Why is it either / or ?.

Why can't I like both ?.

I agree with you Tango on both composers, but I would argue a bit about Giacchino. Imo his Medal of Honor scores are actually the highest quality stuff (especialy Frontlines, imo masterpiece, and not only for game music, but for ilustrative music in general, comparable with Williams works...), and it is indeed music to remember for years. But I think that Hollywood doesn't work well for this guy, and while I see talent in him, I also feel a bit of a struggle from his side - just as you said tango: what to do do please producers, and in the same time do something better than standard score. Unfortunately for most the time he fails in this struggle imo. Still, I think that this little fragment from Super 8 gives a lot of hope. Although it's still funny, that the best he ever did, was for VG and in the beggining of his career.

McCreary on the other hand is boring, boring and once again boring. You heard one, you heard all. I don't care that he knows how to write for an orchestra (I know he does), when all he do is mindless, repetitive action/drumming? For example Socom - great main theme, very his style, yet enjoyable ang giving a hope to hear really good score. And then? Bum bum bum bum, gong, bum bum... There is potential in this guy, but there is no potential in style, and kind of music he decided to do. Imo. And one more thing, why his scores are all so damn long? 3 CD's? 2CD's? Even those 1 CD's packed with 70-80 minutes... They are really hard to listen because of that. I don't need whole material (including improvised tapping during break). I wanna highlights! Composers (I'm not talkin' about Bear only...) should think of their music releases as of "albums" not as "give all what we got and make them suffer with tons of underscore"...

Speaking of Highlights, there was a request from our dear friend arthierr ...


Dash! Orchestral Tour de Force

(http://imageshack.us/photo/my-images/685/foldermq.jpg/)

Dashing / Sweeping / Joyful / Epic / Jazzy

Download Link (http://www.mirrorcreator.com/files/1QKHULTR/Dash__Orchestral_Tour_de_Force_0.7z_links)
MP3 / 320kbps / 80 Tracks / 3h 22 min

This is the sort of music that makes your blood pump and let's you do the impossible. This is the power and sound of orchestral joy.
I have created two parts. This is the first part, consisting of pure orchestral power. The second one is more modern influenced, more rock and electronic elements but with an orchestra mixed in (or synth instruments). The fantastic four for this kind of music are of course Yamashita, Tanaka, Sahashi and Sato. "Here We Go!" is certainly one of the finest examples of a dashing piece (anyone know where to get the full ost for it ?).

EDIT: Huge thanks for Fractale, very compelling and complex music. A nice contrast to my compilation.
I've also got two things to say. First, I discovered that the third OST for Star Driver will come out in August, but the new orchestral vocal albums are surprisingly good, so I won't complain about the long waiting time. Second, has anyone heared if the new Nintendo Legends concert will be streamed or not ? I would give my soul to hear a compelling arrangement of Kirby music like in OGC.

Thanks to all the contributors :)

I've been greatly enjoying Fractle and Polyphonica. They're both incredibly different but really effective.

Thanks again for a great Compilation kInderfan ;)

I agree with you Tango on both composers, but I would argue a bit about Giacchino. Imo his Medal of Honor scores are actually the highest quality stuff (especialy Frontlines, imo masterpiece, and not only for game music, but for ilustrative music in general, comparable with Williams works...), and it is indeed music to remember for years. But I think that Hollywood doesn't work well for this guy, and while I see talent in him, I also feel a bit of a struggle from his side - just as you said tango: what to do do please producers, and in the same time do something better than standard score. Unfortunately for most the time he fails in this struggle imo. Still, I think that this little fragment from Super 8 gives a lot of hope. Although it's still funny, that the best he ever did, was for VG and in the beggining of his career.

McCreary on the other hand is boring, boring and once again boring. You heard one, you heard all. I don't care that he knows how to write for an orchestra (I know he does), when all he do is mindless, repetitive action/drumming? For example Socom - great main theme, very his style, yet enjoyable ang giving a hope to hear really good score. And then? Bum bum bum bum, gong, bum bum... There is potential in this guy, but there is no potential in style, and kind of music he decided to do. Imo. And one more thing, why his scores are all so damn long? 3 CD's? 2CD's? Even those 1 CD's packed with 70-80 minutes... They are really hard to listen because of that. I don't need whole material (including improvised tapping during break). I wanna highlights! Composers (I'm not talkin' about Bear only...) should think of their music releases as of "albums" not as "give all what we got and make them suffer with tons of underscore"...

so i guess you are a big fan of vareses 90s albums.haha. me on the other hand give me every second ever recorded from everything.and than make your own album.love doing that with complete scores.the european assault itnes was 33mins of highlights.too bad the recently released MoH Box had 25mins more of it which were all highlights too. so who decides what an highlight is and what istn`�t? Giving you as much as you can is the best way to please the fans.People have so different taste in music, even amongst filmscorefans.One wants the 30sec Love theme variation which only appears at one point, another is stunned by a 6min suspense track which is totally boring for everyone else and another loves the percussion only version of an actiontrack heard in the finale. for example,totally made up.

I agree with you Tango on both composers, but I would argue a bit about Giacchino. Imo his Medal of Honor scores are actually the highest quality stuff (especialy Frontlines, imo masterpiece, and not only for game music, but for ilustrative music in general, comparable with Williams works...), and it is indeed music to remember for years. But I think that Hollywood doesn't work well for this guy, and while I see talent in him, I also feel a bit of a struggle from his side - just as you said tango: what to do do please producers, and in the same time do something better than standard score. Unfortunately for most the time he fails in this struggle imo. Still, I think that this little fragment from Super 8 gives a lot of hope. Although it's still funny, that the best he ever did, was for VG and in the beggining of his career.

McCreary on the other hand is boring, boring and once again boring. You heard one, you heard all. I don't care that he knows how to write for an orchestra (I know he does), when all he do is mindless, repetitive action/drumming? For example Socom - great main theme, very his style, yet enjoyable ang giving a hope to hear really good score. And then? Bum bum bum bum, gong, bum bum... There is potential in this guy, but there is no potential in style, and kind of music he decided to do. Imo. And one more thing, why his scores are all so damn long? 3 CD's? 2CD's? Even those 1 CD's packed with 70-80 minutes... They are really hard to listen because of that. I don't need whole material (including improvised tapping during break). I wanna highlights! Composers (I'm not talkin' about Bear only...) should think of their music releases as of "albums" not as "give all what we got and make them suffer with tons of underscore"...

I for one enjoy percussion and heavy amounts of it, though it depends on who the composer is. I like the way McCreary and Taku Iwasaki employ their heavy amounts of percussion but I'm not a big fan of your typical RCP/MV employment of such percussion. There's using it for artistic/theme reasons, and there's using it just because. McCreary seems to employ heavy amounts of percussion because that's his stylistic trademark, that's how he stands out from the pack. And he's going to keep doing it as long as his percussion-heavy style continues to attract creative types.

Michael Giacchino's best movie work seems to come when he's employed by Pixar. I get the impression that Pixar gives him freedom to do things that the other studios really don't. However, his best work is the MoH games (especially Frontline which is a classic no matter how you slice it).

I've stumbled upon a pair of orchestral scores that are light on the percussion department in recent days. Maybe in the next couple of days I can post it.

Percussion (Timpani, bass drum, snares, cymbals, properly wielded) = great.
Percussion (Repetitive drumming out simple rhythms ad nauseum throughout an entire cue in a hopeless attempt to synthesise the "epicness" that should have been more than sufficiently evoked by compositional quality) = forget it.

McCreary has yet to impress me compositionally - percussion or no percussion. In his case, the percussion is indeed a trademark; but what should be trademarks - compositional style, melodic tendencies, orchestration techniques, etc, are for the most part absent. Whether Basil Poledouris was writing for solo piano, massive orchestra, cheesy 80s synth, or 70s disco... you know it's him in just a handful of notes. The music has personality. McCreary's personality is "listen to the slamming taiko drums" - bugger that for a packet of biscuits.

hater: For what it's worth, I'm glad the days of the 30 minute score album are gone - although there is something to be said for the album listening experience. I still find myself going back, for instance, to Jerry Goldsmith's London re-recordings in favour of more recent full score releases, simply because they were created explicitly to function outside of the film. I do relish having every bit of music though - as you say, if you have everything, you can simply disregard what you don't like.

Percussion (Timpani, bass drum, snares, cymbals, properly wielded) = great.
Percussion (Repetitive drumming out simple rhythms ad nauseum throughout an entire cue in a hopeless attempt to synthesise the "epicness" that should have been more than sufficiently evoked by compositional quality) = forget it.

McCreary has yet to impress me compositionally - percussion or no percussion. In his case, the percussion is indeed a trademark; but what should be trademarks - compositional style, melodic tendencies, orchestration techniques, etc, are for the most part absent. Whether Basil Poledouris was writing for solo piano, massive orchestra, cheesy 80s synth, or 70s disco... you know it's him in just a handful of notes. The music has personality. McCreary's personality is "listen to the slamming taiko drums" - bugger that for a packet of biscuits.

hater: For what it's worth, I'm glad the days of the 30 minute score album are gone - although there is something to be said for the album listening experience. I still find myself going back, for instance, to Jerry Goldsmith's London re-recordings in favour of more recent full score releases, simply because they were created explicitly to function outside of the film. I do relish having every bit of music though - as you say, if you have everything, you can simply disregard what you don't like.

percussion done right-mercenaries 2 chris tilton, or everything else he does.
For the varese short albums...yes they are remarkable listening experiences, but i never could listen through one of my favorite scores without thinking "damn, to left out this and that" which leaves a sour taste.I for example will not ever listen again to Total Recall short version.The complete score is such an roller coaster ride and i think its the best sounding cd i have ever heard.i never skip a track, there nothing boring or bad there.

Well whether a score is better in full form or short album totally depends on the music. One Eyed Jacks, Dragon Seed, The Alamo, and a few others are amazing in full form on large releases. Hell, give or take a few non-desirable cues, I would also say Final Fantasy XIII, Final Fantasy Tactics, Lost Odyssey, Blue Dragon, and many game scores are great in full form. I'd usually much rather have expanded throw in the kitchen sink approach because what I may consider useless filler (the more quirky cues on Final Fantasy XIII, the synth versions of battle music in End of Eternity) may be the highlight to someone else. Human Target would be wonderful in 3CD form if the music was complex enough to propel that amount of music forward. The same thing that makes Human Target hard to get through is what makes First Knight 2CD hard to get through, the simplicity of the themes.

I also wanted to echo what Tango says, percussion, used properly, is wonderful and should not be kept off a proper orchestral score. However, percussion, used like Bear McCreary does in 99% of his work is overdone and tiresome. Listen to one cue from his work on BSG, Human Target, Dark Void, and Socom 4 and instantly the massive amount of percussion hits you over the head. Whether that much is good scoring is up to personal choice but I'll pass.

Also thanks Klnerfan for Dash. I will check it out :)


Well I wasn’t going to download the compilation but I decided to check it out and there is some great stuff on here. The recordings that are a little lacking sort of stick out in a compilation like this, and I wonder if you have heard the Intrada release of Back to the Future, because it sounds so much clearer than the one you included.

What I really loved was Chicken Run suite, a score I never really listened to before. It is nice to hear such a unique sounding comedic cue from two composers who have not written anything like that in recent years, give or take Shrek and HTTYD. As for fire emblem VI opera version, I believe there is a better sounding version of the same track on the Smash Brothers Brawl rips.

You have some great stuff here, although sadly I can’t help but feel underwhelmed by the sound of most of the low budget Japanese orchestral stuff. There is something about the sound of much of the stuff from the Naoki Sato to the Toshihiko Sahashi, likely due to the budget at the time that bothers me when I listen, as much as it shouldn’t. I was very surprised to hear the Psalm of the Planets from Eureka 7, despite that I’d heard the scores a few times because it really stuck out to me as something I’d missed.

Thanks to tangotreats and many others for airing their views on Giacchino and McCreary.

Now - SUPER 8's score will hopefully be a return for Giacchino after some failures.

.. I hope.

HMmm. I don't normally weigh in here. I have nowhere near the knowledge to do so. However, I quite like Mccreary's BSG work. To me, there was nothing else that sounded like it score wise on tv at the time. It was very distinctive, and I find it immensely listenable. I have not listened to Human Target, of his other work, so I can't speak to those. But I feel his BSG score fit the series perfectly, and I seem to recall reading that the original intention for the series music was to be mostly textural. I'd say he accomplished that. surely, the job as contracted should be taken into account when critiquing a score? I mean, if he was told to go big and brassy, and came back with what is there now..bad. But I think he was encouraged to keep it percussive, and more or less theme free, at least in the beginning?

Masada-looking for that exspanded score for ages-will welcome it-

As a composer and percussionist, McCreary's percussion parts are pretty lazy writing. Hitting a taiko drum really loud for 3 discs does not constitute good and creative writing, nor is it "epic" as people tend to describe his work as.

I try not to use the word "epic" too loosely. And I have not heard anything but his BSG work. But I do enjoy that, and I do enjoy the percussion usage in that.

Percussion (Timpani, bass drum, snares, cymbals, properly wielded) = great.

Someone's using timpanis these days anyway?;(


However, I quite like Mccreary's BSG work.

I actually love BSG scores, they are among my favourite tv scores of this decade (with Doctor Who being the first and the best). They are rich, creative, sounds amazing, and overal idea for this music is great. It doesn't change my opinion though, McCreary after BSG is boring. Very repetitive. I had more fun with crappy Jackman's ostinato driven X-Men First Class (you can shoot me, I like that score, but don't try it;)) than with any McCreary work post BSG. And if U choose drums to be your trademark (although it's crappy trademark;)), better use 'em good...

As for "long" albums - you are probably right that I can choose whatever I like and make my own "album" out of presented material. But how to do it when I'm bored after 30 minutes, and there is still 2 hours more? Yeah, it's my laziness, but I hate to listen music (that doesn't fit me) just to discover something nice in flood of mediciority. I'm sure that on Human Target is good material, but I don't have time to excavate it. I'll listen to Sato instead, who doesn't make me do that.

And below little bonus, first performance of orchestral/choral suite from Witcher 2. It was performed before Distant Worlds in Cracow. Nothing breathtaking, but nice, dark, music. Quality of the recording isn't the best though, I know...

Dailymotion - 4th Film Music Festival in Cracow - The Witcher 2 concert - wideo z kana (http://www.dailymotion.pl/video/xiwdoq_4th-film-music-festival-in-cracow-the-witcher-2-concert_music#from=embediframe)

I get you. It is kinda how I feel listening to the 189 track version of transformers: the Ultimately more than definitively complete version....

I mean, many tracks are nice enough, but I just get tired before disc 1 is over... :D

Speaking of Highlights, there was a request from our dear friend arthierr ...


Dash! Orchestral Tour de Force

(http://imageshack.us/photo/my-images/685/foldermq.jpg/)

Dashing / Sweeping / Joyful / Epic / Jazzy

Download Link (http://www.mirrorcreator.com/files/1QKHULTR/Dash__Orchestral_Tour_de_Force_0.7z_links)
MP3 / 320kbps / 80 Tracks / 3h 22 min

This is the sort of music that makes your blood pump and let's you do the impossible. This is the power and sound of orchestral joy.
I have created two parts. This is the first part, consisting of pure orchestral power. The second one is more modern influenced, more rock and electronic elements but with an orchestra mixed in (or synth instruments). The fantastic four for this kind of music are of course Yamashita, Tanaka, Sahashi and Sato. "Here We Go!" is certainly one of the finest examples of a dashing piece (anyone know where to get the full ost for it ?).

EDIT: Huge thanks for Fractale, very compelling and complex music. A nice contrast to my compilation.
I've also got two things to say. First, I discovered that the third OST for Star Driver will come out in August, but the new orchestral vocal albums are surprisingly good, so I won't complain about the long waiting time. Second, has anyone heared if the new Nintendo Legends concert will be streamed or not ? I would give my soul to hear a compelling arrangement of Kirby music like in OGC.


im gonna download this and listen thanks

Joe Hisaishi was one of the main guests of the film music festival this year in Krakow. Here are two suites played in the festival and found on youtube, for Nausicaa and Princess Mononoke.

YouTube - ‪Nausica� - Joe Hisaishi‬‏ (http://www.youtube.com/watch?v=zt_bkYronHc)
YouTube - ‪Princess Mononoke - Joe Hisaishi‬‏ (http://www.youtube.com/watch?v=Keb0tn8rwz8)

Not very far different from the Ghibli anniversary concert i'd say, but perhaps the following videos will be a novelty for many to hear them in a live performance.

YouTube - ‪The Witcher 2 (Suite) - Adam Skorupa & Krzysztof Wierzynkiewicz (1/2)‬‏ (http://www.youtube.com/watch?v=AsFh2GzEP24)
YouTube - ‪The Witcher 2 (Suite) - Adam Skorupa & Krzysztof Wierzynkiewicz (2/2)‬‏ (http://www.youtube.com/watch?v=Lda_RO-e2M4)

YouTube - ‪Final Fantasy VIII (Fithos Lusec Wecos Vinosec) - Nuobu Uematsu‬‏ (http://www.youtube.com/watch?v=VRe3luWTX1g)
YouTube - ‪Final Fantasy VIII (Don't Be Afraid) - Nuobu Uematsu‬‏ (http://www.youtube.com/watch?v=QJjqB-8Hqys)
YouTube - ‪Final Fantasy I-II-III (Medley) - Nuobu Uematsu‬‏ (http://www.youtube.com/watch?v=cN97WuSqNVU)

As a composer and percussionist, McCreary's percussion parts are pretty lazy writing. Hitting a taiko drum really loud for 3 discs does not constitute good and creative writing, nor is it "epic" as people tend to describe his work as.

I would consider it a good thing that McCreary does not have loud and "epic" drums throughout his entire scores, then. He has plenty of music that does not have drums, as well as soft percussion.

THE WITCHER 2: ASSASSINS OF KINGS EXPANDED SOUNDTRACK

Running Time: 3"13'38
Extracted from .FSB and .USM files and converted .WAV to .MP3 with -V0 320 quality.


http://www.megaupload.com/?d=DC7527SP

About the Music:

If one was to use a single word to describe the keen differences between “The Witcher” and its sequel, “Assassins of Kings”, the word would be bigger. The amp has been pumped up in just about every way. The budget has been increased – from “The Witcher’s” mere 10 million to 25 million for “Assassins”, to the epic scale. The music has also grown up as well. The composers, featuring the return of Adam Skorupa and Krzysytof Wierzynkiewicz replacing Pawel Blaszczak, had written a large grandiose score. The scales are bigger now and the music reflects that. “Assassins” abandons the folklorish tone of the original with a much more epic score, while holding onto that grim tone that was so prevalent in “Witcher”.

It is debatable on if the second score is inferior to the first. After all, the folklore-ish texture that made the first so unique and interesting is hidden here amongst all of the chorus, strong strings and pounding drums. The sequel is heading in the direction of the Lord of the Rings, although even then it is not by much.

One advantage that the sequel holds over the original is the narrative cohesion. There are some motifs hidden throughout the score. The most prominent, and easiest to recognize by its long, foreboding chorus, is the “sorceresses” theme. First heard in the Solar that King Foltest’s children is held in, whose rescue is the goal of the Prologue, it is heard mostly whenever some act of magic is occurring. It is not much, but it is the step in the right direction.

Overall, “Assassins of Kings” is a still in the category of “good, maybe great, but not excellent”, just like its predecessor. It may have motifs and some measure of the narrative cohesion that its predecessor so sorely lacked, but it has sacrificed originality in the process.

About the Rip:

I would say that “Assassins of Kings” rip was a little bit harder than mine for the first game. The main reason is that none of the battles have a specific name (it’s all battle_#, with some variation) and more than a fair amount of the cinematics were embedded in .usm archive files. I had to use a mixture of VGM Toolbox and PES Sound File Converter in order to get an .mp3 out of them.

Then again, this rip is shorter by about an hour. So more technical work, but less arranging and renaming of files. I had also just finished my second play through of the game when I started work on the rip, so with approximately 60 hours of exposure to the music I was able to do some very educated guesswork to satisfactory results.

Only recently found this thread . . . amazed at the level of discussion. Have to say, I feel a bit intimidated. Thanks for all the great contributions.

Only recently found this thread . . . amazed at the level of discussion. Have to say, I feel a bit intimidated. Thanks for all the great contributions.

Don't feel intimidated! Just speak your mind, to the best of your abilities. You'll develop a musical vocabulary in due time. We're all friendly chaps here.

Well, some of us are friendly chap-ettes...:D

:/ Well, not THAT friendly, but still....

Well, some of us are friendly chap-ettes...:D

:/ Well, not THAT friendly, but still....

Wa wa waaaaaaaa.

Hope that came across as that comedic trumpet sound.

Wa wa waaaaaaaa.

Hope that came across as that comedic trumpet sound.

I would of just linked a YouTube video instead. :p

Dash! Orchestral Tour de Force


klnerfan, I must thank you for these compilations. I find these to be much more enjoyable than downloading entire scores and having to cherry-pick through them to find the ones I find worthwhile. I've really enjoyed the Cyber Formula Future GPX and Toshihiko Sahashi packs and listen to them on a consistent basis.

Also, to the folks who uploaded Phoenix 2772, Lego Universe, and the Ottorino Respighi works, those have all been amazing listening experiences. Thanks!

Keep your eyes peeled, I will be posting a compilation soon, once I get two more CDs in the mail. It will be a set of highlights from various scores from smaller labels you may have missed.

Funny. It's been a few weeks since I last read this thread, and when I return, it turns out there are Witcher rips (Perfect companions for the books, thanks Doublehex. The official OSTs feel rather short when I'm reading.)... and a debate about some of my favorite composers.


Percussion (Timpani, bass drum, snares, cymbals, properly wielded) = great.
Percussion (Repetitive drumming out simple rhythms ad nauseum throughout an entire cue in a hopeless attempt to synthesise the "epicness" that should have been more than sufficiently evoked by compositional quality) = forget it.

McCreary has yet to impress me compositionally - percussion or no percussion. In his case, the percussion is indeed a trademark; but what should be trademarks - compositional style, melodic tendencies, orchestration techniques, etc, are for the most part absent. Whether Basil Poledouris was writing for solo piano, massive orchestra, cheesy 80s synth, or 70s disco... you know it's him in just a handful of notes. The music has personality. McCreary's personality is "listen to the slamming taiko drums" - bugger that for a packet of biscuits.

There is something I have trouble understanding, from an artistical standpoint. How is the percussional style of some modern composers improper? Does the proper use of percussions make rock or electronic music bad? Some of their sub-genres are well known to be percussion-heavy. Maybe you would tell me that the way we compose for orchestras does not concern them.
As a man who knows quite a lot of professional musicians, I realised orchestral music is one of the few musical genres that is codified a lot. Why?

"Timpani, bass drum, snares, cymbals"... Nothing else? Maybe there's a way a composer might want to ignore what he learned at school, and bang the hell out of ten sets of gamelans, just because he wants to invent something, experiment. Even repetitivity might be intentional. However, it is supposedly bad because the rules say it is. I can understand your opinion about Zimmer clones. They are all imitating the same man, and copying a style has no artistic value. But, let's make it simple, what proves that percussions-heavy orchestral music (Or other bad music) deserves to be called shit? If it truly is, then I love shit as much as I love Berlioz and Goldsmith. :-D If I declared Jerry Goldsmith's work to be boring shit, why would I be wrong?

Masada or Human Target? I chose Human Target even it was a very difficult choice. Masada is, after all, my favorite Goldsmith score. I just don't understand why Human Target has supposedly no soul.

That was a lot of questions. I hope you can enligthen me with your musical expertise.

I don't consider it to be shit because it has percussion. I consider it to be shit which is using percussion - in a fashion so over-used and so artistically pointless - to try to compensate. A great composer can evoke any emotion, write massive music of overwhelming grandeur, or the most intimate romanticism... and do it all on a solo tuba if he wanted to.

Goldsmith did some nutty things with percussion in his career, but it was always musical.

If he'd written a rubbishy, boring score that had no tension or feeling to it whatsoever, and thought "Oh crap better stick in lots of repetitive drumming here for a bit of mood!" then I doubt he'd be viewed with the same reverence he is today.

Finally, some bias; the modern symphony orchestra - sans electronics, sans meddling, sans "Oh wow let's see what we can add here!" - has proven itself time and time again as one of the most evocative combinations in all of music. Well used, wielded with care and competence, it is unsurpassable. In 99% of modern scores, it is being used as a 90-man synthesiser.

Opera companies all over the world would not still be mounting Wagner's operas if they were just 90 minutes of chord progressions accompanied by banging taiko drums.

As far as the Masada / Human Target choice, there was no choice for me. Masada is music; Human Target is hours of bland media scoring.

All IMHO of course. :)

Finally, some bias; the modern symphony orchestra - sans electronics, sans meddling, sans "Oh wow let's see what we can add here!" - has proven itself time and time again as one of the most evocative combinations in all of music.

All IMHO of course. :)

I sort of agree, but also at the same time not, for example The Lost World: Jurassic Park is full of percussion with a bit of synth, and its every bit as evocative as "normal" orchestra, another example is the Back to the Future scores, it has quite a bit of percussion, and some synth, and its also just as good as a full symphonic score (heck even E. Bernstein's the Ten Commandments uses synth, or atleast what sounds like synth)

Hmm. I've been lurking in this thread for a few months, silently enjoying the fruits of the digital and musical labors of others. I should probably at least post. (Hi everyone, this thread is great)

My version of answers to Imendar's questions:

There is something I have trouble understanding, from an artistical standpoint. How is the percussional style of some modern composers improper? [...] it is supposedly bad because the rules say it is.
It's my understanding that what the music afficionados here are talking about aren't super formal rules exactly, but personal taste. In my opinion, they're judging on some pretty reasonable criteria, such as, in no particular order:
- does the percussion match the style of the rest of the composition?
- does the composition work well with the movie?
- does the composition stand on its own? (sub-questions: is it a good listen without the movie? and if you put in with a bunch of loosely similar music in a playlist and hit 'random' and just listened, is it unique enough that you'd be able to tell which parts were from this film, or at least this composer?)
- the ultimate catch-all of personal taste in music.
- sometimes an additional thought among musicians: would it be fun to play this part?

For example: if the beat is overbearing, then everything else is the non-beat that you can't hear :( Then the music only works for you if you like the beat. If the beat is also not particularly interesting, then the music is probably going to fail a bunch of those tests. (And I must strongly affirm here: percussion can be interesting, yes, even pure percussion-only pieces. I swear I've heard it done before. It's not my instrumental specialty, but I'm sure others in the thread could give examples.) My word choice might be clumsy here, but: If you can't hear a melody over the beat, then the beat needs to replace that role in its own right.

The Zimmer thing is kind of a meta-issue and I don't want to spend a lot of text on it because it's already been covered in depth. I'd end up just rehashing and rewording what someone else already said.


But, let's make it simple, what proves that percussions-heavy orchestral music (Or other bad music) deserves to be called shit? If it truly is, then I love shit as much as I love Berlioz and Goldsmith.
There's nothing particularly wrong with liking percussion, even repetitive percussion as action scene background texture. But we mourn the scarcity of new memorable movie scores. Notice that you can easily name Berlioz and Goldsmith? But, tying back to the list of tests above... can you name unique percussion-heavy modern film composers? (Individually recognizable composers with individually recognizable percussion)? That's a rhetorical question - it is difficult.


copying a style has no artistic value
Actually, I disagree. It depends on the style, doesn't it? Plenty of styles have lots of room to grow into, play with, put your own twist on, and so on.

A percussion-loop style is kind of the opposite of doing this though, isn't it? It's defined by lack of variation.

Or to go a step up from that by using a direct example: it's hard to stand out by starting from Zimmer's present style, because its definition is to use the entire orchestra purely as an extended percussion section and build up layers from loops and transitions alone. (He does do other stuff sometimes; I'm defining his personal style as the part that he's known for). Elements of that have been used for a long time, but the Zimmer style is to take that to its fullest extreme. You'd have to roll back to early Zimmer, which is not so heavy on the pure texture approach and has actual themes and melodies and things. But then it's not "Zimmer style" anymore; it's your own style again, with maybe a little Zimmer influence. Boy, I sure typed Zimmer a lot in that paragraph.
Zimmer.

I'm suprised there's been no mention of the LEGENDS concert in Stockholm a few days ago. Much of the music seems unchanged from what I saw and heard, but a good deal of it was new work and I've been looking for possible downloads. As much as some people here were gabbing about it(myself included), I'm curious if anyone saw it and what their thoughts were.

AAAAAAAAAAAH GOD has Legends already happened?

Poo... I hope that a download is forthcoming...

AAAAAAAAAAAH GOD has Legends already happened?

Poo... I hope that a download is forthcoming...

Ay, twas the first of June. I wouldn't suggest looking on Youtube or anything. Almost no one captured the new material; everyone's smuggled-in camcorders just happened to die before they got their turn.

I must have missed something because I have no idea what Legends is/was.

There's nothing particularly wrong with liking percussion, even repetitive percussion as action scene background texture. But we mourn the scarcity of new memorable movie scores. Notice that you can easily name Berlioz and Goldsmith? But, tying back to the list of tests above... can you name unique percussion-heavy modern film composers? (Individually recognizable composers with individually recognizable percussion)? That's a rhetorical question - it is difficult.


Actually, I disagree. It depends on the style, doesn't it? Plenty of styles have lots of room to grow into, play with, put your own twist on, and so on.

A percussion-loop style is kind of the opposite of doing this though, isn't it? It's defined by lack of variation.

Or to go a step up from that by using a direct example: it's hard to stand out by starting from Zimmer's present style, because its definition is to use the entire orchestra purely as an extended percussion section and build up layers from loops and transitions alone. (He does do other stuff sometimes; I'm defining his personal style as the part that he's known for). Elements of that have been used for a long time, but the Zimmer style is to take that to its fullest extreme. You'd have to roll back to early Zimmer, which is not so heavy on the pure texture approach and has actual themes and melodies and things. But then it's not "Zimmer style" anymore; it's your own style again, with maybe a little Zimmer influence. Boy, I sure typed Zimmer a lot in that paragraph.
Zimmer.

(Dammit, I just lost the two paragraphs I wrote in a BSOD. Yaaaaaaaay.)

Well, by copying a style, I meant replicating the personal twists that made another composer famous, in the way a child would copy his classmate's text at school. Rip-offs, blatant plagiarism. There is a difference between taking inspiration and simple imitation. If an artist can't make himself unique, then his work has no value.

As for memorables scores, I think we will not know which ones will grow to be famous and respected as the "typical John Williams" until the next generations of composers. Berlioz, for example, was not recognized for his work until the later half of the 20th century, because people from his time could not understand the beauty of his work. I'm not comparing the average modern composer to Berlioz here, but I simply mean to point out that memorable implies turning 70, and professing your love for Ramin Djawadi (;-)), Harry-Gregson Williams or John Powell to your grand-children. In other words, we never know, we might all be wrong.

About McCreary, he still have a lot to learn, especially in the manipulation of an orchestra. After all, at 32, he is still a kid in the big world of orchestral composers. However, if someone said : Battlestar Galactica and Dark Void, or Human Target and The Cape? I'd answer : BSG, Dark Void!!!!!! Perhaps I have mutant eardrums, but I can truly hear what is behind the wall of drums he frequently uses. I admire how he manages to mix together the musical heritage of many cultures, something that I never saw other composers achieve quite well. In his world, duduks can meet shamisens, taikos, ouds, and bagpipes, but surprisingly, it is a delight to my ears. That is why he is unique, in my opinion. If any of McCreary's detractors have time to analyse this side of the BSG score, perhaps they can understand what I love in his work.

But if anyone has better examples, there's never too much music for my poor ears.

http://www.youtube.com/watch?v=U6dE1KqB-8E&fmt=18 Found it on Youtube ;) Even better than the previous Encore. Hopefully, Kirby will be up soon. I am also happy to discover that another Nintendo concert will be held in Germany tomorrow and hopefully it will be streamed like Legends. If not I will move mountains to get my hands on a quality rip to share it with you guys. Here is a small Preview:

Programm:

Kingdom Hearts
(Destati, The Other Promise und The 13th Anthology)

The Legend of Zelda™
(Death Mountain, Hyrule Field, Kakariko Village und The Legend of Zelda - A Link to the Past Suite)

Super Mario Galaxy™
(Luma & The Star Festival, Rosalina in the Observatory und Egg Planet & Gusty Garden Galaxy)

Final Fantasy�
(To Zanarkand, Don''t be Afraid, Theme of Love, One-Winged Angel)

Anybody notice the new theme for the CBS evening news?

If anybody's interested, here's the Super Mario Galaxy suite in tolerable sound quality; not a great deal of point to it if you have last year's Symphonic Legends version, but it may amuse somebody... :)

Download Super_Mario_Galaxy_Suite_-_Stockholm.mp3 from Mirrorcreator - Upload files to multiple file sharing sites (http://www.mirrorcreator.com/files/0JDUNSSF/Super_Mario_Galaxy_Suite_-_Stockholm.mp3_links)

Hello all! Interesting rumour doing the rounds that Nintendo have hired a California college choir to accompany the presentation of Skyward Sword at tomorrow's conference. Could be a nice taster of the score (or not..).

Also, on the subject of percussion:


Ballet M�canique
George Antheil
http://uploadmirrors.com/download/1JLARNXV/01_Ballet_Mecanique.mp3

Originally composed in 1924 for an avant-garde silent film, but heard here in Antheil's more concert-friendly revision of 1953, this is an astounding piece, scored for 4 pianos, 2 xylophones, glockenspiel, electric bells, gong, cymbal, woodblock, tenor drum, bass drum, snare, tambourine, triangle and aeroplane propellers; thrilling and a lot more digestible than it sounds! Everyone should try this :)

I wanted to point out here the wonderful Kritzerland release today of the Les Baxter score to Marco Polo with some lovely Rimsky Kokrsakov sound and otherwise lush exotica flavor with beautiful themes. Check it out and buy a copy!

Well since it is Nintendo, we might not see a cd release... BUT one can still hope and pray!

Just dropping this here: :)
Yoshihisa Hirano - Break Blade Chapter 5 OST (WavPack)

Tracklist:

01. Making a Sortie
02. The Uncertain War Situation
03. Temptation
04. Dirge for the Brave
05. Mourning
06. Old Days
07. Relaxing Games
08. Leda's Violin

Link:Multiupload.com - upload your files to multiple file hosting sites! (http://www.multiupload.com/3A7OYSAHR1)

oh so sweet, though i missed chapter 4

Thanks for 5th chapter of Break Blade. Does anyone know, how many of them will be in the end?

herbaciak: The next one (Chapter 6) will be the last.

Thanks Smack81... more comments later, on my way back to work now. :)

I'm watching Nintendo's E3 press conference right now and ... HOLY SHIT !!! Zelda Symphonic Concerts all around the world and a cd recording of the 25th Anniversary Symphony available with the release of Skyward Sword.

I'm watching Nintendo's E3 press conference right now and ... HOLY SHIT !!! Zelda Symphonic Concerts all around the world and a cd recording of the 25th Anniversary Symphony available with the release of Skyward Sword.

How nice that Nintendo chose to lead with a discussion of the music and its importance to the series :) The live pit orchestra was a *good idea*, but frankly sounded beyond dreadful! For those who didn't like the trailer music from a few months back, I'm afraid that themeless theme (actually Zelda's lullaby backwards) appeared again briefly, so will no doubt feature in the final soundtrack. Great news about the upcoming concerts 'in all world regions' - one in London pleeeease! :3

Thanks for Chapter 5 ;)
One more to go ;)
Too bad it�s always so few music...

Here's hoping my hunch about the true purpose of the orchetra's presence at the E3 conference is true; that Miyamoto's dropping some vague hints that finally, finally, Zelda's going to be using real instruments for Skyward Swords' score.

"Welcome, everyone. It's Zelda's 25th anniversary, you know. Oh, look at this. There appears to be a live orchestra here playing the series's music. How queer. Yes, could you play some of the incidental, "item get" cues for me? Mhmm, mhmm. Yes, I think I like that. Oh well, thanks for that. Enjoy, everyone!"

Honestly, I don't see why they're being so pointlessly coy about it. If the game's "finally done", just come out with it. Is there going to be non-midi or isn't there? You don't fool me, Shiggy. *shakes fist

Thagor: I'd rather it wasn't spread out over 6 CDs, but it's still a 90 minute Yoshihisa Hirano score at the end of it all... ;)

Here's hoping my hunch about the true purpose of the orchetra's presence at the E3 conference is true; that Miyamoto's dropping some vague hints that finally, finally, Zelda's going to be using real instruments for Skyward Swords' score.

"Welcome, everyone. It's Zelda's 25th anniversary, you know. Oh, look at this. There appears to be a live orchestra here playing the series's music. How queer. Yes, could you play some of the incidental, "item get" cues for me? Mhmm, mhmm. Yes, I think I like that. Oh well, thanks for that. Enjoy, everyone!"

Honestly, I don't see why they're being so pointlessly coy about it. If the game's "finally done", just come out with it. Is there going to be non-midi or isn't there? You don't fool me, Shiggy. *shakes fist

It's already been confirmed - twice I think - definitively in the recent 'Iwata Asks'. Yokota is doing it all now as we speak! ;)

It's already been confirmed - twice I think - definitively in the recent 'Iwata Asks'. Yokota is doing it all now as we speak! ;)

Oh...Wunderbar. <3

Original Sound Version � E3 2011: Nintendo Press Conference Opens With Live Orchestra (http://www.originalsoundversion.com/e3-2011-nintendo-press-conference-opens-with-live-orchestra/)

It seems as if Jason Michael Paul Productions will head up the tour and the possible recording... *gut and heart drops*

I certainly hope he doesn't put out another poorly produced album like the Play! recordings. That effort failed, imo. Hopefully he redeems himself by making a production and recording the Zelda franchise deserves. I think Thomas Boecker should've produced this instead, but I will give JMP a chance.

[center] Kotaro Nakagawa - Gosick Soundtrack (Edited) - 2011
MP3 320kbps| 88 MB| 19 tracks (11 tracks removed)

Download ( http://www.multiupload.com/4V3UPXFJOG)

Ok so maybe I overreacted when I said this was a terrible soundtrack and made me sad as a fan of Kotaro Nakagawa. There are, however, a number of tracks that I felt detracted from the quality of the album and have deleted them. Primarily they are heavily synthesized or horror/suspense cues. The full soundtrack is available elsewhere on the forum with the additional tracks. So you can tell which ones I left and which ones I took out, I left the file names with the original track numbers and then re-numbered the tracks in the tags from 1-19.



This may be an incomplete version of the OST, but it's really nice music. Thanks for it Sirusjr

I found a little video of yesterday's Nintendo Concert : YouTube - &#x202a;Bayer Philharmoniker Computerspiel-Sounds live in concert Leverkusen Zelda&#x202c;&rlm; (http://www.youtube.com/watch?v=yVw_4e7v99A&fmt=18) Hyrule Field from Ocarina of Time. Shitty recording quality but the music rocks. With luck I will have a better quality rip in my hands at the end of the week. But fear not, more concerts were announced, Game Concerts are becoming very popular here (and the audience is really mature, nothing distracts you from the music)

WRATH UNLEASHED

Running Time: 1"4'56
Originally ripped by Infernus Animositas; Converted from FLAC to VBR .mp3


http://www.megaupload.com/?d=APCSMTR7


About the Music:

Published in 2004, Wrath Unleashed suffered from a mess of problems. Taking into consideration of a barebones narrative, an unresponsive real time combat system, and a clunky turn based movement system, it is no surprise that Wrath Unleashed was ultimately forgotten by the community at large. Ultimately damned as “good but flawed”, it was swept under the table and the video game community went on to better pastures. This was the year that Doom 3, Half-Life 2, the “new” Ninja Gaiden and Halo 2 (amongst others) were released. “Good, but flawed” just couldn’t cut it that year.

The one aspect that could be praised, with some reservations, was the music. Bombastic to it’s very cure, and taking on a very slight Wagnerian touch for some of it, Jack Wall composed one of the most fun and easy to listen to scores ever. It as far as subtle as one would ever find, filled to the brink with loud chorus and fast rhythm.

The score was divided four ways, with each of the four factions (Light/Dark Order, Light/Dark Chaos) given its own distinctive musical voice. There are no themes here; minus that played on the Main Menu, but one can easily tell the difference between Dark Chaos’ electric guitar interspersed with pounding drums and the coherent balance of horns and strings with Light Order.

The music is further developed into “Realm” (when the player is managing and deploying their armies), “Battle”, “Aftermath” (as in the victory or defeat screen), and “Cinematic” pieces.

Overall, this is a fun score, but one with no intelligent weight behind it. Then again, that isn’t what the game required. The game needed music that was loud, bombastic, and fun. And that is exactly what Jack Wall gave it.

About the Rip:

Credit must be given to Infernus Animositas over at the FF Shrine for his help here. He was the one that did the technical work of ripping the music files from the game. From his FLAC I decoded them to MP3 VBR –V0. However, the music files were low quality so 128~ KBPS is the best we can hope for. The quality usually goes up to 148. If you are looking for 320 KBPS, be disappointed. This is the best we can do: even the FLAC is unusually low, at roughly 700KBPS. Our source is just not high enough for amazing quality.

The link from the soundtrack of Fracture (Original Video Game Soundtrack) - Music by Chris Tilton & Chad Seiter expired. The file doesn't exist anymore. You have to add the file again? I really want this soundtrack.
Thanks a lot.

Tango: I know what you mean by that and i�m satisfied with 90min from him ;)
If I would hear all 6 chapters complete, then i must see them again and that�s not bad :D

Tactical Roar
by Hikaru Nanase




MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=U813EYTL)

Thank U very much

If anyone wants the Zelda 25th Anniversary Suite that was played at the press conference and the new orchestral version of Hyrule Field (The only orchestral track for OoT 3DS, but I bet it will also be a part of the score for Skyward Sword) , here they are in "very" good quality:

http://www.360haven.com/forums/attachment.php?attachmentid=1196&d=1307469759

Download Link (http://www.mirrorcreator.com/files/UXVOCXZJ/Zelda_25th_Anniversary.zip_links)

It sounds much better than during the live-stream but it is still far from flawless. Nonetheless it's great to see ( and hear) that Nintendo loves their own franchise as much as we do. Thank god a full orchestral score was offically confirmed and the music during the gameplay previews sounded really good so I have high hopes for it, even when I'm still a bit underwhelmed by the Main Theme.
YouTube - &#x202a;Skyward Sword E3 2011 Trailer Music&#x202c;&rlm; (http://www.youtube.com/watch?v=JLd4PkV5_LA&fmt=18)

Did anyone manage to record this ? -

The BBC Philharmonic Play Music from Your Favouite Films

a live concert on BBC3 Radio last week ...

Live from the BBC Philharmonic Studio, Salford
Presented by Mark Kermode
Mark Kermode guides us through music from your favourite films, in a live concert from the BBC Philharmonic, including John Williams' score for Star Wars, Korngold's swashbuckling music for The Adventures of Robin Hood and centenary tributes to Herrmann and Rota. Conducted by Robert Ziegler.
John Williams: Star Wars - Suite [Main Title, Princess Leia's Theme, The Imperial March]
Jonny Greenwood: There Will Be Blood - Suite
Bernard Herrmann*: Taxi Driver - A Night Piece
Erich Wolfgang Korngold: The Adventures of Robin Hood - Suite
20:10 - Interval Music
Mark Kermode presents recordings of classical music made famous by the movies
20:30
Bernard Herrmann: Vertigo - Suite
Nino Rota: La Strada - Suite
Angelo Badalamenti: Blue Velvet (Main Title, Mysteries of Love)
Angelo Badalamenti: Twin Peaks: Fire Walk with Me (Main Theme)
Danny Elfman: Batman - Suite
*John Harle alto saxophone
BBC Philharmonic
Robert Ziegler - conductor.

Heres the link ...

BBC - BBC Radio 3 Programmes - Radio 3 Live in Concert, The BBC Philharmonic Play Music from Your Favouite Films (http://www.bbc.co.uk/programmes/b011pptk)

hi there, garcia

these links for the bronislau kaper mutiny on the bounty are broken - any chance of a repost?

cheers
miklos

Klnerfan - it does sound better there than i recall from the live stream. I feel like a misery guts now for complaining about the playing. You know, after watching extended play footage of Skyward Sword (with decent sound), it's obvious the full score will be quite varied and very different to Mario Galaxy: the flying section has a playful scherzo, there some vocalise oboe in the dungeons and I could just about make out a bit of a swashbuckling battle theme. It's all still in 'midi' form though, aside from that trailer tune. Still 6 moths to put the icing on the cake!


Did anyone manage to record this ? -

The BBC Philharmonic Play Music from Your Favouite Films

Funny you should mention that - I believe there may be something coming up... ;)

hi there, garcia

these links for the bronislau kaper mutiny on the bounty are broken - any chance of a repost?

cheers
miklos

This is not allowed anymore, FSM posts are against the rules now.

This is not allowed anymore, FSM posts are against the rules now.

MUTINY ON THE BOUNTY (Bronislaw Kaper)
Anybody got access to the original MGM soundtrack LP (pref stereo) or the single disc expanded edition CD conducted by Robert Armbruster (with sound effects & dialogue)?

Cheers

Klnerfan - it does sound better there than i recall from the live stream. I feel like a misery guts now for complaining about the playing. You know, after watching extended play footage of Skyward Sword (with decent sound), it's obvious the full score will be quite varied and very different to Mario Galaxy: the flying section has a playful scherzo, there some vocalise oboe in the dungeons and I could just about make out a bit of a swashbuckling battle theme. It's all still in 'midi' form though, aside from that trailer tune. Still 6 moths to put the icing on the cake!

Greeeeeat!!


Funny you should mention that - I believe there may be something coming up... ;)

The BBC Philharmonic Play Music from Your Favourite Films
Conducted by Robert Ziegler



AAC ~192kbps (unedited) - http://uploadmirrors.com/download/FYWY1FF4/BBCPhilFilm.rar

MP3 128kbps (split, chopped and tagged) - http://uploadmirrors.com/download/1ENH2SKS/BBCPhilFilm_0.rar

Rather nice concert this - took me by surprise. Some favs and some rarities. I particularly enjoyed the darker second half with performances of Badalamenti's Lynch scores and a Batman suite with a few idiosyncrasies I've not encountered before (I wonder who arranged this). Programme as follows:


John Williams: Star Wars - Suite (Main/End Titles, Princess Leia's Theme, The Imperial March)

Jonny Greenwood: There Will Be Blood - Suite

Bernard Herrmann: Taxi Driver - A Night Piece for saxophone and orchestra

Erich Wolfgang Korngold: The Adventures of Robin Hood - Suite

Interval - piano music from the movies

Bernard Herrmann: Vertigo - Suite

Nino Rota: La Strada - Suite

Angelo Badalamenti: Blue Velvet (Mysteries of Love, Main Title)

Angelo Badalamenti: Twin Peaks: Fire Walk with Me (Main Theme)

Danny Elfman: Batman - Suite

Both are rips - no transcoding here. Without knowing how to edit aac files losslessly, I left it as it is, but the mp3 version in slightly lower quality is fully tracked and tagged. Enjoy!

great stuff thanks

I did record the HD stream of this - 320kbps AAC, but just after the Robin Hood suite started, it died because I tripped over my modem cable and ripped it out of the wall... putting a rather speedy end to my internet connection. I'll upload what I managed to get tomorrow; sound quality is simply gorgeous and even if it's only the first 30 minutes or so it's worth having.

Oh it is. Smashing! Even the mp3 version sounds surprisingly good.


Any thoughts here on Greenwood’s There Will be Blood? I found it laboured and amateurish in the movie; now I rather like it!

I did record the HD stream of this - 320kbps AAC, but just after the Robin Hood suite started, it died because I tripped over my modem cable and ripped it out of the wall... putting a rather speedy end to my internet connection. I'll upload what I managed to get tomorrow; sound quality is simply gorgeous and even if it's only the first 30 minutes or so it's worth having.

That has to suck dude, I can imagine the very many swear words issued after that little trip. Oh well, shit happens then you die.

You know those occasions where something so awful happens you actually don't swear? Uou just stand there looking dumbfounded and saying "Oh, no..."

It was kinda like that. ;)

Thanks Lens i�ll try it ;)

This thread is amazing. I've found a lot of great music from it. Thank you.

To revive the discussion about Giacchino from a few pages back, I have to say that I'm a pretty huge Giacchino fan. Some of his recent work ("Let me in," "Star Trek") and the like hasn't meshed with me, but I personally think the best stuff he's ever done is from LOST. The final season's soundtrack, particularly. The Medal Of Honor series was very great, but the stuff from the final season is just something I've never heard before. Songs from Across The Sea and The End are among the best I've ever heard. They just have this amazing atmosphere that I don't hear very often. I really like the music from Lost as a whole, but I think the final season's soundtrack surpasses everything to become my favorite score.

So I guess the thing I'm getting at; anyone have any suggestions on what to listen to that's comparable? Songs like:

YouTube - &#x202a;Don&#39;t Look At The Light (LOST: The Last Episodes - The Official Soundtrack)&#x202c;&rlm; (http://www.youtube.com/watch?v=tgiyxNGzaYk)
YouTube - &#x202a;The Hole Shabang (LOST: The Last Episodes - The Official Soundtrack)&#x202c;&rlm; (http://www.youtube.com/watch?v=7TNmzt4lZRk)
YouTube - &#x202a;LOST: The Last Episodes Soundtrack: "Locke v. Jack"&#x202c;&rlm; (http://www.youtube.com/watch?v=P9wrgZCKZs0)

Thanks!

You know those occasions where something so awful happens you actually don't swear? Uou just stand there looking dumbfounded and saying "Oh, no..."

It was kinda like that. ;)

I get ya. My dad and I are like that too. The more trivial the event the worse the swearing.

ANTONY AND CLEOPATRA - John Scott (1972)
Has anyone got either the original single LP or the expanded CD release for this fabulous score?
Cheers.

FOR SYMPHONIC LOVERS :)

(http://imageshack.us/photo/my-images/851/avba26604b.jpg/)

Mokke Sono Ongaku (Thread 91224)

Music by Yoshihiro Ike.

It is a mix up with good symphonic orchestration and traditional Japanese instruments.
The orchestral tracks, in my opinion are memorable, since they have not being able to get out of my head. :)

Hope you all enjoy it. ;)

Kritzerland Compilation
This is a combination of cues from a number of kritzerland releases and a few others from small labels. The purpose of this release is to get people to know what is released by these labels and go out and buy the music if you like it. Some of these are sold out already, and others are not. If I receive a PM request for one of these scores and find out that it is still available at the original label or from Screen Archives Entertainment I will not post the score in response to your PM. These labels provide sufficient samples to decide if music is worth buying so you can decide for yourself if you want it.

Download (http://www.multiupload.com/9I0NRMDO8X)

This contains music from the following scores:
Coup De Foudre (Louis Bacalov)
The Unforgiven (Dimitri Tiomkin)
Rhapsody of Steel (Dimitri Tiomkin)
Sadismo (Les Baxter)
Black Sunday (Les Baxter)
Fear Strikes Out (Elmer Bernstein)
The Tin Star (Elmer Bernstein)
The Boy and the Pirates (Albert Glasser)
A Bridge Too Far (John Addison)
It's A Mad Mad Mad Mad World (Ernest Gold)
One Eyed Jacks (Hugo Friedhofer)
Pirates (Philippe Sarde)
Mulholland Falls (Dave Grusin)
Cross of Iron/Good Luck Miss Wycoff (Ernest Gold)
Yellowbeard (John Morris)
The Way West (Bronislau Kaper)
A Dry White Season (Dave Grusin)
The Counterfeit Traitor (Alfred Newman)
Killing Me Softly (Patrick Doyle)
The Berlin Affair (Pino Donaggio)

Thanks a lot Sirusjr for the Kritzerland compilation :)

If anyone is interested to listen the sold out from Kritzland edition of Taras Bulba by Franz Waxman, then let me know.
I posted Taras some time ago in the thread, but the link is dead nowadays, so if you want i can re-up soon.

@ Sirusjr

Could you, please, upload the following scores:

Coup De Foudre (Luis Bacalov)
Mulholland Falls (Dave Grusin)
The Berlin Affair (Pino Donaggio)

Yoake Mae Yori Ruriino na Crescent Love
by Hiroyuki Sawano




MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=TXR42QC9)

@ Sirusjr

Could you, please, upload the following scores:

Coup De Foudre (Luis Bacalov)
Mulholland Falls (Dave Grusin)
The Berlin Affair (Pino Donaggio)

For right now I am not going to post Mulholland Falls or Berlin Affair because both are still available through kritzerland and screenarchives. You can grab the earlier release of mulholland falls that was posted
Here (Thread 80594)
Coup De Foudre is sold out from Quartet but is available on Screenarchives.

JUST SMILE WITH MIRAI ORANGE!


TOSHIHIKO SAHASHI
Element Hunters (Original Soundtrack Vol. 2) 2010
AKA Elementhunters, Eremento Hanta, エレメントハンタ







IMHO , not the best of Toshihiko sahashi, but there is some great moment anyway. thanks tangotreats

Any thoughts here on Greenwood’s There Will be Blood? I found it laboured and amateurish in the movie; now I rather like it!

I was passionately attractive to that score for quite a few months. First listens were kind of hard, but there was something really... addictive dug under that strings. You could listen the greed growing. In fact I still consider it the best score of that year, and listen to it regularly. Of course, I got on it because I'm a Radiohead addict, so my opinion could be just blind love xD
After that, Norwegian wood was quite dissapointing, I just couldn't get into it, it was quite boring experience. Best thing was to discover Can due to the 3 songs on the soundtrack.

By the way, last time I saw the movie (There Will Be Blood) I could heard slightly different versions on the film to the ones published. Did anybody heard about any rip version or an expanded one?

Thanks for this Naota M :)

Yoake Mae Yori Ruriino na Crescent Love is quite lovely! Thanks for posting. If I had simply prejudged this based on the quality of Gundam Unicorn soundtrack I would have skipped it. This is not the generic over-zimmerized crap like Gundam Unicorn.

So I am not the only that did not thought Gundam Unicorn something that great. I was feeling I was hearing a Game soundtrack, rather then a GUNDAM soundtrack.
I still say Toshihiko Sahashi did and astonishing work on Gundam Seeds. My opinion, of course. :)

I am a crazy man. I bought Ocarina of Time 3D solely for the soundtrack bonus.

Geez.

Maybe you Yoshihisa Hirano fans already have these, but they weren't posted in this thread, or I think on this forum at all. I had to do some Japanese searching to find them so I'll post them here to make it easier for others. I also improved the tags, although the titles aren't in English or Romaji unfortunately.


Harukanaru Toki no Naka de ~ Hachiyo Sho Original Soundtrack
http://www.mediafire.com/imgbnc.php/58c4da1d72996579fec405122f7086680402735813b9635ea9 008372b744720c6g.jpg
MP3 192 kbps - 63.83 MB (http://www.multiupload.com/P93LZFHC6H)

Harukanaru Toki no Naka de ~ The Movie Original Soundtrack
http://www.mediafire.com/imgbnc.php/f6c435aa7fad8e8c91b2fb57cdbe4c71edf62dca2fe5237186 08f1a6853f3ef76g.jpg
MP3 LAME 3.97b VBR0 - 88.39 MB (http://www.multiupload.com/KSQDJAYLDU)

Harukanaru Toki no Naka de 3 Kurenai no Tsuki Original Soundtrack
http://www.mediafire.com/imgbnc.php/71f6077e0005ab9e06c3db0f11ce907300508b99f0c0f9cd98 1bb270a5d0c5026g.jpg
MP3 320 kbps - 87.3 MB (http://www.multiupload.com/559FXH58DH)


The drama CD called 劇場版 遙かなる時空の中で 舞一夜 ～序～ (I have no English translation), which is connected to the movie, has five instrumental tracks on it by Hirano that are alternate versions/aren't on the movie OST. I uploaded it here (http://www.multiupload.com/O259C4DL19).

And I think the set of Hirano's soundtracks for the franchise is completed by Sirusjr's post of Harukanaru Toki no Naka de 3: Owari Naki Unmei (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/250.html#post1535978).


I was searching for all of Hirano's released music and I've found most of it, but the Doki Doki School Hours soundtrack has eluded me since Sirusjr's link is dead. Could I get a re-up? Also if anyone can find his two albums with Masako Hosoda under the name Bleu, music at one hundred hours and Le Miracle de la Rose (samples here (http://masakohosoda.com/release.html)), that would be cool!

Here is an edit of the Superman Returns main title I did:

YouTube - &#x202a;Theme From Superman [Superman Returns] (with choir and original start)&#x202c;&rlm; (http://www.youtube.com/watch?v=dHlfcRuIhn0)

:angel:FOR SYMPHONIC LOVERS:angel:

Another treat for you all. ;)

(http://imageshack.us/photo/my-images/822/wpcl10252.jpg/)

Saikano Ongaku Shu - THE LAST LOVE SONG ON THIS LITTLE PLANET (Yoshihiro Ike) (http://forums.ffshrine.org/f92/saikano-ongaku-shu-last-love-song-little-91377/#post1714044)

Thanks for those nothingtosay. I can re-up doki doki school hours for you in a day or two.

Dungeon Siege III
()
.MP3 VBR -0 @ 320 KBPS | 92 Tracks | Running Time: 2"57'30


http://www.megaupload.com/?d=WMO5PXPI

About the Music:

For all of the things that Obsidian Entertainment gets right – characters, plot, choices and consequences, merging of narrative and game mechanics, there are a few notable things that they almost get wrong. Lack of technical polish, and music. With the exception of Knights of the Old Republic II, and the two expansion packs for Neverwinter Nights 2, the music that accompanied Obsidian’s games were forgettable at best, and non-existent at worst.

Dungeon Siege III hits the ball right out of the park. The story deals with the death and resurrection of the Tenth Legion, and the soundtrack walks fine balance between requiem and heroic fanfare. Starting off with the somber “Main Theme”, we are musically introduced with slow strings and a soft, echoing chorus. The Main Theme never develops into a loud mouthpiece, never acting like a Marche, but more like a threnody. It speaks of the long, distant accomplishments of the Tenth Legion, and it gives a hint of what you – as one of the few remaining Legionnaires – will accomplish. It is not heroic, but that is not what the soundtrack aspires to be.

Even the theme of the Legion – personified in “The Rukkenvahl Chapterhouse” – has just reminiscent of heroism, instead of blasting it in loud horns and overwhelming chorus. The whole narrative deals with Death and Rebirth, and the soundtrack stays true to that idea with the “distant” feel of the music.

Oh, to be sure there is “loudness”, as is to be expected with any Fantasy score. The final boss theme, “The Corrupted Creator” is a wonderful example of how chorus can be used in a piece without overwhelming the rest of the instruments. It is empowering, adrenaline pounding, but it is also heroic and possessive of grace that is rare in a chorus piece. That applies doubly for a “final battle” theme. The same can be said of the second-to-last boss battle theme, “The Fires of Jeyne Kassynder”. There is just a near perfect balance of drums, thrusting strings and chorus. It is one of the best pieces in the entire soundtrack.

Nothing is perfect however. The high points of the soundtrack are whatever Jason Graves composed, with the worst being those written by Tim Wynn. This may fall to personal taste, but the Hans Zimmer/Media Venture inspired pieces not just feel out of place besides Graves’ orchestral pieces, but they are just plain boring. There is nothing by Wynn that you haven’t heard before in all the dozens of modern film scores. Fortunately, Graves’ music makes up the bulk of the soundtrack, with 72 of the 92 tracks.

Overall, this is a great score. Dunegon Siege III put Graves out of his element. Graves, who worked mostly in the realm of science fiction and horror, was put to the test with his first fantasy score. Thanks to his unconventionally somber approach, he came out on top.

About the Rip:

I am crazy. I am a madman, a lunatic, and I deserve to be locked up in any state funded asylum of your choice. That is the only explanation that would explain why I did this rip.

Let me explain myself. For whatever reason that escapes me, Obsidian’s sound engine decide to encode all of the music audio files – and not any of the sound effects, voiceovers, and ambience – as a random assortment of numbers. The music was given the exclusive privilege of giving you no idea what you are seeing until you double click the file and listen.

And there was 300 files when I started on this mad crusade. Two hundred and ninety-nine minutes worth of music. Great music to be sure, but I knew what I was getting myself into. A greater miracle yet was I able to come out of it with my sanity intact.

When I first got my hands on the .ogg files – and credits are due to bogol of the Final Fantasy Shrine for supplying them – I couldn’t make out even a quarter of the music. I recognized the final boss theme and the Main Theme without issue, but that rest was just a musical blur. The only way I was able to do an arranged soundtrack was for me to play the game again.

This was lessened thanks to the fact that the game is only 12 hours long. It’s not like The Witcher where I had to re-play a fifty hour game, so I suppose some things were looking in my favor.

Regardless, I will gladly tell you that finding some of these songs were atrociously hard. Blame it on me being obsessive with perfection, but I easily spent thirty minutes on finding a single song at times. And some of the times, I spent that much time looking for a song because I didn’t realize I had already numbered and named it.

With all that said, when I finally reached the game’s end I had around 12 or so files I was unable to “properly” organize. Since I refused to play through the game again just so for these 12 files, I decided to merge them or arrange them before/after with files that were “thematically similar and/or pleasing”. I didn’t so much as go for chronological integrity so much as I did with a better listening experience.

I also followed this idea with some of the files I had arranged properly but decided to move further ahead for climatic purposes. For example, “The Spire” was originally the fifth track “The Road of the Rukkenvahl”. The reason I did such a drastic change there was because it was only heard for 30 seconds at the beginning of the game before “The Burning Mansion” would cut in, and it just seemed more appropriate to have it listed as the Spire level’s theme.

Another example is “The Fires of Jeyne Kassynder”. It originally appeared several hours before hand, near the end of the Glitterdale Mines level. I moved it slightly forward so as to give it more thematic satisfaction, since it is also used when you fight Jeyne Kassynder. That file is also three different files merged together; the first two are major revisions of each other, the first being longer and more instrument heavy with the second being shorter and more chorus dependant. The last part is a short :23 piece that is all naked chorus. I put that there for a better conclusion to an already epic battle theme.

Many other files were merged due to the fact that they were very similar. They were essentially the same piece with added layers. Take note of this when you listen to “Gunderic Manor / The Dead Rise” and you will see what I mean. I merged these files for a better listening experience. Otherwise you would have had four files, one immediately following the next, with just different additions in instruments. I felt this was the better solution.


Oh, and one last thing, something which I forgot to include within the Linear Notes. If you love the music, buy the game. Yes, it just came out. Yes, it is $50-60. Yes, it will probably only take you around 10 hours a playthrough. But, not only is it a great game - well developed combat, interesting characters, and an interesting story by George Ziets - but it is basically the only way we can give the composers our support. Until Square-Enix gives us a commercial release - which I somehow doubt - this the only way we can tell Graves and Wynn: "Good job, keep up the good work. Gives us more wonderful music."

If we don't support the artists, we don't get art. It's as simple as that folks.

With that said, enjoy the music.

I don't see how buying the game is supporting the composers. That is about as indirect as you possibly can get. That is like saying "support James Horner, go see Avatar, or support Michael Giacchino, go see Super 8." I really don't see the connection there at all, or the point of spending $50-60 to buy a game with such low probability of actually helping out the composers when you can spend that money on other direct releases of music to support labels that are putting out quality releases week after week.

Second, based solely on my time with the demo and my time with what you said was one of your favorite cues, I don't see much too exciting about this music. Maybe it simply has to do with the sound of modern game scores and the combination of samples and orchestra (assuming they actually used one, as I can't tell sometimes) but I am not really getting any emotional response from the music. I thought the piece of music you sent me, track 84 was needlessly loud and sounded like any other generic media ventures style trailer music. Ostinato-driven piece, check, pounding drums, check, generic samples, check, sample choir check. I think I'll pass on this full set unless I hear some glowing reviews from other members of this thread.

I don't see how buying the game is supporting the composers. That is about as indirect as you possibly can get. That is like saying "support James Horner, go see Avatar, or support Michael Giacchino, go see Super 8." I really don't see the connection there at all, or the point of spending $50-60 to buy a game with such low probability of actually helping out the composers when you can spend that money on other direct releases of music to support labels that are putting out quality releases week after week.

Indirect as it is, it is at this point the only way to support the composers. I always held the belief that if the music is good, you should reward the composer in some manner. This seemed the most plausible way to do that.


Second, based solely on my time with the demo and my time with what you said was one of your favorite cues, I don't see much too exciting about this music. Maybe it simply has to do with the sound of modern game scores and the combination of samples and orchestra (assuming they actually used one, as I can't tell sometimes) but I am not really getting any emotional response from the music. I thought the piece of music you sent me, track 84 was needlessly loud and sounded like any other generic media ventures style trailer music. Ostinato-driven piece, check, pounding drums, check, generic samples, check, sample choir check. I think I'll pass on this full set unless I hear some glowing reviews from other members of this thread.

You use Ostinato as it is bad, but some of the greatest classical pieces make use of Ostinato. Rite of Spring has use of it in "Introduction" and "Augurs of Spring". So, Ostinato is by no means are qualification for bad composition, and certainly not a sole indicator of MV-like music. As for pounding drums...in that piece, the drums are tertiary in contrast to the chorus and strings. Pounding, yes - but most music does have "pounding" drums. It's usually a surprise to find the use of percussion that does not have this quality, even with releases in this thread. I don't understand where you are going with generic samples, so I'll skip your point. As for a sampled choir, I'm not surprised with that. Not every game has the budget for live instruments. Graves probably pushed for it, as he does with all of his jobs, but Obsidian (or Square-Enix) probably couldn't fit an orchestra into the budget. Just because it is synth doesn't mean it is bad - look at Final Fantasy! Some of the best game music of all time, and it is completely synth.

Perhaps the better way of supporting the composers is to buy some of their other work, both of whom have digital releases for sale.

By the way, I'm listening to Elemental Gearbolt, posted by klnerfan a few pages back, and it's been fantastic!

Yes doublehex, some Final Fantasy scores are purely synth, as are many Hitshi Sakimoto scores. However, they use a better sample set that has more charm than the one that has taken over lately and is used here. I can appreciate the lack of budget but that doesn't make me appreciate the music.

Buying the game to support the composer makes about as much sense as buying �2,000 plane tickets to a destination you don't want to visit, because you're a fan of the guy who designed the aircraft's curtains.

a) The composer got paid already; he receives no per-sale royalty; so whether the game sells one copy or fifty billion, he still made the same amount of money. Therefore, you are not supporting him financially.

b) The production company is hardly likely to look at high sales figures, surmise that they are due to Jason Graves or whoever writing the score, and thus give him a super-budget for whatever project is coming up next. Therefore, you are not supporting or assisting his career development.

c) It will not cross the man's mind in a thousand years that at least a percentage of sales were motivated by his work... and if it did, your average composer would probably think anybody who did that sort of thing was a raving nutcase. Therefore, you are not supporting him psychologically.

What else is left? To reward the composer, you have to do something that is a demonstrable reaction to his score; otherwise it serves no purpose at all. Go buy one of his albums. That will do the job. I don't have any games consoles and I don't play games at all apart from Doodle Jump to pass the time when I'm sitting on the toilet.

As for Graves, well, I find his name rather apt as it's where I find myself wishing I was whenever his music is playing... ;)

See now immediately

See now immediately

Not only does your post make no sense, but I have no idea how it relates to this conversation.

Of course, you are probably a bot.

Synth can be surprisingly good. Anyone hear the music from the fourth Tomb Raider game The Last Revelation? Dad and I always thought it was rather good, I'm just annoyed that it was stored on the CD-ROM in a lossy format, grr. Though if anyone wants it I may be able to share it.

I'm just annoyed that it was stored on the CD-ROM in a lossy format, grr.
Most game music on CD-ROM or DVD is in a lossy format, including the current generation. The vast majority is if you don't count sequenced music. If you want lossless, your only hope is usually a soundtrack CD release.


I am indeed enjoying the Hirano music. I've been working my way through it from the beginning and Strawberry Panic is next up, with Ouran High School Host Club on deck. I think the only issue is that he usually has to keep the tracks so short. It's not a problem, but of course they'd be more satisfying with twice the length. But when he gets four minutes, he uses it, like "Introitus" from Meine Lieb. I wish he'd get the chance to do more of that. I'm sure if he did a game soundtrack it would be great.

Doki Doki School Hours - Yoshihisa Hirano - VBR 256

Download (http://www.multiupload.com/UON41X42A2)

You have some interesting tastes mate, ha ha.

I am indeed enjoying the Hirano music. I've been working my way through it from the beginning and Strawberry Panic is next up, with Ouran High School Host Club on deck. I think the only issue is that he usually has to keep the tracks so short. It's not a problem, but of course they'd be more satisfying with twice the length. But when he gets four minutes, he uses it, like "Introitus" from Meine Lieb. I wish he'd get the chance to do more of that. I'm sure if he did a game soundtrack it would be great.

Well, he basically did do a game soundtrack with Final Fantasy 13. It's been discussed before, but it's fairly obvious that Hamauzu's contribution to the orchestral cues was basically minimal - particularly when comparing the finished cues as orchestrated by Hirano to the amateurish demos as prepared by Hamauzu!

You might want to re-sequence your listening and pick up Real Drive (Sennou Chousashitsu to those who like to use the Japanese titles) as it has some of Hirano's finest, lengthiest, genuinely symphonic cues. "RD Theme" is over five minutes. Kushima (Variations) is Hirano's very own contribution to the classical tradition of writing a variation on Paganini's 24th Caprice. Some of the finest music ever written, full stop - forget about "in anime", or "in film", or "by a contemporary composer" - without categorisation, it is great music.

Listening to the Harukanaru movie soundtrack was a bit of a shock, to be honest... Hirano writing almost conventional "film score" music (though in his inimitable style) on more than one occasion... Fascinating to hear that he can do that as well and still more amazing that all his trademarks are still there even when he tones the dissonance and chaotic high speed orchestrations right down. Track three... what a stunning piece - only seventy seconds long, but completely self contained, evocative, mature, and so very much in control at every note... It begins with one of the oldest cliches in film music - trilling woodwinds, tremolo strings, piano arpeggios, but almost from the outset Hirano starts stealthily building up layers of almost dissonance and breaks through into a lovely melody at 0:26. The rest of the cue is just glorious. Hirano turns the mundane into beauty every single time he writes.

Sirus - thanks for Doki Doki School Hours! This replaces a crappy quality rip I've been trying to get rid of for years and years. :)

arthierr
Thank you buddy. I'm so grateful...and I CANT wait to see your next treasure chest of goodies.

Streich
Thank you for that (J Williams sources). Yes, I knew of Stravinsky and Tchaikovsky, but I appreciate you sourcing some actual pieces. V interesting my friend. If you do have anymore thoughts on William's fantasia music I would be really interested. Streich, what do you think about Rautavaara's work? I think I might post some here. Its very mystical I find.

Here is a little compilation I just fixed up.

http://rapidshare.com/files/142314338/Cristobalito_s_-_BIG_ORCHESTRAL_THREAD_.rar.html

Yuzo Toyama - Matsura (Symphonic Poem) - Kauru Wada conducting
Ace Combat Zero - Balkan War (Mission 18) - Choral and Hard Beat
Dancing with Domz - Christophe Heral - Beyond Good and Evil Ost
Allegro Molto - William Walton- Sinfonia Concertante (Fast and interesting music)
Heal - ICO - Michiru Oshima (Think Silent Hill on a good day)
18 - Magic Knight Rayearth (melodic and lyrical)
Ominusha Overture - Masamichi Amano (Excellent choral music with hints of Goldenthal's Titus - makes Tyler Bates look shit)
Battle of the Planets - Symphonic Suite 10 - Koichi Sugiyama (God of game music)
Allegro molto - Symphony 1 - Douglas Bostock (Another fast and interesting orchestral piece)
Second Coming - Final Conflict - Jerry Goldsmith (Gorgeous choral overture)
Good One - John Williams - Phanton Menace Unreleased
Allegro fuoco - Janis Ivanovs - Symphony 5 - (Yet another exciting orchestral piece)
Chasing the Surfer - John Ottman - Rise of Silver Surfer
Finale (Allegro deciso) - Englund - Symphony 2 - Last cinematic classical piece

Hope you like my quick bash at this.
Enjoy

Can you please reupload the Matsura by Toyama please? I really like his music, do you have any his other music?
thanks a lot

Sirus - thanks for Doki Doki School Hours! This replaces a crappy quality rip I've been trying to get rid of for years and years. :)

LOL I guess you missed when I posted it way back when. I have the CD as well if you want FLAC.

Thanks for Doki Doki School Hours, Sirusjr. It is very lovely. I plan on picking up a copy myself since it's so cheap on Amazon.


Well, he basically did do a game soundtrack with Final Fantasy 13. It's been discussed before, but it's fairly obvious that Hamauzu's contribution to the orchestral cues was basically minimal - particularly when comparing the finished cues as orchestrated by Hirano to the amateurish demos as prepared by Hamauzu!

Hey, come on now, only one demo was released. :-P Technically there is also an early version of "Fang's Theme", but it's really his first draft, intended as a sequel to "Assault" from FFX. I think you can hear from Hamauzu's own work on the soundtrack, he's capable of more than amateur work. I think he probably purposely gave Hirano liberty with the pieces he did. In any case, regardless of how much composition he did on those tracks he orchestrated, they still only add up to half an hour. I'd like to hear a whole score done by him.


You might want to re-sequence your listening and pick up Real Drive (Sennou Chousashitsu to those who like to use the Japanese titles)
I have about 12 hours of plane flight tomorrow and I'm loading up my MP3 player now with Hirano. It better be good - I won't even have room for anything else after this! :D

Hamauzu can still orchestrate, but he doesn't do it often (Aquatic Ambience). His work on FFXIII was definitely some of his best, imo. Hirano's orchestrations perfectly highlight Hamauzu's music just as Hamaguchi did with Uematsu's. All the usual nuances Hamauzu puts into his scores are there. One of the things that gives that away is how the piano is used as a prominent instrument in the orchestrations. Take Nascent Requiem for example, the piano takes on a percussive role at times, but also a prominent leader in terms of melody.

With FF XIII I think that backbone (and by this I mean just melody) of these 30 minutes of the music is Hamauzu, but everything else is Hirano's work. You can clearly hear his style, his harmonies, his choral work etc. Hamauzu is nice composer, and I really like his music (that's why I love FF XIII OST and that's what made FF X score listenable), but I don't think he's capable to create such stunning orchestrations (and he has still some issues with music development imo, especially when it comes to action...). Atfer all he's a pianist in a first place. Still good composer, with his own voice.

Continuing the Disney theme:



http://rapidshare.com/files/226939793/Alan_Menken.rar
320kbps / 165 MB / 8 tracks / 1:11 mins

1. POCAHONTAS - Suite
(Pocahontas / Ship at Sea / Grandmother Willow / Council Meeting / Skirmish / The Warriors Arrive / Execution / Farewell)
2. 'Just Around the River Bend' in the style of Vaughan Williams *
3. 'Colours of the Wind' in the style of Dvoř�k *

4. THE LITTLE MERMAID - Suite
(Main Title / Fanfare / Fireworks/ Jig / Storm / Bedtime)

5. 'Beauty and the Beast' in the style of Rachmaninov *
6. BEAUTY AND THE BEAST - Suite
(Prologue / West Wing / Transformation 1 / Transformation 2)

7. THE HUNCHBACK OF NOTRE DAME - Suite
(Gypsy Dance / Paris Burning / Esmeralda / Santuary! / And He Shall Smite the Wicked)

8. ALADDIN - Suite
(Marketplace / The Cave of Wonders / The Kiss)

* Arrangements by Donald Fraser

Could someone please re-upload this one ?

Thanks

Hamauzu can still orchestrate, but he doesn't do it often (Aquatic Ambience). His work on FFXIII was definitely some of his best, imo. Hirano's orchestrations perfectly highlight Hamauzu's music just as Hamaguchi did with Uematsu's. All the usual nuances Hamauzu puts into his scores are there. One of the things that gives that away is how the piano is used as a prominent instrument in the orchestrations. Take Nascent Requiem for example, the piano takes on a percussive role at times, but also a prominent leader in terms of melody.

Aquatic Ambience was a lovely piece (and, notably, an arrangement of somebody else's melodies) but it's hardly a shining example of Hamauzu's orchestral prowess. I stand by my original statement that he either cannot orchestrate full stop; I would be willing to compromise that to say that perhaps he can orchestrate after a fashion but that his skills do not compare favourably with, say, Hirano's...

Highlighting his use of piano is interesting, as the prominent use of piano in action music as well as in a melodic context is a Hirano trademark. Yes, Hamauzu does it too... but even in these pieces, the execution is all Hirano. Yes, I know it's present in Hamauzu's sketches but, well, Hirano took a poorly executed good idea and turned it into a genuinely original action device. Nascent Requiem in Hirano's arrangement feels like it could almost be the first or last movement of a piano concerto.

"Giving the orchestrator liberty with his music" is a diplomatic way of saying that he handed poorly thought out, messy sketches to his orchestrator and relied heavily on his superior skills in realising the end product. As I have observed, and others (most recently Herbaciak) have also, the orchestral pieces in Final Fantasy 13 (and Dirge of Cerebrus) are, in terms of harmony, orchestral technique, instrumentation, and development, 100% Hirano. Even the base material - melody and rhythm - is significantly more mature in Hirano's arrangement than in the original sketches. The track "Feast Of Betrayal" is interesting, because it's the one straight symphonic piece in FF13 that wasn't orchestrated by Hirano - it was instead by Toshiyuki Oomori. It's a fair enough piece, but it has absolutely no orchestral flair; and compositionally it sounds like nothing more than a sketch.

All this probably suggests I have a problem with Hamauzu; I don't, I really like his music - but he clearly cannot write symphonic music; his talents lie elsewhere. If he could, why on earth would Hirano follow him around on every single project that has a budget, why would he not orchestrate one note of music himself - even Feast Of Betrayal which somebody else arranged and which sounded like cheap crap?

Hamaguchi's work with Uematsu is far closer to what I would term a traditional orchestrator relationship. Hamaguchi, more or less, took completed compositions by Uematsu and spread them out across a symphony orchestra. When I listen to the original tracks - even going back to Uematsu's stunning work with NES and SNES sound chips, it's basically all already there. Harmony is there, and if it's not it's implied by the music. The melodies - Uematsu's strongest suit and definitely not Hamauzu's - are there. The structure is there. All the orchestrator has to do is interpret that into a cohesive score for 80 musicians. There's no composition going on - just repurposing existing music for a different ensemble.

By comparison, Hirano appears to have composed most if not all of the FF13 pieces using various ideas and motifs by Hamauzu.

A lot of people like to pound Uematsu for his lack of musical education, but THE GUY CAN WRITE A TUNE. Something that you can whistle, something that you can remember, something that you can hear twenty years later and feel immediate nostalgia. And he can interpolate those tunes into completely coherent, evocative compositions. I think his music speaks far louder than his qualifications or his abilities (or lack thereof) regarding the more mundane, technical side of writing music.

I love FF13... but I can't sing a great deal of it. (If I try to sing Hirano's pieces, I end up with my neighbours thinking I am running an abattoir in my bedroom.)

Face Off - Action Overload Clip

Can anyone tell me the name of the backgroud music, please

Thanks for Dungeon Siege 3

I LOVE this type of music too! Very nice idea.

I have a bunch of "orchestral action" songs in my playlist, so I'm gonna share the ones I think you'll like. Some of these have a definite "modern" feel, but they're all pretty much orchestral (as in performed by an orchestra). And action-ey too, obviously.

I'm sure my song list is going to seem pretty crazy because of all the variety; but please don't pay attention to the song names, simply listen to them. I guarantee you'll enjoy them if you like this style.


ORCHESTRAL ACTION MUSIC PACK!


(NOTE: some of these are personal edits and/or have names made up/modified by me, sorry :laugh: )


1. Chrono Cross - Time's Scar (2:29)

2. Final Fantasy VIII - Battle Theme (Orchestrated) (3:45)

3. Star Wars Trilogy - John Williams - Hyperspace (3:47)

4. SWT - John Williams - The Asteroid Field (3:11)

5. SWT - John Williams - The Battle of Hoth (11:42)

6. Metallica - The call of Ktulu (Instrumental, S&M album :-D ) (9:34)

7. Evangelion the Movie 1.0 - Shirou Sagisi - Battaille Decisive (4:44)

8. Neon Genesis Evangelion - Shirou Sagisi - Decisive Battle (2:21)

9. N.G.E. - Shirou Sagisi - The Beast (N.G.E.) (1:36)

10. Pokemon - Battle! (1:03)

11. Pokemon - Spirit (1:45)

12. Super Smash Brothers Melee - Pokemon Stadium (1:48)

13. RAGE - Alive But Dead (Instr. Orchestra Version) (6:06)

14. RAGE - Alive But Dead (5:55)

15. Requiem for a dream theme (6:24)

16. Saint Seiya - Galaxian Wars (1:40)

17. Saint Seiya - Glide! Pegasus (1:43)

18. Saint Seiya - Golden Warriors (2:13)

19. Saint Seiya - Intense! Cosmo (0:35)

20. Saint Seiya - Revenger Phoenix (1:16)

21. Saint Seiya - Sanctuary, Precept of Death (1:09)

22. Saint Seiya - Seven Generals (1:47)

23. Scorpions - Crossfire (instrumental) (Moment of Glory album) (6:47)

24. Scorpions - Deadly Sting Suite (instrumental) (Moment of Glory) (7:19)

25. Superman the Animated Series - Main theme (1:00)

26. The Real Adventures Of Johnny Quest- Main theme (1:00)

27. Batman the animated series theme (1:01)


DOWNLOAD HERE! (Filefactory link) (http://www.filefactory.com/file/934379/n/Orchestral_action_rar)


I hope you like them as much as I do! (And if you did like them, please say so! :p)

the link is dead

any time

any time

Seriously? You do realize that this post was almost 3 years ago, right? Also, I haven't seen that poster around since I joined this forum almost two years ago.

And your point is?

Seriously? You do realize that this post was almost 3 years ago, right? Also, I haven't seen that poster around since I joined this forum almost two years ago.

no i did not know but now i do thanks

So, question fellas. I will be on vacation starting today, going from "Bawston" (Boston) to New York to Philadelphia. Any of you guys know of some awesome/legendary music shops I should check out in the Big Apple while I am in town?

Here's my parting gift. :)


JAMESTOWN: LEGEND OF THE LOST COLONY
FRANCISCO CERDA

.MP3 VBR -0 @ 320 KBPS | 17 Tracks | Running Time: 39'25


http://www.megaupload.com/?d=0I7SFG9Z

About the Music:

The thing about great music is that it has a tendency to come from the unlikeliest of places. In the day and age of synthesized orchestra, it is becoming more and more probable for you to find great music with the “underdogs”.

When I downloaded Jamestown, I was not expecting a great orchestral score. Sure, it is done by synth, but the philosophy of orchestral music is there. Despite how the gameplay gives allusion to the old school SHMUP game mechanics, the music is definitely theatrical in nature. Every song is superbly written – especially the final level and boss themes.

Allow me to single out these specific tracks, “The Lost Temple of Croatoa” and “The Heart of Mars”. These two are great examples of how to do a chorus right. It is so easy, especially in this day and age, to think that so long as chorus is loud and done in unison with percussion that it is good. But here, the chorus is not necessarily loud so much as dominant, and it is not going on constant throughout either of the tracks. All of the instruments – the percussion, the strings, and woodwinds – are given their time to shine. And they work together so seamlessly, so well. These two tracks are fantastic. I’ll go out of the way to say that even if these two tracks were the only good tracks in the entire score – which is not the case – they would be worth the download by themselves.

“The Journey Through the Dark Sector” is another great piece. In that level the player is leaving the domain of the English and penetrating enemy territory, and in there they unravel a dark secret of Mars. The track displays tension and a foreboding sense that works just as well in game as it does outside it.

I don’t know where Francisco Cerda came from, but I hope he stays in the video game music scene. The world deserves to hear more great music from him.

About the Rip:

Credits go to Diablo1123 of the Jamestown sub-forum on the Steam forums for writing out the program I used to extract the music files.

The files were encoded in .ogg. I used dbPowerAmp, set at VBR 320kbps -0 to convert them to .mp3. After that it was a mixture of memory and quick glances at YouTube videos to proprerly arrange the files into a chronological soundtrack. Some of the files were used twice for the after level cutscenes - "A New World" and "Virginia Dare" in particular. Also, "Boss Battle" is used for every end level boss battle, excluding the second stage of the Conquistador battle, which then "The Heart of Mars" is played.

1. Francisco Cerda - Prologue (2:25)
2. Francisco Cerda - Main Menu (1:31)
3. Francisco Cerda - Ship Selection (0:55)
4. Francisco Cerda - The New World (2:19)
5. Francisco Cerda - War Upon the East Frontier (2:05)
6. Francisco Cerda - Boss Battle (2:22)
7. Francisco Cerda - Game Over (1:26)
8. Francisco Cerda - Level Complete (0:11)
9. Francisco Cerda - The Journey Through the Dark Sector (4:29)
10. Francisco Cerda - Virginia Dare (2:15)
11. Francisco Cerda - Prisoner of the Badlands (2:54)
12. Francisco Cerda - The Secret Mines of New Madrid (2:28)
13. Francisco Cerda - The Lost Temple of Croatoa (3:55)
14. Francisco Cerda - The Heart of Mars (4:52)
15. Francisco Cerda - Victory! (0:27)
16. Francisco Cerda - Dawn (1:12)
17. Francisco Cerda - Credits (3:30)

By the way, for UK resident users here, at 8PM on Friday there was a John Barry memorial concert on BBC Radio 2- grab it off iPlayer quick.

"...The Royal Philharmonic Orchestra is conducted by Nicholas Dodd with a programme assembled by John's wife Laurie Barry and composer David Arnold. There will be performances from Dame Shirley Bassey, Rumer and Wynne Evans, as well as tributes from Don Black, Sir Michael Caine, Timothy Dalton, Sir George Martin, and Sir Tim Rice.

This concert opens Friday Night Music Night's Film Season which will also feature Brit School students performing classics from the silver screen, songs from Shrek the Musical, and a musical celebration of British film comedy."

I'd rip it for everyone else not so fortunate to have access to iPlayer, but unfortunately I don't know how. But a film music season with lots of classics from the silver screen? Sounds like a treat is in store over the coming weeks...

erotic foreplays

?? What??

erotic foreplays

And the award for most absurd posting goes to... :rolleyes:

Thanks for the recent postings. All the Hamauzu talk convinced me to give at least the orchestral tracks of FFXIII another listen; had the whole soundtrack at one point, but after playing through the first few hours of the game with its pathetic excuse of a story, I was too disgusted to keep the music. I'll only say that I need to hear more of Hirano's work -- "Nascent Requiem" is sublime.

It's also been too long since I've posted. Here's hoping for a good find or two tomorrow...

I was at that John Barry Concert. It was absolutely wonderful, but Rumer made an absolute bollocks of We Have All The Time In The World. And Nicholas Dodd threatened the audience with a beating because they started to applaud whilst the music was still playing. (The two people in the hall who waited until it was actually finished; myself and my fiancee.)

David Arnold's performance - vocal and guitar - was absolutely heartbreaking. For all the pyrotechnics, big stars, big tunes and theatrics of the night... there was the simple, touching sight of one man singing a song to say goodbye to his friend.

I will be uploading for the benefit of those with no access to iPlayer... but you should prepare yourselves for the following: BBC Radio 3 is the BBC's "high-brow" station and as such broadcasts at a high bitrate and with no dynamics compression. BBC Radio 2 by comparison is popular, all genres... so it broadcasts at 128kbps (AAC, mind you) and has some fairly extreme dynamics compression... this concert does not sound good. It sounds OK - but it sounds like Radio 2, which isn't geared up for symphonic programmes.

Here's hoping there will be a DVD or Bluray of this concert sooner or later; there were TV cameras present so it was obviously recorded.

I was at that John Barry Concert. It was absolutely wonderful, but Rumer made an absolute bollocks of We Have All The Time In The World. And Nicholas Dodd threatened the audience with a beating because they started to applaud whilst the music was still playing. (The two people in the hall who waited until it was actually finished; myself and my fiancee.)

David Arnold's performance - vocal and guitar - was absolutely heartbreaking. For all the pyrotechnics, big stars, big tunes and theatrics of the night... there was the simple, touching sight of one man singing a song to say goodbye to his friend.

I will be uploading for the benefit of those with no access to iPlayer... but you should prepare yourselves for the following: BBC Radio 3 is the BBC's "high-brow" station and as such broadcasts at a high bitrate and with no dynamics compression. BBC Radio 2 by comparison is popular, all genres... so it broadcasts at 128kbps (AAC, mind you) and has some fairly extreme dynamics compression... this concert does not sound good. It sounds OK - but it sounds like Radio 2, which isn't geared up for symphonic programmes.

Here's hoping there will be a DVD or Bluray of this concert sooner or later; there were TV cameras present so it was obviously recorded.

Thanks for doing this look forward to it ....


Also with it been Herrmanns 100th is anyone going to be uploading any of the radio shows and concert tributes ?? Thanks!!

Thanks for the recent postings. All the Hamauzu talk convinced me to give at least the orchestral tracks of FFXIII another listen; had the whole soundtrack at one point, but after playing through the first few hours of the game with its pathetic excuse of a story, I was too disgusted to keep the music. I'll only say that I need to hear more of Hirano's work -- "Nascent Requiem" is sublime.

It's also been too long since I've posted. Here's hoping for a good find or two tomorrow...

It doesn't really get much better than the music Hirano wrote for FFXIII, however I think the closest thing is the music for Bantorra. I know many like death note music but the clipping on there is so bad it drives me nuts. Break Blade has some awesome music in the more epic/choral sounding. Then a lot of Hirano's scores are more in the jazzy mellow side, like Chu Bra or Doki Doki School Hours. Nothing bad about it, just not the same idea.

Just a heads-up for anyone tied to a computer/radio tonight at 9pm. NYC radio station WQXR (http://www.wqxr.org/programs/movies/2011/jul/02/) will be playing a bunch of superhero flim music including "selections" from Alan Silvestri's upcoming score for 'Captain America.' Not sure if there will be insightful commentary. Cheers.

I promised this a while ago and then completely forgot about it. Hope the wait is worth it.

In 2008, the Allison and Lillia and Treize light novels got adapted into a 26-episode anime series by Madhouse, dubbed Allison and Lillia. The first 13 episodes follow the teenage adventurer Allison while the remaining episodes do a timeskip and follow Allison's daughter Lillia. There is a steampunk/1930's feel to the entire show, and World War II is also an influence. The series has a ton of action in it, and darkens considerably during Lillia's story.

Fittingly, the two soundtracks for the show are split evenly, one OST follows Allison while the other follows Lillia. Both are orchestral scores though there are some ethnic percussion and light electronic elements. Allison's score is more energetic and uplifting, while Lillia's score is generally bleaker and more subdued. Each soundtrack also contains a piece of theme music to the series, and an insert song called "UBERS MEER" appears at the end of the first OST.

This will be a brief exclusive to this thread and eventually will be posted on the Anime Music forum.

The composer is Shusei Murai.

Allison and Lillia Original Soundtrack



MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=W0BL6DJK)

Allison and Lillia Original Soundtrack 2



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

Enjoy!

Aquatic Ambience was a lovely piece (and, notably, an arrangement of somebody else's melodies) but it's hardly a shining example of Hamauzu's orchestral prowess. I stand by my original statement that he either cannot orchestrate full stop; I would be willing to compromise that to say that perhaps he can orchestrate after a fashion but that his skills do not compare favourably with, say, Hirano's...

Highlighting his use of piano is interesting, as the prominent use of piano in action music as well as in a melodic context is a Hirano trademark. Yes, Hamauzu does it too... but even in these pieces, the execution is all Hirano. Yes, I know it's present in Hamauzu's sketches but, well, Hirano took a poorly executed good idea and turned it into a genuinely original action device. Nascent Requiem in Hirano's arrangement feels like it could almost be the first or last movement of a piano concerto.

"Giving the orchestrator liberty with his music" is a diplomatic way of saying that he handed poorly thought out, messy sketches to his orchestrator and relied heavily on his superior skills in realising the end product. As I have observed, and others (most recently Herbaciak) have also, the orchestral pieces in Final Fantasy 13 (and Dirge of Cerebrus) are, in terms of harmony, orchestral technique, instrumentation, and development, 100% Hirano. Even the base material - melody and rhythm - is significantly more mature in Hirano's arrangement than in the original sketches. The track "Feast Of Betrayal" is interesting, because it's the one straight symphonic piece in FF13 that wasn't orchestrated by Hirano - it was instead by Toshiyuki Oomori. It's a fair enough piece, but it has absolutely no orchestral flair; and compositionally it sounds like nothing more than a sketch.

All this probably suggests I have a problem with Hamauzu; I don't, I really like his music - but he clearly cannot write symphonic music; his talents lie elsewhere. If he could, why on earth would Hirano follow him around on every single project that has a budget, why would he not orchestrate one note of music himself - even Feast Of Betrayal which somebody else arranged and which sounded like cheap crap?

Hamaguchi's work with Uematsu is far closer to what I would term a traditional orchestrator relationship. Hamaguchi, more or less, took completed compositions by Uematsu and spread them out across a symphony orchestra. When I listen to the original tracks - even going back to Uematsu's stunning work with NES and SNES sound chips, it's basically all already there. Harmony is there, and if it's not it's implied by the music. The melodies - Uematsu's strongest suit and definitely not Hamauzu's - are there. The structure is there. All the orchestrator has to do is interpret that into a cohesive score for 80 musicians. There's no composition going on - just repurposing existing music for a different ensemble.

By comparison, Hirano appears to have composed most if not all of the FF13 pieces using various ideas and motifs by Hamauzu.

A lot of people like to pound Uematsu for his lack of musical education, but THE GUY CAN WRITE A TUNE. Something that you can whistle, something that you can remember, something that you can hear twenty years later and feel immediate nostalgia. And he can interpolate those tunes into completely coherent, evocative compositions. I think his music speaks far louder than his qualifications or his abilities (or lack thereof) regarding the more mundane, technical side of writing music.

I love FF13... but I can't sing a great deal of it. (If I try to sing Hirano's pieces, I end up with my neighbours thinking I am running an abattoir in my bedroom.)

Your argument makes sense, but I can hum a lot of Hamauzu's melodies ;). To each his own I guess, but I still believe the man can write better than most give him credit. Hirano only orchestrated a handful of FFXIII, but you can't forget the catchy Blinded by Light, Gapra Whitewood, Ragnarok, March of the Dreadnoughts, etc. I didn't even know that he could write blues and jazz! Might you point me to some of Hirano's orchestral music?

Your argument makes sense, but I can hum a lot of Hamauzu's melodies ;). To each his own I guess, but I still believe the man can write better than most give him credit. Hirano only orchestrated a handful of FFXIII, but you can't forget the catchy Blinded by Light, Gapra Whitewood, Ragnarok, March of the Dreadnoughts, etc. I didn't even know that he could write blues and jazz! Might you point me to some of Hirano's orchestral music?

Ugh I just can't stand Gapra Whitewood, probably the WORST cue on the entire score for me. The voice of the girl sounds like she is high or retarded. I had to mute the sound in that area in the game.

Everything i hoped for is in the about ten minutes i just heard from Alan Silvestris Captain America score.Its on its way to be the most heroic and rousing superhero action score since Sky Captain and the World of Tomorrow.Its like an Combination of Medal of Honour and Predator.I will post more when the show can be replayed.thats just my first thought.i honestly almost cried of joy.

Everything i hoped for is in the about ten minutes i just heard from Alan Silvestris Captain America score.Its on its way to be the most heroic and rousing superhero action score since Sky Captain and the World of Tomorrow.Its like an Combination of Medal of Honour and Predator.I will post more when the show can be replayed.thats just my first thought.i honestly almost cried of joy.

Yes, it was nice, and to hear it with a solid theme. You can listen to it here:
Movies on the Radio: Superheroics - WQXR (http://www.wqxr.org/programs/movies/2011/jul/02/)
First Part: 30:07-38:20
Second Part: 50:55-56:14

And for some comparison, here is the Copland piece that he mentions is stylistically mimicked
YouTube - &#x202a;Aaron Copland - Fanfare for the Common Man&#x202c;&rlm; (http://www.youtube.com/watch?v=cr6CnG5dmvM&feature=related)

Alan Silvestris Captain America

Well, nothing actually grabbed my attention here, main theme is far from great (but not PoS either), but there is a chance for solid score. Oh, game scores are temp tracks now? Cquse it really sounds like moh at times... But it's nice that it's pure orchestral. By the way, great comment after second part of the score :D. So... there's still time to reject it I guess xD.

http://www.youtube.com/watch?v=5oDrB7agzhM
when the break comes switch to the other link fpr improved audio


http://www.youtube.com/watch?v=DGihg5KtlUc

Can�t wait for the CD. The Predator meets MoH action is perfect.

[/COLOR]
Well, nothing actually grabbed my attention here, main theme is far from great (but not PoS either), but there is a chance for solid score. Oh, game scores are temp tracks now? Cquse it really sounds like moh at times... But it's nice that it's pure orchestral. By the way, great comment after second part of the score :D. So... there's still time to reject it I guess xD.


have you heard of a sample already of music by Alan Silvestri to Cap TFA?...if you did where?

have you heard of a sample already of music by Alan Silvestri to Cap TFA?...if you did where?

---------- Post added at 06:20 PM ---------- Previous post was at 06:20 PM ----------




have you heard of a sample already of music by Alan Silvestri to Cap TFA?...if you did where?
have posted 13 minutes from captain america in the above post as youtube links.

thanks Sirusjr and hater for posting the link, it looks promising enough to me :D and finally it looks like a solid orchestral piece for the Captain's music!

oh btw "it did grabbed my attention, big time!" :D

Tango will find a way to trash it thats for sure...for whatever reasons.I don�t hear anything less than the classic silvestri without modern shannanigans. thats how G.I.Joe and ATeam should�ve been.And there is much more where this came from.Chances are that there might be some modern parts during the modern day scenes.but thats a price i pay gladly for the big orchestral action music which there is plenty of.

Tango will find a way to trash it thats for sure...for whatever reasons.I don�t hear anything less than the classic silvestri without modern shannanigans. thats how G.I.Joe and ATeam should�ve been.And there is much more where this came from.Chances are that there might be some modern parts during the modern day scenes.but thats a price i pay gladly for the big orchestral action music which there is plenty of.

lol, well to each his own... :D but its still the opposing views and tastes which makes for a better assessment. Your right even the Joe's and the A team has its own fair share of dislikes and criticisms, well and so is HP part 2 and Transformers 3. nothing is so good without ever been measured in the musical yardsticks with the likes of the Williams, Goldsmiths etc...

btw i made a simple Cap Wallpaper back at my blog, if your interested you may use it for your music sample posts in YT. just dropby at my profile page as I don't wanna advertise it here to avoid being cited for advertising and all... :)

Composer of Allison and Lillia please?

Captain America sounds like classic Silvestri. A huge improvement over A*Team. I'm definitely looking forward to the music, at least. (Still not sold on the movie. Captain America is an inherently stupid concept, but Joe Johnston is a good director...)

Composer of Allison and Lillia please?

Shusei Murai. I clarified as such in the above A&L post.

scoringfan: Murai Shusei.

[Edit: Ah, I've been beaten]

Allison To Lillia must be one of the smallest orchestras ever assembled; but it has so much charm! Even the crummy synthesised percussion doesn't put me off a great deal. By coincidence, I've just started watching the anime last week - I'm up to episode 3 now.

Well, Captain America is better than I was honestly expecting... but it remains overwhelmingly drab. I love how people have anticipated my dislike of it almost as though hating something is all I'm capable of doing. Not so. But I tell it the way it is.

Yet again, a desperately average score has been humiliatingly over-hyped for the sole reason that it's an improvement on 99.9% of Hollywood's usual trash.

It's certainly the "least-tarnished" blockbuster score in recent years, as far as the Remote Control influences go - and it deserves oodles of praise for that. I notice that it has been described as "the most rousing superhero score since Sky Captain" - which I would agree with, but only because between Sky Captain and Captain America, there have been precisely zero superhero scores worth talking about, with the exception of Powell's entry in the X-Men franchise. Apart from that, the cupboard has been bare.

It has a theme - a generic, unmemorable theme, but a theme nonetheless. It appears to be performed by a symphony orchestra without the customary "enrichment" of fifty thousand cheap keyboards and taiko drums.

But classic Silvestri? Come on, really... If Silvestri had written this twenty years ago it would've been universally reviewed as a boring piece of crap. It will do better in 2011 by virtue of the fact that it has absolutely no competition. Apart from that, I honestly can't see it getting many spins from me - for real classic Silvestri, I will play Back To The Future, Who Framed Roger Rabbit, or The Abyss. Or, for slightly-more-recent Silvestri, The Mummy Returns or The Polar Express.

Captain America - firmly in the category of "heading in the right direction, but not there yet."

Peace :)

Are you kidding? Powell's X-Men was a boring pile of mush. I can't remember a single note or motif or movement from that score. John Ottman's "Superman Returns", from the same year, was infinitely better. (Hell, I even prefer his drab X2 to the saccharin "X-Men 3".)

I don't know. I've been a huge fan of Silvestri ever since I first heard "Back to the Future" as a kid. Personally, that 14-minutes snippet has everything I would want from an Alan Silvestri score to a movie called "Captain America: The First Avenger (TM)". The main theme is suitably nostalgic and yearning, which seems to be the vibe the trailers are trying to go for. The more I listen to it, the more I find it sticking around in my head. The action cues are about what I would expect from the guy who did "Predator 2" and "Eraser", which is a good thing. If it sounded like "A*Team", then that would be a bad thing. :-)

So...I just can't think of anything to critique. There's certainly room for the other 46 minutes of the album to disappoint, as was the case with John Debney's stillborn "Iron Man 2", but this sample by itself works for me.

P.S. I don't care for the movie or music of "The Abyss". As far as "Close Encounters" knock-offs go, "Cocoon" was better.

Are you kidding? Powell's X-Men was a boring pile of mush. I can't remember a single note or motif or movement from that score. John Ottman's "Superman Returns", from the same year, was infinitely better. (Hell, I even prefer his drab X2 to the saccharin "X-Men 3".)

I don't know. I've been a huge fan of Silvestri ever since I first heard "Back to the Future" as a kid. Personally, that 14-minutes snippet has everything I would want from an Alan Silvestri score to a movie called "Captain America: The First Avenger (TM)". The main theme is suitably nostalgic and yearning, which seems to be the vibe the trailers are trying to go for. The more I listen to it, the more I find it sticking around in my head. The action cues are about what I would expect from the guy who did "Predator 2" and "Eraser", which is a good thing. If it sounded like "A*Team", then that would be a bad thing. :-)

So...I just can't think of anything to critique. There's certainly room for the other 46 minutes of the album to disappoint, as was the case with John Debney's stillborn "Iron Man 2", but this sample by itself works for me.

P.S. I don't care for the movie or music of "The Abyss". As far as "Close Encounters" knock-offs go, "Cocoon" was better.

the album is 72mins with one short funny song and there are indeed 2 ( albeit brief) moments of modern synth and electronic percussion, propably for the modern day scenes.and i�m sure its far from being complete.The only rival is TinTin, Warhorse sounds and looks really generic.And i really love Xmen Last Stand.The Phoenix sequence music is unique and very powerful.Not as great as How to Train your Dragon as a whole, but good enough.

Sorry, don't know how I missed it.

War Horse sounds generic (based on 90 seconds of music)... Captain America is one of the best superhero scores ever written... Does not compute, error, divide by zero, FFFFUUUUUUUUUUUUUUUUU...

Sorry, don't get this at all. What we've heard of War Horse so far (ie, next to nothing) is pure Williams and categorically not generic in any way at all... and we know nothing of the score except for a poorly edited trailer version of the theme.

And this is a spectacularly dull melange of orchestration held together by an instantly forgettable motif-masquerading-as-a-theme and cliched "Silvestri-isms".

I really, really hope that these samples constitute the crappy parts of the score... but something tells me they will be the highlights.

As previously stated, yeah, this is a cut above the usual dreck; a penny floating in a puddle of piss compares favourably. (But it really isn't worth getting down on your hands and knees to pick it up...)

Are you kidding? Powell's X-Men was a boring pile of mush. I can't remember a single note or motif or movement from that score. John Ottman's "Superman Returns", from the same year, was infinitely better. (Hell, I even prefer his drab X2 to the saccharin "X-Men 3".)

I don't know. I've been a huge fan of Silvestri ever since I first heard "Back to the Future" as a kid. Personally, that 14-minutes snippet has everything I would want from an Alan Silvestri score to a movie called "Captain America: The First Avenger (TM)". The main theme is suitably nostalgic and yearning, which seems to be the vibe the trailers are trying to go for. The more I listen to it, the more I find it sticking around in my head. The action cues are about what I would expect from the guy who did "Predator 2" and "Eraser", which is a good thing. If it sounded like "A*Team", then that would be a bad thing. :-)

So...I just can't think of anything to critique. There's certainly room for the other 46 minutes of the album to disappoint, as was the case with John Debney's stillborn "Iron Man 2", but this sample by itself works for me.

P.S. I don't care for the movie or music of "The Abyss". As far as "Close Encounters" knock-offs go, "Cocoon" was better.

I tend to disagree Powell's score for X-men was the only one that stood out for me. The emotions presented just give me goosebumps, such as Whirlpool of Love. Let's not forget the epic battle music such as Cure Wars or even Dark Phoenix Rising. I found this score to be soaring, elegant, epic and emotionally evocative :). Although Last Stand is certainly not Powell's best for I think his best lies in How to Train Your Dragon, imo.

Why are people so enamoured with HTTYD? I have never been so bored by a score in all my LIFE. And I sat through Dawn Treader.

Just passing by, new Sahashi spotted: http://forums.ffshrine.org/f91/official-toshihiko-sahashi-thread-mp3-mediafire-orchestral-72009/6.html and it's the usual Sahashi I love.
Regarding HTTYD, I thought it was enjoyable the first few times but strangely, it became boring overtime and now I couldn't care less for it. Chicken Run remains my favorite Powel score even when it was technically a collaboration.

Also, I have a massive compilation coming up, I made it after I listened to all of these recent "epic" movie scores. It shows the potential of the medium of videogames, which is quickly becoming the next home for golden and silver age style scores. And most of those pieces are already performed in concert halls http://www.youtube.com/user/linguamortua#p/u/2/WyntCk8IUjw

HOLLYWOOD RHAPSODY
John Wilson conducting the BBC Symphony Orchestra & Chorus



MP4/AAC
Hollywood Rhapsody.rar (http://www.mediafire.com/?0ujquk3ctz34bbm)

Tango and I were lucky enough to attend this concert in January at the Barbican in London. I’ve been on the look-out for its eventual BBC airing, and now here it is! Golden-Age specialist and champion John Wilson put together a fabulous programme and had the orchestra playing their hearts out. There was visible �lan from all involved and the audience responded accordingly. It would be silly to talk about ‘highlights’ - every piece is essential - but particularly special for me was the lush, swooning two-movement suite from The Bad and the Beautiful and the sublime Song of Bernadette (probably in my top 10 of-all-time).


Korngold: Kings Row - Main Title
Waxman: Prince Valiant - Suite
Raksin: The Bad and the Beautiful - Suite
Kaper: Mutiny on the Bounty - Overture
Rozsa: Madame Bovary - Waltz
Salinger: Silk Stockings
Stothart /Arlen: Wizard of Oz - Suite
Interval - the Cory Band - Glenn Miller tribute
Newman: Airport - Main Title
Newman: Song of Bernadette - Overture and Vision
Herrmann: North by Northwest - Suite
Steiner: Gone with the Wind - Suite

This is a rip of the native AAC broadcast that, after much googling, head-scratching and program crashing, I finally found a way to losslessly slice into convenient portions :) Enjoy!

with Korngold, Waxman, Rosza, Steiner, Newman, & Herrmann in it I would gladly listen to this classical scores again as Interpreted by J. Wilson (though honestly I am not familiar with the guy) It would be hard to let it slide for me without hearing this. so thank you for sharing! :)

AW, DAMMIT, I missed it!

I was really hoping to catch this one as it was broadcast, as I wanted to capture the 320kbps AAC stream instead of the 192kbps iPlayer stream... That damn ticking noise is present in all of the iPlayer recordings but not in the 320 stream.

Thank you VERY much for the upload though, my friend - that concert seems so long ago now, doesn't it? Wonderful to be able to relive it. :)

Many, many thanks for this, Lens. Looking forward to giving this one a go.


AW, DAMMIT, I missed it!

I was really hoping to catch this one as it was broadcast, as I wanted to capture the 320kbps AAC stream instead of the 192kbps iPlayer stream... That damn ticking noise is present in all of the iPlayer recordings but not in the 320 stream.

Thank you VERY much for the upload though, my friend - that concert seems so long ago now, doesn't it? Wonderful to be able to relive it. :)

You've just been missing everything this year, huh? Least you got to go, lucky sod. ;) Still looking for some kind of Legends download, maself.

Such a great taste of music from the greats. If someone is looking for more from a given composer here, most of the re-issues of the Gerhardt collections have been posted on the forums in lossless. Of course, I highly suggest those of you who are not familiar with Rozsa, Waxman, Herrmann, Steiner, Tiomkin (though sadly not represented), Kaper, Stothart, Newman, and Bernstein (also sadly not present) to check out some of their releases, especially some of the better surviving scores.

AW, DAMMIT, I missed it!

I spent most of June with my eyes peeled and then, just when I look away, they slip it out on the 28th titled simply 'Afternoon on 3 - Light Fantastic episode 2' :mad: They don't seem to know what they're doing even a week in advance - so frustrating! And what's more I don't think this counts as 'light' music... At least it's here in some form and I hasten to add that, apart from the strange ticking artefact (sort it out iplayer!), the sound is very good.

[Also, the word on the street is that Wilson has a cd or two in the pipeline.. :)]

Listening again, I think North by Northwest holds up really well - I don't know why I felt it was the weak link on the night!


Such a great taste of music from the greats. If someone is looking for more from a given composer here, most of the re-issues of the Gerhardt collections have been posted on the forums in lossless.

Yes! The reissues are, in several cases, a huge improvement in clarity on the originals. I'm thinking in particular of the Steiner disc and the suite from The Fountainhead.

I remember being rather underwhelmed by Airport... perhaps I am being more forgiving now, because I'm enjoying the whole thing. It actually does a remarkable job of capturing the atmosphere. Right from those opening bars of Star Wa... uh... Kings Row, the feeling of occasion is tangible.


I hasten to add that, apart from the strange ticking artefact (sort it out iplayer!),

You mean you can hear it too????!

I have spoken of this artifact to many people for many years and have met the same one-dimensional thinking that we encountered when we dared to criticise Fitzpatrick's shameful auditory rape of Conan The Barbarian.

There is not a jot of information about it anywhere to be seen. I'm tempted to write to the Beeb. I've had some success with their technical department in the past.

(Proudest moment; when the first Doctor Who concert was broadcast on Red Button in 2006 - anticipating a poor quality end result due to the fact that the Red Button audio usually transmitted at 128kbps, I wrote to the BBC not expecting any sort of response at all. A week later, I got a letter back from the BBC Wales engineering department, who thanked me for my foresight and agreed to increase the audio bitrate to 192kbps for the concert. Sure enough, the concert was broadcast at 192kbps.)

I definitely hear the artifact as well. It is quite quiet and you would have to have decent hearing to notice it. I also had the entire program seriously cranked up on my system to hear it over my fan though. I wonder what would cause such a thing to be on their recordings.

I didn't want to mention it at first because I'd hate for something relatively minor to put people off listening to these wonderful performances, but it is bothersome. It's definitely not a peculiarity of the ripping process because it sounds the same streamed from the iplayer site. I'd kill to hear this in tick-free 320.

Huge Thanks Lens, it has been ages since I last listened to the music of the old masters.

[CENTER]HOLLYWOOD RHAPSODY
John Wilson conducting the BBC Symphony Orchestra & Chorus



MP4/AAC
Hollywood Rhapsody.rar (http://www.mediafire.com/?0ujquk3ctz34bbm)





wow! I really have a good time listening to all the masterpieces & all time classic scores contained in this album. there's always that indescribable feeling of being somewhat transported in the pages of time with all the emotional richness conveyed in the scores...personal favorite of mine would have to be Max Steiner's "Gone With the Wind" & "The Bad & The Beautiful" by David Raksin but to sum it all this is one great album compilations!...Now at least I have a sample of John Wilson's conducting prowess. and even a few clicks/glitches is not enough for me to stop enjoying this. Awesome!!

Lens Of Truth, thank you!! :D

Silvestri's Captain America theme sounds a lot like Ira Newborn's theme to BASEketball.

Silvestri's Captain America theme sounds a lot like Ira Newborn's theme to BASEketball.
is there even a bootleg of BASEketball? Never heard of one.

Silvestri's Captain America theme sounds a lot like Ira Newborn's theme to BASEketball.

got a link or sample to preview? :)

I don't know if there is any bootleg of the score, and I wish there was because it's actually really good.

Here's a poor audio rip of the movie's opening if you don't want to track down the movie baseketball.mp3 (http://www.mediafire.com/?a2xi7820x6j1zds)

At 1:35 it's even in the same key as Silvestri's theme :S

thanks for providing the sample...there's a tiny bit of resemblance i guess :)

very nice thanks

Princess Toyotomi Original Score (2011)
Toshihiko Sahashi



National Audit Bureau member Hajime Matsudaira, Tadako Torii & Asahi Gainsbourg travel from their homebase of Tokyo to the city of Osaka. Their mission is to discover any financial irregularities & to ensure the correct use of federal money in the Osaka city government. Their initial audits go smoothly, but things turn more interesting once they enter the Karahori shopping district - the area with a long history reaching back to the Meiji era.
The trio of auditors encounter Koichi Sanada , who runs a tasty okonomiyaki (Japanese pancakes) restaurant and his son Daisuke , who wants to be a girl. There's also Daisuke's best friend Chako Hashiba (Ruka Sawaki), a tomboyish girl who protects Daisuke at school from bullying. The auditors then inspect the H.R.H. Foundation, an organization set out to preserve Osaka's historical castles. Although their initial inspection doesn't turn out anything suspicious, it will a short while later. After the trio leave the H.R.H. Foundation and head for Koichi Sanada's restaurant for lunch. When they arrive, Hajime Matsudaira realizes that he left his cellphone at the H.R.H. Foundation. When Hajime returns to the H.R.H. Foundation he discovers that the office is now completely empty (when before it was full of workers), the phones in the office are not connected & the desk drawers are empty!
A full blown investigation is initiated by Hajime Matsudaira and they soon make a startling realization that the whole city of Osaka is running a coverup. A 400 year old secret held by the city of Osaka is about to be revealed ...

FLAC: Multiupload.com - upload your files to multiple file hosting sites! (http://www.multiupload.com/MNLTGYFE06)

MP3 V0: Multiupload.com - upload your files to multiple file hosting sites! (http://www.multiupload.com/FBX2XIZNOV)

Mirrior for 320k: Thread 91645

Holy ... another new Sahashi score. Thank you ! Now I'm fully recovered. Also, does anyone know if there is still some hope left that his score for King of Thorn will see the light of day. Even a filmrip would be fine.

Yeah that would be nice klnerfan. Great Movie and Music ;)
And thanks for the new Sahashi :D

I doubt whether Thorn will ever happen, to be honest. It's a shame, as there's some good stuff in there. The film is wonderful, too... even if most people didn't get it and reviewed it badly.

I'm tempted to do a film rip myself.

Wow, I'm glad I'm not the only one who thought that the movie was far better than most people gave it credit for. But I guess that is the case with many japanese movies released in the west with a bit more complexity and subtlety than your average Blockbuster, Jin-Roh being another example. And the music written for it is so memorable and hunting that whenever I hear of Sleeping Beauty, I hear this melody (http://www.youtube.com/watch?v=IZuAzJGTTOM) in my head. I would really appreciate a film rip. Sahashi has a natural gift to write instant classics and it would be a shame that this one would never see the light of day.

Working on something as we speak. ;)

Edit: Dammit, it sounds like shit. Sound effects are *all over* the surround channels. It's basically ninety minutes of breaking glass and strangulated yelling, interspersed with the fifteen seconds of almost audible score - before it is all suddenly lost in a mollasses of "YAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAARRRRRRRRRRRRRRR RRRRRRRRGGGGGGGGGGGHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!! ! *BOOOOOOOOM* *CRASH, TINKLE, CRUNCH* *ZAP, ZAP, ZAP, ZAP* IIIIIIIIIEEEEEEEEEEEEEEEEEEE!!!!!!!!!!!!! *BEEP BEEP BEEP* etc, etc, etc...

As for the film... I loved every single minute of it - it was gripping, original, claustrophobic, scary, and a real tear-jerker. About the most ridiculous "crime" of which it was accused - that old chestnut, not religiously following every single twist, turn, line of dialogue, and scene of the Manga. If I wanted the Manga, I'd read the damn Manga. It's the same mentality that says that any re-recording of any film-score is crap if there is even the slightest hint of variation in tempo, orchestration, or phrasing. The only acceptable artistic rendition of a work is to robotically duplicate its first interpretation in meticulous detail. Absolute nonsense.

Speaking of Sahashi, his latest anime started last Saturday - Sacred Seven. I have skimmed the first episode listening out for the score and so far it sounds as if it's going to be a good one. It's only a twelve episode series, however, so there won't be a great deal of the expensive stuff... a new Gundam Seed it aint, but nevertheless a new Sahashi score is a new Sahashi score. :D

I usually check out some new series for the score and so far Blood C has caught my interest, being scored by Sato and all. Unusal how atmospheric the damn thing was, made the music stand out even more, but I'm not sure if it's a new Eureka Seven or just reused material. Most of it sounded very familiar.

Princess Toyotomi is a very nice score. I grabbed it when it was posted elsewhere on this forum a few weeks ago.

I usually check out some new series for the score and so far Blood C has caught my interest, being scored by Sato and all. Unusal how atmospheric the damn thing was, made the music stand out even more, but I'm not sure if it's a new Eureka Seven or just reused material. Most of it sounded very familiar.

Sato is a terminal recycler; but I'm not sufficiently familiar with Eureka Seven's scores to say whether that's the case or not.

If this is original... then we can add another splendid orchestral score to 2011's tally. Unless something absolutely out of this world turns up in the next few months, the year's finest is undoubtedly Fractale... now one of my all time favourites. But, we have a new Sahashi and a new Sato... things could be worse, much much worse. :)

You are right about this tango ;)
*going to watch King of Thorn again* :D

(http://imageshack.us/photo/my-images/804/folderkp.jpg/)

Download Part I (http://www.mirrorcreator.com/files/J9GTWUZE/Game_Classics_I.7z_links)


Download Part II (http://www.mirrorcreator.com/files/LREQ4FIT/Game_Classics_II.7z_links)


So here it is, my "little" compilation of memorable Game Music. Many of those pieces are already performed in concert halls or are arranged versions of a score. Maybe one or two synth tracks (because they deserve some attention) but the rest is over 6 hours of memorable themes, orchestral bombast and symphonic delight. I did not include Symphonic Fantasies or Legends and many arrangements for Zelda and Final Fantasy because I want to give more orchestral game scores that were composed since the last 10 years an equal chance to shine.
If modern Hollywood scores bore you to death and you want something exciting, hum-able and soul touching, look no further. Symphonic lovers have long realised the potential of the videogame medium as the new home for all the rousing stuff that apparently is no longer needed in modern film and television.
So rejoice and embrace the wonderful music, music to be remembered and played in concert halls long after we are gone, the golden age of game music.

Tracklist: Themes from Afrika, Age of Empires, AION, Anno 1701, Apidya II, Banjo-Kazooie, Battlefield, Battleforge, Bioshock, Civ IV, C&C 4, Dark Void, Darkside Chronicles, Donkey Kong Country, Dragon Quest, Final Fantasy, Fire Emblem, Fragile Dreams, Gensu Suikoden II, Gothic 3, GUN, Half Blood Prince, Halo, Hana Ki Sou, Heart of Darkness, Intelligent Cube, Jim Power, Join Assault, Kameo, Killzone, Kingdom Hearts, Kirby, LAIR, Legend of Zelda, Lego Universe, Licht, Mafia, Mass Effect, Medal of Honor, Metroid, Monster Hunter, Mother 2, Napoleon, Ni No Kuni, Nobunaga's Ambition, Okami, Order of the Phoenix, Other M, Outcast, Paraworld, Pokemon, Primal, Reign of Revolution, Republic, R-Type, Sea Dogs 3, Shadow of the Colossus, Shenmue, SimCity, SKYRIM, Soul Calibur, Spellforce 2, Star Fox, Starcraft 2, Super Mario, The Imperan Intrigue: ZerA, The Settlers VI & VII, The Sith Lords, The Unsung War, The War Emperor of Ki, Uncharted, Valkyria Chronicles, Viva Pinata, Warhawk, World of Warcraft, Xenogears and Xenosaga

A tracklist, perhaps? Some way to see what we're getting into would be great. Thanks for the upload, though.



Getsumen to Heiki Mina

by Kousuke Yamashita




MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=8U3A80AX)

*sings*

Repost, repost...! Repost, repost!
(but)
Thank you, thank you! Thank you, thank you!
(because I had)
Lost it, lost it! Lost it, lost it!

Speaking of reposts AND Kousuke Yamashita, does anyone want my edited version of Garasu no Kantai, I did not like the way the score was presented on the CD so I splitted everything into individual tracks, eyecatches and subtitles. Makes it more enjoyable for me but I don't know about you guys.

*sings*

Repost, repost...! Repost, repost!
(but)
Thank you, thank you! Thank you, thank you!
(because I had)
Lost it, lost it! Lost it, lost it!

Welcome welcome welcome, You're welcoooooome!

Hope everyone doesn't forget to catch the stream of Symphonic Odysseys tommorow at 7:45(GMT).

It'll be playing here. Symphonic Odysseys - WDR MEDIATHEK - WDR.de (http://wdr.de/mediathek/html/regional/livestream/sondersendung.xml)

Eeee, thanks for the heads up!

BBC Philharmonic Present - Great Film Scores
From MediaCityUK, Salford Quays, Manchester, England
John Harle, Saxophone
Mark Kermode, Chromatic Harmonica
conducted by Robert Ziegler



Download BBC_Philharmonic_Presents_Great_Film_Scores.part1. rar from Mirrorcreator - Upload files to multiple file sharing sites (http://www.mirrorcreator.com/files/OKQP8WKE/BBC_Philharmonic_Presents_Great_Film_Scores.part1. rar_links)
Download BBC_Philharmonic_Presents_Great_Film_Scores.part2. rar from Mirrorcreator - Upload files to multiple file sharing sites (http://www.mirrorcreator.com/files/1BLWI55W/BBC_Philharmonic_Presents_Great_Film_Scores.part2. rar_links)

Playing time: 47:27 - File size 250mb - My Rip / Encode
Video: H264 / Audio: Untouched from broadcast 192kbps MP2 / Digital Capture from BBC One's Red Button Service (NOT iPlayer!)

Here is a splendid concert, which was put on to celebrate (and show off) the brand new, custom-built studio for the BBC Philharmonic at Media City in Manchester. It's presented by two complete prats - Simon Mayo and Mark Kermode. The full version was broadcast on BBC Radio 3 a couple of weeks ago - and was uploaded to this thread by the splendid Lens Of Truth. A few days later, this abridged version played on television. It's a surprisingly good programme - we have Williams, Goldsmith, Herrmann, Elfman, Bernstein, Barry, and even Umebayashi - in excellent performances (apart from Midnight Cowboy, which is given a rather rough performance by Kermode who is an amateur harmonica player...)

Notice the orchestra resplendent in white tuxedos - to perform a concert primarily intended for radio! A peculiarly British tradition that survives to this day.

Enjoy! :D

The Programme:

Jerry Goldsmith - Star Trek The Motion Picture (End Title)
Elmer Bernstein - The Magnificent Seven (Suite)
John Barry - Midnight Cowboy (Main Theme)
Shigeru Umebayashi - 2046 (Main Theme)
John Williams - Raiders Of The Lost Ark (The Raiders March)
John Williams - Star Wars (Main Title)
Bernard Herrmann - Taxi Driver (A Night Piece)
Bernard Herrmann - Vertigo (Prelude)
Danny Elfman - Batman (Suite)

Eeee, thanks for the heads up!

As in Eeeeee by gum ?.

I was thinking more Mini Me in Austin Powers... but that works too. ;)

Of all the Elmer Bernstein they had to pick from The Magnificent Seven really? And for Bernard Herrmann Taxi Driver? Seriously? Well I guess they have something from Vertigo too. Still I can think of many more worthwhile bernstein scores they could have used.

Thanks, tangotreats.

Of all the Elmer Bernstein they had to pick from The Magnificent Seven really? And for Bernard Herrmann Taxi Driver? Seriously? Well I guess they have something from Vertigo too. Still I can think of many more worthwhile bernstein scores they could have used.

They're populist selections, sure, but they're still good music. It was a film score concert on mainstream television. You're not going to get Goldsmith's The Artist Who Did Not Want To Paint, Williams' Black Sunday, Bernstein's True Grit, and Barry's Howard The Duck. ;)

Be grateful it wasn't Gladiator, Transformers, POTC, Dark Knight, and Sherlock Holmes.

Well sure but The Ten Commandments has a better theme than The Magnificent Seven and I'm sure there are plenty of other films Herrmann scored that are more popular than Taxi Driver. I've always thought it funny that The Magnificent Seven is such a popular Bernstein score in the first place.

Tits, missed it again. Started recording fifteen minutes late. Currently something playing I don't recognise, but so far the arrangements have sounded like Valto... BUGGER, stream has just disappeared. :/

Edit: Hold on just a bloody minute, I was right... It's 19:18 GMT right now. What the hell is playing right now then? They're somehow at an interval already. Did it start an hour early or something? :(

BBC Philharmonic Present - Great Film Scores
From MediaCityUK, Salford Quays, Manchester, England
John Harle, Saxophone
Mark Kermode, Chromatic Harmonica
conducted by Robert Ziegler



Download BBC_Philharmonic_Presents_Great_Film_Scores.part1. rar from Mirrorcreator - Upload files to multiple file sharing sites (http://www.mirrorcreator.com/files/OKQP8WKE/BBC_Philharmonic_Presents_Great_Film_Scores.part1. rar_links)
Download BBC_Philharmonic_Presents_Great_Film_Scores.part2. rar from Mirrorcreator - Upload files to multiple file sharing sites (http://www.mirrorcreator.com/files/1BLWI55W/BBC_Philharmonic_Presents_Great_Film_Scores.part2. rar_links)

Playing time: 47:27 - File size 250mb - My Rip / Encode
Video: H264 / Audio: Untouched from broadcast 192kbps MP2 / Digital Capture from BBC One's Red Button Service (NOT iPlayer!)

Here is a splendid concert, which was put on to celebrate (and show off) the brand new, custom-built studio for the BBC Philharmonic at Media City in Manchester. It's presented by two complete prats - Simon Mayo and Mark Kermode. The full version was broadcast on BBC Radio 3 a couple of weeks ago - and was uploaded to this thread by the splendid Lens Of Truth. A few days later, this abridged version played on television. It's a surprisingly good programme - we have Williams, Goldsmith, Herrmann, Elfman, Bernstein, Barry, and even Umebayashi - in excellent performances (apart from Midnight Cowboy, which is given a rather rough performance by Kermode who is an amateur harmonica player...)

Notice the orchestra resplendent in white tuxedos - to perform a concert primarily intended for radio! A peculiarly British tradition that survives to this day.

Enjoy! :D

The Programme:

Jerry Goldsmith - Star Trek The Motion Picture (End Title)
Elmer Bernstein - The Magnificent Seven (Suite)
John Barry - Midnight Cowboy (Main Theme)
Shigeru Umebayashi - 2046 (Main Theme)
John Williams - Raiders Of The Lost Ark (The Raiders March)
John Williams - Star Wars (Main Title)
Bernard Herrmann - Taxi Driver (A Night Piece)
Bernard Herrmann - Vertigo (Prelude)
Danny Elfman - Batman (Suite)




Thans so much for this but how do i play it , so i need to download something ? i have tried converting the file but its too big for the free online converters out there...

The Jerry Goldsmith selection is awful. Here you have one of the greatest, most beloved and most prolific film composers in history. This is the man who scored "Chinatown", "Patton", "First Blood", "Alien" (kind of) and "Mulan" (http://tvtropes.org/pmwiki/pmwiki.php/Main/ArsonMurderAndJaywalking). What do they pick? His Jimmy Hart version of Star Wars. >_>

And "Midnight Cowboy" for John Barry? I mean, c'mon! That's like making the two John Williams selections "Sugarland Express" and "Earthquake".

Converting it? Whatever for?

It's a little difficult to advise you since I don't know what media player you're using, or what happens when you try to play it... Have you tried VLC? That will play anything.

it comes up with windows cannot find the programme to play the file and a box pops up , i have never seen this type of video file before .I have windows , quicktime , realplayer all installed on my pc but wont play on them.

That damn stream, I have everything recorded, but the second half ... cutting of right at the best parts, I hope I can fix this.

Aha!

My second half recorded perfectly. I have everything after the interval from the 1800kbps HQ stream. :)

Woah ! Save ! If nobody else will upload it I will gladly upload the first half (I can somehow diminish the artefacts on the second half, most are almost unrecognizable, but I guess that does not matter anymore ;)) I can have it up within the next hours :)

A damn fine concert, and best of all no Ronny Barrack ! But oh boy, did they tease me with the second encore, for a moment I thought "Wait a moment ... no, not him again ..." but then ... "Now they even use him as a musical joke" ;)

So, there's a lot to catch up since last time, but for the moment, just some comments I'd like to do.

first of all, many thanks to the contributors of this thread, and of course a very special thanks to klnerfan for his Dash! compilation. I look forward to see if there are some pieces I don't know - and there certainly are, since I don't update often my music collection these days (BTW, please include a tracklist to your compilations, mate!).

I noticed something interesting while browsing the thread: it seems that the music posting / discussions ratio has rather clearly shifted towards more discussion and less music posted, which, in fact, isn't necessarily a bad thing. Indeed, there are TONS of music posted in this forum and all over the internet, easily accessible to all of us; but there aren't SO many places where the discussions we have here, the particular sensibility of this place, the stimulating intellectual ambience, and of course the comradeship are so directly perceptible. I really appreciate the "added value" of this thread.

I also noticed a LOT of Hamauzu talk, way too much IMO, since I believe the guy doesn't really deserve so much attention. Frankly, I listened to his Sigma Harmonics and FFX scores, and that was it, ciao bye bye. FFX was quite a drop compared to the beautiful FFIX (but he wasn't the only composer involved), and Sigma Harmonics sounded rather bizarre and impenetrable. I don't know if a) the guy is a bad composer, or b) it's just me that can't (under)stand his music, but what I heard from him was utterly uninteresting to me. I'm curious to see if he happened to compose some actually great pieces, something an orchestral lover would appreciate - I am of course open to suggestions (please don't suggest FFXIII since it's obvious, as it's been already said, that Hirano's treatment is what makes them so good).

And YES, Powell's Last Stand was a great score, one of the best superhero scores of the last decade, and probably the best score of the composer's career. It's probably the only recent score of this genre I *can* listen to, in fact, since most other ones tend to be at best mediocre, except perhaps Elfman's ones, but even those become quite tiresome due to repetitiveness. Elfman almost seems to parody himself sometimes.

Now, let's post some music: I already mentioned many times how much I'm a fan of Kousuke Yamashita; well, good news: his Gokaiger score has been - at last - released. I just had the time to listen to it several times, and it's pretty good stuff! (And by that, I mean I've had a musical orgasm).

Here's the main theme as sample: YouTube - &#x202a;Kaizoku Sentai Gokaiger: BGM - Kaizokuki Wo Agero&#x202c;&rlm; (http://www.youtube.com/watch?v=uTyhQMz3AeY)

You can grab OST 1 here:


Kousuke Yamashita
Kaizoku Sentai Gokaiger OST 1
320 kbps
Multiupload.com - upload your files to multiple file hosting sites! (http://www.multiupload.com/EJMKHPW0L7)
Credits to TokuKai




The fun factor is once again extremely high. The music is spectacular, flamboyant, astonishingly energetic and lively - your usual Yamashita, or even better. The only little downsides are the themes that are less catchy and memorable than in his previous Super Sentai score (Magiranger, already posted in this thread), and the slightly overuse of electric guitars and modern percussions, but apart from these aspects, this is pure gold for amateur of big, powerful symphonic music: OST 1 features nearly 30 minutes of massive orchestral fury.

I've got many favorite tracks, but I'd like to make a special mention for track 24 part 1: WOW! Rarely have I heard such a splendid "bad guy's lair" theme, especially the opening of this piece (00-30) is first-class music. Absolutely NO western superhero scores nowadays even approaches such musical greatness. Also, track 15 part 2 is quite a fast and furious (reference intended) sort of "road battle" piece that leaves breathless (listen how the high strings go crazy at 1:20!).

Warning: this is a Super Sentai score, so there's a lot of diverse stuff in the album: pop songs, dialogs, non-orchestral tracks, etc. So to access the orchestral music you'll have to skip or delete the other stuff. I originally wanted to post the orchestral suite I made, but hey, you can easily do it yourself!

Also, here's the score of a movie containing some of the music of OST 1 plus some new pieces specially created for the movie, some being quite nifty.


Kousuke Yamashita
Gokaiger Goseiger
Super Sentai 199 Hero OST
320 kbps
Multiupload.com - upload your files to multiple file hosting sites! (http://www.multiupload.com/88VZS9JGQR)
Credits to TokuKai

Many thanks for the new Yamashita, artheiir, though I certainly hope you're not trying to say that just because you aren't fond of a particular composer doesn't mean we have any right to discuss his work. Personally, I adore Hamauzu. He's up there as one of my favorite composers in any field, full stop, and while I hold that Hirano's arrangement was not at all the sole thing that "made his work good" in FFXIII, they do make an incredible team, each with their own flair, motifs and compositional obsessions that make them a great fit for each other.

Sigma Harmonics is a lovely showcase of the gorgeous string harmonies and unique electro-acoustic soundscapes he's capable of and with all due honesty, I place the blame for FFX's largely middling material squarely(hee) on Uematsu's shoulders, who was clearly on caffeine-fueled work overload at that point. I wasn't a fan of FFIX either, for that matter; a rare gem here and there, but there's a clear line between variations on a theme and soul-crushing repetition, a line Hamauzu is quite adept at dancing upon, coincidentally); it was largely Hamauzu and Nakano who hoisted the soundtrack back up into above-average territory. Just who was it that was writing ethreal slow jazz pieces(Wandering Flame), French acoustic theme elaborations(Spiran Scenery), down-tempo techno(Besaid), haunting piano-led dramatics(People of the Far North) and blistering piano concerto boss themes, among many other examples of artistry, while Uematsu was regurgitating the same tired chord progressions and schmaultzy pop ballad writing? And don't even get me started on Hamauzu's brilliant treatment on the Piano Collections, salvaging many of Uematsu's tepid material, or at least making them somewhat more pallatable. (I doubt even Yoko fucking Kanno could make edible lemonade out of rotten lemons like Rikku's Theme.)

All that said, I can't deny he's a bit more of an acquired taste than the game music critic scene's love affair with him make him out to be. Unlike Uematsu in his heyday, instantly memorable melodies, the kind that catch in your mind and stay there for years to come, aren't really his strong suit, and he rarely gets the chance or inclination to write for full-bodied orchestra. He doesn't sound like anyone else out there in game music today, and that always winds up splitting opinions down the middle. Whether that's good or bad depends on you, but I don't feel he's any weaker a composer for it and embrace the fact that he has his own wondrous style that I can, in fact, recall fondly, hum, and even sometimes be brought to tears by.

NaotaM,

I agree with you wholeheartedly. I feel Hamauzu is a great composer. I mean, imo, he reminds me a bit of Ryuichi Sakamoto for his experimental compositions. Although, I understand Hamauzu's work better than some of Sakamoto's lol! I can think of plenty of themes by Hamauzu-san and I agree his piano arrangements for FFX and FFXIII are exquisite. However, I felt XIII was more reserved and relaxed (a little too much for my liking) compared to the more colorful and experimental palette of X.

a recording of symphonic odysses would be greatly appriciated. which music did they play this time?
i�m very dissapointed with deathly hallows part 2.there are a few very nice cues but the lack of personality which even part one and hoppers scores had makes it completly forgettable.could someone reupload an mp3 version of hannigans deatlhy hallows score? you had some best cues version but it was in some unreadable format.

(http://imageshack.us/photo/my-images/809/foldereh.jpg/)

Download Link (MP3) (http://www.mirrorcreator.com/files/1W3UPLJH/Symphonic_Odysseys.7z_links)

Tracklist:

01. Opening Fanfare
02. Final Fantasy (Concerto for Piano and Orchestra)
03. King's Knight (A Pretty Day Out)
04. Chrono Trigger (Silent Light)
05. The Final Fantasy Legend 1 & 2 (Main Theme and Save the World)
06. Final Fantasy X (A fleeting Dream)
07. The Last Story (Spread your Wings)
08. Final Fantasy XIV (On Windy Meadows)
09. Blue Dragon (Watersite)
10. Lost Odyssey (Suite)
11. Encore I. Final Fantasy X (Ending Theme)
12. Encore II. Final Fantasy VII (Battle Themes)

Here is Symphonic Odysseys, in good quality. I had some problems during the stream, but I could remove most artefacts, the only noticable artefact left is at the beginning of the Lost Odyssey Suite but otherwise, the rest of the concert is perfectly fine. Everything is properly tagged and the quality should be good enough for most people until a HQ rip arrives.
Enjoy

@arthierr It's good to see you again, mate ! Hope you like my little compilation (I apologize, most times I simply forget to make a quick tracklist) and thanks for the new Yamashita, though I fear your little argument against Hamauzu backfired ... big time ;).

A million thanks for Odysseys, klnerfan!

James Hannigan's reign of fire and catwoman
hello guys i'm looking for this two Hannigan' works
reign of fire(vg), catwoman (vg)
if somebody have it thats very appreciate

(and sorry for my bad english)

Many thanks for the new Yamashita, artheiir

You're welcome! (although main credits go to TokuKai) And I'm sure that one day, one glorious day, you'll manage to spell my name correctly! (Don't forget: to respect the name is to respect the person)

Now, it seems my comments about Hamauzu need some clarifications. The "too much talk" comment mainly did reference to the discussion between you and Tango about FFXIII, that became a bit repetitive. I have nothing about discussing your favorite composers, as long as it doesn't become rather redundant.

You know, all of this is fundamentally a matter of taste. Hamauzu's music just isn't my thing, I don't find in it what I seek in music. It seems to be impermeable to my comprehension and my sensibility. Is it for you? Good for you, then.

But the thing is, there's a reason why this thread is called like this: it mainly focuses on orchestral music, and composers are jugded through this bias, this particuler sensibility. I believe Hamauzu isn't really a symphonist, someone who's skilled in orchestral music. He seems to show some actual mastery as an instrumentist, a piano composer and arranger, but dealing with an orchestra is probably beyond his capacities. Maybe I'm wrong, but no one showed me the proof of the opposite (again, I'm open to suggestions: just show me some pieces where his talent as a symphonist clearly appears).

This is why I mentioned FFIX: it was Uematsu's last FF where he had to compose most of the music, and the result was clearly in his usual style: strong themes, beautiful melodies, and this time, more than before, a real orchestral approach - the music was conceived as a grand symphonic score, dramatic and lyrical, epic and majestic. This is what I seek in music, and this is why I consider FFX to be such a drop, with its experimental, themeless, amelodic tendencies, which I attribute very probably to Hamauzu and Co.

That's why discussions about Hamauzu in this place are somewhat out-of-context, unadapted; it's like someone who would say: "I adore Vangelis. He's up there as one of my favorite composers in any field, full stop." Errrrr, yeah, ok, good for you, but what has this to do in an orchestral-oriented thread? So maybe I shouldn't have said that Hamauzu doesn't "deserve" to be discussed here, but more accurately, he doesn't "belong" to such a thread - unless, once again, someone proves the opposite.

(Wow, I didn't expect to also enter in a Hamauzu debate) ;)


@klnerfan - Thanks for Symphonic Odysseys!

Arthierr: It was quite obvious what you meant - "The guy isn't worth that much chatter" - your reputation as a friendly, fair, and considerate individual precedes you.

I would agree with that. To defend my part in the repetitive conversation, I'll only say that I found it necessary to repeatedly cover the same ground because other participants in the discussion were failing to grasp - whether accidentally or otherwise - the point.

Furthermore, since this thread has over the past three years expanded completely beyond even the most elastic interpretation of its title, it didn't occur to me that there would be a problem talking about a composer who isn't known predominantly for his orchestral music. Particularly since the conversation evolved from a discussion about Yoshihisa Hirano - a composer who belongs beyond any shadow a doubt - and a debate about the extent to which he participated in the orchestral music of Final Fantasy 13. Hamauzu, I therefore contend, is not off topic - and certainly not when we are discussing the small part of his oeuvre that actually does fit in with the dominating ethos of the thread.

For my final statement on the subject, I find Hamauzu to be grossly overrated as a composer and merely competent as an arranger for piano and very small chamber ensembles. He has yet to demonstrate any symphonic (or orchestral) acumen whatsoever and I think it is rather telling that whenever he is involved in a project that demands an orchestral score, there is always an orchestrator - and more often than not, it is Hirano.

Though I really shouldn't have to follow up those statements with a disclaimer, I will do so for the benefit of some of the more excitable folk here: I don't like the guy - if you DO, fair enough. I do not deny anybody to like what they like. I merely state what I don't like and present my reasons for thinking that way.

Eheh, here's the thing, though. Your initial post didn't say "I believe Hamauzu isn't really a symphonist...", it said "I don't know if a) the guy is a bad composer,...", so your point was in sore need of clarification, yes. In any case, I am aware of the point of this thread and the general line of thinking involved in judging composers along it. Honestly, I find this line-of-thinking rather closed-minded and even irritating and foolish at its worst, but I'm not going to go into that now(and Hamauzu's treatment here is miles from the worst I've seen of it.). I'd just like to remind you how this thread started; as a place devoted almost entirely to fast-pace, action-oriented orchestral cues from major films. As time passed, more people became regular posters and the breadth of "acceptable content", I guess, soon expanded to encompass the entire rainbow spectrum of orchestral music, from slower, romantic ballads to solo piano pieces to thunderous Wagnerian bombast.

In that light of embracing flexibility and new ideas, I see no reason why Hamauzu doesn't "belong" in this thread considering its context. He works primarily in smaller string-and-piano ensembles, yes, but that never stopped similar works for similar musicians being posted and welcomed with praise. (Just a silly side note: calling FFX "themeless" is a flat-out falsehood. Song of Prayer, Suteki da Ne and At Zanarkand pop up everywhere, from all three musicians involved. Just sayin'.)

If you want suggestions however, Symphonic Legend's Aquatic Ambience has been mentioned enough already(though it was lovely, and notably an arrangement of anothers work in much the same highly elaborated style Hirano used for his in FFXIII; one need only compare to the rendition from Orchestral Game Concert to hear the difference) so instead, I'd reccomend trying out the main theme to Unlimited Saga(arranged by Hamaguchi) and hunting down his Pikmin and Kirby arrangements from the recent Legends concert if you can, as well as "Deep Translucent Moonlit Night" from Vol.2 of Akumajo Dracula Tribute. Chocobo's Mysterious Dungeon: Coi Vanni Gialli is also worth hunting down, and while Dirge of Cerberus featured Hirano on arrangement duty, his indelible mark on the compositions is far less prominent.

Nah, not worth it. :)

Can we talk about Symphonic Odysseys instead ? Do you guys think it was better than Legends, Fantasies or Shades ? For me it felt more like Shades than the previous concerts but I'm still undecided about it.

i�ll check it out now and compare it to the other ones ;)

Nah, not worth it.

You rarely are.


Can we talk about Symphonic Odysseys instead ? Do you guys think it was better than Legends, Fantasies or Shades ? For me it felt more like Shades than the previous concerts but I'm still undecided about it.

I'll have to listen all the way first and collect my thoughts, but so far it sounds...alright. Nothing obviously objectionable about it, some of it is lovely(never saw the point of Aria de Mezzo Carratere without vocals, though) and I like it more than the first Legends overall already, but I doubt we'll ever hear lightning strike twice like with the resplendent Fantasies. I've heard Shades is also magnificent, but I've yet to hear that one and with no familiarity with Huelsbeck's work, I can't speak for comparison yet.

I do appreciate the cheek of an Uematsu concert showcasing FFX's strength with "Someday the Dream Will End". A Hamauzu piece. Just thought it was funny. :)

You rarely are.

Same old Naota, I see.

Back on topic...

Fantasies has always been my favourite of the series - with Legends my least favourite, and Shades somewhere in between. Even if you don't know Chris Huelsbeck's music from Adam (I didn't, and still don't) it's very much worth listening to. Valtonen's arrangements are first rate and the music is very good. I'm not overly concerned with how it compares to the original scores, as I don't see much point in comparing strawberries and rhinoceroses. Judged, as it should be, upon its own merits, it's very good indeed.

So far, I am really enjoying Odysseys - the Final Fantasy concerto is lovely (finally, Wanamo does good) and it's wonderful to hear these melodies in a genuinely ambitious, creative framework - instead of just taking an existing cue and drowning it in florid orchestration.

Same old Naota, I see; arrogant, ignorant, astoundingly rude, and always prepared with some obnoxious insult or piece of condescending drivel.

I'm sure I speak for everybody here when I ask you if you wouldn't mind keeping that childish behaviour out of this thread, which has so far remained civil and friendly - bar your frequent interjections, of course.

Such a farce when the pot calls the kettle black and then tries to act the part of the noble teacup. Look, my opinion of you or artheirr is no less for your opinion of Hamauzu or anyone else, but if you have the right to voice dissent, by the same token I, JBarron2005 and anyone else can praise him, without justification for it. I acknoledged that in my initial post. My point has always been that Hamauzu, IMO, has been catching more flack in this thread than I feel he deserves. Sure, he rarely orchestrates and his relaitionship with Hirano is more one of arrangement than orchestration, but I've argued that not only is that not bad, but not proof that he's genuinely poor at it either. That's it. Your points on Hirano's indelible mark on FFXIII? Very true. The discussions surrounding Hamauzu's need to have him on most of his major scores? Insightful and valid, and I've never fought the facts.

Hell, our very last two posts line up almost everywhere save simple matter of opinion.


Furthermore, since this thread has over the past three years expanded completely beyond even the most elastic interpretation of its title, it didn't occur to me that there would be a problem talking about a composer who isn't known predominantly for his orchestral music. Particularly since the conversation evolved from a discussion about Yoshihisa Hirano - a composer who belongs beyond any shadow a doubt - and a debate about the extent to which he participated in the orchestral music of Final Fantasy 13. Hamauzu, I therefore contend, is not off topic - and certainly not when we are discussing the small part of his oeuvre that actually does fit in with the dominating ethos of the thread.


I'd just like to remind you how this thread started; as a place devoted almost entirely to fast-pace, action-oriented orchestral cues from major films. As time passed, more people became regular posters and the breadth of "acceptable content", I guess, soon expanded to encompass the entire rainbow spectrum of orchestral music, from slower, romantic ballads to solo piano pieces to thunderous Wagnerian bombast.

In that light of embracing flexibility and new ideas, I see no reason why Hamauzu doesn't "belong" in this thread considering its context. He works primarily in smaller string-and-piano ensembles, yes, but that never stopped similar works for similar musicians being posted and welcomed with praise.

I backed up my thoughts, I offered Arthierr the suggestions he requested, and if even after all that, the only thing you pipe in for is to broadcast how utterly beneath you my stance is that it isn't even worthy of yours save a condescending, glib remark, then arses to you. I've noticed in the past that we're perfectly capable of getting along and keeping the thread clean of our frequent butting of heads, but don't be a snobbish ass and expect roses in return. Respect is a two-way-street.

[/URL]

Download Link (MP3) (http://www.mirrorcreator.com/files/1W3UPLJH/Symphonic_Odysseys.7z_links)

Here is Symphonic Odysseys, in good quality.

Thanks for this! I'm very interested to listen to it.

About the Super Sentai scores, they seem to have some serviceable cues but nothing really grabbed me. I don't remember who posted "Getsumen Toheiki Mina" (another Yamashita) , but I had that around and hadn't listened to it yet. It was pretty light listening, but I found it enjoyable mostly. Thanks for all of the contributions, guys!

I've been meaning to listen to the last BBC concerts that were posted, but if they're half as good as the last one I listened to (the one with the joke about the trombones having a broken music stand and having been trying to "get it up all day" ) then I'm sure I'm in for a great listening experience.


p.s. I'm still here most of the time, I just don't usually have anything to say!

p.p.s.edit. I looked back and noticed that it was NaotaM that put up Getsumen Toheiki Mina. Thanks! Also, I've listened to RD Sennou Chousashitsu multiple times after having seen Tango recommend it and it is absolutely fantastic. Thanks to you too!

Naota: Yes, we agree a great deal, and yes, we get along just fine most of the time... We even fought for the same side recently against those jerks from ZREO. So why on earth do you keep starting trouble?

Half of your post seems friendly and reconciliatory - and the other half is calling me names and insulting other people in this thread for whom I have a lot of respect. So, which is it?

I don't understand what you hope to achieve with withering remarks like "You rarely are..." when my post of "It's not worth it" was actually related to a long, wordy post I had written about Hamauzu, and then decided to delete as it would have restarted the discussion and could well have led to us two not getting along; so I didn't post it.

And in return, you insulted me. So I responded - and STILL TRYING to save a long, protracted argument, I deleted most of my response - but of course you had to get in there and read it first... :P

I have no wish for ill will between us; so in all honesty and conviction I must ask why you are almost constantly trying to generate it.

Pfffffffff... Can we please end this sterile argument, now? This Hamauzu discussion becomes a bit long, so here are my LAST answers on the subject.


Eheh, here's the thing, though. Your initial post didn't say "I believe Hamauzu isn't really a symphonist...", it said "I don't know if a) the guy is a bad composer,...", so your point was in sore need of clarification, yes.
So, for the sake of EVEN more clarification: I do believe he's not a symphonist, and I ALSO consider him to be a rather mediocre composer, whose music tends to seriously bore me. I cited Vangelis, who's not an orchestral composer, and yet his music sometimes strikes me by its beauty and originality (although it lacks the complexity I need to fully appreciate it), but Hamauzu never did that effect to me.


In any case, I am aware of the point of this thread and the general line of thinking involved in judging composers along it. Honestly, I find this line-of-thinking rather closed-minded and even irritating and foolish at its worst, but I'm not going to go into that now
So, specialized thread shouldn't be allowed? Anybody can post anything anywhere? I greatly look forward for the last Britney Spears to be posted here, then.


Just a silly side note: calling FFX "themeless" is a flat-out falsehood. Song of Prayer, Suteki da Ne and At Zanarkand pop up everywhere, from all three musicians involved. Just sayin'.
Dude, make sure to look at my posts correctly before making accusations. I said: "with its experimental, themeless, amelodic tendencies". Oh! See the keyword? I guess you know the definition of it, right? It means not ALL this score is themeless, but many - too many - pieces are, and there's too much experimental, amelodic garbage. Which is hardly acceptable given the great thematic tradition of FF scores.


If you want suggestions however...

I should have precised: suggestions of pieces NOT arranged by other symphonists, but that he composed and orchestrated himself, that's the true test to see if he can go orchestral or not. Otherwise it's too easy, a good symphonist can make an orchestral piece out of almost ANYTHING: give Nick Dodd an audio recording of geese copulating, and he'll create a symphonic poem out of it.

To conclude, I eventually agree that Hamauzu's music can belong to this thread; both you and Tango developed some convincing arguments about it in your last posts. But certainly not all of it belongs. The orchestral arrangements clearly do - but they're only part-Hamauzu; the small ensemble stuff, if you're flexible enough, also can belong. But even then, when I compare this little portion of his music to the production of composers frequently praised in this thread such as Hirano, Yamashita, Oshima, etc. there's no doubt that they're in quite a different league, and there's no comparison in terms of melodic inspiration, compositional complexity, harmonic richness, orchestrational scope, etc. Yes, I know you disagree, but this is my opinion - this is more facts, actually, but for the sake of appeasement, let's call it opinion!

Now, let's end this vain debate, and conclude with this wise saying: each to his own.

Yes, I'm doing a lot of post revision this evening. :P

Peace :)

[More revision......]

Goodnight folks.

---------- Post added at 11:58 PM ---------- Previous post was at 11:11 PM ----------

People reading this are going to get very confused. ;)

I really wish they would record these Symphonic concerts (such as Symphonic Odysseys) with the same quality that they used for Symphonic Shades. I can't help but feel that even the official CD releases don't sound as good as they should. I realize that they are recorded live but I find that poor sound quality keeps me from adequately enjoying the music.

Well, Fantasies wasn't *awful* - it wasn't great, but it was pretty good.

Legends and Odysseys so far have not been officially released, so it's not surprising that what we have sounds like shit - because they're poor quality live streams. Both of them - particularly Odysseys - deserve a release...

Klnerfan, thanks for Odysseys! Hoping it will be an improvement on Legends.

EDIT: The FF piano concerto alone was more than enough to tip it over Legends, IMHO. Lovely to hear that opening of FF6 used so effectively. I also liked the use of the Aria in the second movement; I was particularly pleased that Wanamo kept that descending motif in the bridge that is so rarely used outside of the OST; give me this arrangement and harmonies over the rather tepid version in Distant Worlds, vocalist or no. The other material is mostly very nice, with Lost Odyssey probably being my second favorite segment, but it's still a distant second to Fantasies.

I also am really hoping for an official CD.

Interesting modeling of the first half of Lost Odyssey on Stravinsky's The Rite of Spring. I'm not familiar with the OST so that's all I hear. :D

I find that poor sound quality keeps me from adequately enjoying the music

Yeah, I wanted to write somethin' like "then you are one of those who enjoy sound quality not a music", but U are right here - sound quality is sometimes really bad. Wanna official release, because...

... concert is stunning! I love how those guys create completely new things out of tracks that we all know way to well. Even crap like Last Story sounds nice (once again we have proof that good arranger can make good things out of not-so-good ones -> Hirano/Hamauzu case - still like Hamauzu very much;)) and FF XIV track blew me away (5:43!!!) - what a cool use of percussives! Also FF X (A Fleeting Dream) - WOOOOOW, so intense, so rich so... Argh! And first entry of the choir in King's Knight - sooo awesome! Every track here has something fresh, something creative in it - Piano Concerto out of FF themes!? Why noone thought of that earlier?! Love it, love it, loooooove it! It has been a lot of time since I was so fond of something and I may be overreacting like little kid but, for me, it really is incredibly great concert! Huge thanks for recording and sharing with us!

It seems to me like the sound quality is a little better in the videos posted on YouTube, surprisingly. Don't necessarily quote me on that, I didn't get to compare back to back or even listen to more than half yet.

Now, I'm sorry to potentially prolong the Hamauzu debate past people's patience, but since it was in fact called for I'll post all the examples of him orchestrating his own compositions (http://www.multiupload.com/EB0JRYE6B8), which are all for his first solo soundtrack, Chocobo's Mysterious Dungeon, and subsequent arranged album back in '97/98. I left out Yasuo Sako's arrangements from Coi Vanni Gialli so you have here about half an hour of Hamauzu on his own, to judge as you may. It's not all exactly big orchestral stuff, but certainly within this thread's scope I'd say.

I also just want to point out what I think is a little misrepresentation that's been said a few times: Hamauzu has not used Hirano extensively or every time there's need for an orchestra. There has been exactly two Hamauzu projects on which he has been involved, Dirge of Cerberus and FFXIII, and FFXIII had two other orchestrators who did roughly the same amount as Hirano (actually 3 minutes more if you add up track lengths), that is, Toshiyuki Omori and Kunihito Shiina (who worked on the same tracks it seems, but Shiina's credit is more vague). Yes, that is a significant proportion of Hamauzu's music with orchestra because it's true he hasn't had the opportunity to use it very often, and so I could understand discussion of him being a bit off topic for this thread. Sorry if I'm digging a deeper hole.

That's basically all I wanted to add, other than, arthierr, you might want to download the PSF set of Chocobo's Mysterious Dungeon; it's a fairly short soundtrack and I like it better than anything of Hamauzu's up until FFXIII, and I know you like synth music too. It's actually pretty melodic, as you might gather if you listen to what I posted. Now by all means let the discussion of Symphonic Odysseys continue!

Now, I'm sorry to potentially prolong the Hamauzu debate past people's patience, but since it was in fact called for I'll post all the examples of him orchestrating his own compositions (http://www.multiupload.com/EB0JRYE6B8), which are all for his first solo soundtrack, Chocobo's Mysterious Dungeon, and subsequent arranged album back in '97/98. I left out Yasuo Sako's arrangements from Coi Vanni Gialli so you have here about half an hour of Hamauzu on his own, to judge as you may. It's not all exactly big orchestral stuff, but certainly within this thread's scope I'd say.

Now THAT'S the stuff. At last, after 2 or 3 calls, someone brings some convincing examples of Hamauzu going orchestral on his own. Thank you, nothingtosay (you clearly should have chosen another nick!). It's the first time I listen to this music and I quite enjoy it; most of it is nice indeed, fluent, airy, and quite melodic, as you pointed out. Concerning the strictly orchestral quality of this music, if Hamauzu did in fact orchestrate it himself, then the most orchestral-oriented pieces (2, 101, 130) clearly show some competence in this field, no doubt about it. But even then, he's far from Hirano's prodigious skills in this domain, probable reason why he needs orchestrators.

Well done, Sir, you managed to convince me.

So, just to ensure that it doesn't beneath any of you guy's notice, Piano has posted a Blu-Ray rip of a recent Joe Hisaishi concert, dealing with all of his Miyazaki works. Some really great stuff in there.

Thread 92175

Britney Spears

FATALE FEMALE 2011 (Flac)




:tommydissapproves:

pass: moi la moutarde

It seems to me like the sound quality is a little better in the videos posted on YouTube, surprisingly. Don't necessarily quote me on that, I didn't get to compare back to back or even listen to more than half yet.


Ah now that is at least listenable! Thanks for this tip!

@Arial: Bien jou�, mon pote. ;)

Now THAT'S the stuff. At last, after 2 or 3 calls, someone brings some convincing examples of Hamauzu going orchestral on his own. Thank you, nothingtosay (you clearly should have chosen another nick!). It's the first time I listen to this music and I quite enjoy it; most of it is nice indeed, fluent, airy, and quite melodic, as you pointed out. Concerning the strictly orchestral quality of this music, if Hamauzu did in fact orchestrate it himself, then the most orchestral-oriented pieces (2, 101, 130) clearly show some competence in this field, no doubt about it. But even then, he's far from Hirano's prodigious skills in this domain, probable reason why he needs orchestrators.

Well done, Sir, you managed to convince me.


Chocobo's Mysterious Dungeon: Coi Vanni Gialli is also worth hunting down,

Eh, why not let someone else have the credit. :D

Thanks to Doublehex and the original youtube poster for the high-quality Budokan rip, and thanks to you too, Arial, though...I dunno. Toxic was so much more Hermann-esque. :p

would you mind add some pieces from Lost? :P

[]

[]

I always miss all of the good posts. :|

Toward the Terra - Symphonic Suite
by Masaru Satoh




MEGAUPLOAD - The leading online storage and file delivery service (http://www.megaupload.com/?d=G4UIH1UD)

Thanks klnrfan! I really appreciate the rip! Any plans for a rip like you did with Legends in 5.1?

Gracias for Odyssey!

@JBarron2005 I'm afraid that's impossible. Stream quality was not 5.1


Here's Nichijou in FLAC:



Download Link (http://www.easy-share.com/1916627117/nichijou1.zip)

:3

I have no idea what that is but I am downloading it based on the kawaii cover! Thanks :)

YES! I didn't know this had come out!

This is without a doubt the award winner for "Most Unlikely Score Given The Subject Matter And Animation Style" - the show is really lovely... but Yuji Nomi's score... CRIKEY.

For those of you who are wondering what this actually is... Nichijou is a very, very random, but completely appealing, slice-of-life show about some schoolgirls... and a wind up android girl. So far, so ordinary. Immediately, you have a preconception in your mind regarding the kind of music it will get. Forget that. What we have here is nothing short of Yuji Nomi's finest - and most symphonic - score since The Cat Returns. Performed by a full orchestra (the Hungarian Symphony Orchestra) not the usual Japanese ensemble, it's just glorious.

[Edit: Almost every noteworthy piece is missing, and half the album is an incomprehensible radio drama. BUGGER. Roll on OST 2...]

klnrfan,

Alright, well thanks anyway :)! I am enjoying it regardless.

"Endingu Tema" made my day, so cute and lovely, just like Kirby's Epic Yarn, this score is so adorable that it's impossible not to love it.

Regarding the anime, I only watched some random scenes (really creative and experimental animation and impossibly cute) and the score really fits it like a glove. After all the blood, death and violence I've seen recently, this is a welcome change of scenes.

True, what there is so far is just lovely... but the whole "other side" to the score is missing... All the darker cues; there's brassy action, tension, a ravishing fully orchestral love theme... all bizzarely absent! More is a certainty, at this point, I think... ;)

Sounds great, perhaps I should give the series a closer inspection ;) Sad that it will be another month at least until Vol 2

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As to prevent members for beeing frustrated missing your rants and stumbling on an empty one, maybe edit with some... motto ?...

"...When I see what I see, and when I hear what I hear, it tells me I'm right thinking what I think." would do fine.