts to make this album the best it can be, we have failed to reach our goal. We're not out to blow money just because we have people who are willing to back us. We want to make the most out of this album that we possibly can. The opportunity to create a project as elaborate as Twilight Symphony does not come around often."

I heard that the same guy who did/was part of the PLAY! stuff (Jeron Moore?) is the producer for TS.

"though i do agree that 18.0000 is somewhat ridiculous, but perhaps that is because of having recording engineer John Kurlander (for LOTR etc.) and Jim Davis (Happy Feet, Glee) on board and that is what they and the choir charge for their services"

I just want correct myself: its TIM DAVIS not Jim Davis like I posted in my above quote

keep an open mind and an open heart

Thanks for the John Scott Ost arthierr :)

Arthierr, thanks for starting this thread and for “20,000 Leagues Under the Sea”.

So, if you like this post, please say THANKS. It's nice and it'll encourage me to post more for you!

The funny thing is that this remark was only aiming at leechers (people who just come here, grab some stuff, and leave without a comment or a thanks), and not at the friends or regulars of this thread, and yet, almost only the latter were nice enough to say thanks! Thanks for your thanks, mates!



BLEACH ~Hell Arc~

Well, that's original. It makes a long time I haven't listened to Sagisu, and this new score is quite excentric and unexpected. Sometimes a little too "cuckoo" for me, but gothic fans will love this.



Central Philharmonic Orchestra of China plays Xuan ZHOU (1991, MP3-320)

After the fury and madness of the above score, this album appears to be an oasis of calm, an haven of peace. Very beautiful, relaxing music, and the typical chinese sound makes it a real delight.




Jerry Goldsmith - 40 Years of Film Music

Great initiative, Sanico! The great composer highly deserves such attention, especially after some of the comments recently made in this thread, or after looking at klnerfan's sig.

Don't worry, I'll change my sig after a while. Will be too depressing to look at. But still quite a statement that the people who should appreciate his music the most, are the ones who are the most ignorant about it.
Well, if I had any say in the matter of who will be scoring movies or any media in general, I would give "most" directors today a kick in the balls for not understanding anything about one of the most crucial parts of film making.

JOHN SCOTT
20,000 Leagues Under The Sea


Another thumbs up for sharing this John Scott soundtrack Arthierr.
While i didn't like it as much as say Anthony & Cleopatra, it is as usual on his music richly orchestrated and enjoyable to listen.

If you like operatic action cues, here is something similar:


BLEACH ~Hell Arc~

I just got around to this while working today, finally, and wow, was it a doozy. Not at all what I was expecting from Bleach. It's really fun, a little silly with the psuedo coherent English singing by the choir, but that just adds to the fun for me. It's definitely something different and refreshing. The rock pieces at the end weren't particularly inspired though, I must say. I'm sure they have their place in the film, but even then I don't see them being very special. It's almost like he said "fine, if I have to." Hahaha!

Pardon my intrusion, but I wanted to say two things. 1) I'm an occasional leecher from this thread, and I downloaded 20,000 Leagues Under the Sea because of your description, I haven't listened to it yet, but thank you, Arthier!

2) I'm pretty much a newbie to orchestral music, so I don't have the most refined ear or educated opinion. However, am I the only one who thinks that Zelda Re-Orchestrated is nowhere near as awesome as everyone says they are? It's not even a matter of weak synth, their arrangements come off as really total amateur stuff to me. I haven't listened to all their material, and maybe there's some recent stuff that I haven't heard that demonstrates they've developed some kind of real ability, but thus far out of the several soundtracks and hours I've spent listening, I don't think I've been impressed with any of it.

I haven't listened to all their material, and maybe there's some recent stuff that I haven't heard that demonstrates they've developed some kind of real ability, but thus far out of the several soundtracks and hours I've spent listening, I don't think I've been impressed with any of it.

they have been doing Redux's of their tracks so you may not of heard them, but i dont know, so here is one: YouTube - The Wind Waker - Dragon Roost Island Redux (Zelda Reorchestrated) (http://www.youtube.com/watch?v=ovVKY7Ch-uU)

About Zelda, I will say this: Of all the music, the score for "A Link to the Past" deserves the orchestral treatment more than anything else. The most famous Zelda pieces (Opening Fanfare, Hyrule Castle, Kakariko, Dark World, Fairy Theme, Zelda's Theme, Ganondorf's Theme) originated from that game. The music even felt more symphonic in nature. If you ask me this needs an actual Symphony more than Twilight Princess. It is also sad that Kondo didn't use the ending Theme in later installments (parts of it were used but never the whole theme): http://www.youtube.com/watch?v=3Rvg_52gB3s&feature=related

Edit: Everyone, some new (and amazing) Sahashi material: http://forums.ffshrine.org/f91/official-toshihiko-sahashi-thread-mp3-mediafire-orchestral-72009/5.html

Pardon my intrusion, but I wanted to say two things. 1) I'm an occasional leecher from this thread, and I downloaded 20,000 Leagues Under the Sea because of your description, I haven't listened to it yet, but thank you, Arthier!

2) I'm pretty much a newbie to orchestral music, so I don't have the most refined ear or educated opinion. However, am I the only one who thinks that Zelda Re-Orchestrated is nowhere near as awesome as everyone says they are? It's not even a matter of weak synth, their arrangements come off as really total amateur stuff to me. I haven't listened to all their material, and maybe there's some recent stuff that I haven't heard that demonstrates they've developed some kind of real ability, but thus far out of the several soundtracks and hours I've spent listening, I don't think I've been impressed with any of it.

WELCOME! And Amen to that, although I'm delighted I wasn't the first person to say so. Far be it for me to stomp on the genuine efforts of genuine fans, the ZREO stuff smacks of "Really nice try, chaps!" which, as anybody who has ever heard that will know, is a euphemism for "I know you really tried, but to be honest it sucks."

The mass hysteria and Godlike powers attributed (unfairly) to them by the fandom is typical of people who, to be perfectly frank, aren't qualified to make such grandiose statements. They're fun albums, and you have to admire the effort that went in to them, but they are inescapably amateur productions - not that amateur productions are a bad thing but I wish people would acknowledge that that's what they are and stop pretending that these people are the 21st century reincarnations of Mozart and Beethoven. They're not. They're some pretty smart people with expensive computers and sample libraries, matched with an encyclopedic knowledge of Zelda's musical history... their arrangements aren't bad - some of them are even pretty competent, and they appear to talk the talk; but in the end, it's highly unoriginal potpourri "orchestrations" (I hesitate to use the term as it implies a level of inherent musicality I don't believe they posess) that take Zelda themes, mix in every symphonic film score you ever heard in your life filtered not through the mind of a musician but of a rabid fanboy, and output through an expensive - but ultimately cheesy - synthesiser.

I wish them all the best as a fan project! But nearly twenty grand to record a choir? Using big name engineers from Hollywood? No, come on - it's questionable whether the project deserves any live musicians whatsoever, but if people are willing to donate they could get a lot more from their money. The need for these big names worries me; are these the sort of people who think "epic" and "OMG wow!" comes from using expensive engineers and fifty million voices, rather than from good music and good orchestrations? Are they compensating for poor arrangements by throwing ridiculous sums of money at the project in the blind hope that the more it costs, the better it will be? They could mail off the scores to Prague and have it performed by a 60 piece orchestra, and they could do that easily for $18,000, and have money left at the end, as I have said before.

And even that is an outrageous plan for what is essentially a copyright-violating fan arrangement of video game music that will probably land them in prison.

I hate to be negative... but positivity can be a dangerous thing as it gives people a false impression of the chances that their plan will result in success.

Pardon my intrusion

Dude, this thread is public, and everybody is welcome to post here, so your post is in no way an intrusion, especially when you say "thanks" and ask a sensible, well-formulated question.


I'm an occasional leecher from this thread, and I downloaded 20,000 Leagues Under the Sea because of your description, I haven't listened to it yet, but thank you, Arthier!

You're welcome! (See, it's not that hard to post a little comment or a nice word from time to time)

Concerning Zelda, I believe Tango gave you an extended answer ;) (with which I mostly agree).



The most famous Zelda pieces (Opening Fanfare, Hyrule Castle, Kakariko, Dark World, Fairy Theme, Zelda's Theme, Ganondorf's Theme) originated from that game.

If I may, Zelda's Theme originates from the very first Zelda game on the NES (or Famicom). I clearly remember how much its beauty impressed me the first time I heard it, long ago, after having inserted the cartridge and pushed the "Power" button. It was magical.

actually zelda's theme is from ALTTP: YouTube - Zelda: A Link to the Past Music - Princess Zelda&#39;s Rescue (http://www.youtube.com/watch?v=a2JsrScq--c)

Since we are on the Zelda subject, here are some of my favorite live arrangements. These pieces are superb, so make sure to check them out!

http://www.youtube.com/watch?v=Qi99oDALtRU

http://www.youtube.com/watch?v=uJMdFHE90iI&feature=related

http://www.youtube.com/watch?v=0guFHIGxvmc

http://www.youtube.com/watch?feature=iv&v=q1cDR1NvR_E



actually zelda's theme is from ALTTP: YouTube - Zelda: A Link to the Past Music - Princess Zelda&#39;s Rescue (http://www.youtube.com/watch?v=a2JsrScq--c)

You refer to the theme of Zelda, Zelda's main theme, right? If so, then no, it's not. As I said, it's from the the very first Zelda game on the NES:

http://www.youtube.com/watch?v=uyMKWJ5e1kg&feature=related

I agree with Tango on this. I think for as much money as they have raised they could look at more than just a choir. Unfortunately, people do not care whether their money is being wasted on just a choir. The schema that the mind associates itself with is based on impressions more specifically by the first impression. Hans Zimmer has endorsed sound libraries and people buy them on the sole reason because his name is attached. It is very ignorant and sad, but it's clever and deceitful advertising. I think ZREO falls into this category and in my opinion it is an insult to the fans who have donated money to their efforts. They have a lot of money so give the music of zelda a worthy tribute that it most certainly deserves ;).

Zelda's Theme is the Link I posted

The LEGEND OF ZELDA theme is the one you posted.

Zelda's Theme is the Link I posted

The LEGEND OF ZELDA theme is the one you posted.

All right, then. Well, its *quite* easy to mix up something called "Zelda's theme" with some other thing usually called "the theme of Zelda". ;)

They could mail off the scores to Prague and have it performed by a 60 piece orchestra, and they could do that easily for $18,000, and have money left at the end, as I have said before.

Prague sucks though

You never heared much from Prague, they can give a fine performance when given the right source material and when they are in the right mood. Listen to Alamo and Kameo and say straight to my face that they suck.

@arthierr: I should have called it Princess Zelda's Theme, my mistake. But you're spot on. The magic you felt when you first entered the world of hyrule and this wonderful tune was playing, was exceptional. I still listen to 8-Bit and 16-Bit music, because composers had to be more creative considering the limitations of the hardware. And when you listen to orchestral arrangements of game music, you will notice that many pieces from this era sound exceptional when performed life.

The only complain I have with most arrangments of Zelda today, is too much focus on the Main Theme, yes it's an exceptional theme but the whole franchise has many beautiful themes that deserve to be orchestrated (like this one) (http://www.youtube.com/watch?v=W7R_PLeawqo). It is a shame that Zelda doesn't get the same treatment as Final Fantasy or Dragon Quest in terms of orchestral arrangements.

They still suck, the Orchestra is way too blocky and has no bite (its rather dull), tho i did like their performance of the Temple of Doom end credits, but really only because of the composition

To prevent future mix-ups:

The classic music from the NES Zelda game is called the "Overworld Theme," (not to be confused with the song of the same name from Super Mario!) while "Zelda's Theme" generally means the melody that originated in the SNES game.

That is a pointlessly dismissive response.

Prague (the orchestra) does not suck. They worked up something of a reputation in the early nineties for being poor as a result of insufficient rehearsal time amongst other things. That is not the case today, as anybody who has actually heard them recently and has an ear for music will testify. Well rehearsed and well recorded, they are an excellent orchestra as you would expect from an ensemble which is populated with some of the finest musicians in the Czech Republic, including quite a few members of the Czech Philharmonic Orchestra. If they were good enough to premiere Mahler's 7th Symphony, they are certainly good enough to play a fan-orchestration of a video game score. The Czech Philharmonic (founded in 1896 and conducted in its inaugural concert by a minor composer by the name of Antonin Dvorak) has boasted such prestigious Chief Conductors as Rafael Kubelik, Jiri Belohlavek, Vladimir Ashkenazy, and Karel Ancerl.

The important factor regarding the City of Prague Philharmonic is that yes, they're cheap - and the contracting company will provide absolutely everything you need to do your recording job at a ridiculously low price. On countless occasions, the price benefit of recording in Prague (or Brno, or Bulgaria, or Hungary, etc) has allowed good music to be recorded on a low budget that otherwise just would not have been possible. Not every movie, TV show, video game, amateur composer, etc, can afford to drop �150 per hour per musician for the London Symphony Orchestra and hire Abbey Road One.

In any case, I'm sure any competent composer would, when faced with the choice between no orchestra at all, and an orchestra that is perhaps not world class... he would choose the orchestra. A flawed human performance will triumph over a technically perfect electronic performance every single time; music by definition is a human artform and when deprived of human involvement, it suffers immeasurably.


They still suck, the Orchestra is way too blocky and has no bite (its rather dull), tho i did like their performance of the Temple of Doom end credits, but really only because of the composition

What in the world does blocky mean? And no bite? Dull? Czech brass players are second only to the Russians and the English.

And the Temple Of Doom recording is ten years old, and they've improved a lot since then.

That is a pointlessly dismissive response.

That is not the case today, as anybody who has actually heard them recently and has an ear for music will testify.

you act like I did not listen to their new stuff, i listened to to Alamo and Kameo (or atleast what I could find), and the sounded bad, the only remotely good recent stuff I have heard is The Clone Wars, and that suffers from poor composition

Kameo was an excellent performance, if a rather unimpressive score. Clone Wars was, we can hopefully agree, a terrible score - the performance was respectable but the recording was utterly horrific.

If I'm misinterpreting you, I apologise - there's so much pointless Prague bashing going on it's untrue. Everybody likes to say "Prague Sucks!" but when pushed, reveal that their viewpoint is based on twenty year old recordings made in a sweat-shop environment with no rehearsal time. Why not try their Tadlow re-recordings (if you can get past the variable recording quality) or their TV scores with Daniel Pemberton, etc? They're a fine orchestra who, like Skoda, have a terrible reputation that whilst it may have been deserved once upon a time, certainly doesn't now.

about TPS, I suggest you (if it hasnt been done yet) stop forming opinions on just that post and ask questions of them instead of just gossiping here (though lik i have already said most of you probably already have and have good reasons why you are talking about it here)

I wasn't aware of any moratorium on free discussion, and I will go on forming opinions and voicing them (coherently) as I see fit. "Prague Sucks" is gossip and it is also an opinion formed with a not entirely surprising absence of fact and knowledge - whereas the discussion regarding Twilight Symphony has been an interesting look at a fascinating project. Just because it has not followed the traditional pattern of maniacal hero-worship does not invalidate it. I find the TP project very interesting, but my expectations for it as an artistic endeavour are at an all time low.

this is just a question, did you read this post?: Zelda Reorchestrated � Blog Archive � I’ll just… leave this…here… (http://www.zreomusic.com/2011/01/23/ill-just-leave-this-here) not just the clip but the comments too

seeing how intelligent you are (this is NOT sarcasm, I am serious) you probably already have

I hadn't seen it, but thanks for the link... :)

I don't know if there's much to say though - it's a French Horn solo. I know they've been planning to record a handful of real instruments to sweeten the synth, but I didn't know they had done so yet... It seems to be rather a bizzare way of working.

I'm always open minded; just perhaps a little jaded based on first impressions. Obviously I'll be listening to it with great interest... but unlike some other folk, I am not expecting this to be the best album ever released, not am I expecting it to be among the best.

Still looking forward to it though.

Dude, this thread is public, and everybody is welcome to post here, so your post is in no way an intrusion, especially when you say "thanks" and ask a sensible, well-formulated question.

You're welcome! (See, it's not that hard to post a little comment or a nice word from time to time)

Maybe I can speak for myself and hopefully summarize some of the other followers' points of view. You're often having pretty active conversation in this thread and I'm hesitant to interject when I have nothing to add. I understand the want for a show of appreciation, I know it's very cool to me when someone thanks me for one of my posts. You guys know there's a lot of people who follow this thread and download your links and respect the conversation, so I think in this thread even more than others everyone who contributes should feel an implicit thank you from the cloud of spectators who are too engrossed in the dialog to break it up. I don't download a whole lot of the stuff that's posted, but it's enjoyable to check in every few days and see what's happening. I sometimes download stuff based on the descriptions and the talk about it if it sounds interesting to me, but often I don't even get around to listening to it in anything like a timely manner. In this case, I was catching up on a couple pages and your description of 20,000 Leagues Under the Sea as very good and somewhat impressionistic piqued my interest and I might have replied just for your asking, but by the time I got to the ZREO stuff I felt I had to say something it.

I agree with klnerfan that A Link to the Past is probably the prime one for a symphony. A lot of the pieces are short and would leave room for some original expansion. And it's kind of the perfect sized Zelda for that, offering all of the elements necessary for development and a dramatic arc, while not too long to be unable to fit all of the great stuff. It has all the things quintessentially Zelda in a compact form, but not too compact. I cannot imagine why they are doing their project on Twilight Princess. The music in that game was the only thing that really let me down about it, but it seems like I'm in the minority on that. I suppose I should actually count it as a blessing that they're not going to mess up something I care about, and I guess in the best case scenario they would actually make me care about some of it.

ou guys know there's a lot of people who follow this thread and download your links and respect the conversation, so I think in this thread even more than others everyone who contributes should feel an implicit thank you from the cloud of spectators who are too engrossed in the dialog to break it up.

Agree with that. I know I've done it many times; I've somehow managed to miss downloads that had the ill fortune to have been posted right in the middle of a heated discussion, too. I'm also guilty of occasionally overlooking giving explicit, direct thanks - this thread goes in cycles. Sometimes it's a lot of chat, sometimes it's an absolute shed load of downloads coming in all at once, and sometimes it's both at the same time. There is so much substantial quality - music and discussion equally - that it's quite easy to blink and miss something.

I do think you're right and that there is a certain implicit, unspoken gentleman's agreement that we are all thankful for every post and every poster. I think the sadness (in this thread, at least) comes when you upload something (often at great personal expense, both time and money related) and return the following day to find that it has been downloaded five thousand times - and once again, the only gratitude on offer is from the same core group. It is yet another reinforcement of the state of society; everybody wants to take, but very few people want to give or even recognise those who do. Some folk see this forum - and this thread in particular, as an index of pirated music that is occasionally interrupted by annoying things like discussions and debates.

About a year ago - or maybe a bit more - I posted a stupendously rare, out of print CD that I found by sheer blind luck and good fortune, hiding in a dusty corner of Tower Records in Tokyo. Not even for that, could the majority of people even volunteer a simple "wow, cheers!" - but that is the nature of selfish, obnoxious human beings!

For what it's worth, I post for the good people in the thread - they know who they are. They make it worth the effort. The old adage applies; it doesn't matter if ten thousand people hate an idea - what's important is that one person liked it. The same applies to posting in and contributing to this fine thread...

but some Human beings cant put into words their gratitude, and 5,000 downloads? this topic would be alot bigger if everyone who downloaded said thanks

If you are a man of very few words, "Thank you" would do very nicely - it is only courtesy. Nobody is expecting a two hundred page thesis with staged analysis of the psychosomatic reaction of the listener at every bar of music through the listening process. It is just nice to know that your efforts are appreciated and not regarded merely as "OMG FREE MUSIC!" by the moronic masses...

RE: ZREO, I'm fairly ambivalent. Nothing I've heard from them in the past has excited me, and I somewhat fail to see the point of rearranging synths with... slightly better sounding synths. That said, if the album turns out fantastic, it would be a welcome surprise and I'd be more than happy to admit I was cynical. But I am cynical.

RE: Thanks (or lack thereof), frankly, we're lucky we're not only bombarded with endless "FLAC NOW" posts from users with posts in the single digits. As far as I'm aware, I received a single note of thanks for Verklaerte Nacht, and not on this thread. Certainly, expressions of gratitude are polite and a common courtesy. However, I didn't upload it to be thanked or for reputation; it was uploaded to hopefully catch the ear of someone who hadn't heard it before, as I hadn't. Isn't that really the entire point of sharing this stuff, or is it simply another of life's popularity contests?

As a man of few words I'd like to represent my fellow leechers (if i may) and say a big thank you to all the wonderful gifts y'all have given to us. Your generosities will surely not be forgotten. In return, let me present:
Khachaturian - Symphony No.2 And The.Battle Of Stalingrad Suite
http://img696.imageshack.us/f/khachaturian01.jpg/
MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=QHSM1XEX)

Hopefully you guys will enjoy this wonderful piece from Khachaturian.

p.s If someone already posted this, I'm terribly sorry.

p.s If someone already posted this, I'm terribly sorry.

thank you anyway :-)

Guys, a little interruption in your discussion. Check out Crysis 2 score.

Thread 85948

It totally blew me away. Don't know actually why. It sounds RCPish, which is not very good, I know, but it's somehow different. Bigger, much more emotional. I'm really impressed. Please say that I'm not getting deaf and it has actually some value;).

Hi everybody! I wanted to say that I'm unfortunately a leecher. I don't have much time to read every post you guys write in this thread, but I try to visit it everyday at least for five minutes and download some nice oschestral music. Even though, I sometimes download an album that could be interesting for me but I put it in the folder of "Not listened music" and I listen to it several days later...

I think I've been visiting this thread for over a year and I've downloaded some good albums such as Space Battleship Yamato, Napoleon Total War and Majin (Arthierr is right: the orchestral music on it is quite good!). Despite I don't like much anime music I want to thank you all for all your contributions. Well, sometimes I find anime music that I like... xD

Once more, thank you all.

PS: Downloading Crysis 2 score. I hope to enjoy it! Thanks!

RE: Thanks (or lack thereof), frankly, we're lucky we're not only bombarded with endless "FLAC NOW" posts from users with posts in the single digits. As far as I'm aware, I received a single note of thanks for Verklaerte Nacht, and not on this thread. Certainly, expressions of gratitude are polite and a common courtesy. However, I didn't upload it to be thanked or for reputation; it was uploaded to hopefully catch the ear of someone who hadn't heard it before, as I hadn't. Isn't that really the entire point of sharing this stuff, or is it simply another of life's popularity contests?

This sometimes happen, and it happened to me many times. The discussions are so fast-paced, the successive albums posted are so numerous, that at times one particular post doesn't grab the attention it deserves, and gets relegated several pages behind. Of course it'll actually get, over time, this attention, but not at the precise moment when it was posted. Concerning your Schoenberg post, I delayed my listening of it because of my aversion for avant-garde stuff, but since you mentioned it was somewhat early and romantic, I'll try it for sure. Thanks for posting!


is it simply another of life's popularity contests?

No, of course. My remark was situated in a certain context: don't forget that I nearly left this thread some months ago! Uploading stuff here again actually takes a substantial amount of my personal time, so I wanted to make absolutely sure there's some real, significant and explicit appreciation for my uploads, to verify it's worth the effort. Basically, the question was: to upload again or not to upload again? And, given the reactions, I'm proud to announce that the answer is: to upload again!

And I'm quite happy to see that the "thanks" discussions has encouraged several people to express themselves for the first time and to show their appreciation for what we do here. :) You're welcome, guys, and don't hesitate, occasionally, if you appreciate something, just to say it. It doesn't cost you any effort, it's nice to the uploaders, and it incites them to post more for you. Everybody wins!



Khachaturian - Symphony No.2 And The.Battle Of Stalingrad Suite

Great first-time posting choice! Thanks a lot and welcome :)

Arthierr said it all. I don't share for popularity or reputation - I share because I want to help propogate great things. The only reputation I would like is that I upload good music - and the music is infinitely more important than the random person on the internet who happened to post it. There is a lot to be said for "branding" though - I will definitely say that there are names here I subconsciously associate with quality, and that encourages me to try something new I wouldn't have thought twice about otherwise. I hope that perhaps someone might see "tangotreats" and think to themselves, "Hmm, I'll try that one - he's not done me wrong so far..." and therefore make a new discovery. That said, sometimes one can't help but be despondent when consistently 99% of people take what you have to offer without even the vaguest acknowledgement of your kindness.

Whatever the situation... this conversation has brought some new people into the fray who have been until this moment silent observers. Welcome to them! :)

I agree tango. I hope that I have developed enough goodwill with certain posters that they would be willing to check out random anime posts. Certainly in this world of fail music someone has to push you through the sludge.

As a man of few words I'd like to represent my fellow leechers (if i may) and say a big thank you to all the wonderful gifts y'all have given to us. Your generosities will surely not be forgotten. In return, let me present:
Khachaturian - Symphony No.2 And The.Battle Of Stalingrad Suite
http://img696.imageshack.us/f/khachaturian01.jpg/
MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=QHSM1XEX)

Hopefully you guys will enjoy this wonderful piece from Khachaturian.

p.s If someone already posted this, I'm terribly sorry.


Thank you!! Welcome to the thread, and I'm glad to hear this from Khachaturian that is new for me!

As requested by my good friend Arthierr, and I am sure desired by a good many others... :)




BBC Proms 2007 - Music From Great British Films
Live recording from the Royal Albert Hall, London on July 28th 2007
The BBC Concert Orchestra (leader: Cynthia Fleming)
The Maida Vale Singers (chorus-master: Christopher Dee)
conducted by John Wilson
Cynthia Millar (ondes martinot)
Philip Achille (harmonica)

Presented by Richard E. Grant
Special Guest Appearance by Lord Attenborough



MP3 EDITION

LAME 3.98.4 - direct encoding from the digital BBC transmission. Music tracks encoded at -V0. Speeches and announcements are encoded at -V6 in mono, in order to save space and reduce the archive to under 200mb.

TOTAL TIME 01:58:30 (including announcements), 01:40:00 (music only),

http://www.mirrorcreator.com/files/1XPBSK1W/BBCPROMS2007-GBFM-MP3.rar_links

(Sorry, Mirrorcreator fans - I can't get to the site today so it's at Uploadmirrors instead.)

01 Richard E Grant Introduction
02 Sir William Walton The Battle Of Britain (Battle in the Air)
03 Richard E Grant Announcement
04 Constant Lambert Anna Karenina (Suite)
05 Ralph Vaughan Williams 49th Parallel (Prelude)
06 Richard E Grant Announcement
07 Larry Adler Genevieve (Waltz)
08 Maurice Jarre Lawrence Of Arabia (Main Theme)
09 Richard E Grant Announcement
10 Brian Easdale The Red Shoes (Suite)
11 Richard E Grant Announcement and Tribute to Sir Malcolm Arnold
12 Sir Malcolm Arnold and Kenneth Alford Bridge On The River Kwai (March)
13 Richard E Grant Announcement
14 Sir Richard Rodney Bennett Yanks (Love Theme)
15 Richard E Grant Announcement
16 Eric Rodgers (arr Gavin Sutherland) Carry On (Medley)
17 Richard E Grant Announcement
18 Patrick Doyle Much Ado About Nothing (Overture)
19 Stephen Warbeck Shakespeare In Love (Theme)
20 Debbie Wiseman Wilde (Suite)
21 Richard E Grant Announcement
22 John Powell and Harry Gregson-Williams Chicken Run (Suite - with Dialogue and FX)
23 Richard E Grant and Lord Attenborough Announcement and Speech by Lord Attenborough
24 George Fenton Shadowlands
25 John Addison A Bridge Too Far (Main Theme)
26 Richard E Grant Announcement
27 John Williams Harry's Wondrous World
28 Eric Coates The Dam Busters March
29 Sir Arthur Bliss Applause and End Credits

tango, there's Ni no Kuni OST in Joe Hisaishi's Thread :D

Or here, I copy his link. Credit to waldfee.

Hotfile.com: One click file hosting: FNTx-2011-OST-Kuni-No-Ni-VA_Sparhawk.rar (http://hotfile.com/dl/103873414/95adc67/FNTx-2011-OST-Kuni-No-Ni-VA_Sparhawk.rar.html)
Free File Hosting, Online Storage &amp File Upload with FileServe (http://www.fileserve.com/file/FhEcNn8/FNTx-2011-OST-Kuni-No-Ni-VA_Sparhawk.rar)

And thanks for the mp3 version of BBC Proms 2007 - Music From Great British Films :D

Heyhey! Cheers! :)

I'm glad to hear that the whole OST for Ni No Kuni is pure Orchestra and the music can now be experienced in it's full glory. I can't wait for my copy, the best score of 2010 by a mile, and possibly the best OST of 2011 ... wait, screw that, I put this in the same league I put Star Wars, this is a score I will enjoy and listen to in excitment for years to come. I hope this gets the attention it deserves. This is the kind of music that I want to hear in as many games as possible in the future. Maybe Hisaichi will surprise us again this year (The PS3 version could have some new material).

I haven't been here in a while, but I'll say thanks for all the recent uploads and ones while I've been away. I don't say thanks more often, as I think it'll take space and attention away from the important posts (and over time would probably just be spammy). Although I did upload something a while back- some Rachmaninoff tone poems, which I heartily recommend- but didn't see any mention of them at all, which was a little bit disconcerting. Especially as a first upload \:

EDIT: Now that I remember, I didn't actually upload them- but still worth sharing all the same!

I don't know how to download the British films concert posted by Tango.
I entered the uploadmirrors page but it only shows a link for a usenet page, except that i can't find any link of the concert on the usenet. Or maybe there is a link but don't know where is it.
Anyone who succeeded to download the concert, can you tell how do you did it please?

:mad:

It looks like the good people at Uploadmirrors have messed up the mirror page ALREADY. Niiiiiiice going. I'm so glad I spent three hours uploading that.

Let's try again with another host. Sorry Sanico - might be another three hours yet... ;)

Arthierr said it all.

Indeed, he did, although he didn't really have to; that final bit of my post was more rhetorical than anything. Also, I would say that a good many of you have earned your "branding" for quite some time.

I haven't been downloading much lately, but thanks to the recent uploaders (especially newbies!) and I will definitely be checking out the Hisaishi again now that we have the OST.

Unfortunately, most of my recent acquisitions have stemmed from The-Label-Which-Must-Not-Be-Named, but hopefully I will find something else again soon that I think the community will enjoy.

Three hours for nothing. What a bummer for you Tango :p
Let's hope the new link will last longer this time.

Unfortunately, most of my recent acquisitions have stemmed from The-Label-Which-Must-Not-Be-Named, but hopefully I will find something else again soon that I think the community will enjoy.

Hah, which one is that? I'm losing track!

---------- Post added at 11:20 PM ---------- Previous post was at 10:44 PM ----------

Right, let's try this one...
Download BBCPROMS2007-GBFM-MP3.rar from Mirrorcreator - Upload files to multiple file sharing sites (http://www.mirrorcreator.com/files/1XPBSK1W/BBCPROMS2007-GBFM-MP3.rar_links)
Original post updated. :)

It's working now. Thanks Tango :)

As requested by my good friend Arthierr, and I am sure desired by a good many others... :)




BBC Proms 2007 - Music From Great British Films

Mmmh... What's the word... A word that has been discussed a lot recently... Oh yeah!

THANKS!



Although I did upload something a while back- some Rachmaninoff tone poems, which I heartily recommend- but didn't see any mention of them at all, which was a little bit disconcerting. Especially as a first upload \:

Terribly sorry for the lack of reactions, but as I said, that happens. BTW, thanks for talking about it, because in fact I totally missed it! I just found it after a quick search HERE (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/254.html#post1546770), and I'll download it ASAP.

(Are you sure it's your own upload, though? ;))

Terribly sorry for the lack of reactions, but as I said, that happens. BTW, thanks for talking about it, because in fact I totally missed it! I just found it after a quick search HERE (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/254.html#post1546770), and I'll download it ASAP.

(Are you sure it's your own upload, though? ;))

Oops... my memory failed me a little bit. Sorry about that (I'll just err, quietly rectify that mistake). I linked to the same post where I first grabbed it, as my own connection is less than stellar. The Isle of the Dead and The Rock are superb, but the symphonies are great too... I think it's a shame Rachmaninoff never wrote any movie music. It would have been fantastic.

BBC Proms 2007 - Music From Great British Films
Live recording from the Royal Albert Hall, London on July 28th 2007


When I saw in the video "tangotreats for the Final Fantasy Shrine"... I have to admit I felt like I was part of an exclusive and elite club LOL, Thank you very much for this great video with superb quality, It�s a great way to know first hand the British film music, by the way I didn�t know it was posible to play a harmonica with such difficulty. Thanks again from Colombia.

i know i tend to overuse superlatives but Ni No Kuni is simply outstanding. I really loved every second of it.Can�t wait for the PS3 version.

i know i tend to overuse superlatives but Ni No Kuni is simply outstanding. I really loved every second of it.Can�t wait for the PS3 version.

Well if the DS game rip is any indication, they are likely to just use the same Hisaishi music for both games and have other lesser composers write the other in-game music although I could be wrong.

Guys, since we recently talked about Zelda, I posted a Youtube video of an arrangement from Play! A Video Game Symphony Live! Level 2. But in fact, I have this whole album, in 320k, and I'll be glad to upload it here if someone is interested.

But before I do so, I'd like to check something with you: does someone know if there's any *serious* ban on posting this album? I don't really follow every single event in the meander of this forum, so I could have missed such thing. Please let me know if it's ok to post or not.

I seem to remember a very indignant Jack Wall appearing on the forum the last time something from VGL was posted... that's about it.

Just a quick one...

You heard it here first: TOSHIHIKO SAHASHI has an anime project in 2011! He is scoring Sacred Seven for Sunrise. It looks like a big expensive mecha show, with staff from Eureka Seven, Steel Angel Kurumi, Planetes, and Windaria. News is a bit thin right now - there is no release date set and no further details other than that it's being made. But...! Could this be the next Gundam Seed we have been waiting so patiently for Sahashi to write...??? :D

One to look forward to...

Play! did a second CD (and I wish they would because their Zelda suite is awesome)? Or was it Video Games Live? If it was VGL I think there is a ban on posting it.

Tango, what great news ! This year seems even more promising than the last. Now we just need Wataru Hokoyama to compose another game score ...
On an unrelated note, Christopher Tin's Baba Yetu won a grammy recently.

Interview about twilight symphony, perhaps things we dont know?: YouTube - Zelda Reorchestrated - Twilight Symphony Interview (http://www.youtube.com/watch?v=Op3_YvXXi0k)

Forget about Twilight, how about This (http://squareenixmusic.com/musicnews2.php?subaction=showfull&id=1297116827&archive=&start_from=&ucat=8&)
Finally a Kirby arrangement, that hopefully is not recycled from the OGC. If this is not broadcasted on radio I will go nuts.

Edit: The fine gentleman below me has already said everything about the interview that I wanted to say but with such excellent precision that it is useless to comment on it any further.

Musically illiterate, artistically barren, common sense completely absent, self aggrandising crap... All hope for ZREO is lost. Thanks for the link; I've now made up my mind entirely.

Musically illiterate, artistically barren, common sense completely absent, self aggrandising crap... All hope for ZREO is lost. Thanks for the link; I've now made up my mind entirely.

if those two were musically illitirate, he (Jeron Moore) wouldnt be part of VGL (or is it Play!?).....

or would he?(: "To record this entire project with a 90 piece orchestra and choir and then release it would easily cost between 500k-1mil.")

but, i must admit, that i have lost faith also, $18.000 is too much, and their fans are totally blind to it:

"Sorry man, but I gotta call shenanigans here. I hope you don't think that all a choir does is sit around and "record sixty minutes of aah aah aah." Let me give you an idea of what all would actually go into this recording:

1) The music is given to the choir's director, who needs to read through, study, analyze, and LEARN the music. If the director has no idea what he's doing, then the choir will have no direction and the recording will come off half-assed. This could take a few hours to a few days, depending on the quantity of music and how much effort the director puts into it.
2) The musicians who perform the choir either have to learn the music on their own or are brought together with a director and hash through the pieces themselves. You don't just throw music in front of a musician and expect them to play. They need time to learn the music as well. This can also take time upwards of several days to several weeks.
3) The director and the choir get together and rehearse the music. The director gives notes to the choir, several runthroughs of the pieces are given, and this is where most of effort needs to be given. Give this another few hours to days or weeks, depending on the amount of work and other projects.

This is all without considering that the group needs to get together at one point to record the project, which considering prices for professional equipment, I can see where some of these figures are coming from (especially depending on the size of the choir. Remember, these guys are professional, so they make a career out of stuff like this). So, please, don't dumb down the process. Having been in a choir for close to 10 years now, I feel rather insulted that you'd insinuate that music in a large group can be thrown together five minutes beforehand and actually work."

About Play! A Video Game Symphony Live! Level 2, better avoid posting it then. Since it's a rather recent release (end 2010), it's too early to be posted here, and anyway I'm pretty sure Mr Wall or Mr Tallarico in person would turn up with forks and torches to scold us - something I prefer not to see in this good place. ;)

About the new Sahashi: great news! Especially since it seems to be a rather ambitious sci-fi anime = probable very good score to come.

About LEGENDS: great stuff indeed. I'm really fond of Symphonic Legends, so an even better, extended, revised version of it is really to look forward to.

Regarding BBC PROMS 2007 - MUSIC FROM GREAT BRITISH FILMS as kindly offered by Tangotreats on 2/12...

There's a real rarity here that deserves a listen. It's track 14, the love theme from "Yanks" by Richard Rodney Bennett, a lovely score inexplicably still unreleased on CD.

I'm also happy about the revised Legends; the Kirby arrangement from the OGC series has long been a favorite of mine, and I am practically salivating at what that team is capable of achieving from the same source material. Personally, though, rather than extending the concert, I'd prefer the concert time now allotted for Kirby was achieved by trimming the admirably-ambitious-but-overextended Zelda tone poem into something more focused.

http://www.youtube.com/watch?v=v09q3R_QzTY

one of many reasons why i am very very pleased with the crysis2 score, despite hating RCP. and its zimmer and lorne balfe, though here it sounds more like murray gold and dr who...strange to hear them using orchestra in such a prominent way...:-)

coool stuufff

Musically illiterate, artistically barren, common sense completely absent, self aggrandising crap... All hope for ZREO is lost. Thanks for the link; I've now made up my mind entirely.

I can't even make any sense out of a single word they are saying. Kudos to you sir for actually being able to discern the non-words they are spouting. I can only feel like as if they have no idea what they are talking about.

As requested by my good friend Arthierr, and I am sure desired by a good many others... :)




BBC Proms 2007 - Music From Great British Films
Live recording from the Royal Albert Hall, London on July 28th 2007
The BBC Concert Orchestra (leader: Cynthia Fleming)
The Maida Vale Singers (chorus-master: Christopher Dee)
conducted by John Wilson
Cynthia Millar (ondes martinot)
Philip Achille (harmonica)

Presented by Richard E. Grant
Special Guest Appearance by Lord Attenborough



This is very very nice, tango! I laughed at the trombones' music stand joke too... I haven't listen to all of it yet, but it's great so far.

one of many reasons why i am very very pleased with the crysis2 score, despite hating RCP

Me too. Don't know what this score has in it, but it grabed my attention since first notes. It's surprisingly intelligent music for RCP - for example Epilogue - inceredible piece, so dark, so unsettling, yet somehow heroic. I don't understand why I like this score, but, well I really do. Shoot me.

I can't even make any sense out of a single word they are saying. Kudos to you sir for actually being able to discern the non-words they are spouting. I can only feel like as if they have no idea what they are talking about.

The guy talks like a sound designer, not a composer; he uses words like "create" and "remake" where a real musician would use words like "compose" and "orchestrate". He confuses quality of music with quality of performance, as if they are both the same thing, and seems very uncomfortable when using musical terminology. He uses musical terminology the same way a spotty otaku would when trying to write an "upmarket" review of an anime score. It brings back teeth grinding memories of passages such as "The Warsaw Phil Harmonica Orchest Orchestrated the songs on this CD with conduct by Masamichi Amano. The compose is very good with violins and trumpets and drums playing cool tunes." The same people who refer to music that is performed by an orchestra as "orchestrated" when in fact the term is nothing whatsoever to do with a physical performance. The same people who refer to anything loud as "epic" and anything quiet as "sad". [The former is reaching new levels of stupidity in some circles, with "orchestrated" used to refer to an orchestral performance, "orchestrator" used to refer to the conductor, composer, or both, and "orchestration" used to refer to the act of composition!]

Can anyone really take this seriously?

Interviewer: "What kinds of emotions do you feel that this in, uh, conveys and maybe what types of instrumentation or have you used help kinda convey those emotions, uh, or what techniques have you used to convey kinda the, to tell the story and convey those those emotions?"

Moore: "We're not trying to really reinvent it - we're not trying to... you know, change, or or, I mean, really, I don't know... Perfect what was already done, I mean I guess in a way, we are... we think we are... ...This is really great stuff and and, well, some people can't always appreciate video game music, we can because we hear the potential of what it could be if if if if if ratcheted up to the next level. That's what we're trying to do is ratchet it up."

Moore, on the choir recording: "The samples and uh some of the live instruments that we're recording uh are are are really convincing, well, especially the live instruments because they're real. We're getting a lot of realism out of it. Should we be able to reach our goal, uh, I think I think those are two guys [John Kurlander, former Abbey Road engineer, and Tim Davies, vocal contractor for "Glee" (HA HA HA)] that I would like to like to approach and and have involved with trying to really accomplish the scope of what we're trying to accomplish."

Moore could've said "We would like to reinterpret the music into a symphonic, narrative structure, allowing themes to develop naturally and cohesively in a way that, due to the inherent constraints imposed upon the video game composer, they were unable in the original score recording. We plan to create a lifelike performance using synthesisers superior to those used in the original score, supplemented with live musicians and a choir, that will allow the quality of the music to shine."

But that would've been a musician's response.

Stop talking crap, chap.

"Better to remain silent and be thought a fool than to speak out and remove all doubt." - Anon, attrib Abraham Lincoln

Now, I'll say right now that I have the utmost sympathy and respect for people who are not gifted public speakers, or who hate interviews... Jerry Goldsmith hated interviews and being interviewed - he was frequently brusque, dismissive, and occasionally downright rude. BUT there was never any doubt that his words were literate, confident, and motivated by a genuine musicianship and intimate understanding of the craft. But these people? Barely able to string a sentence together, unable or unwilling to use any kind of musical terminology, and have no direction or talent. Absolute utter garbage.

Me too. Don't know what this score has in it, but it grabed my attention since first notes. It's surprisingly intelligent music for RCP - for example Epilogue - inceredible piece, so dark, so unsettling, yet somehow heroic. I don't understand why I like this score, but, well I really do. Shoot me.

zimmer and lorne balfe worked on the score for over a year! in the end we get the best what they can do in the best possible way. good enough. ignore those other 200 scores they crap out year for year, but don�t ignore crysis 2.

is there any orchestra ablum of tetris any with tetris type i was listening to games in concert and they did a song but onlytype a & c :(

YouTube - Games in Concert - Tetris (http://www.youtube.com/watch?v=wBmZAg8HxfY&feature=related)

zimmer and lorne balfe worked on the score for over a year! in the end we get the best what they can do in the best possible way. good enough. ignore those other 200 scores they crap out year for year, but don�t ignore crysis 2.

Come on.

I didn't want to comment on Crysis 2, but since some of you seem to praise it a little too much, here's my view on it.

I don't doubt that it's a rather effective score while playing the game, but as a stand-alone listening experience, its value is simply close to zero to me. Crysis 2 is mostly only musical wallpaper. It's a purely functional score, anonymous, replaceable, and cumulating every single RC clich�, every mannerism, every worn-out recipe: heavy electronics, bad sounding synth orchestra, tons of percussions, simple chord progressions, very few melodies and thematic material, lots of cheap "epic" outbursts, etc.

The only distinctive and inspired piece I noticed is "Morituri". At last a real theme, not a great one, and not exploited enough, but it's better than nothing. Besides, it's probably the main theme, since snippets of it can be heard several times in various tracks.

To be frank, I simply don't understand how it's possible to listen to such score out of context and enjoy it. Again, it probably very much does its job in-game, but strictly from an artistic POV, I can't see any significant interest in it. (However, I respect the fact that other people may like it. *shrug*)



ignore those other 200 scores they crap out year for year, but don�t ignore crysis 2.

In fact, even though I'm not a RC fan (some of you may have noticed this ;)), I must admit that they happened to compose 10 times better scores in the past. IMO, Crysis 2 is to be lined up in the lower quality range of their production - which makes it very low, consequently!

any orchestra cd from animes would nicely be appricatied

Musically illiterate, artistically barren, common sense completely absent, self aggrandising crap... All hope for ZREO is lost. Thanks for the link; I've now made up my mind entirely.

I agree with this sentiment. In fact, I've had ZREO pushed all over me by gaming friends, and to be honest, I have no idea where all this praise and worship for them comes from. Listening to their works, it's not impressive musically (I feel that the arrangements are uninteresting and quite poor), and technically, possibly even worse. Synthy, fake, and artificial... and this is meant to be a re-imagining of the Zelda music using better technology? Ouch. On a related note, if you want to see good sequencing skills at work, the amount of effort that went into here is staggering:

YouTube - Stravinsky&#39;s The Rite of Spring - performed by Jay Bacal w/ VSL - Part 1 of 4 (http://www.youtube.com/watch?v=PB3njyDW8SY)

Anyway, with stuff from the BBC and games on topic at the moment, I came across a BBC radio program that might be interesting. It's Bleep Bleep Bloop, which "explores the growing popularity and ambition of music composed for video games", as well as if it has "...now left behind bleeps and bloops and arrived at the brink of artistic respectability?". Featuring an interview with Joris de Man, and some other important people (probably). I ripped it, as I'm not sure people from outside the UK can access it.

Podcast- Bleep bleep bloop: Music and video games

Multiupload.com - upload your files to multiple file hosting sites! (http://www.multiupload.com/42N9YCFB7K)

On a related note, if you want to see good sequencing skills at work, the amount of effort that went into here is staggering:

YouTube - Stravinsky&#39;s The Rite of Spring - performed by Jay Bacal w/ VSL - Part 1 of 4 (http://www.youtube.com/watch?v=PB3njyDW8SY)

Dear lord. That guy certainly didn't make it easy on himself.

If only someone like ZREO (but not deluded) could funnel that amount of energy, passion, talent, and technology to arrange a short Zelda ballet... perhaps with Debussy-esque sonorities? Now that would be praiseworthy.

To be frank, I simply don't understand how it's possible to listen to such score out of context and enjoy it.

Have to tell U one thing - me neither. It's pure action score, very illustrative and it should be unlistenable. And I know that. Yet somehow it totally worked as a stand alone music for me. I'm completely surprised by that, cause I don't like music like that. I'm not gonna defend this score, everyone has right to his own opinion. But my opinion is that Crysis 2 has smomething more in it. Don't know what it is though;).

Have to tell U one thing - me neither. It's pure action score, very illustrative and it should be unlistenable. And I know that. Yet somehow it totally worked as a stand alone music for me. I'm completely surprised by that, cause I don't like music like that. I'm not gonna defend this score, everyone has right to his own opinion. But my opinion is that Crysis 2 has smomething more in it. Don't know what it is though;).

its the clever use of orchestra and the countless variations of the beatiful new york theme throughout the score. dont say its only bad synth orchestra because its clearly not. � lot of musicians and lot of differenet instruments (there` s even a harp somewehere) and this time they AREN`T PLAYING THE SAME NOTE AT THE SAME TIME.Like i said, its the best they can do in the best possible way.but it took 14 months.

its the clever use of orchestra and the countless variations of the beatiful new york theme throughout the score. dont say its only bad synth orchestra because its clearly not. � lot of musicians and lot of differenet instruments (there` s even a harp somewehere) and this time they AREN`T PLAYING THE SAME NOTE AT THE SAME TIME.Like i said, its the best they can do in the best possible way.but it took 14 months.

????????

I had the courage and dedication to listen to Crysis 2 entirely twice, plus 4 or 5 times for some particular tracks (those hours are lost and never to be recovered), and it seems we haven't listened to the same score.

I won't enter a debate about Crysis 2 since it doesn't really deserve it, but to be brief, I consider it to be a mediocre, generic and functional game score for the reasons aforementioned. Some parts are even barely music to me, they're more some kind of "wall of sound", just there to spice up what's on screen, and totally devoid of artistic value.

Whether or not it's a (bad) synth orchestra or a real one isn't the most important problem. What's important is that it sounds like a crappy synth orchestra, as usual with RC, since they have this incredibly inane habit of adding fake instruments on top of real instruments. Hence, everything ends up sounding fake, even though they spent plenty of bucks to hire live players. They could have saved a lot of money by using only a fake orchestra, because the result would have sounded exactly the SAME (in fact, some virtual orchestras even sound much better).

Finally, if this is really "the best they can do in 14 months", then a) it totally and irrefutably confirms my general opinion about Remote Control, and b) I'd greatly suggest to those who commited this score to immediately stop doing music, at any cost, and to quickly switch to another profession, for the good of Music, and what's more, for the good of Humanity.

Peace, my friend. ;)

So, a query: has anyone else besides me been listening to Ni No Kuni? Again? And again? I just can't seem to get enough of this score. I always considered Hisashi one of the greatest composers after I first heard Princess Mononoke...but this is something else. I can't put it into words, but I know it is a masterpiece.

I mean, there are some decent scores coming out. But I just don't think I will be able to give them the light of day.

Well I am only looking forward to the Powell & (John) Williams scores coming out

Well I am only looking forward to the Powell & (John) Williams scores coming out

John Williams has a new score? I though he pretty much retired!

John Williams has a new score? I though he pretty much retired!

He is scoring The War Horse and The Adventures of Tintin.

As long as Steven Spielberg continues directing, John Williams will always have a new score in him. He doesn't seem to work with other directors anymore, though.

So, a query: has anyone else besides me been listening to Ni No Kuni? Again?

Yes, right here... ;)

To paraphrase Henry Mancini, Hisaishi scares the hell out of me. Where is it all coming from?! Every now and again, we are blessed with a Ninokuni (usually from Japan, and then frequently from Hisaishi) and it unceremoniously pushes the rest squarely into perspective. Truly a score to cherish, and one to listen to again and again... every time it feels fresh. :)


(Arthierr speaks the truth)

This man, he is wise.

As long as Steven Spielberg continues directing, John Williams will always have a new score in him. He doesn't seem to work with other directors anymore, though.

Is that a fact or conjecture. John Williams is my fave, but I know he is getting on in life and has to slow down. Shame though if that is the case. Who do you folks think Spiel will use after Williams officially retires or passes away or who would you like to see try a Spiel film?

---------- Post added at 11:02 AM ---------- Previous post was at 10:57 AM ----------


Actually, it wasn't that bad. It was...alright.

Conan the Barbarian. It used to bore me as a kid but it's one of my favourite films now. Definitely in my top ten films of all time. That might sound crazy to some people but I love it. The pace, the lack of dialogue, the minimalist acting of Schwarz, the characters, the action, James Earl Jones, Sven Ole Thorsen, the sombre ending and of course the mighty Baz Pole. Give the film a second chance if you haven't seen it for a while, it's fantastic.

I too have fallen in love with Conan The Barbarian. I never cared for the film when I was young.
Now I think it's very good indeed! And Basil Poldouris' score is pure awesomeness hands down!

I believe people who dislike or despise Conan the movie tend to miss the point (if I may). There's a reason, a good reason, why this movie is seen as a fantasy classic: John Milius directing, Ron Cobb designing, Basil Poledouris composing, it was nothing less than a perfect dreamteam that gave birth to the cinematographic adaptation of the cimmerian warrior.

This movie was IMO a remarkable achievement, and a bit like Cameron's Aliens, it created in itself a certain aesthetic, an definite artistic vision of Conan's universe - and an immensely good one (yet rather different than the original one). The movie marvellously rendered the sense of adventure, savagery, brutality, magic, and escapism of Conan's world. It possessed a truly epic quality few fantasy or adventure movies manage to reach. The visuals were stunning, the narration thoughtful and no need to comment the music... Overall, I see it as model of its genre.



Anyway, with stuff from the BBC and games on topic at the moment, I came across a BBC radio program that might be interesting. It's Bleep Bleep Bloop, which "explores the growing popularity and ambition of music composed for video games", as well as if it has "...now left behind bleeps and bloops and arrived at the brink of artistic respectability?". Featuring an interview with Joris de Man, and some other important people (probably). I ripped it, as I'm not sure people from outside the UK can access it.

Podcast- Bleep bleep bloop: Music and video games

Multiupload.com - upload your files to multiple file hosting sites! (http://www.multiupload.com/42N9YCFB7K)

Thanks for this, very interesting stuff.

It's in fact clear to me that VG are now a major media, something to be taken very seriously, and as such, requires (and often gets) some thoroughful artistic and designing treatment, including of course the music. But what makes me laugh is that some people believe that "art" is recent to VG, and that it's proportion of the money invested. No, fellows, artistic value has been present in VG almost since the very beginning. Even the most humble flash game nowadays have some minimal aesthetic component. A game isn't artistically accomplished because it's got an enormous budget, but because talented and inspired people made it, whatever the means they happened to get: a computer in a garage, or a 400 people team with a 10 million € budget (including a 120 piece orchestra and a choir).

In regard of music, you can have a "big Hollywoodish orchestral soundtrack" almost totally devoid of artistic value (see example just above!), and some utterly beautiful and inspired 8 bit game scores, like the Legend of Zelda (also discussed recently in this thread). It's not a matter of production value, it's a matter of talent and inspiration.

Is that a fact or conjecture. John Williams is my fave, but I know he is getting on in life and has to slow down. Shame though if that is the case. Who do you folks think Spiel will use after Williams officially retires or passes away or who would you like to see try a Spiel film?

John Williams and Steven Spielberg have, I think, the closest collaboration of any director/composer duo. He has been slowing down lately, but he has yet to show reluctance in scoring another Spielberg movie. And since he's a conductor as well as a composer, he's probably in better shape than most people hitting 80. But, yeah, realistically this could probably be his last decade in the business. :-(

I hear Steven Spielberg is fond of Hans Zimmer, and he's enlisted Zimmer for a few of his productions. I wouldn't be surprised if The Zim became Spielberg's go-to composer after John Williams's inevitable retirement. Not that anyone here would like to see that happen. 8-)

From Williams to Zimmer, from Jurassic Park to Transformers: The decay of Hollywood

Actually, a better analogy would be from Indiana Jones to Pirates. I don't think the hiring of Zimmer would mean the decay of Spielberg, though. Whether you like Zimmer's music or not, you have to admit he's scored a lot of excellent movies.

To paraphrase Henry Mancini, Hisaishi scares the hell out of me.
I have been listening to it as well. I know you said paraphrase but I want to know if my memory is correct. Wasn't that Mancini quote about Goldsmith?

It was indeed. :)

I still say that quote is hilarious.

I won't enter a debate about Crysis 2...
Don't plan on inciting one either. It has come to my attention that the attribution to Zimmer and Balfe is incorrect; if I understand this official blog entry (http://www.mycrysis.com/news/dev_diaries/dev-blog-crysis-2--the-music-production) correctly, then the credit (or blame, depending on your point of view) is to be laid squarely at the feet of Borislav Slavov and Tilman Silescu.

Seems you're right. Doesn't change my opinion in any way, though - which, by the way, is strictly personal, and absolutely musn't be taken as contempt for people who like this score. Each to his own.



I hear Steven Spielberg is fond of Hans Zimmer, and he's enlisted Zimmer for a few of his productions. I wouldn't be surprised if The Zim became Spielberg's go-to composer after John Williams's inevitable retirement. Not that anyone here would like to see that happen. 8-)

If this is true:

Don't plan on inciting one either. It has come to my attention that the attribution to Zimmer and Balfe is incorrect; if I understand this official blog entry (http://www.mycrysis.com/news/dev_diaries/dev-blog-crysis-2--the-music-production) correctly, then the credit (or blame, depending on your point of view) is to be laid squarely at the feet of Borislav Slavov and Tilman Silescu.

Silescu co-did Crysis 2? I fondly recall him being better than that.

Of course, I haven't listened beyond the first track.

Ottorino Respighi
The Roman Trilogy



Roman Festivals
1. Circuses
2. Jubilee
3. October Festival
4. The Epiphany
Fountains of Rome
5. The Fountain of Valle Giulia at Dawn
6. The Triton Fountain in the Morning
7. The Trevi Fountain at Noon
8. The Villa Medici Fountain at Sunset
The Pines of Rome
9. The Pines of the Villa Borghese
10. Pines Near a Catacomb
11. The Pines of the Janiculum
12. The Pines of the Appian Way.

Multiupload Link (http://www.multiupload.com/P56B4A8QL0)

If you don't know these pieces I recommend starting with the Pines of Rome, it is the reason I uploaded this anyway. This is one of my favorite pieces I have ever played, I think it was about 3 years ago. A favorite of Prokofiev, John Williams, and many others, the imagery is just stunning. Oh yeah before I go any further....Yes these songs are about trees. It starts with The Pines of the Villa Borghese, with children running around and playing in the famous gardens. This first movement is incredibly active. Flurrying woodwinds and string trills set the tone for the bright horn melody. The entire movement is filled with the hustle and bustle of kids in the garden. Pines Near a Catacomb calms things down. Subterranean sounds from the bass clarinets & low horn parts combine with the priests chanting (trombones) combine in a somber & often subtle movement.

Here is where things get really interesting. The Pines of the Janiculum is nothing short of gorgeous. There is a wonderful clarinet solo in the beginning. It is quite active yet never busy or frantic. At the end a nightingale lands on one of the pines. Focus shifts to the Appian way for the last movement. This mountain pass is calm at the start, but ever so slightly far off you can hear the footsteps (timpani, contrabasses, piano, cello) of an incoming legion. The footsteps slowly grow and a english horn solo as the soldiers approach. This is one absolutely massive musical build as the army marches toward victory. I love any composer who can effectively use quintuplets without it sounding odd and "off time". This movement is glorious and the amount of power that is generated by the end is incredible.

Been a while requesting scores-busy working and teaching school-requesting 3CD Rozsa El Cid-been going through posts and NOT wanting to buy it as handsome as the package is-maybe soon-Thanks-

Why oh why did I never notice this before?? YouTube - Shostakovich - The Gadfly Suite, Op. 97a - Part 12/12 (http://www.youtube.com/watch?v=E9jnoouXrhw)

I need to put the symphonies away and pay more attention to Shosty's film scores.

Great stuff from Goldsmith-Thanks-awesome-Sanico

Ottorino Respighi
The Roman Trilogy

This is typically the kind of album I probably never would have listened to, if it didn't happened to be posted in this thread. And what a terrible pity it would have been.

Amazing pieces, in truth. Rarely have I heard such unrestrained energy in music. The orchestra is MASSIVE, the sound is HUGE, and from the very first track, an incredible amount of power is unleashed. Some parts are simply exhilarating. BTW, such energy expressed to describe... trees or fountains, motionless or serene entities, is somewhat surprising. The performance is also top-notch, very mastered and virtuosic, even at the most demanding moments - that are numerous! I often noticed some Williams similarities indeed, for instance at 2:40 in "The Fountain of Valle Giulia at Dawn", which is very characteristic.

Many thanks for this superb upload, and more Respighi would be very welcome! (maybe some symphonies?)

Ps: I really appreciated your personal comments about this album, which were quite salivating.



- NEWS -

Feb 23rd will be released a quite promising album, something fans awaited for years. The music video on the site really has some thrilling bits.


MYTH: The Xenogears Orchestral Album




Official website:
????? ?????????????MYTH? / SQUARE ENIX (http://www.square-enix.co.jp/music/sem/page/xenogears_orchestra/)

Wikipedia:
Myth: The Xenogears Orchestral Album - Wikipedia, the free encyclopedia (http://en.wikipedia.org/wiki/Myth:_The_Xenogears_Orchestral_Album)

Tracklist
01 Dark Daybreak - Orchestra Version -
02 My Village is Number One - Orchestra Version -
03 Flight - Orchestra Version -
04 Unstealable Jewel - Orchestra Version -
05 Stage of Death - Orchestra Version -
06 The Wind Calls to Shevat in the Blue Sky - Orchestra Version -
07 October Mermaid - Piano Version -
08 Bonds of Sea and Flame - Orchestra Version -
09 The Gentle Breeze Sings - Orchestra Version -
10 In a Prison of Peace and Regret - Orchestra Version -
11 lost... Broken Shards - Orchestra Version -
12 The Beginning and the End - Orchestra Version -
13 SMALL TWO OF PIECES - Orchestra Version -
14 Faraway Promise - Piano Version -

[CENTER]Ottorino Respighi
The Roman Trilogy

These are among my favorite classical pieces, especially the Roman Festivals. I don't think i've heard this recording, so thank you very much. I should find my recording of church windows and post that as well...GOD Respighi is terrific. Thanks again!!

Also, to echo Streichorchester, the Gadfly is indeed terrific for those who haven't heard it.

I love Respighi. He's a real master of the 20th century, and his works are so "program", that is to say so visual in orchestration. Recommend listening also to his Three Botticelli Pictures.

Don't get your hopes up Arthierr, as mentioned in the thread posted about the web rip, it is a small ensemble and not a full orchestra.

Also thanks for the Respighi, interesting stuff!

Oh yeah can�t wait for the Xenogears Orchestra Album :)

Future GPX Cyber Formula Saga



Orchestral / Jazzy / Trumpets / Leitmotif

Composed by Toshihiko Sahashi

Download Part I (http://www.mediafire.com/file/agponbzdcbkruac/Future%20GPX%20Cyber%20Formula%20Saga%20I.7z)
MP3 / 320kbps / 30 Tracks

Download Part II (http://www.mediafire.com/file/wcpni3z1aciia0o/Future%20GPX%20Cyber%20Formula%20Saga%20II.7z)
MP3 / 320kbps / 30 Tracks

Here is a collection of the best bits of one of my favorite scores from Sahashi. A score I would not have discovered without the people from this thread. If anyone has not already heared of it, listen to this and decide if it's worth to download the six albums from the Sahashi Thread.
This is the Sahashi we all know and love. Big trumpet fanfares, strong themes and many jazzy elements throughout the score. The music is exciting and you can even guess where he got the idea for the Minerva Theme in Gundam Seed Destiny (I should also note that the track "Pandora" shares a certain resemblance with another score I really love).

What can I say klnerfan? ;)
Thanks like always for this great collection :)

Does anybody know of some sort of Indy-esque soundtrack I could listen to?

Intrada Just released a 2CD Complete Cliffhanger!


Note: Do not ask me for a link. I just posted this to inform members of this thread.

Apologies for a somewhat extended absence and thank you to everyone for the great posts and discussion :)


...more Respighi would be very welcome! (maybe some symphonies?)
Arthierr, did you catch this:

RESPIGHI - SINFONIA DRAMMATICA (http://forums.ffshrine.org/f92/classical-request-58159/37.html#post1371751)

Heheh very awesome post, Shadow. I love the Pines of Rome, especially The Pines of the Appian Way, one of my all time favorite pieces of music. I am curious to hear how this version is orchestrated. I have 2 very different versions, one on CD and one on LP (the LP I like MUCH better than my CD copy)

[QUOTE=ShadowOnTheSun;1636092][CENTER]Ottorino Respighi
The Roman Trilogy

I would also recommend Ancient Airs and Dances Suites 1-3. I heard the Bergamasca: Allegro from Suite #2 a few years ago and just loved it. Alas, I don't currently have the entire collection so I have nothing to post, but I do recommend this set of Suites as well.

Ancient Airs and others coming up soon! :)

On a different topic, I finally got round to watching Terrence Malick’s The New World last week. Apart from being beautifully lensed, with a charming, ethereal performance by Q'orianka Kilcher, it features a very ‘restrained’ turn by Horner..

Impressions watching the movie: I thought the 2 selections from Wagner worked well actually, with appropriate greed vs Nature associations; Mozart is used as the signifier of both the playful and melancholic aspects of Pocahontas - poignant, if an odd choice. Horner’s own opening title is a lovely piece that says more with a few simple phrases than most scores manage in their entirety. An innocent flue/oboe call from this develops later as a minimalistic anchor point for familiar but nonetheless affecting chordal passages. Another theme that occurs late in the film, also with its beginnings in the title music, bears an uncanny resemblance to Poledouris’ Conan, and there are many little echoes of Braveheart and Legends of the Fall.

The album, which I hadn’t heard until now, is a very different beast. Not sure why this one passed me by.. Does anyone else rate this score?

Welcome back Lens!

Good to see you again around here. Your great artistic temperament and your fine culture are an indispensable part of this thread!

And thanks for the Respighi heads up. :)



Future GPX Cyber Formula Saga

Six OSTs to download and listen are a way too large task to handle for the moment, so thanks for this!

Does anybody know of some sort of Indy-esque soundtrack I could listen to?

Here are a few scores I remember having an Indy vibe: adventurous, bold, brassy, thematic, etc.

- the Allan Quatermain soundtracks
- the mummy soundtracks
- Sky Captain and the World of Tomorrow
- K-20
- Cuthtroat Island

And of course, this obscure yet very nice little score:


Coronado (2003)

Nice adventurer score by Ralf Wienrich (John Williams style)

(http://www.postimage.org/)

Full:

megaupload.com = D2XUGGTX

Track listing

1. Overture (02:34)
2. Switzerland (02:41)
3. 30.000 Square Miles (03:44)
4. Scherzo For Truck & Orchestra (04:01)
5. Train Chase (02:33)
6. Campfire (02:22)
7. The Place Of The Dead (04:56)
8. The Bridge (06:23)
9. Through The Waterfall (05:52)
10. The Big Cave (02:46)
11. Rafael's Speech (01:57)
12. I'll Do It! (03:21)
13. One Step Ahead (02:20)
14. Revolution (04:38)
15. Finale (06:06)
16. Epilogue (01:37)
17. Revolution In Paradise (03:03)
18. Mercy (03:25)
From The Coronado International Release

Total Duration: 01:04:19

Enjoy!

And of course lets not forget four volumes of The Young Indiana Jones Chronicles by Joel McNeely and Laurence Rosenthal.

Coronado looks interesting. But a working link will help find out for sure!

Well, I didn't mention them since they *are*, technically, actual Indy soundtracks (but not by JW). If we go this way, some Indy game soundtracks are also worth the try, especially Indiana Jones and the Emperor's Tomb by Clint Bajakian (posted in this thread but links are down).

And the Coronado link *IS* alive. ;) You tried the wrong one, the one with the sample. The right link is a little below. (There, I just edited the post to avoid further mistakes)

do you have links for the four YIJC scores? IndyJones's collection does not have them unfortunatly

Please check your PMs. :)

How about Giacchino Medal of Honor? It sounds very "Indy-esque" as far as i remember.
I mean the first soundtrack of the series. Haven't heard the rest of MoH scores.

Sorry Arthierr. I can't seem to get "megaupload.com = D2XUGGTX" as a link. What am I doing wrong here?

Basically, you have 2 informations: 1) the host, 2) the unique link code of the file. The idea is to combine these two elements in order to get a valid link.

So, simply go to a random MU link, like MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=aaaaaaaa) and replace the last characters by the right link code.



Future GPX Cyber Formula Saga

Simply wonderful. The music is so beautiful, melodic, never boring. And technically, it's so well-done: is it just me or does someone else noticed some actual fugue writing in one of the themes, notably heard boldly in "TWINE ROUND 1"?

Not happing for me. Sorry. I've tried various combos too. Never mind.

Deleted

Wow, this is one smart thing to do. I *purposely* put the link in that format to avoid direct clicking, since MU links are sometimes deleted in this forum (referral problem?). And now, thanks to your post, the link is clickable again. Bravo!

Thank you!!!

Wow, this is one smart thing to do. I *purposely* put the link in that format to avoid direct clicking, since MU links are sometimes deleted in this forum (referral problem?). And now, thanks to your post, the link is clickable again. Bravo!

Abject apology.

No problem, mate. :) Mistakes happen. Thanks for deleting your post.

For those still not succeeding, paste ?d=D2XUGGTX after the MU homepage address.

Thank you for the score -I never heard of that movie before - I just started listening to it right now.

This is the second in my posting of The Japanese Cinema Music Series. Every track contains exquisite melodies, some elegiac and emotional, others cheerful, and all bear repeated listening. Don�t let the mono sound on some tracks put you off as the sound quality is quite good for the age, although it would be great to have them re-recorded in stereo by a modern Japanese orchestra or the LSO.

Thread 86413

Japanese title: 芥川也寸志の世界
Format: MP3-320
Size: 142 MB
Tracks: 13
Time: 62 minutes
Source: my CD bought in Japan

OTTORINO RESPIGHI

The Birds, Ancient Airs and Dances Suites I and III
Three Botticelli Pictures
Orpheus Chamber Orchestra


MP3-V0
Multiupload.com - upload your files to multiple file hosting sites! (http://www.multiupload.com/EYWFSEVXBN)

The first works presented on this disc are sparkling, imaginative arrangements of various Baroque and Renaissance instrumental pieces. The most famous is probably Rameau’s ‘The Hen’, originally a brilliant toccata for harpsichord, now a peppery mini-scherzo for winds and strings. The conductorless Orpheus Chamber Orchestra play everything immaculately and with a great sense of intimacy; take for instance the gorgeous oboe solo representing the graceful repose of ‘The Dove’, accompanied by impossibly delicate flecks from high violin and harp.

For an immediate highlight of the Airs and Dances try the cliff-edge ‘Passacaglia’ of the third set, the irresistible journey from melancholia to joy (and back again) in ‘Arie di corte’, or the first set’s bracing, rustic finale. Really, all these movements are gems and show quite another side to Respighi’s genius compared to the more grandiose orchestral show pieces.

To finish we have a wholly original composition, inspired by the paintings of Botticelli; beginning with a springtime celebration of the burgeoning fertility of the world, moving to the mystery of the nativity scene, with a quotation of the well-known carol ‘O Come, O Come Emmanuel’, and ending with the gently lapping waves and surging swells of the goddess of love and beauty.

Belkis, Queen of Sheba
Dance of the Gnomes
Eiji Oue conducting the Minnesota Orchestra


MP3-V0
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The ballet score for ‘Belkis, Queen of Sheba’ is sometimes described as a forerunner to Hollywood’s big epic, biblical scores; apart from the obvious Rozsa connection, I also wonder if this was in Goldsmith’s mind when he came to compose his powerhouse ‘The Wind and the Lion’. ‘Dance of the Gnomes’, a similarly dark-toned, savage suite, makes a perfect coupling. Both feature fabulous playing - woodwind and percussion in particular.

[I should note that this disc also comes with a performance of Pines, but I opted to leave it out due to redundancy after Shadow's post of the superior Naxos recording]

Enjoy! :)

Wonderful Lens! I am not familiar with every piece in there but its Respighi, so they are bound to be fantastic. I can wholeheartedly recommend Ancient Airs & Three Botticelli Pictures.

Do you have Airs and Dances 2?? Then we could complete the set :)

I think I might have it. I would have to look for it again.

Edit: I can't find it right now. I will look again later, but I did find my "Church Windows" recording that I will put up.

This is the second in my posting of The Japanese Cinema Music Series.........

Folks, you really don't want to miss this one... The quality (musical, not aural) is outstanding. The sound quality is very respectable bearing in mind the age of the sources and though it isn't always optimal, it's eminently listenable. Thank you, Yen - nobody would've had a hope in hell's chance of even knowing this existed let alone actually hearing it, if it weren't for your post. I'm very grateful. :)

And, also thanks to everybody for the recent rush of Respighi... there's a composer I have no experience of whatsoever, and I'm very pleased that you all are introducing me to his music.

Finally, thanks for every single other post that I haven't commented on individually... As usual, lack of time precludes me from giving them all the attention they clearly deserve, but that doesn't mean they're not appreciated. :)

Star Driver MAIN THEME



Composed by Satoru Kousaki

Download (http://www.mediafire.com/file/r4b7ukgrmfl4nnr/STAR%20DRIVER%20Kagayaki%20no%20Takuto.7z)

I think these three pieces deserve to be posted here. I've just finished the torment that was the score of Battle LA and this was the perfect antidote to make me forget about it. When Hollywood fails, look to the east.

Holy crap, the Yasushi score is absolutely brilliant. Thank you for posting such a wonderful score.

Thanks an awful lot, Lens for the Respighi feast! I greatly look forward to listening to these. BTW, I'm glad that this thread contributes to popularize classical music by reaching a public more used to movie, game or anime scores. Everything seems linked, after all.

Thanks also to Yen and Klnerfan. I just had the time to listen to Star Driver since it's only 3 tracks (?), but they sound great. Track 2 has a very pronounced Stargate vibe, and track 3 oddly begins and ends by quoting a theme from Inuyasha!

Also I recently grabbed Killzone 3 and MYTH. Will post comments after listening. If you have any special opinion about these albums, please express yourself, I'm curious to confront my opnion to yours.

A really good score i can recommend, two actually are The Ten Commandments and Superman IV: The Quest for Peace, if anybody wants it (TTC, SIV is FSM sorry!) i have links to the complete 2 part score

I didn't really get into the soundtrack for Killzone 3. I think the biggest problem was the arrangement of the tracks was terrible so it didn't really feel like a proper album and it ended with the most jarring mechanical synth tracks. I deleted it after that one listen because I have no desire to revisit it.

Myth, on the other hand, is simply marvelous and gives me chills to listen to it. Partially that is because I am familiar with many of the themes used but I also simply adore the performances and orchestrations. I was really glad to see Small of Two Pieces presented in a new arrangement while retaining the amazing vocalist from the original recording. Years ago I listened to that song so many times with the lyrics that I still remember most of them today. Many of Mitsuda's greatest works were sung by that singer, both for Xenogears and then for Xenosaga.

I think Myth had some great arrangements, but some of them were too underdeveloped such as In a Prison of Peace and Regret, Stage of Death, and Lost...Broken Shards. They were very awesome, but too short. The rest is quite good and I thoroughly enjoyed this album! Now they need to give both Chrono Trigger and Cross the symphonic treatment ;).

In Killzone 3's defense, it is terrific when it is orchestral. The synth parts were terrible.

Wow. I just got through this entire thread in the last two months. Truth be told, it's an incredible reading -and listening experience, obviously-.

My music collection is not really impressive, but I think I still have an album or two composed by Normand Corbeil. I'm pretty sure it's unreleased stuff. If someone is interested, I could try to find them.

By the way, I apologize for my simplistic english. I'm from Quebec. (The french part of Canada)

Does anyone have the 2cd Intrada version of the "Cliffhanger" OST (Trevor Jones)???

Would be cool ...

Direx

@ arthierr: You can listen to the full OST here (Thread 86397), but it is not purely orchestral, I just posted the pieces appropriate for THE BIG ORCHESTRAL ACTION MUSIC THREAD!
Funny you mentioned Inuyasha, I would have never known otherwise but now it's pretty obvious. That aside, I repeated track 3 over and over again and it never gets boring. Such a great piece of adventure and excitment, too bad we have to wait till the end of march to hear the wonderful variations of this theme.

So, I just listened to MYTH.

I remember some years ago at what point Yasunori Mitsuda's game scores impressed me. At that time, I was a great listener of VG music, and I used to download and try a lot of it, in spc format (from snes games) or psf/psf2 format (from ps and ps2 games). Doing this, I sometimes happened to stumble across some surprisingly good scores - it's impressive to hear what talented composers can do with very limited technical means. But I must admit that Yasunori Mitsuda's game scores had something special, something superior to most other scores. His scores were artistically and technically to the edge, for mere 16 bits or 32 bits games. They featured a lot of beautiful melodies, boldly arranged, inspired, heartfelt and memorable. No wonder why his scores are seen as VG music classics by many fans. Given the nearly exceptional material created by Mitsuda, one could have expected that an arranger of great talent use it to create an actual symphony of ambitious proportions.

This is obviously not what MYTH is.

I have mixed feelings about this album. Some tracks are really good, full of grace and charm. They feature some excellent themes arranged with enough variety *and* fidelity to the original score to be a very appreciable listening experience. But the album is also too frequently weighed by various flaws, which cumulated quickly become tiresome: some arrangements are rather dull or too straightforward, under-developed; for people who don't like vocals, there's simply too much of them; there are too many soft, restrained, emotional pieces and not enough virile orchestral action; some occasional performance drops are to be noticed, notably of the brasses.

Eventually, because of these flaws, I found this album as a whole rather disappointing, under-achieved, and failing to exploit the original material as it would have deserved - I know that choices had to be made, but mine would have been rather different, here and there (some great themes have been left over). However, I recommend this album only for the bunch of standout tracks, which really deserve to be heard, even if you're not familiar with the original game or score.

I've heard Killzone 3 but I can't help but feel disappointed. It's not too awful, but it doesn't feel like it lives up to what it should be. It feels like the Killzone series is slipping, musically. Personally, I feel that the original Killzone had the best score; Killzone 2 was "zimmer-ised", not quite as good but still an alright effort; but killzone 3 just feels anti-climatic. Perhaps it's the sequenced in-game music that drags it down, as the live cutscene cues are actually pretty nice.

Perhaps it's the sequenced in-game music that drags it down, as the live cutscene cues are actually pretty nice.

Exactly my feeling.

Basically, the last 2/3 of the Killzone 3 album is not music to be heard for itself, but simply functional and generic action music to serve the game. Everything I've said about Crysis 2 some pages above can also be applied here. Besides, I just deleted these tracks after one listen.

But the first 1/3 of the album is something quite different!

Joris de Man obviously is a better musician and orchestral connoisseur than his colleagues from Crysis 2. He knows how to create a powerful and epic orchestral sound that fits very well a large scale action score, and use it without restraint. Of course his score sometimes sounds as if he threw in a pot dozens of epic clich�s and previously used material from various scores (thus borrowing from Williams, Arnold, Elfman, Silvestri, and probably others), then cooked this dubious mixture, and eventually managed to obtain something quite edible!

In short, I just found the first part of Killzone 3 to be simply *fun* to listen. I like this kind of overly epic sound. The music is effective, the action is blood-pumping, the outbursts are thrilling, that's it. Now, this is in no way a memorable or outstanding score, but rather a sort of succulent candy you'll savor with genuine pleasure for a moment, and then immediately forget once finished.



Does anyone have the 2cd Intrada version of the "Cliffhanger" OST (Trevor Jones)???

Someone certainly has it, but there's a rule in this thread about not posting recent european and american releases, especially from small labels. Sorry.



Wow. I just got through this entire thread in the last two months. Truth be told, it's an incredible reading -and listening experience, obviously-.

My music collection is not really impressive, but I think I still have an album or two composed by Normand Corbeil. I'm pretty sure it's unreleased stuff. If someone is interested, I could try to find them.

By the way, I apologize for my simplistic english. I'm from Quebec. (The french part of Canada)

Welcome to the thread. I don't know Corbeil, but if his music is orchestral, then it's very welcome in this thread. Don't hesitate to post some of his music if you wish.

Also, if you want to *tremendously* improve your english, here's a infaillible method: just start a thread and take care of it for about 2,5 years, and you'll see some spectacular results!

Corbeil wrote the score for Heavy Rain, which was brooding and awesome (odd combo?). I would be interested in hearing more of his work.

Well Cliffhanger has already sold out from all the major retailers so I may post it soon if nobody else does.

Arthierr, I have to differ with your opinions on Myth. Some of the reasons you list that you are disappointed are the very reasons I am attracted to it. I love that it isn't trying to be something its not. Its not symphonic nor does it attempt to be, and that is refreshing. Its cut back and what we are left with is a bunch of well constructed compositions. These are great melodies(as you said) with interesting harmonies and strong orchestrations. The orchestrations are not flashy, but instead there is carefully chosen instrumentation and harmony lines (think Ravel-esque orchestration). Now, I tend not to like vocals attached to songs so Small of Two Pieces still doesn't really do it for me (although I understand it is quite well written). The delightful and dissonant choral song "The Beginning & The End" is a classic piece. Mitsuda's piano tracks always had a magical simplistic quality to them and this is no different. If I had to pick a favorite, "Unstealable Jewel" is a great single track that sums up everything the album is about for me. Like you said, the performances are not perfect but I don't find it sloppy enough to be distracting. Sure, I would like to hear symphonic Mitsuda some day (some people were expecting that from this one). In the end it doesn't affect the final product. To me its still a solid album with great compositions outlined with simple, tasteful orchestrations.


Now to continue with "Respighi-fest" with the Philharmonia of London.


Ottorino Respighi
Church Windows


Church Windows
1. The Flight into Egypt
2. St. Michael Archangel
3. The Matins of St. Clare
4. St. Gregory the Great

Brazilian Impressions
5. Tropical Night
6. In a Snake-garden Near Sao Paulo
7. Song & Dance

Multiupload Link (http://www.multiupload.com/HBLNSNGHXO)

I heard "Pines of Rome" live in San Diego this year with SD Symphony-thnks for ther Respighi posts-beautiful works-

Now to continue with "Respighi-fest" with the Philharmonia of London.


Ottorino Respighi
Church Windows

Church Windows[/B]



Thanks! I love church windows, and I don't think I've heard this recording. I also haven't heard Brazilian Impressions at all, though people in general seem to be underwhelmed by it. Thanks again!

Thanks! I love church windows, and I don't think I've heard this recording. I also haven't heard Brazilian Impressions at all, though people in general seem to be underwhelmed by it. Thanks again!

Brazilian Impressions is not one of my favorite Respighi pieces, perhaps I haven't given it enough of a chance to really "get it". It is well made but it doesn't grab me like Pines of Rome does. Church Windows on the other hand is quite enthralling (St. Michael Archangel in particular)

Thanks Lens and Shadow for more Respighi. I will check it out.

Hmm, always nice to hear Respighi's compositions. :) Thank you!

@ TazerMonkey and arthierr

The majority of his work is orchestral. It uses small ensembles which are sometimes backed -and not crushed- by syth. Emotionally speaking, his music is dominated by different shades of melancholy. This creates an heavy but inspiring sound, glimmering with a subtle hope. At least, this is how I would describe it.

He is also, sadly, one of the only orchestal film composers in Canada. I never met him personally, but a close friend of mine interviewed him about a year ago. A very shy and passionate man, apparently.


NORMAND CORBEIL Compilation



I have complete soundtracks from Emotional Arithmetic and Elles �taient Cinq buried somewhere, but for now, here are some tracks found on Corbeil's official website. This compilation features unreleased music from movies he worked on in the last years:

- The Pentagon Papers
- Human Trafficking
- High Cost Of Living
- Grande Ourse-La Cl� des possibles (The Master Key)
- Emotional Arithmetic
- Elles �taient cinq (The Five Of Us)
- Cheech
- A Different Loyalty

Linky link (http://www.megaupload.com/?d=HPE2ABUJ)

Ok, Uematsu as a composer is dead to me. Don't listen to Last Story. Just don't. After 20 minutes I dropped it and I have no intentions to listen to it again. Piece of S#it. And I'm saying that even when I like Crysis 2. Yes, it's that bad. Maybe there is something nice on the album, but I'm not a robot. I have a feelings. This music killed something inside me and made me cry. The bad kind of cry, not sad, emotional - cause it's that beautiful - cry. The angry, pissed of, grief powered cry. Nobuo, where are thou?

As for Myth - I love it. ShadowOnTheSun I totally agree with you, well I actually said almost the same thing in Myth's stream recording thread. It never meant to be huge, powerfull, symphonic. As I said before I see it as a piece of "relaxing", "easy listening" kind of music with charming melodies and solid performance, especially strings. Only thing I was dissapointed in is Beginning and The End. I love that song, it's probably my favourite one from Xenogears, and arrange is just meh. It had so much potential, so much power could be given to it. But still, whole album is fantastic, enjoyable and very serene piece of music.

Killzone 3 is very nice. I was surprised by how enjoyable it is. But as all of you said, only first third of the album. Cause the rest is rather bad and boring. And who made this album the way it is?

And thanks for all recent contributions.

this video made my day. respectful yet superfunny and a cool variation on the original score:

http://www.youtube.com/watch?v=qlicWUDf5MM&feature=player_embedded

Thank you Garcia

Last Story drastically needs to be shortened to a version that only includes the live instruments and even then it's not very exciting. It's really funny how uematsu used better sounding samples for Final Fantasy IX because the ones used here are painful to listen to. I'm on Disc 2 now and I think I have to agree with herbaciak, don't listen to this. If you thought FFXIV was generic and dull you'll find the same thing here. At least FFXIV was largely performed with live instruments.

Ok so I think the reason Last Story is so bad is Yoshitaka Suzuki who arranged the majority of the cues. The strange thing is he does great work when he arranges for Norihiko Hibino and he was also one of the main arrangers for Elvandia story so he isn't all bad. I checked and Uematsu used two different arrangers for Blue Dragon and Lost Odyssey so it all comes down to the arranger. I am seriously going to skip the game now because the score is so bad.

I enjoyed the pieces from Final Fantasy XIV BUT only in Distant Worlds: Returning Home. However, I hope the next big thing about Uematsu, the upcoming WDR concert this year, will not feature any pieces after Final Fantasy V, I'm sick of hearing the same tunes over and over again. I find the 8-Bit and 16-Bit tunes to be far more enjoyable when performed live than the newer synth cues.

Imendar: excellent post (and nice presentation)! I'll try the music of this composer and have some comments later. For a newcomer, you remarkably understood the spirit of this thread.

(Et �a fait plaisir d'avoir un digne repr�sentant de la Belle Province dans ce thread. Bienvenue mon ami!)


ShadowOnTheSun: thanks a lot for more Respighi!



this video made my day. respectful yet superfunny and a cool variation on the original score:

YouTube - Predator: The Musical (The Final Schwarzenegger Musical) (http://www.youtube.com/watch?v=qlicWUDf5MM&feature=player_embedded)

Wow. At first I believed it was only a light and funny spoof, which it also is, but in fact this is great stuff, very well done, and quite respective of Silvestri original music. I went to their website and there's a lot more very nice spoofs (with great music) to be seen. Check this out:



Jon and Al Kaplan

Movies (http://www.jonandal.com/movies.html)
Jon and Al Kaplan (http://jonandal.tumblr.com/)

I particularly loved this one:



YouTube - Lego Star Wars starring JOHN WILLIAMS!! (http://www.youtube.com/watch?v=NPNnUZmximM)

Arthierr, I had the same initial reaction as you to MYTH -- a few pleasant tracks, but overall a rather tame listening experience. Then I read Shadow's post:


I love that it isn't trying to be something its not. Its not symphonic nor does it attempt to be, and that is refreshing. Its cut back and what we are left with is a bunch of well constructed compositions.

I gave the album another listen and did find it more enjoyable. It is what it is -- fan service, through and through. Easy to listen to. I do agree that a more ambitious arranger could have created something mindblowing, but it's obvious that was not the intention of this project. Frankly, while I enjoy Mitsuda's melodies, I feel that his music lacks dramatic heft and find it hard to listen to it at great length; the brilliance of the Chrono movement in the Symphonic Fantasies concert is that they were able to supply this missing element through structure and turned beautiful background music into something lush, gorgeous, and immensely powerful.

MYTH is pleasant and faithful to the original material, and, due to its shorter length and the organic nature of its sound, I prefer it to the OST (with the notable exception of The Beginning and the End, which lacks much of the rawness that gave the original its power). I agree that it is something of a missed opportunity, but I still enjoyed it.

On Respighi, I admit that when I hear "The Pines of Rome" I always think of this, as it was my first exposure to this work: http://www.youtube.com/watch?v=Cryf6nruD_I

I don't know what the animators were smoking when they devised the concept for this short, but I doubt it was tobacco. ;)

@ Arthierr

Merci! (On dirait qu'il y a une belle poign�e de francophones sur ce forum) Mais il faut avouer que j'ai fouill� ce thread de fond en comble. Une v�ritable mine d'or.

I'll upload a Daniel Pemberton soundtrack in the next days. This one has a much different atmosphere compared to Corbeil's relatively calm compositions.

Ryo - Black Rock Shooter OVA Soundtrack (WITHOUT REMIXES)
Relaxing/Rock/Synth/Piano/Strings
Originally from a Nipponsei release


MP3 320kbps + Scans
Download (http://www.multiupload.com/L2RJEVKK8R)
PSW: smile

FLAC + Scans (track 5, 10 and 25 are mp3)*
Download (http://www.multiupload.com/VYUL5OQZAR)
PSW: smile

First off, you may think what the hell is an anime with the name black rock shooter doing with a relaxing soundtrack? Simple answer is Japan does things in ways we can't understand or maybe the show is emotional. Still don't judge this by the name or the cover but instead check out this clip from youtube.
YouTube - Black (http://www.youtube.com/watch?v=vHPUvNy2Mro&feature=BF&list=PL09FD1C12DEAA9C6B&index=4)

NOTE: This does NOT contain the remixes from disc 2. I normally don't cut out tracks but they are pure trash as far as I am concerned.

*I don't know if the original ripper had problems with the discs or something got lost in the way but rather than giving lossless lovers an incomplete soundtrack I thought I decided to plug the holes with MP3s.

Orchestral Thread Note: Primarily the relaxing tracks are either piano only or piano and strings but some do bring in wind instruments and horns. Strings are all performed by Crusher Kimura Strings.

As per request, I am adding a link here for Zeta Gundam Symphonic Suite. While I'm at it, here are links for all of the Gundam symphonic suites currently uploaded.

KICA-2085 Symphonic Poem Gundam, 320kbs, 49 mins (Thread 86035)
KICA-2019 Symphonic Suite Zeta Gundam Symphonic 128kbs, 52mins (Thread 86552)
VICL-61400 Symphony SEED - Symphonic Mobile Suit Gundam SEED, 320kbs, 45 mins (Thread 85080)
VICL-61830 Symphony SEED Destiny - Mobile Suit Gundam SEED Destiny, 320kbs, 52 mins (Thread 85081)
VTZL-12 Gundam 30th Anniversary Gundam Symphony, VBR, 50 mins (Thread 85368)

There are, of course, many others, including a few live albums, which have not yet been uploaded. Please consult my Gundam thread for more information.

JonC

Just throwing it out there that an award that was beyond the reach of Bernard Herrmann and Ennio Morricone is now bequeathed to Trent Reznor. It doesn't deserve to be named, but we all know what it is.

To mourn, I listened to John Williams' also-screwed Superman. So it goes...

I hear you there Tazer. The Oscars are, and always have been, beneath contempt. Social Network now joins the distinguished ranks of recent winners Brokeback Mountain, Babel and Slumdog Millionaire.

And the award for best mind-numbing non-music drone goes to...

Please make it stop, the Oscars are becoming more and more of a bad joke (not that I took them seriously before). But to give the "not so good" Alice in Wonderland so much praise and to give an albeit atmospheric, but nowhere near award-worthy score, an oscar :facepalm:

Nobuo Uematsu
The Last Story
(Sampler)



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This score suffers a lot for not being recorded with an orchestra. There is the odd sweetener - flute, violin, guitar, percussion – but unfortunately, many cues are written in a style that depends on the sonority of real instruments. In answer to Sirusjr’s suggestion above, this is a short selection of the most listenable tracks for those who don’t want to download a disappointing 3-discer. There is a rather nice theme and some variations, though you definitely have to be in a “VGM” mood to appreciate it.

Original upload by gamemp3s.