I remember when i realized, after many years of telling myself that Uematsu was a magnificent composer and orchestrator, that he was soooooo not the wonderfully talented man i thought he was. (even though he has the sensibility to write cute little melodies from time to time, without the help of external sentient talent. [...] But i was wrong all along...it says composed by this and that on the covers. But the talent always, ALWAYS belonged to someone other then the one who gets the obvious credit.


Uematsu is actually a good artist, not a great one, but a guy who knows how to skilfully craft a melody and find the right emotional tone in most of his works. When you listen to Uematsu's orchestral pieces, yes, the opulence of them are mostly attributable to orchestrators, but the actual compositions, melodically, probably harmonically, and the appropriate emotional tone is HIS own creation, not the orchestrator's one.

arthierr is spot on, here. There is far, FAR more to composing than orchestration (obviously). What's important to keep in mind with the likes of Uematsu or Danny Elfman or any other composer that relies heavily on orchestrators is that their authorial voice is still apparent. Those "cute little melodies" are the soul of Uematsu's music; they're why he's so popular, why I enjoy his music. Without that soul, all you have is technique. And Uematsu does possess the lion's share of the talent in that group; he was already famous long before a single note of the Final Fantasy music was recorded by an orchestra. His best work, the Final Fantasy VI OSV, is friggin' MIDI.

Not that I would complain if, say, someone mailed Hirano a copy of that OSV and a large check. ;)

I'm not really following along with everything else being said, but no, Daft Punk scoring a major Disney movie, no matter the content, does NOT make any sense because they are NOT film composers. :D (obligatory smiley face means I'm not yelling in anger) Perhaps you might recall a little fiasco by the name of, wait for it... Tangerine Dream??

Also, I'm not one to comment on Shiina's popularity and its influence on his various gigs, but Kanno is definitely a celebrity whose status brings a certain excitement to a franchise. What the heck is a Brain Powerd? Who knows? But most importantly it was scored by Kanno. This is in many ways similar to Reznor on The Social Network and The Girl With the Dragon Tattoo, or Jonny Greenwood on There Will Be Blood. Celebritism and pop culture are infiltrating our beloved scores again. :(

Daft Punk = Electronica. Tron Legacy = Sci-Fi action film set in computers. Makes sense to me, from a thematic perspective. Seen much weirder. Not every film score must be orchestral. Daft Punk's bizarre decision to go in an orchestral direction proved the score's death knell, but still...

While I'd be a fool to deny Kanno's fame and image and how that basically sells huge groups of people on entire series, that's not why she keeps getting hired. It's at least a consideration kept in mind for music producer, probably, definitely if you work for a certain little company called Satelight, but she keeps getting hired because the same five or so directors(Watanabe, Kamiyama, Kawamori, Okamura, and Tomino) really enjoy working with her and her fame is based of of consistent musical excellence, not some manufactured "hip" image that sells well with kids.


This is in many ways similar to Reznor on The Social Network and The Girl With the Dragon Tattoo, or Jonny Greenwood on There Will Be Blood.

Could you explain this please? I'm not familiar with these, so I don't get the comparison you're drawing.

Daft Punk = Electronica. Tron Legacy = Sci-Fi action film set in computers. Makes sense to me, from a thematic perspective. Seen much weirder. Not every film score must be orchestral. Daft Punk's bizarre decision to go in an orchestral direction proved the score's death knell, but still...


Sorry but what? Tron Legacy is a lot of fun and I thought the orchestral stuff worked perfectly with the synth. Sure it alienated viewers who weren't fans of anything orchestral but it was good still.

Sorry but what? Tron Legacy is a lot of fun and I thought the orchestral stuff worked perfectly with the synth. Sure it alienated viewers who weren't fans of anything orchestral but it was good still.

Eh. Derezzed was ok, and I'd prefer if the entire score were more like it and their usual work, but the incessant trailers killed it for me and the rest bored me to tears, largely from plodding, repetitive writing and that most diabolical but rarely maligned sci-fi score tropes of recent years; "AM I VANGELUS YET?" Syndrome. I blame Mass Effect.

Just grab anything from the thread that you haven't heard. You'll find tons of great stuff. If you look far enough back you'll find some great lists of game and movie osts that are big and orchestral. If you want a list of suggestions, give us a few scores you thought were good so we can compare.

Alright I'll do just that haha

Well I'm just getting into John Williams, as for Michael Giacchino pretty much have everything by him, Howard Shore's Lord Of The Rings Sessions FTW, Murray Gold and David Arnold have some nice stuff, and although they aren't entirely orchestral, Doctor Who and Sherlock are quite a nice listen when I'm not in the zimmer mood haha

Of course it doesn't have to be orchestral. What do you take me for, some kind of orchestra-only nutjob? :D The original Tron is not too bad itself, and not at all orchestral. What I'm saying is that I like my films to be scored by experts and not amateurs (except for the rare case of true genius, which I'm afraid Daft Punk is not.) And if Tron Legacy actually turned out to be a decent orchestral score, that is hardly due to any expert scoring prowess on DP's part. I don't believe they accomplished any more than any other big name composer would in the same position, except for a famous score release to eager DP fans.

Of course it doesn't have to be orchestral. What do you take me for, some kind of orchestra-only nutjob? :D The original Tron is not too bad itself, and not at all orchestral. What I'm saying is that I like my films to be scored by experts and not amateurs (except for the rare case of true genius, which I'm afraid Daft Punk is not.) And if Tron Legacy actually turned out to be a decent orchestral score, that is hardly due to any expert scoring prowess on DP's part. I don't believe they accomplished any more than any other big name composer would in the same position, except for a famous score release to eager DP fans.

Welp, can't exactly disagree with results.

Here's a fun compilation of some of the classical pieces I've posted before and others:

fun_classical_compilation.zip (http://www.mediafire.com/download.php?fr5asbm1j4n7hen)
or
Download fun classical compilation zip (http://www.multishare.org/file/rsdo06xbk9ev/fun_classical_compilation.zip.html)

CDJapan lists the Ozuma OST to be dropping March 28. So far I've seen one sub online, but hopefully more will begin to show up...

@NaotaM - Reign of Revolutions was a Korean MMO, some GREAT orchestral stuff in there!

don't fool yourself, what you were talking about is 100% ludicrous

HAHA! Except it's not! :D

What are you trying to do, dude? You think by repeating the same nonsense over and over it will become true? Just like repeating 2 + 2 = 5 enough will make it magically true at some point? As usual you confuse your incapacity to understand a point with the supposed invalidity of this point. THIS, is utterly ludicrous!

For the last time, can someone doted with some basic good sense doubt a single moment that Shiina, Daft Punk, and Kanno's exuberant look, hipness and iconic personality might have helped their career, at least a little? Is it possible to seriously believe that this factor NEVER had ANY sort of influence on their success as artists. Of course there are other more important factors that explains it (I never said the opposite), but to deny completely the effect of their imagery / brand is just nonsense.

And by the way, don't think even a minute that my last post was a free pass for you to behave that same way again in this thread. It was f**king not. Not even in a dream. See, you're not special, you're not superior to others, you don't own a magical "jerk card" that allows you to treat people like shit without having to face the consequences. So if you want to participate to this thread, you have to do like other people here do, no less, no more. If you're ok with this, fine, you're welcome to stay and even encouraged to contribute with some quality posts. But if you're not, then the door is right there ---->

Blahblahblah

By all means, continue sitting there in all smugness asserting your insane theory is valid because you continually state it is,(yup, you sure know how proper debate works, yesiree) but I'm far beyond interested in debunking it, again,for the umpteenth time, you haven't convinced a single solitary soul of your position, what few are interested in slogging through our little piss fight, and everyone's actively trying to change the topic which I heartily endorse, so if it's alright with you, please just be silent and let the topic drop.

Moving on, since it exists and some among us like her...



Fate/Zero OST 1
by Yuki Kajiura

Download Fate Zero Original Soundtracks zip (http://filevelocity.com/9t9j68wao37v/Fate%20Zero%20Original%20Soundtracks.zip.html)

Also, a tad more on topic...


Chou Ninja Tai Inazuma
by Kousuke Yamashita

Chou Ninja Tai Inazuma OST.rar (http://www.mediafire.com/?oxwfw7f51kxq0kj)

All apologies if the thread has received these before. You pretty much know what you're gonna get with Kajiura; stormy, rigidly midtempo string and vocal ballads, atmospherics, the usual. Chou Ninja is a 2006 Tokusatsu score that may be worth a look. It's heavily synthy and cutesy in the usual fashion for this stuff, but for Yamashita fans, might be worth a look for novelty.

Even though I moderately appreciate the first part of your post, the other parts, and notably the last one, do largely compensate this initial impression! In fact, I can't believe you managed to find a Yamashita I actually didn't have (holy s**t!), and since I know my manners, I can't but heartily say: THANK YOU!



Here's a fun compilation of some of the classical pieces I've posted before and others:

fun_classical_compilation.zip (http://www.mediafire.com/download.php?fr5asbm1j4n7hen)
or
Download fun classical compilation zip (http://www.multishare.org/file/rsdo06xbk9ev/fun_classical_compilation.zip.html)

Hey, long time you haven't posted one of these! I don't miss any of the stuff you post here, so I'll get this one for sure anyway, but in the interest of other people, I suggest you post a tracklist so we all know what goodies we download. And what would be even better is a few comments on each piece (or the most important ones), since it actually raises the listener's interest. ;)



This may well turn out to be 2012's anime score of the year.

Excellent news! And since we talk about Yamashita...


Reign of Revolutions was a Korean MMO, some GREAT orchestral stuff in there!

Indeed, but since the links are down, and this score UTTERLY deserves a repost, let's say it'll be done soon. Unless Tango's lightning upload speed allows him to do so before... ;) (That would be helpful, dude!)

Reign Of Revolution R2: Kousuke Yamashita -
Mirrorcreator: http://www.mirrorcreator.com/files/06ASABCA/KY-RoRR2.rar_links
Peeje: http://www.peeje.com/files/361143350/KY-RoRR2.rar.html

Also, here's a little sneaky peek of Yamashita's latest - Ozuma. Music is somewhat obscured under the yelling and exploding but there's more than enough there to know that this is grade A. Only a few weeks to the soundtrack CD, anyway! :)

http://www.peeje.com/files/361143806/-_ozuma_preview.mp3.html

What kind of sick, twisted individual wants to know every detail about what they're listening to before they even hear it? It's just good music, everything you need to know about it should be obvious upon hearing it. :D

Thanks a lot for the lightning fast repost! (THAT'S efficiency!)



Kousuke Yamashita
R2 online: Reign Of Revolution OST


http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/381.html#post1947027

Sample and trailer: Reign of Revolution - YouTube (http://www.youtube.com/watch?v=LNDWD2NwCgI)






This is easily one of my favorite Yamashita. A superb score from start to finish (and as I said once, it's very rare that I appreciate a score entirely). It's purely symphonic, without any of the modern instrumentations and orchestra / pop hybridizations you can regularly find in japanese scores. Here you only have some traditional, organic, big orchestral sound.

One of the most fascinating aspects with this score is that every track (and there are 20 of these!) has its own identity, its own unique feel, as if each came from a different score. There's no real unifying theme or motif here, but rather a collection, a farandole of these, which makes the listening of this album a real pleasure, since you know that the next track will be completely new and different than the previous one. That's why this album has a very long listening value, because there is so much variety and freshness in it.

Highly recommended for people who would like to discover Yamashita! (Along with the very impressive Garasu No Kantai)

I found fate zero OST 1 to be seriously underwhelming. Maybe Kajiura has lost her touch or I've just heard too much of her but it didn't do anything for me. Thanks for the Yamashita scores though :D

Thanks again for all the quality music chaps :)

Ultraman Saga samples: Ultraman Saga Original Soundtrack (Original Soundtrack) [CD] (http://www.cdjapan.co.jp/detailview.html?KEY=AVCD-38472)
"Urgh..." I think sums it up.
Music seems surprisingly good, but suffice to say it's killed stone dead with a genuinely atrocious fake orchestra.

I will never understand why or how the music of Ultraman has rotted so badly in such a short space of time. In 2007, Sahashi scored Ultra Daijaiju Battle with a 50 piece orchestra. In 2008, he scored 8 Superior Ultra Brothers with an even bigger orchestra. And then, suddenly, nary an orchestra in sight for the TV series and not even the movies apart from a handful of sweetened cues in Kenji Kawai's 2010 score... and now this.

Ultra depressing.

Indeed, they really could have done an effort with the virtual orchestra, here. When you tackle such an ambitious scoring project, it's the least you can do. Not only they saved money by dumping a live orchestra, but did they also tried to save some by using a cheap sampler? Come on, guys, game up, please...

The music sounds good though, and anyway much better than the Kawai one that I personally found terrible.



Thanks again for all the quality music chaps :)

You're welcome! Long time no see, BTW. ;)

You're welcome! Long time no see, BTW. ;)

I knew exactly where to go when I desired some Orchestral goodies ;)

I'm majoring in Music now and studying Piano & Recording arts.
I have a passion for Electronica and such I (as well as these goodies) and the other day i thought to myself, it would be really fun to make a dance beat with orchestral loop samples... which led me back here!

Not sure how it will work out, but if it does, I'll show you for fun.

PS - IK've always wonder'd whom the fellow is in your Avatar (Arthierr)

Right there. ;)

http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/17.html#post1163973

This is from an interview on British BBC radio, recorded in December, and broadcast here over five successive days this week. I have chosen only Wednesday�s and today�s programmes as they have film music. It makes a fascinating listen as the avuncular three-quarters of a century-old prolific, influential and controversial composer Philip Glass (1937-) joins Donald Macleod to discuss his life and music. It includes exclusive performances of some of Glass's new works.



MP3-V0:
http://forums.ffshrine.org/f92/philip-glass-composer-week-bbc-radio-3-a-111520/#post1951556

I think the controversy surrounding Glass is that his music isn't bad at all (despite what most classical purists would say), but the reasons anyone likes it are the very reasons why anyone shouldn't like it: it's repetitive and schmaltzy, however that's exactly what it set out to be; like the music is aware of how poorly written it is so it actually sounds pretty good.

Also, in many films, minimalist music has become the de facto sound of introspection, kind of like how impressionism became the de facto sound of nostalgia, so Glass's style is definitely typecast (those qatsii movies didn't help either.)

The first thing to remark about Glass is how uncontroversial a figure he is. He’s enormously successful and promiscuous across all genres, and received with nothing but warm acceptance from the classical establishment and media (in Britain at least). So a few purists’ chests tighten when they hear his latest numbathon or see the latest promo… do these poor souls even have a voice any more?

I find his symphonies more interesting than his operas and film scores, but for the most part his music leaves me cold. There doesn’t seem to be much behind it. He has a canny way with sonority I suppose. But for every Philip GLASS - SYMPHONY no.3, Movement no.4 - YouTube (http://www.youtube.com/watch?v=DA40lE83jLo) there are quite a few PHILIP GLASS EINSTEIN ON THE BEACH KNEE PLAY 5 - YouTube (http://www.youtube.com/watch?v=BpoWWnR348M)


Also, in many films, minimalist music has become the de facto sound of introspection, kind of like how impressionism became the de facto sound of nostalgia, so Glass's style is definitely typecast (those qatsii movies didn't help either.)
Just going off Glass' film work, minimalism can be all things to all people (/nothing to anybody) - from landscape, to revolution, creepy suspense, the motoric city, torture... The association with introspection adopted by Hollywood comes from laziness as much as anything I think.

The only piece of music by Glass I really enjoy is the score to The Illusionist. Otherwise I haven't found much that was very exciting.

I don't know much about Philip Glass concert works but i enjoyed a lot of his film scores like Koyaanisqatsi, The Hours and Mishima to name a few.

I guess I'm not really a fan of Glass but I won't outright dismiss something by him without hearing it. I'm fond of Koyaanisqatsi. I remember thinking The Hours worked fine in the film, but I've never heard it separately. Kundun had moments but I mostly thought it was pretty dull. His Beauty and the Beast opera is terrible and doesn't work well at all with the film, IMO. Pretty hit and miss.

Am I the only one in this thread that loves pretty much what Glass touches?

Yeah, probably.

This is sort of like hipster Philip Glass - Melodia (Guidelines For A Propulsion Device Based on Heim's Quantum Theory) (http://www.youtube.com/watch?v=YJt2YtFgvR0)

I really like it for some reason, probably the lush string sound with the hypnotic repetition of the round, along with the electronic beat. It's liable to drive some of us bananas, though. Or crackers.

What about banana flavored crackers?

I'm no big expert on this topic, since I listened to only a few of Glass' music, mainly because when you're disappointed once, and once again, and once again... You're starting to suspect that a composer might be a not very good one...

But if I may do a few comments (just because I love to talk about these things, as some of you might have noticed!), I'd like to point out that one can be largely successful, popular and recognized by his peers *and* rather controversial at the same time, among some groups at least. Glass' controversial issues don't only originate from his music, which is indeed subject to debate among some audiences whether its occasional oddness is genius, crap, or something in between! They also come from other aspects such as:

a) His enormous productivity: the guy composes an awful lot, so much that unless he's an absolute genius, there HAS to be some smelly garbage here and there, perhaps even a LOT of it. It's the same symptom as those huge gamerips, you know: when a composer has to write something like 500 tracks, it's very unlikely that he gives 100% of his capacities to each... A consequence of this very high productivity is that a good part of Glass' works seems (to an innocent ear) highly repetitive and interchangeable, as if it was written in autopilot mode, with the same recipes and tricks used again. Yes, I know that minimalism does feature a lot of repetitions (duh!), but at this point, it really starts to be fishy...

b) His eclectism, and one could go as far as to say, his celebritism. The guy really has a lot of connections; he's enormously popular and socially active, whether it's in the serious "high art" world, or in the dark waters of the "pop culture". Indeed, he had quite a quantity of projects linked to pop music, film music, advertising, etc. So no wonder why he sometimes tends to irritate some highbrow folks who think he encroaches a little too much on some "vulgar" territories...

c) And of course, his genuine and massive success. He's probably the most famous and popular contemporary classical composer out there, nowadays. This situation can occasionally get on the nerves of some people, especially if they tend to believe that Glass has in fact little to no significant talent. The legitimate question then become: is such a huge amount of success totally deserved, or is it, as I recently said about avant-garde artists, mostly a matter of luck, high charisma and social skills, and right connections?



Edit: no hostility intended, of course. Just a few interesting reflections to feed the discussion. ;)

I was being rhetorical really. “Controversial” makes him sound very rock and roll, but he’s practically an institution. Who really thinks of Glass these days as a firebrand iconoclast? The question of whether he’s any *good* or not doesn’t really come into it. All artists are subject to that level of scrutiny and debate, and Glass has a greater level of consensus approval than most.

The whiff of the fraud about him doesn’t distinguish him from many of his peers, and as for the supposed high-brow/ high art lobby.. where are they? In the academy? I’ve known music teachers who preached that everyone except Bach and Howells were vulgar. No controversy arising there.

I think as a culture we’ve broadly assimilated the art-as-fraud concept now. Maybe we even expect it.

Perhaps "controversial" is a bit too strong a term, then. Let's just say his music can be quite debatable for some people or some specific groups, like for instance those who have a more traditional, less experimental approach to arts. It can be controversial, though, in the sense that *some* of his music tend to produce a stronger reaction than a simple "meh, not my stuff", but rather a "hey, is this a fraud?", like one of the pieces you posted.

As for the "controversy" about him being at times criticized by his peers for his "popular" projects, I recall having seen something about it some years ago in an article (perhaps I could find it again). Basically, it talked at some point about his celebrity side, and his links with popular artists and involvement in "lowbrow" projects. Is this controversial? Not for me, at least! ;)

He's probably the most famous and popular contemporary classical composer out there, nowadays. This situation can occasionally get on the nerves of some people, especially if they tend to believe that Glass has in fact little to no significant talent.
It's really hard to measure a composer's talent, so we all invent our own subjective criteria. For example, if I had to decide who has more talent: James Horner or Philip Glass I would have to say Horner because I could imagine a scenario where Horner might compose something original that sounds as good as anything Glass ever did in Glass's style, but Glass would never be able to write anything like Horner's film scores (or jazz or pop songs.) I judge a composer's talent by his or her versatility. If someone sticks to just one style of music, such as Glassian minimalism, it's really hard for me to acknowledge the talent behind it, except within its own genre (kind of like how I can acknowledge Eminem's talent within the rap genre.)

The downside to rating a composer by degree of versatility is that it leads a lot of amateur composers such as myself to overreach and try to master everything, and in the end mastering nothing. If I'm constantly bouncing back and forth between writing in classical styles, film score styles, game music styles, am I really ever going to become fully competent at any of them?

I judge a composer's talent by his or her versatility. If someone sticks to just one style of music, such as Glassian minimalism, it's really hard for me to acknowledge the talent behind it, except within its own genre (kind of like how I can acknowledge Eminem's talent within the rap genre.)



just to challenge you: is he a great artist if he can only compose well in many/all genres but not paint nor act? (I hope the direction of this argument is clear, I am curious what you will come up with)

I say this because you made me remember how in the google talk of alex ross, someone suggested that stravinsky wrote the rites of spring because he did not know how to write beautiful music (I'm quoting from memory here)...

I'm just talking about musical talent and how film composers such as Horner, Williams, Goldsmith are extremely versatile and demonstrate considerable talent across many genres. Glass might be more talented at Glassian minimalism, Stravinsky might be more talented at writing ballets, but these film composers can do that and more, so I rate their overall ability higher (even though their attempts at Glass and Stravinsky might only be approximations.) It's just a pseudo-objective frame of reference I like to use. It's very possible Glass might be able to write an adventurous pirate movie score, but since he never did, we can only extrapolate from his existing oeuvre as to what his adventurous pirate movie scoring abilities might be.

Glass is a tough one, isn't he? I have him filed away in my "not a genius, but nevertheless very enjoyable" section. He has a few important facets that are sorely absent in a significant number of his contemporaries: He has a unique and immediately recognisable style (even if it's easy to emulate,) his music is accessible, friendly, and outwardly uncomplicated.

In general terms, I don't believe him to be a fraud; he doesn't attempt to deceive nor does he over-sell his talent. He writes music, and a lot of people enjoy it. Perhaps he's a fraud in the intellectual sense - but I've never agreed with the standpoint that music must have a certain level of internal complexity (read "inaccessibility") in order to provoke an emotional reaction. It's difficult to sit down and write a detailed analysis of Glass - but it's very easy to sit down and listen to Glass.

I'd agree with Lens that there "doesn't seem to be much behind it" but I somehow find that refreshing if I'm in the right mood. Music without pretext; music without a tormented inner soul, a message, a moral, or a hidden meaning - just music that is pleasantly diverting.

I'm just talking about musical talent and how film composers such as Horner, Williams, Goldsmith are extremely versatile

yes, that is coherent with what you said, and I think it is a good idea to judge the aptness of film composers by producing the right material for the job - or knowing they are not the right person for the score the project requires. Ideally, a film music composer can provide the right music for all kinds of scores and - see trangotreats - maybe still be somewhat recognizable most of the time, so we get fun pieces like William's Heartbeeps in the style of Goldsmith.
I just wanted to challenge your notion of "musical talent" - I think your term 'versatility' does the matter more justice - but then again, I was probably reading 'quality' into 'talent', which you didn't say. My bad.
As for Glass scoring a private movie - given recent movie industry trends, if McCreary gets to score a pirate movie, we just might see how well existing glass material does in a pirate movie :-) (context: Bear placed Glass' irritating Mad Rush sprinkled throughout an episode of Galactica)

I know I am in a minority, but for me Philip Glass is a musical genius. He is one of my favourite composers of film and classical music ever since I heard his score for Mishima. Notes on a Scandal, The Hours and the Illusionist are beautiful works for cinema I think. On the classical side I love his Violin, Tyrol, Timpani concertos. When I said his works can be controversial I meant some critics despise Glass because he works in many genres and allows other artists to interpret his compositions - they think he is not a serious composer because he goes outside the classical field. The snobbery extends to film music as it is still not considered "good" music and it is rarely played on the radio despite it often being more tuneful and memorable than some classical music (Classic FM is the only station in the UK that regularly plays cinema music, but the digital signal in this part of London is so weak it can rarely be picked up).

I know I am in a minority, but for me Philip Glass is a musical genius. He is one of my favourite composers of film and classical music ever since I heard his score for Mishima. Notes on a Scandal, The Hours and the Illusionist are beautiful works for cinema I think. On the classical side I love his Violin, Tyrol, Timpani concertos.

Would you be willing to share any of these, Yen? I'd love to hear more of his music. Maybe he'll grow on me. :)

Nic Raine has just posted this update on his facebook page regarding the Quo Vadis re-recording:

"Nic Raine: My 'complete' comment related to Quo Vadis. Another company is issuing all The 10 Commandments recordings soon so no need for us to duplicate that."

Would you be willing to share any of these, Yen? I'd love to hear more of his music. Maybe he'll grow on me. :)

Here is Mishima. I take it you only want the ones in bold as the rest can be found on the Shrine. I'll do the concertos from my CDs later when I have more time. Glass may grow on you too much and you won't be able to get him out of your pinhead!
http://forums.ffshrine.org/f92/mishima-1985-film-score-philip-glass-mp3-112009/#post1954642

UK residents may be interested in this repeat.
http://www.bbc.co.uk/programmes/b007brkx

Glass is great composer. I love his music (but I know only a fracture of it...) . Akhnaten is masterpiece imo and definitely my favourite Glass work. Also I really like his solo piano pieces, quatsi trilogy, some of his film scores are at least interesting (Illusionist is great, I like Neverwas cause it sounds like Jan A.P. Kaczmarek's "Finding neverland" on drugs, it's cheerful yet somehow sad).

His repetitivness is very intriguing, captivating. It's never boring (even when it should be). Maybe his music is a bit cold on emotions side, but it's much more interesting than it appears. His style is simple, but not primitive. Yes, it's easy to emulate, but it's still Glass style - his own and only.

UK residents may be interested in this repeat.
BBC Four - Omnibus, John Barry: Licence to Thrill (http://www.bbc.co.uk/programmes/b007brkx)

Cool! Will this be downloadable from the site?

Tsukahara Bokuden Original Sountrack
NHK-BS時代劇「塚原卜伝」オリジナルサウンドトラック
NHK-BS Jidai Geki "Tsukahara Bokuden" Orijinaru Saundotorakku



Composer: Kenji Kawai
Released: 12.11.2011 on iTunes JP (http://itunes.apple.com/jp/album/id475965011)
Format: m4a, 256kbps
Duration: 59:30
Download:
Multiupload (http://www.multiupload.com/OLXPHVR2LO)
Mediafire (http://www.mediafire.com/?jlbktitvskp3ii8)

The files are in Japanese. I just looked some titles up (I can't read/speak/understand Japanese). The usual Kenji Kawai� (Ambient/Suspense/Horror/Battle). Still waiting for another Kenji Kawai score with real and bigger orchestra.
For real, albeit small, orchestra, please go check out (tangotreats' thoughts on) Ultraman Zero (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/278.html#post1613286).



Thank you for this very nice album. A real pleasure to listen to the soft cues

Agreed, I personally find Kawai mostly insignificant when it comes to action music, but his softer, lyrical side really can be something. EG, Seirei no Moribito is one of the most beautifully soothing scores I've heard, a real gem in this style. This is in fact what I look for in his scores.

Cool! Will this be downloadable from the site?

No, that site is just for reference. People in Blighty can download the TV programme to DVD or PVR though.

Here you go guys!! Chihayafuru OST 2

Thread 112053

=)

I suggest everyone here give a listen to the new score by Alan Menken to Mirror Mirror. I think this is likely to be a serious contender for score of the year. Such beauty and elegance! The theme is so gorgeous!

Unfortunately I found out too late about the Omnibus-Barry repeat, so if anyone did record it and can upload it that would be great, as it doesn't appear to be available on the BBC's iPlayer.

I hate to be a misery guts... but I tried to enjoy Mirror Mirror, God knows I tried, but ultimately I'm not convinced. A really sappy score - emotionally dead, utterly themeless theme, some generic nicely orchestrated but soulless action music (complete with the ever-present pointless percussion loops and childish slamming noises) and very little else. One to file away in the "better than expected, but will never ever play this again because everything here has been done a thousand times before, a thousand times better".

It's a Menken Disney score, minus themes. There's a lot more brains at work here than one usually gets on a mainstream Hollywood movie - that's for damn sure - and so far, you're absolutely right - score of the year... but only because by and large 2012 has been full of turds so far. I have no reason to believe the rest of 2012 will be any different - with the exception of Lincoln, assuming it happens.

Thanks for the pointer though - I swear, I really try not to be so negative all the time... I guess it's just in my nature.

I guess I'm once again damned to be the middle man here. On one hand, I do think sirusjr is jumping the gun in saying this is the best score of the year. Mirror Mirror is a very good score, but it's not that good. The first piece has some wonderful development, but the rest of the score just doesn't follow up. On the other hand...tango, you are overreacting on the other side here! Sure, it's not brilliant craftsmanship but to call it soulless and emotionally dead is killing a fish with a freaking rocket launcher.

I will say this: more and more, we see Hollywood coming a little bit closer to it's glory days. Yes, I know I am the half full optimist surrounded by "it's poisoned" doom and gloomers, but none of us would have imagine getting something like Mirror Mirror two years ago. Now we got this, and Navarete's Wrath of the Titans which has actual melodies beneath all that synth. There is a light at the end of the tunnel gentlemen. It's only a matter of time. Until then, we got plenty of awesome anime and video game scores to tide us over.

I tried to 'like' your post Sirus when you recommended this because somehow it had completely passed me by, but the site/browser/gods wouldn't let me.. I now understand why ;)

I'm of exactly the same view as Tango here - he's not exaggerating one bit! I'm as big a Menken junkie as you'll find, but this ranks close to the bottom of the pile. For a man who is a melodist above all it's hugely disappointing and bland. Where is the grace and subtle development that make Menken so worth hearing? I'd love to read a more favourable review because I want to like it and so far I'm not feeling it at all.

What do we think the chances of Pat Doyle returning to form are for Brave? He's on 'home territory' and Pixar don't require anthems or drum loops.. right?

I tried to 'like' your post Sirus when you recommended this because somehow it had completely passed me by, but the site/browser/gods wouldn't let me.. I now understand why ;)

I'm of exactly the same view as Tango here - he's not exaggerating one bit! I'm as big a Menken junkie as you'll find, but this ranks close to the bottom of the pile. For a man who is a melodist above all it's hugely disappointing and bland. Where is the grace and subtle development that make Menken so worth hearing? I'd love to read a more favourable review because I want to like it and so far I'm not feeling it at all.

What do we think the chances of Pat Doyle returning to form are for Brave? He's on 'home territory' and Pixar don't require anthems or drum loops.. right?

Patrick Doyle is doing Brave! Oh God. Like I wasn't excited enough. 2012 is turning out to be a great year across the board.

Interestingly enough, I'm not much of a Menken fan at all. Too many of his major scores have tons of songs. Tangled did absolutely nothing for me. I found the theme in Mirror Mirror to be lovely and got the great feeling from the score. Too bad nobody else seems to be feeling it.

HOLY CRAP!
They kept this a bit quiet!
Saint Seiya Omega premiered last night - and it turned out to be Toshihiko Sahashi's latest TV anime score! No pre-announcement, no clues - just suddenly there is was. He's using the classic themes. I'm slightly bothered by a synthy feeling on the brass but we'll see how it turns out. Either way, Sahashi's first 2012 anime!
Toshiyuki Watanabe's latest started last night - Space Brothers. Apparently a long show, and sci-fi. First episode is very encouraging...

Tangled was indeed a dud. I just listened to 'Farewell' from Pocahontas again and it's working on an altogether different level for me; not the musical equivalent of a flavourless cupcake, but noble and rousing. It'd be interesting to see what would happen if Menken divorced himself from Disney and got some more dramatic projects. I know that's what he wants to do. The well of sassy fairytale schmaltz, tremolos and chimes has run dry.

Edit - So while I was digging around through my old Disney cds I came across this on a 'Best of Aladdin' compilation. It's rather better than I was expecting for a straight-to-video sequel score. I don't know either of these composers, but let's just say they wear their influences on their sleeves. A lot of fun tho!




Wedding / Attack of the Forty Thieves / End Credits
Composed by Mark Walters and Carl Johnson
http://www.mediafire.com/?j3i7hdinfvz5o6y

HOLY CRAP!
They kept this a bit quiet!
Saint Seiya Omega premiered last night - and it turned out to be Toshihiko Sahashi's latest TV anime score! No pre-announcement, no clues - just suddenly there is was. He's using the classic themes. I'm slightly bothered by a synthy feeling on the brass but we'll see how it turns out. Either way, Sahashi's first 2012 anime!
Toshiyuki Watanabe's latest started last night - Space Brothers. Apparently a long show, and sci-fi. First episode is very encouraging...

No way! Two of my favorite musical things combined? YOOHOO!

After having seen this great news, I just listened again to some Saint Seiya pieces, especially one of my very favorites, the famous "Glide! Pegasus", which is certainly one of the fans' most cherished pieces. Here it is for people who don't know it:


Seiji Yokoyama
Glide! Pegasus

glide pegasus - YouTube (http://www.youtube.com/watch?v=PUZV4hYYPgw)




What I find interesting, even fascinating about this track, aside from the astonishing power of the first part of course, is that both the first and third part of it feature something typical in Yokoyama's writing: rousing, ascending orchestral progressions backed up by disco or jazz accompaniment, with some occasional improvisations. He used this recipe a few other times, and I find the result quite delightful and very effective, actually.

Also, here is an excellent, very accurate piano transcription of the first part, which shows how much this piece is beautiful and well done, even "naked".


SAINT SEIYA -Glide Pegasus- piano transcription - YouTube (http://www.youtube.com/watch?v=QFcfvyHqIYQ)

Edit - So while I was digging around through my old Disney cds I came across this on a 'Best of Aladdin' compilation. It's rather better than I was expecting for a straight-to-video sequel score. I don't know either of these composers, but let's just say they wear their influences on their sleeves. A lot of fun tho!




Wedding / Attack of the Forty Thieves / End Credits
Composed by Mark Walters and Carl Johnson
King of Thieves Suite.flac (http://www.mediafire.com/?j3i7hdinfvz5o6y)

Ah, I like it! Thanks! There seems to be more of Wind and the Lion here than I bet Walters and Johnson would care to admit, but it is indeed a lot of fun!

GRAVITY DAZE
Kohei Tanaka



MP3-320
GDKT.part1.rar (http://www.mediafire.com/?3h9yiinfynd2id9)
GDTK.part2.rar (http://www.mediafire.com/?32s0ghnn7oi122m)

I decided to tag and reup this. A very entertaining score all round, worth the wait. Original upload courtesy of Qqqqqqwe.

Edit - Just noticed that in my carelessness I've named the second rar wrongly. Remember to switch the T and the K and it should extract fine. :)

Thanks Lens for this :) I've been waiting to hear it.

One note on your tags, I made one minor change - renamed the artist to Kouhei Tanaka (added the u between the o and h in the first name). All my other music by the same composer has the u and so my artist list would be screwed up if I didn't change it. Otherwise perfect tags :)

Hello, Sirusjr. Say, if it's not too much trouble, could you tell me how you like the sound of Gravity Daze and could you also tell me some of your favorite Tracks, aswell? ;)

Thanks for Gravity Daze.

Hello, Sirusjr. Say, if it's not too much trouble, could you tell me how you like the sound of Gravity Daze and could you also tell me some of your favorite Tracks, aswell? ;)

I will try to post a more detailed review of the material when I get through it multiple times, so much to take in! However, initially I quite like the big orchestral sound on a few of the tracks and even the jazz sound. I suspect this will be one of my favorite Tanaka scores (besides the great work on End of Eternity).

Having listened to the full score twice, I am very satisfied. Yes the score is very much along the lines of the typical small ensemble orchestral score we get out of Japan and I question just how large the orchestra here is. But there is a good variety among the tracks here and only a few pieces that are overly atmospheric.

Agreed, I personally find Kawai mostly insignificant when it comes to action music, but his softer, lyrical side really can be something. EG, Seirei no Moribito is one of the most beautifully soothing scores I've heard, a real gem in this style. This is in fact what I look for in his scores.
Thanks arthierr for making me discover this score. I enjoyed some of the cues very much, especially the first and the last (with children singing) ones. Kenji Kawai has real talent to create a mood that is unique. Sometimes, his cues may seem very similar to each other, but he has enough creativity to give each of them its own personality

QUEEN EMERALDAS
Michiru Oshima



FLAC + scans
Tagged in English
QEMO.part1.rar (http://www.mediafire.com/download.php?nhftmtovlzoo62a)
QEMO.part2.rar (http://www.mediafire.com/download.php?4vwfv3o316tgf12)

As a large proportion of links in the thread are now gone, I thought a program of reups was in order. This one started me off on Oshima, so I thought it would be a nice way to say thanks :) It's an upgrade from the 320kbps originally posted; if mp3 is required then just sing out.

QUEEN EMERALDAS
Michiru Oshima


As a large proportion of links in the thread are now gone, I thought a program of reups was in order. This one started me off on Oshima, so I thought it would be a nice way to say thanks :) It's an upgrade from the 320kbps originally posted; if mp3 is required then just sing out.

Ah, thanks for this! I started indexing the thread a few days ago for those interested (will probably take a few weeks), and this is one of the ones I wanted desperately but wasn't able to get. Thanks loads, lens! Also, what a lovely cover!

Here's another that was offline:


Leonard Rosenman
Lord of the Rings

FLAC | LOG | CUE | Scans

Leonard Rosenman - 2001 - The Lord Of The Rings (LORCD-0001-2).part1.rar (http://www.mediafire.com/?a33nq97jujchhog)
Leonard Rosenman - 2001 - The Lord Of The Rings (LORCD-0001-2).part2.rar (http://www.mediafire.com/?yp2pg6u6bjouk08)
Leonard Rosenman - 2001 - The Lord Of The Rings (LORCD-0001-2).part3.rar (http://www.mediafire.com/?yz6827gbzg8cnic)



Thanks to arthierr (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/19.html#post1166730) for posting this soundtrack back in the early days of the thread. I had never heard it, but it's amazing! This is the kind of soundtrack I hope to hear in this thread, and I was not disappointed. Lush, great themes, and beautifully written! Here it is in FLAC, and I'd be happy to do mp3 later if anyone likes.

I prefer his star trek score to this one (LOTR), the music is less atonal for starters.

Great, I was so busy this week that I completely forgot it's been april 1st. No biggie, perhaps a bit later this month...

And thanks for the ups / reups, guys! Great idea. There's indeed some really good stuff that has been lost here and there, and it's good to see generous, philantropic fellows willing to bring back some lost goodies!

Also, a rare Yamashita to come soon... ;)

Thanks for posting QUEEN EMERALDAS. I wasn't really that fond of it on the first listen though. It has the same dated sound as the Harlock series and other scores from related films.

Dated? It's only 14 years old! ;)

I always found it to be some of Oshima's best work. The orchestra is a bit spindly, sure, but it's a relatively minor problem to come to terms with in comparison to the quality of the music...

This is what the thread index is looking like so far... is this something people are actually interested in? Things I am and am not including:

Including:

Action Packs (only those that are still online)
Single Scores listed by composer
Single-Composer compilations
Large Multi-composer compilations
Concerts and other albums that don't fit into the other categories already listed, by composer if possible.
General Topics/Points of Interest (this one is sort of hard to pin down)

Not Including:

Single cues/tracks/songs
Packs of just a few cues/tracks/songs
Offline Action Packs (didn't seem necessary as they're pretty heavily concentrated in the first 20 pages or so and are less likely to be re-uploaded)


As of the first 50 pages, the majority of links are offline. I'm hoping some of these will be able to be re-upped as I'm sure most of them are still on the collective disk space of thread regulars or elsewhere on the forum, but a lot of the value of this thread is the discussion and all of that remains. Any thoughts?

Here are the first 50 pages of the thread (sorry for all the placeholder links, and all links are to individual posts) :


Music






Individual Scores


Araujo, Oscar - El Cid, La Leyenda (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/46.html#post1198686)

Arkenstone, David - Music Inspired by Middle Earth (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/22.html#post1169350)

Armstrong, Craig - As if to Nothing (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/16.html#post1160908)

Arnold, David - Quantum of Solace (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/25.html#post1171396)

Batt, Mike - Caravans (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/46.html#post1198699)

Bernstein, Elmer - Mega-post of Six scores (all mediafire online) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/48.html#post1201950)

Brown, Bill & Christopher, Jamie - The Battle for Middle Earth (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/19.html#post1166630)

Christopherson. Jamie - Bladestorm: The Hundred Years War (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/11.html#post1144244)

Conti, Bill - The Adventures of Huck Finn (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/42.html#post1191380)

Conti, Bill - Escape to Victory (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/40.html#post1189791)

De Meij, Johan - Symphony No. 1: Lord of the Rings (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/19.html#post1166273)

De Meij, Johan - Symphony 1 (LSO version) (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/19.html#post1166643)

De Meij, Johan - Symphony No 3 (Planet Earth) (Badongo link online) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/19.html#post1166696)

Debney, John - Inspector Gadget (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/42.html#post1192132)

Debney, John - Lair Complete (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/13.html#post1149818)

Debney, John - Seaquest DSV (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/15.html#post1155443)

Debski, Krzesimir - Ogniem I Mieczem (With Fire and Sword) (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/48.html#post1201911)


Delerue, Georges - Custom Compilation by garcia27 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/45.html#post1197766)

Deriviere, Olivier - Alone in the Dark (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/50.html#post1204824)

Desplat, Alexandre - The Painted Veil (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/48.html#post1201679)

Djawadi, Ramin - Fly Me to the Moon (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/43.html#post1195340)

Doyle, Patrick - Henry V (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/38.html#post1188191)

Doyle, Patrick - Igor (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/31.html#post1178227)

Eisenhorn, Richard - Voices of Light (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/29.html#post1174127)

Gold, Ernest - Cross of Iron (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/42.html#post1191343)

Goldsmith, Jerry - Custom Compilation by garcia27 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/16.html#post1159411)

Goldsmith, Jerry - Masada (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/48.html#post1201680)

Goldsmith, Jerry - Mega Compilation (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/27.html#post1172043)

Goldsmith, Jerry - Night Crossing (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/24.html#post1170074)

Gordon, Christopher - megapost by garcia27 (mediafire online) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893-post1203936/#post1203936)

Graves, Jason - Dead Space (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/31.html#post1177404)

Hattori, Katsuhisa - Crest of the Stars (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/45.html#post1197802)

Herrmann, Bernard - The Concert suites (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/48.html#post1202078)

Herrmann, Bernard - Mysterious Island (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/31.html#post1177388)

Hisaishi, Joe - 2008 Studio Ghibli Concert (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/40.html#post1189625)

Hisaishi, Joe - 25th anniversary Ghibli concert video (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/37.html#post1187307)

Hoenig, Michael - Baldur's Gate 1 and 2 Soundtracks (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/34.html#post1181506)

Hokoyama, Wataru - Afrika Original Soundtrack (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/32.html#post1178758)

Holdridge, Lee - Charles Gerhardt Conducts The Film Music of Lee Holdridge (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/32.html#post1179730)

Holdridge, Lee - Triple Bill - Star Command, Freefall, Secret of Nimh 2 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/32.html#post1179735)

Holdridge, Lee - The Mists of Avalon Original Television Soundtrack (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/32.html#post1179735)

Horner, James - Braveheart (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/29.html#post1173422)

Horner, James - Krull Complete Score (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/31.html#post1177353)

Horner, James - More Music from Braveheart (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/29.html#post1173422)

Isham, Mark - Eight Below (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/47.html#post1199436)

Ito, Yasuhide - Image from King Colossus (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/11.html#post1142528)

Iwasaki, Taku - Binchou-Tan OST (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/15.html#post1153880)

Iwasaki, Taku - Standing in the Sunset Glow (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/22.html#post1169636)

Jacques, Richard - Pursuit Force (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/7.html#post1136527)

Ji-Soo, Lee - Zera: Imperan Intrigue (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/12.html#post1146815)

Kantelinen, Tuomas - 4 scores (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/41.html#post1189932)

Kawai, Kenji - Seven Swords (Qi Jian) (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/28.html#post1172715)

Kikuchi, Shunsuke - Dragon Ball Z Complete BGM and Dragon Ball Score (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/30.html#post1174921)

Kikuchi, Shunsuke - Dragon Ball Z Complete Orchestral Score (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/29.html#post1174428)

Mancini, Henry - LIfeforce (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/34.html#post1181506)

Mann, Hummie - Robin Hood, Men in Tights (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/24.html#post1170688)

McNeely, Joel - filmworks (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/46.html#post1199168)

Miyakawa, Akiyoshi - Bush Baby, Little Angel of the Grasslands (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/21.html#post1167887)

Miyazaki, Shinji - Pokemon 11: Giratina and the Sky Warrior; Pokemon: The Rise of Darkrai (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/25.html#post1171347)

Moore, Lennie - Outcast (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/8.html#post1137422)

Nakagawa, Kotaro - Dramatic Baseball Movie Major (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/40.html#post1189481)

Nakagawa, Kotaro - Zettai Karen Children OST (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/40.html#post1189481)

Navarrete, Javier - Inkheart (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/41.html#post1190352)

Navarrete, Javier - Pan's Labyrinth Expanded (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/41.html#post1190447)

Newton Howard, James - I Am Legend (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/38.html#post1188409)

Oldziey, George - Shaiya (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/13.html#post1149818)

Oshima, Michiru - Queen Esmereldas (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/21.html#post1168564)

Oshima, Michiru - Year one in the North (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/50.html#post1204559)

Pike, Nicholas - Captain Ron Promo (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/10.html#post1141844)

Pinar, Toprack - Ninety Nine Nights (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/8.html#post1137458)

Poledouris, Basil - Custom Compilation by garcia27 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893-post1159413/#post1159413)

Poledouris, Basil - Quigley Down Under (Offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/24.html#post1170409)

Powell, John - Bolt (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/50.html#post1204491)

Rosenkranz, Kai - Gothic III (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/15.html#post1154625)

Rosenman, Leonard - The Lord of the Rings (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/19.html#post1166730)

Rosenthal, Lawrence - Clash of the Titans (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/29.html#post1173428)

Ross, William - The Tale of Desperaux (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/50.html#post1204501)

Rowland Bruce - Andre (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/46.html#post1199036)

Rubinstein, Arthur B. - The Hard Way (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/35.html#post1182188)

Sahashi, TOshihiko - Blue Stinger OST (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/26.html#post1171556)

Sahashi, Toshihiko - Custom Compilation by tangotreats (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/21.html#post1168056)

Scorpions, The - Moment of Glory (live with Berlin Phil) (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/20.html#post1167116)

Scott, John - Antony and Cleopatra & Shogun Mayeda (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/36.html#post1185007)

Scott, John - The Final Countdown (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/37.html#post1187295)

Scott, John - Lionheart (online), King Kong Lives (offline), Greystroke (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/41.html#post1190301)

Shikata, Akiko - Hana Ki Sou Soundtracks (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/20.html#post1167385)

Shore, Howard - The Lord of the Rings Complete Recordings (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/15.html#post1157595)

Shore, Howard - Suites and Themes (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/16.html#post1159142)

Silvestri, Alan - Contact (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/19.html#post1166622)

Smetana, Bedrich & Dvorak, Antonin - Die Moldau and Symphony No. 9 (Rafael Kubelik with Berlin Phil) (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/36.html#post1184290)

Soule, Jeremy - Total Annihilation (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/35.html#post1182958)

Stromberg, William T. - Trinity and Beyond: The Atomic Bomb Movie (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/24.html#post1170725)

Sugiyama, Koichi - Ideon (Densetsu Kyojin) Volume 1 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/30.html#post1174619)

Takahashi, Hiroaki & Sodeoka, Takayasu - Rygar - Legendary Adventure Symphonic Poem (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/8.html#post1137407)

Takagi, Hirohshi - Beet the Vandel Buster OST (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/18.html#post1164769)

Terashima, Tamiya - Gedo Senki (Tales from Earthsea) (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/38.html#post1188131)

Tykwer, Tom ; Klimmek, Johnny & Heil, Reinhold - Perfume: The Story of a Murderer Promo (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/46.html#post1198762)

Uematsu, Nobuo et al - Tour de Japon - Final Fantasy orchestrated Performance (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/24.html#post1170392)

Unknown - Jeanie with the Light Brown Hair (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/41.html#post1190683)

Velasco, Cris & Dikiciyan, Sascha - Dark Messiah OST (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/15.html#post1154625)

Vivas Puig, Alejandro - La Conjura del Escorial (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/46.html#post1198669)

Wada, Kaoru - D.Gray-Man OST 1 (offline) (http://forums.ffshrine.org/f92/7big-orchestral-action-music-thread-57893/33.html#post1180406)

Wada, Kaoru - Kishin Symphony concert (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/9.html#post1137850)

Wada, Kaoru - Record of Lodoss War: Chronicles of the Heroic Knight (TV) (torrent) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/9.html#post1137901)

Walker, Shirley - The Flash (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/3.html#post1119237)

Willett, Leon - Dreamfall: The Longest Journey (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/35.html#post1181888)

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

Williams, John - Saving Private Ryan (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/24.html#post1170409)

Williams, John - The Witches of Eastwick (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/37.html#post1187289)

Arnold, David - Quantum of Solace (offline) & Williams, John - Indiana Jones: Kingdom of the Crystal Skull (offline) ([URL="http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/25.html#post1171396)

Wood, Steve - Everest (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/11.html#post1141846)

Yamashita, Kousuke - Getsumen Toheiki Mina(offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/9.html#post1138218)

Yamashita, Kousuke - R2 Reign of Revolution (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/15.html#post1156060)

Yared, Gabriel - Troy (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/31.html#post1178227)

Yokota, Mahito & Kondo, Koji - Super Mario Galaxy Platinum Soundtrack (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/9.html#post1138652)

Yoshimata, Ryo - Atsuhime OST (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/11.html#post1144244)

Young, Christopher - Custom Compilation by garcia27 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/27.html#post1172050)

Zimmer, Hans & Glennie-Smith, Nick - Lauras Stern (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/45.html#post1197485)
























text (url)
text (url)
text (url)




Compilations, Action Packs, etc


arthierr Action Pack (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/#post1117943)


UmbreChan Action Pack (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/#post1117997)


Rock Symphonies II (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/32.html#post1178803)

Classic Rock Classics (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/32.html#post1178825)

The Sensation of Sound - Pop Goes Classic (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/32.html#post1179282)

Classic Rock Volume 3: Classic Ballads (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/32.html#post1179721)

The Munich Philharmonic ORchestra Plays ABBA Classic (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/34.html#post1181029)

Vienna Symphonic Orchestra Project Vol. 3 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/34.html#post1181060)

Vienna Symphonic Orchestra Project Vol. 4 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/34.html#post1181105)

Vienna Symphonic Orchestra Project Vol. 5 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/34.html#post1181582)

Vienna Symphonic Orchestra Project Vol. 6 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/34.html#post1181642)

Friday Night with George Fenton - The BBC Concert Orcestra (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/35.html#post1182172)

London Symphony Orchestra - The Power of Classic Rock (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/35.html#post1182321)

Vienna Symphonic Orchestra Project Vol. 7 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/35.html#post1182935)

London Symphony Orchestra - The Power of Classic Rock 2 (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/36.html#post1183632)

Vienna Symphony Orchestra Projekt: Love FLows (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/36.html#post1185479)

Vienna Symphonic Orchestra Project Vol. 1 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/37.html#post1186802)

The Munich Philharmonic Orchestra Plays Rolling Stones Classic (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/39.html#post1189008)

Mega-Compilation by goisles01 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/39.html#post1189029) and Part 2 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/40.html#post1189209)

World Masterpiece Theater Collection (Anime) by Billie781 (offline) (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/50.html#post1204407)

text (url)
text (url)
text (url)
text (url)










Topics



What is "Orchestral" (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/2.html#post1118732)

Yoko Kanno Streichorchester analysis and plagiarism discussion (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/9.html#post1138374)

Kanno and plagiarism discussion part 2 (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/12.html#post1144412)

Compositions by Auumar and tangotreats (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/16.html#post1162181)

Streich Antics (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/22.html#post1169910)

Page 42 Packs Renaissance - Reposting and Choral/Vocal (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/42.html#post1193792)

text (url)
text (url)
text (url)
text (url)
text (url)
text (url)
text (url)
text (url)
text (url)
text (url)
text (url)
text (url)
text (url)
text (url)
text (url)
text (url)
text (url)
text (url)

Keeping in the spirit of reuploading, I've completed another revision of my edit of the orchestral tracks of Yoko Kanno's awesome score to Sousei no Aquarion. This version has undergone pitch correction. Furthermore, I've also uploaded pitch-corrected versions of the original tracks as a second, separate download.




Link to Thread (Thread 78561)

Keeping in the spirit of reuploading, I've completed another revision of my edit of the orchestral tracks of Yoko Kanno's awesome score to Sousei no Aquarion. This version has undergone pitch correction. Furthermore, I've also uploaded pitch-corrected versions of the original version of the tracks as a second, separate download.

Link to Thread (Thread 78561)

Thanks! I've always liked this one, and I don't love the album as a listening experience with the fluff in there. I've always been annoyed that they took the cut with a double buzz in the super exposed solo horn line near the end of the main theme in what is your track 1 (6:23-6:26)though, and it even seems to be easier to hear in your version. That's life, I guess. Thanks again!

Edit: it feels like a totally new experience!

Thanks! I've always liked this one, and I don't love the album as a listening experience with the fluff in there. I've always been annoyed that they took the cut with a double buzz in the super exposed solo horn line near the end of the main theme in what is your track 1 (6:23-6:26)though, and it even seems to be easier to hear in your version. That's life, I guess. Thanks again!

I remember when I first toyed with the idea of trying to correct the pitches, I heard that and thought it was an artifact I had created, but then I went back and listened to the original and realized it was there to begin with. I'm convinced the recording engineer mastering the original albums must have been drunk or insane or something. You win some, you lose some. :)

I remember when I first toyed with the idea of trying to correct the pitches, I heard that and thought it was an artifact I had created, but then I went back and listened to the original and realized it was there to begin with. I'm convinced the recording engineer mastering the original albums must have been drunk or insane or something. You win some, you lose some. :)

Oh, it's not a recording or mastering thing at all, and I don't even know if you could remove it (I know nothing about audio manipulation!). It's just a brass playing thing. He's getting two separate vibrations from his lips instead of one, and it ends up sounding like a growl in the sound and is fairly nasty usually!

Ah. I think I was talking about the warbling sound some of the brass seems to make occasionally. I get confused sometimes.

ROMEO x JULIET
Composed by Hitoshi Sakimoto
Performed by the Eminence Symphony Orchestra



FLAC + scans
RXJHS.part1.rar (http://www.mediafire.com/download.php?z47efupf5zm7hkh)
RXJHS.part2.rar (http://www.mediafire.com/download.php?ovi0in539fq396v)
RXJHS.part3.rar (http://www.mediafire.com/download.php?qedh3d8oaeghuag)

This is a score that the thread should never be without for too long. From the trenchant opening, through the irrepressible bustle of Neo Verona and its lyrical variations, to the flamboyant sense of intrigue, I was hooked. Big thanks to Sirusjr for the original upload. Let's hope Sakimoto gets to work on this scale again one day.

Happy Easter everyone!

ROMEO x JULIET
Composed by Hitoshi Sakimoto[/SIZE]
[SIZE=5]Performed by the Eminence Symphony Orchestra

This is a score that the thread should never be without for too long. From the trenchant opening, through the irrepressible bustle of Neo Verona and its lyrical variations, to the flamboyant sense of intrigue, I was hooked. Big thanks to Sirusjr for the original upload. Let's hope Sakimoto gets to work on this scale again one day.

Happy Easter everyone!

Agreed that this score has a deserved place in the thread, and I love it! I had it before, but not in flac, so thanks Lens.

Edit: Suppose I'll just add these here!


Crest of the Stars by Katsuhisa Hattori was posted by JRL3001 earlier in the thread and later again by klnerfan, but those are long gone so I am reuploading them for you now! These scores have some lovely themes, and they also have their share of drum kit and bass and some odd blends of synth on top of orchestra. Consider yourselves forewarned, and enjoy! (not my rip)


Crest of the Stars
Katsuhisa Hattori
http://userserve-ak.last.fm/serve/300x300/29637803.gif
FLAC

Seikai no Monshou OST.part1.rar (http://www.mediafire.com/?i5xwmp8k6wk6jz5)
Seikai no Monshou OST.part2.rar (http://www.mediafire.com/?269dz5ayrb53f24)

Banner of the Stars OST 1 & 2
Katsuhisa Hattori

FLAC

Seikai no Senki I OST.part1.rar (http://www.mediafire.com/?pm827k0qhtmm2bj)
Seikai no Senki I OST.part2.rar (http://www.mediafire.com/?f01053uowf23w93)

Seikai no Senki II OST.part1.rar (http://www.mediafire.com/?q75a547q4d793bu)
Seikai no Senki II OST.part2.rar (http://www.mediafire.com/?pq74v19z9svv34k)


All 3 albums in mp3 v0 (http://www.mediafire.com/?pykua476wwmyeii and part 2 - http://www.mediafire.com/?1pzr3g15xdw4xnj)

.

ROMEO x JULIET
Composed by Hitoshi Sakimoto
Performed by the Eminence Symphony Orchestra

Loving this score... and strangely interested in seeing how this works as an adaptation...

Loving this score... and strangely interested in seeing how this works as an adaptation...

The anime could probably run on Nickolodeon or CN or something. Also, despite being Japanese, it's quite possibly the least sexualized of the countless R&J adaptations out there. Just...think about that.

First off, you guys freaking ROCK.

Big, BIG thanks for the recent contributions, superb stuff, really. And you know, this "Let's reup some Classics" operation is a glorious idea. In fact, this is the kind of thing I started to do some months ago with my own stuff. My HDDs were so clogged up by so many various things I don't know when, and more importantly *WHY* I got in the first place, that some serious clearing was in order. It is then that I discovered some real gems here and there, and some quite important ones to me, that were just... there, forgotten, neglected! I then decided to thoroughly make back ups of this precious material, because there are things you can easily lose, but some you really have to care much about.



This is what the thread index is looking like so far

What can I say? Thank you so much, my friend, for this impressive work that I didn't have the possibility to do myself, even though I intended to do so several times! This is quite a complex task, especially when it comes to indexing the discussion topics, given the fluid, lively, whimsical nature of discussion itself, but you did a great job, as I can observe. Also, I really admire your genuine interest and dedication to this thread, and it's good to know that there is an Orchestral Thread archivist / historian out there taking care of these things! A huge, heartfelt, BRAVO to you, Sir. :)

A little suggestion: I saw you put the Classic Rock albums (and assimilated) in "Compilations, Action Packs, etc", as distinct from "Individual Scores". Wouldn't that preferable to do a "Individual Albums" category, instead of just "scores"? This way the Classic Rock stuff can go there, and all custom compilations and edited albums can have their own category.




ROMEO x JULIET
Composed by Hitoshi Sakimoto
Performed by the Eminence Symphony Orchestra

Also one of my personal classics. You know, the kind of album you make sure you have at least 2, preferably 3 copies disseminated in your various HDDs, and which you revisit about once a year. "Hello darling, you missed me so much! Oh, you haven't aged at all, in fact you're even prettier than before! I never noticed you had such magnificient horn lines, and your strings, they are so lush and vibrant. Oh yes, baby, give me some pleasure again, like you did before..."

Ahem, perhaps I got carried away... ;)

What can I say? Thank you so much, my friend, for this impressive work that I didn't have the possibility to do myself, even though I intended to do so several times! This is quite a complex task, especially when it comes to indexing the discussion topics, given the fluid, lively, whimsical nature of discussion itself, but you did a great job, as I can observe. Also, I really admire your genuine interest and dedication to this thread, and it's good to know that there is an Orchestral Thread archivist / historian out there taking care of these things! A huge, heartfelt, BRAVO to you, Sir. :)

Ah thank you, of course, for starting a wonderful thread. I don't usually have much to contribute in debates, but wanted to give back a little. This is the motivation I needed :D :D



A little suggestion: I saw you put the Classic Rock albums (and assimilated) in "Compilations, Action Packs, etc", as distinct from "Individual Scores". Wouldn't that preferable to do a "Individual Albums" category, instead of just "scores"? This way the Classic Rock stuff can go there, and all custom compilations and edited albums can have their own category.


Sure, I can do that. It's much easier to make these kinds of organizational changes now when I'm only 50 pages in, so thank you. For anyone else with suggestions, "speak now or forever hold your peace". ;)

This is the first of what will hopefully be a series of re-uploads to this thread. Please let me know if you have any specific requests.
Patrick Doyle - Killing Me Softly (Quartet 2011)
Orchestral|Herrmannesque|Romantic|Lush
MP3 VBR V-0

Download (http://www.peejeshare.com/files/362047857/Killing_Me_Softly.rar.html)
PSW: smile

This title is now sold out at Quartet Records and most retailers

Los Borgia - Angel Illarramendi
Originally Posted by Garcia27
192kbps MP3

Download (http://www.peejeshare.com/files/362047903/Los_Borgia_AI.rar.html)
PSW: smile

Citizen Kane - Classic Film Scores of Bernard Herrmann
National Philharmonic Orchestra Charles Gerhardt re-recording, Re-issue 2011

Download (http://www.peejeshare.com/files/362047957/CFS_of_BH.rar.html)
PSW: smile

Melbourne 2006 - Christopher Gordon - 128kbps MP3

Download (http://www.peejeshare.com/files/362051646/Melbourne_CG.rar.html)
PSW: smile

Mao's Last Dancer - Christopher Gordon
MP3 192kbps
Orchestral|Chinese Instruments

Download (http://www.peejeshare.com/files/362051629/Mao_CG.rar.html)
PSW: smile

If you are re-uploading classics and want to make sure it is not a Varese release, check this link. You can do a similar search for other forbidden labels.
http://www.soundtrackcollector.com/catalog/search.php?searchon=labelnr&searchtext=varese%20sarabande

Ooooooh, what a fine selection! Classy, tasteful and even a few that I never heard before, like the last one (I didn't even know it existed...). Great stuff, Sirusjr. :) I'll start with this last one, since I'm really curious about it.

Arthierr mentioned some rare Kosuke Yamashita a few days ago... Well, here's probably THE RAREST Yamasita there is; so rare you didn't even know it existed.



KOSUKE YAMASHITA
Overture: The Earth



Studio Orchestra
conducted by Kosuke Yamashita

http://www.mediafire.com/?6bozrlamfq3d8xv

MP3 - LAME 3.99.5 @ -V0

This is a downsample and downmix of the original audio which was eight channel lossless WAV at 24bits / 96khz. The audio track itself was 500mb. That bit-depth is not supported by any lossless codec I'm aware of and I'm sure as hell not uploading half a gig of data for four minutes of music. This is perfectly fine. Trust me. (Snake oil...)

So, what on earth is this? Well, it's a three and a half minute overture for full orchestra. Yamashita composed this for a Bluray Reference Disc; the sort you use to make sure your home cinema system is working, your TV is calibrated, etc. Most of the video consists of tedious footage of test cards, buses driving through Tokyo, ridiculous close-ups of flowers, balls of coloured wool, etc - but the audio section is considerably more interesting! To set up your speakers, we get this lovely piece by Yamashita. Written especially for this Bluray, never released anywhere... but here it is. I had to download 18gb of crap to get this. Enjoy. ;)

Wow, very nice find, bravo!

But I've got here something even rarer, mister. Since we're into this "rare stuff" thing, here's something film score fans have been waiting for YEARS to no avail... until now.



JAMES HORNER
The Lord of the Rings
Overture

James Horner Lord of the Rings.mp3 (http://www.mediafire.com/?q8x1vzqxc1w8e7c)





As you all know, sometimes, when a film project begins, a bunch of composers are contacted and asked to produce a mock-up to show their own vision of the film (and their competence, of course). What you probably *don't* know, is that James Horner did get contacted, among others, to score The Lord of the Rings! Yes, the actual films that made gazillions of bucks to the box office!

And he composed one mock-up for it, a whole overture that states in a coherent way a few important themes he specially created for the occasion, performed by an unknown orchestra and choir.

Nobody except the people directly concerned knows exactly why Horner didn't get the job, but it was quite a pity, because as you can hear, his overture was a real masterpiece, that could have led to really exceptional scores. Anyway, for some reason, probably having something to do with obscure copyrights stuff, this piece has been very thoroughly kept secret from the public... Until recently, when it leaked in a private forum of which I'm also a member.

And here it is, my friends, specially for you, one of the rarest and most fascinating pieces of music in the history of film scores. Hope you Enjoy!

PS: I couldn't identify the language of the choral parts, perhaps it's latin. I did recognize the syllables MA GI KA LU, perhaps they're related to the magical setting of the story?

Thanks! Lovely post!

.

JAMES HORNER
The Lord of the Rings
Overture

My god, and to think what might have been.

I won't attempt to describe the richness and promise of this music, except to say, c'est in-croyable!

Hmm... that choral part is definitely worthy of some study. A rather eclectic choice of voices; a small female chorus singing in close harmony - often outside the usual soprano range. Very melodic and lyrical, however - but somewhat outside of Horner's comfort zone. The strange, other-worldly language used (I wonder what it is! It's not Latin... it has perhaps a more Eastern feeling to it) only adds to the magic. It's lovely (and frustrating, given that he didn't get the gig) to hear him branch out in such an unusual and vibrant style. It's clear from even this short overture that his vision of the film was superior to Shore's and that the "score that never was" would have been a masterpiece... and not only within Horner's own oeuvre... this would have taken its place in the highest echelons of symphonic music regardless of genre.

The arrangement is so fresh and florid, as well! The poor orchestra really earned their wages that session, that's for sure. Some of that complex, contrapuntal interplay (are they sixteenth notes in the brass?) is stupendously difficult to play but they pull it off with aplomb.

Thank you so much for posting! :D

Thank you for this wonderful piece... of classical music! I could clearly see the beginning of the movie - the battle and introduction of the hobbits, as I was listening closely to the magnificent choir!

I clicked that Mediafire link and downloaded the file entitled "James Horner Lord of the Rings", but when I played it, it was some junky-sounding synth music, which VLC Media Player identified as "Tamura Yukari & Tomatsu Haruka & Nadzuka Kaori - Mahou Shoujo Magical Tan!".

I had the same issue as @Beechcott. I'm guessing it's an April Fool's post 10 days late.


I clicked that Mediafire link and downloaded the file entitled "James Horner Lord of the Rings", but when I played it, it was some junky-sounding synth music, which VLC Media Player identified as "Tamura Yukari & Tomatsu Haruka & Nadzuka Kaori - Mahou Shoujo Magical Tan!".

Welcome, guys! Only the *BEST* for you, the cream of the crop and nothing less.

Indeed, it's quite an incredible piece, isn't it. I especially admire the part near 3:00, when the solo female part occurs, this is pure... genius.

Herr Salat: fantastic! Another uber rare stuff, and it sounds wonderful!

Indeed; it's not often you get to hear Sprechgesang in a film score... Now why the bloody hell wasn't Horner in this mode for Avatar? Now that would've been a score to take notice of.

so its fake?

Nono, it's the actual stuff. Horner's style was a little different at that time, but you can recognize his unique melodic style here and there.

I think I can even hear an inverted quotation of the danger motif buried deep in the counterpoint. Can you hear it? I think it's in the bass clarinet part during the second statement of the B theme.

Eh, I prefer the scores we got.

they are much better than Conan's repetitive action music.

That's how you guys and gals roll.

I found a similar balls-to-the-wall piece of music while reading some older posts in this thread:



Behold, the most ENGERJECTIC track in existence: Download - THE FINAL BATTLE.mp3 (http://www.mediafire.com/?vv3y0ezogdprd6r)

ORCHESTRED FIGHTING THEMES TRACKS THAT CAN BE USED WHEN PEOPLE ARE KILLING EACH OTHER LIKE THE MOVIES MUST BE UPBEAT AND ENGERJECTIC

Thanks, streichorchester!

ORCHESTRED FIGHTING THEMES TRACKS THAT CAN BE USED WHEN PEOPLE ARE KILLING EACH OTHER LIKE THE MOVIES MUST BE UPBEAT AND ENGERJECTIC


A splendid impression of Thomasdaly... :D

Thank you so much for your Amano post... I don't know where you're finding these things but they are truly golden. Probably not quite as great as Horner's LOTR, you understand... but pretty damn good all the same.

Jack Wall Wrath Unleashed soundtrack download please !!!!!

...And here comes his brother!

Uh....we need a reupload on that Horner piece. I get some weird Japanese song.

Uh....we need a reupload on that Horner piece. I get some weird Japanese song.

uhm...that IS the horner piece! he was trying a new sound for the elves!

---------- Post added at 07:11 PM ---------- Previous post was at 07:07 PM ----------

Artheir jery golsmiths LOR demo plz upload?

Now, THAT I would like to hear...

I her it souned lik star treck V...

JAMES HORNER
The Lord of the Rings
Overture

Jesus wept.

Mao's Last Dancer - Christopher Gordon
MP3 192kbps
Orchestral|Chinese Instruments

Download (http://www.peejeshare.com/files/362051629/Mao_CG.rar.html)
PSW: smile

I can't get this one to work, it keeps opening a "new upload" window after the download link is created, am I the only one having this issue?
If not, may I humbly ask for a re-up?
Thank you.

EDIT: It finally worked, no need to re-up, thanks!

It's not just you... Peeje is a bit knackered today. They were down for maintenance earlier today (with the Share page alternating between a timeout and a "Sorry, closed for maintenance" message) but then they came back up... No downloads are working. Uploads work, but the links lead to nowhere. I do hope this isn't the beginning of the end. I'd imagine they'll have it sorted out shortly. :)

Unfortunately I didn't grab this one, otherwise I'd re-upload it elsewhere...

LOTR James Horner recording sessions please download !?!?!??!!?101er

Thank you tangotreats, I managed to get a file from Peeje a bit earlier and was not aware of the technical difficulties it experienced today, I will try again later or tomorrow.

EDIT: Well, it worked, no need to re-up, thanks!

You guys are hilarious :p

It's Krull with 20 years of experience topped on.

Jack Wall Wrath Unleashed soundtrack download please !!!!!

Wow, very nice find, bravo!

But I've got here something even rarer, mister. Since we're into this "rare stuff" thing, here's something film score fans have been waiting for YEARS to no avail... until now.



JAMES HORNER
The Lord of the Rings
Overture



HAHAHA! Good one arthierr! You got me :P Guess I should have read the following comments...LOL!

Sirusjr:
Thanks for sharing Patrick Doyle's Killing Me Softly, which is indeed "Orchestral/Herrmannesque/Romantic/Lush." I first discovered Doyle with his score to Dead Again but haven't been that impressed by what I've heard since. Killing Me Softly changes that and makes me wonder if there are other similar Doyle scores out there I might have missed? Can anyone recommend another "Orchestral/Herrmannesque/Romantic/Lush" Doyle score (or by any composer)? THANKS!

Takayuki Hattori - Nihon Retto Ikimonotachi no Monogatari - UPCH-1865 - 2012
Orchestral|Relaxing|Ambient
credit goes to [email protected] (converted from TAK and Tagged with Romanji)


FLAC + Scans
Download (http://www.peejeshare.com/files/362064547/TH-NRIM.rar.html)
PSW: smile

MP3 VBR V-0
Download (http://www.peejeshare.com/files/362064598/NRIM.rar.html)
PSW: smile

This is a very nice score. Highly recommended.


Yepsa - It is hard to recommend a similar score by Doyle. He has others that are very herrmannesque, some horror scores like Dead Again you mentioned and some other lush scores like Man to Man, Nouvelle France, Nanny McPhee, Much Ado About Nothing and Sense and Sensibility. Sadly, the last three are Varese releases and can't be posted here. You should be able to find Man to Man if you look around, as it was recently released by Moviescore Media.

You realise that this makes you MR AWESOME today, right? :D (Not to say you're not usually, but particularly today!)

Thank you so much.

You realise that this makes you MR AWESOME today, right? :D (Not to say you're not usually, but particularly today!)

Thank you so much.

WIN! Another title to add to my collection. After listening to the score fully, it is indeed very nice overall, only a few mediocre tracks.

My thanks to sirusjr for the wonderful Killing me Softly!

This is a very nice score. Highly recommended.[/center]


It is indeed. Thank you very much for another great contribution :)

Hello! Could you please put the links back? Thank you!

---------- Post added at 05:39 PM ---------- Previous post was at 05:38 PM ----------



TORU FUYUKI conducts ULTRA SEVEN
The Tokyo Symphony Orchestra
orchestrated and conducted by The Composer



My rip. LAME -V0 3.98.4 - Full scans included (Another in my series of "CDs I Bought In Tokyo" - this time in Mandarake in Shibuya... a completely insane, truly amazing store that you really should visit if you have any interest at all in anime/manga and are in the neighbourhood...) ;)

Download: TFCUS2009.part1.rar (http://uploadmirrors.com/download/1L88STOE/TFCUS2009.part1.rar)
Download: TFCUS2009.part2.rar (http://uploadmirrors.com/download/0H9FU0XW/TFCUS2009.part2.rar)


Everybody knows who Ultraman is. Most people who do, most fondly remember Ultra Seven - to this day the most popular and well known of the Ultra series, it made its TV debut in 1967. Toru Fuyuki contributed a truly remarkable score; he took a potentially silly looking series and scored it straight as an arrow, as a powerful sci-fi epic. His orchestra in 1967 was respectable, although time has not been kind to the original recording.

How fortuitous then, that Toru Fuyuki was commissioned to write two symphonies based on themes from Ultra Seven! Both the symphonies on this disc have been previously released in concert recordings (and are virtually impossible to find today) but this is the first time they've appeared together. These were recorded in March 2009 at a special concert in Tokyo Opera City; a wonderful venue from an acoustic perspective, and to my ears an absolutely ideal one to showcase this wonderful music.

Fuyuki's scores were always bigger than the ensembles that performed them. In making these self-contained symphonic re-imaginations of his original themes, we can finally appreciate how forward thinking his music was - and how unabashedly grand and heroic he made that silly man running around in a red lycra suit.

Ultra Cosmo Symphony (no relation to Ultraman Cosmos, which was also scored by Fuyuki in 2001) was written in 1979, and is cast in four movements.

Ultra Seven Symphony was written in 1993, and is cast in five movements.

There are also three bonus tracks that will probably offend the more purist sensibilities in this thread, but will absolutely delight Ultraman fans; Song Of The Ultra Guard, a Wandaba Medley (an onomatopoeia used to describe one of Fuyuki's trademark choral techniques), and the phenomenally famous Song Of Ultraseven.

All in all, this whole album just makes me cry!

...For a number of reasons - Ultraseven nostalgia is certainly one of them. The fact that Japanese audiences are beating each other up for tickets to these concerts, and that the 75-year-old Fuyuki (still sprightly, healthy, and as his Ultraman Cosmos score of 2001 proves, still at the top of his game - and long may this continue) is so respected, and held in such esteem is another. But most of all, it's just this wonderful music - old fashioned, thematic, larger than life, science fiction epic... like they just don't make any more.

Without intending to disrespect our non-religious contributors, or offend those who are not of any Christian denomination... Thank God for the Japanese, and thank God for whatever system that country has in place that allows grand symphonic music to live and flourish... not to confine it to history as a nostalgic relic of the past, but to propogate it and to teach its power to new generations.



Hello! Could you please put the links back? Thank you!

What a splendid idea! New rip and links coming up shortly. :)

Could I ask you if you would kindly not quote the entire post? It clogs up the thread a bit and I'm going to do a re-post anyway. Thank you. :)

---------- Post added at 01:14 AM ---------- Previous post was at 01:00 AM ----------


TORU FUYUKI conducts ULTRA SEVEN
The Tokyo Symphony Orchestra
orchestrated and conducted by The Composer



NEW 2012 RIP - FLAC Level 8. Tagged in English. Full booklet scans included. Repost and sound quality upgrade; original post from April 2010 is almost all dead links.

GO4UP (mirrors): http://go4up.com/dl/1vk6mdYu8oOC
Peeje: http://www.peejeshare.com/files/362070134/TF-TFCUS-FLAC.rar.html

(Another in my series of "CDs I Bought In Tokyo" - this time from a shop called Mandarake in Shibuya. A completely insane, but truly amazing store that you really should visit if you have any interest at all in anime/manga and are in the neighbourhood...)

Everybody knows who Ultraman is. Most people have a fond recollection of Ultra Seven - to this day the most popular and well known of the Ultra series, it made its TV debut in 1967. Toru Fuyuki contributed a remarkable score; he took a potentially silly looking series and scored it straight as an arrow, as a powerful sci-fi epic. His orchestra in 1967 was respectable, but time has not been kind to the original recording.

How fortuitous then, that Toru Fuyuki was commissioned to write two symphonies based on themes from Ultra Seven! Both the symphonies on this disc have been previously released in concert recordings (and are virtually impossible to find today) but this is the first time they've appeared together. These were recorded in March 2009 at a special concert in Tokyo Opera City.

Fuyuki's scores were always bigger than the ensembles that performed them. In making these self-contained symphonic re-imaginations of his original themes, we can finally appreciate how forward thinking his music was - and how unabashedly grand and heroic he made that silly man running around in a red lycra suit.

Ultra Cosmo Symphony (no relation to Ultraman Cosmos, which was also scored by Fuyuki in 2001) was written in 1979, and is cast in four movements.

Ultra Seven Symphony was written in 1993, and is cast in five movements.

There are also three bonus tracks that will probably offend the more purist sensibilities in this thread, but will absolutely delight Ultraman fans; Song Of The Ultra Guard, a Wandaba Medley (an onomatopoeia used to describe one of Fuyuki's trademark choral techniques), and the phenomenally famous Song Of Ultraseven.

It amazes and delights me that Japanese audiences are beating each other up for tickets to these concerts, and that Fuyuki (still sprightly, healthy, and as his Ultraman Cosmos score of 2001 proves, at the top of his game - and long may this continue) is so respected, and held in such esteem. But most of all, it's just this wonderful music - old fashioned, thematic, larger than life, science fiction epic... like they just don't make any more.

Without intending to disrespect our non-religious contributors, or offend those who are not of any Christian denomination... Thank God for the Japanese, and thank God for whatever system that country has in place that allows grand symphonic music to live and flourish... not to confine it to history as a nostalgic relic of the past, but to propogate it and to teach its power to new generations.

Without intending to disrespect our non-religious contributors, or offend those who are not of any Christian denomination... Thank God for the Japanese, and thank God for whatever system that country has in place that allows grand symphonic music to live and flourish... not to confine it to history as a nostalgic relic of the past, but to propogate it and to teach its power to new generations.



I'm not a religious person, but I say a hearty "amen" to the above! Thank you, Japan, for giving us good music when american cinema's is generally awful! Also thanks for ultraman, tango.

Thanks for lossless Ultraman Symphony Tango! A big amen to your last paragraph as well. I was just playing the Afrika score in the car today with my boyfriend and commenting how Hokoyama should be scoring big hollywood films, but it wouldn't matter anyway because he would just have his scores rejected unless he wrote something like Wrath of the Titans. I really need to give thanks more often for the music we have gotten out of Japan over recent years.

You know, it's such a shame that a talented composer like Javier Navarrete was forced to write a RC/MV clone, in almost exactly the same scenario as Patrick Doyle with Thor and RotPotA. Granted, what Javier wrote is far better than what Ramin Djawadi wrote for the first one, but that's not saying much. Apparently, Navarrete was originally going to write a score that was going to be more classical and orchestral, but then, one meeting and some advice from the Remote Controller himself Hans Zimmer later, we got the RC/MV score we got today. I could be wrong, though.

---------- Post added at 01:14 AM ---------- Previous post was at 01:00 AM ----------

[/COLOR][CENTER]TORU FUYUKI conducts ULTRA SEVEN
The Tokyo Symphony Orchestra
orchestrated and conducted by The Composer



NEW 2012 RIP - FLAC Level 8. Tagged in English. Full booklet scans included. Repost and sound quality upgrade; original post from April 2010 is almost all dead links.

GO4UP (mirrors): GO4UP : Upload everywhere ! (http://go4up.com/dl/1vk6mdYu8oOC)
Peeje: Free File Hosting - Online Storage; Upload Mp3, Videos, Music. Backup Files (http://www.peejeshare.com/files/362070134/TF-TFCUS-FLAC.rar.html)

Bravo! Bravissimo! Thanks (Muito Obrigado)!

Thanks Tango for Ultraman!!

=)

.

!!!!!!!

I really have no words for this. Thank you SO MUCH. :D

2011 Naoki Sato - Carnation Original Soundtrack



Carnation Original Soundtrack (http://www.mediafire.com/?tgzgv3zvcxgbdgu)

I'm getting quite a few requests for reposts lately - which is actually hugely gratifying! That folk are still interested in stuff I posted up to four years ago tells me I must be doing something right. :)

So, here's another gem from the Tangotreats archive... again, in a brand new rip.



RICHARD BLACKFORD
Millennium - A Thousand Years Of History
performed by
The BBC Concert Orchestra
The Bournemouth Symphony Chorus (Neville Creed, chorusmaster)
The Dufay Collective
Orchestrated and conducted by Richard Blackford



New 2012 rip, replacing dead links from original 2009 post. FLAC at Level 8. Full booklet scans included.

http://go4up.com/dl/1ms6QvMGyKuc

1 Title Sequence 1:13
2 Introduction And Pagan Sequence 3:01
3 The Garden Of Islam 3:02
4 Lalibela, King Of The Bees 2:46
5 Landscape Of Spires 4:04
6 Xanadu 2:48
7 Black Death 2:01
8 Golden Mali by Glenn Keiles, Richard Blackford 6:04
9 The Death Of Cairo 1:31
10 Cold And Hungry 2:39
11 Chinese Voyages 3:00
12 Mehmet And Columbus 2:32
13 Crucifixus by Antonio Lotti 2:53
14 Ivan The Terrible 1:05
15 Cabinet Of Curiosities by Glenn Keiles 2:40
16 Isaac Newton 3:33
17 Venice Of The North 3:12
18 Slave Plantations 2:16
19 18th Century Whistle-Stop Tour 1:16
20 American War Of Independence 2:20
21 Death Of A Sultan 3:11
22 The Creation by Haydn2:28
23 Thomas Cook And Song 1:40
24 Shanghai Ascendant 1:59
25 End Titles 1:19

Oh, what a lovely piece of work this is. "Millennium" (1999) was an enormous-scale prestige television documentary series, celebrating the rich history of the past ten centuries. A United Kingdom / United States co-production between the BBC and CNN, it was blessed with a lavish budget in all areas of its production.

So, what do you get when a stupendously talented concert hall composer is let loose with a symphony orchestra, chorus, a range of splendid instrumentalists from around the world, and is asked to use it to score a visually ravishing TV series that, quite literally, aims to document the history of everything? You get this - a beautifully creative, melodic, powerful piece of work; some of the most evocative music of all time. There is simply everything in this score - as it should be; a celebration of the world's many varied musical cultures, wrapped up in a wonderfully lyrical orchestral tone poem.

If you don't like ethnic influences, percussion, or non-orchestral instruments interfering with your symphonic music - save yourself some time and don't bother. But at the same time, I urge you to give it a try with an open mind - far from being a pedestrian Hollywood hack attempt at throwing in everything but the kitchen sink, this score truly does it right - and with absolute musical validity. Everything belongs - every instrumentalist, vocalist, culture, style, and genre all sing together so beautifully.

The title sequence sums up the style: An orchestral flourish introduces the series theme - a heroic, adventurous melody for french horns. With the introduction of renaissance percussion we're transported to the the sixteenth century; a sitar and tabla appear and now we're in India. A choir enter and the orchestra soars with religious fervour; we're now in a Christian church service. The main theme returns as taken up by the full orchestra, and suddenly it is taken over by a futuristic, electronic synthesiser - and we're looking toward the future. The theme finishes with a final full orchestra flourish. All this happens so seamlessly - and the themes are constantly developing and changing; it's almost as if the theme represents a traveller - influenced and moved by the things he sees on his trip through the history of Earth. It's a wonderful piece. (The "End Titles" are ostensibly the same piece of music, but in a straight symphonic arrangement.)

The rest of the score is just a wonderfully rich tapestry of pieces - it's nearly impossible to describe how genuine and moving it all is; so I won't try any further. Just give it a try, close your eyes, and enjoy.

NOTE: This CD is a disaster of mastering. Roughly half of the album is in mono - and in some places tracks start off in stereo and become mono and vice versa. Don't ask me why, or how this happened. It's a great shame that gorgeous music like this should have to be blighted by technology - but frankly, the quality of the music more-than compsensates for technical shortcomings. Just letting you know that this isn't a shoddy rip, and your computer isn't playing up - that's the way it is on the disc. Also, there is a disturbing click/thud/random noise in "Introduction and Pagan Sequence" at 1:28 that sounds like a ripping error; it's not. That's on the master as well. Seriously. Sorry - c'est la vie.

La La Land Records has just announced what may turn out to be a stupendous release. J.S. Zamecnik's original score for the 1927 film Wings was newly recorded for the film restoration, arranged and orchestrated by Dominik Hauser. Dominik Hauser will autograph the first 100 copies ordered from the La-La Land site at no extra charge.

La La Land Records has just announced what may turn out to be a stupendous release. J.S. Zamecnik's original score for the 1927 film Wings was newly recorded for the film restoration, arranged and orchestrated by Dominik Hauser. Dominik Hauser will autograph the first 100 copies ordered from the La-La Land site at no extra charge.

I was glad of the score when I saw the film recently, but I have to say I couldn't describe it as much more than serviceable. It's a hodge-podge of pre-existing tunes, with, most infelicitously to my mind, Mendelssohn's scherzo from the Dream for the aerial dogfights.. repeated ad nauseam! I should add that, if this is the same recording made for the film's resto, it's synth orchestra throughout.

Here's taste of what to expect; the main theme, which is the highlight is featured at the end:

Wings Official Blu-Ray Trailer - First Academy Award Winning Movie (1927) - YouTube (http://www.youtube.com/watch?v=CKB5Myy4N00)

I was glad of the score when I saw the film recently, but I have to say I couldn't describe it as much more than serviceable. It's a hodge-podge of pre-existing tunes, with, most infelicitously to my mind, Mendelssohn's scherzo from the Dream for the aerial dogfights.. repeated ad nauseam! I should add that, if this is the same recording made for the film's resto, it's synth orchestra throughout.

Here's taste of what to expect; the main theme, which is the highlight is featured at the end:

Wings Official Blu-Ray Trailer - First Academy Award Winning Movie (1927) - YouTube (http://www.youtube.com/watch?v=CKB5Myy4N00)

BOO about the synth orchestra. Thanks for the information and sample though. :)

'It's not synth; It was recorded with a 42-piece orchestra"

The music on that trailer is synth. Possibly they've used a tiny orchestra and then committed that cardinal sin of trying to beef it up with cheap electronic augmentation; which does nothing except cover your life musicians in a sheen of emotionless synthesised slime, rendering their contribution utterly useless and for the most part, completely inaudible.

A lot can be done with a 42-piece orchestra with a competent orchesrator; that's not Hauser. This is going to stink. That's a promise.

Wow, thanks Lens and Sirusjr for this excellent share. Absolutely Loving "Romeo x Juliet"!!!

---------- Post added at 09:03 PM ---------- Previous post was at 08:48 PM ----------


Sirusjr:
Thanks for sharing Patrick Doyle's Killing Me Softly, which is indeed "Orchestral/Herrmannesque/Romantic/Lush." I first discovered Doyle with his score to Dead Again but haven't been that impressed by what I've heard since. Killing Me Softly changes that and makes me wonder if there are other similar Doyle scores out there I might have missed? Can anyone recommend another "Orchestral/Herrmannesque/Romantic/Lush" Doyle score (or by any composer)? THANKS!

I've been a huge fan of Patrick Doyle's work all along. In terms of "Orchestral/Herrmannesque/Romantic/Lush", Killing Me Softly and Dead Again are indeed your best bets, although Mary Shelley's Frankenstein also goes along those lines, but with a darker horror/action-ey sound to it (although in my mind that score is a bit uneven, as the film). If you want purely "Orchestral/Romantic/Lush", Doyle is still the guy for that. His first score, Henry V is a classic work, with some great themes and melodrama. If you seek pure lush orchestral romance then Much Ado About Nothing takes the cake for me. Seriously fell in love when I heard that score probably almost a decade ago, and is still probably on my Top 20 all-time favorites, just so gorgeous and joyful, really gets my heart every time. Along the purely dramatic lines East/West, Nouvelle France, and most his scores for the Brannagh films are just lovely. Also his score for Harry Potter & the Goblet of Fire is a great score, some lovely themes with a great British feel and fantastic fantasy and action material. Anyways, hope that helps. I realize not everyone digs Doyle, but for me I love almost all of his older stuff, and still enjoy his later twists.

Agreed with everything you said thegrizz70x7. As for me Henry V is still my favorite of his scores. On the other hand it was really disappointing to hear Doyle adapt his style into the Remote Control wallpaper sound on Thor.



Also his score for Harry Potter & the Goblet of Fire is a great score, some lovely themes with a great British feel and fantastic fantasy and action material.
I remember that Goblet of Fire was criticized by the most hardcore Williams fans at the time, because it didn't sound like a Potter score and for ignoring almost all of the themes that Williams composed before. And in a certain way i agree, but the irony is that of all Harry Potter scores, it is on Goblet of Fire that evokes more that kind of "British feel of nobility" in the music.

Here's a nice surprise for you all. :)



TONY BANKS
SIX PIECES FOR ORCHESTRA
Charlie Siem, Violin
Martin Robertson, Alto Saxophone
The City Of Prague Philharmonic Orchestra
Orchestrated and Conducted by Paul Englishby



My rip - LAME 3.99.5 at V0 - Full booklet scan included

GO4UP : Upload everywhere ! (http://go4up.com/link.php?id=1gt1oxv5Jauv)

"Now, what the hell is this?" I hear you cry. It's a suite of orchestral pieces by the famous Rock musician Tony Banks - best known as the founder and frontman of legendary band Genesis. Expectations for such endeavours are usually set low to begin with - and the low expectations are rarely met. This, I think, is one exception that proves the rule. This isn't complicated music - it's not virtuosic and it doesn't require a Doctorate in music to decode. It's something much more straightforward than that; it's lyrical music - an unpretentious outpouring of melody, the like of which has virtually disappeared from contemporary classical music. Don't expect something you can analyse and write a thesis about - but definitely expect something you can sit down and enjoy. It's somewhat filmic - and somewhat classical - but what it is mostly is Tony Banks.

His first classical piece - a similar suite, appropriately called "Seven" and released in 2004, was a fine work. Banks, aware of his limitations, enlisted the services of orchestrator Simon Hale to assist his transition to the symphonic medium, and Mike Dixon to conduct the orchestra. Banks was unusually candid in his programme notes for the piece - noting that he was unprepared, and most surprisingly that the first recording session was a disaster to the extent that it was called off and the whole project restarted from scratch. When you're working with the London Philharmonic, aborting a session and going back to the drawing board isn't a decision you take lightly.

Eight years later, Banks recorded "Six" with the City of Prague Philharmonic. Candid once again, he explains that working with the cheaper Prague orchestra enabled the booking of more sessions - and provided him and his team more wiggle room to get the finished product polished. This time, he enlisted the services of well-known (in England, at least) film composer Paul Englishby to orchestrate and conduct. In circumstances like these, you begin to get an appreciation for just how much heavy lifting is being done by your orchestrator. I'm surprised and delighted to say that Seven and its new counterpart Six are stylistically clearly the work of the same composer. The orchestration here is probably a little more thorough than in Seven - and Banks composition somehow feels more assured and surprisingly mature.

The City Of Prague Philharmonic aren't bad either - although they're occasionally a bit rough around the edges and the domineering acoustic of Smecky Sound Recording Studio simply cannot match the world famous sound of Air Lyndhurst.

Nevertheless, it all adds up to a very enjoyable 50 minutes. Enjoy! :)

Inazuma Eleven Go has finished. In its place, Inazuma Eleven Go Chrono Stone has started - and it seems to have had something of a budgetary boost as far as music is concerned!

The orchestra is much larger than Terada's for the previous series - real percussion, how I have missed you!

ANN is currently suggesting Yasunori Mitsuda is back for Chrono Stone - the credits of the show itself list, in this order, Yasunori Mitsuda, Natsumi Kameoka, and Shiho Terada... I have a sneaky feeling this may be predominantly Kameoka's score, with Mitsuda's name getting top billing because his original themes are still in use and Terada at the bottom because they plan to recycle some of her themes at some point. Whoever scored it, to my ears, they've certainly pulled their thumb out of their ass this time around. Very good score in episode 1!

On the flipside, Gundam Age suddenly got really, really crummy when it entered the second production season. The second album - which has yet to surface online as it was only released yesterday, but samples of which can be heard on CDjapan - is representative of this... Only two or three tracks are worthwhile and I suspect that they were held over from the first scoring session... methinks they didn't bother to record more orchestral music for the second production season at all. Who knows what's coming for the rest - but since Gundam Age is dying a death in the ratings I would imagine they are reticent to spending any more money on it and would just like to get it out of the way as quickly and cheaply as possible.

OST 3 has been announced for July but don't be surprised if a) it gets cancelled, or b) there's nothing but shit on it...

Oh well - you win some, you lose some. :)

Edit: Four minutes of SFX-riddled score from Inazuma Eleven Go Chrono Stone, episode 1. http://jumbofiles.com/6hu4fnwd0uz6

I think THE BIG ORCHESTRAL ACTION MUSIC is in Prince of Persia Games.

[CENTER]ULTRAMAN SYMPHONY
The Japan Philharmonic Symphony Orchestra
conducted by Takayuki Hattori and Kaoru Wada



Can you re-up this album in FLAC,please?

Damnit Tango, I thought for a second you were suggesting there was a new Chrono game or other project for a second. Alas, it is just a subtitle to the next Inazuma Eleven game for 3DS. Thanks for this Tony Banks orchestral music. I was checking out some of his works recently for my uncle who was looking into his solo works when I found his classical stuff, except it was not easy to find (for download). So thanks for this one :)

EDIT: As Yen said, these types of albums are hit and miss so I wouldn't have just blindly bought the CD without hearing it.

[QUOTE=tangotreats;1974900]Here's a nice surprise for you all. :)
TONY BANKS
SIX PIECES FOR ORCHESTRA

Rock stars going classical doesn't always work but this is absolutely delightful, in fact there isn't a dull minute. It's very English and would make a good film soundtrack. I will buy the CD it is so enjoyable (Naxos CDs are usually just �4.99 in the UK). Thanks TT for sharing and for the extensive notes that made me want to try the music!

Can you re-up this album in FLAC,please?

Hmm, I think I can be persuaded to do so... :)


ULTRAMAN SYMPHONY
The Japan Philharmonic Symphony Orchestra
Orchestrated and conducted by:
Takayuki Hattori (tracks 03, 04, 07, 08, 10, and 11)
Kaoru Wada (tracks 01, 02, 05, 06, 09, and 12)




This is Gift From Shibuya #2! :)

My rip. FLAC at Level 8. Full booklet scan included. Tagged in English.

1. ULTRAMAN NO UTA ~ JOKYOKU (ULTRAMAN'S SONG ~ PRELUDE)
2. ULTRAMAN TARO
3. ULTRAMAN DYNA
4. ULTRAMAN 80
5. ULTRAMAN LEO
6. THE ULTRAMAN
7. ULTRAMAN ACE
8. KAETE KITA ULTRAMAN (RETURN OF ULTRAMAN)
9. TAKE ME HIGHER (ULTRAMAN TIGA)
10. ULTRASEVEN'S SONG
11. ULTRAMAN GAIA!
12. ULTRAMAN'S SONG ~ Symphonic March

http://go4up.com/dl/1IWRarAgq7GA

This has been posted in this thread already - the most common copy circulating online is a terrible low-bitrate rip - with some tracks at 128kbps and others at an even lower bitrate. My own rip (posted in this thread in 2009, now with all-dead links) is also circulating with alarming speed - often with entirely spurious tags! (There is a version of my rip floating around that credits every track to Toshihiko Sahashi - he had nothing whatsoever to do with this album.)

I have taken this opportunity to rip again - losslessly this time - and also correct a few errors in my original tagging (haphazard Japanese name ordering, for example) in the process.

I bought this CD personally in Shibuya. It's very difficult to come by. You can thank my lovely fiancee for digging it out and bringing it to my attention; suffice to say that it went straight in my shopping basket.

A friendly note about tags: The composers of the respective tracks are listed in the sleeve notes (included) in Japanese only. At the time of my original rip, I performed Romaji transliterations of these Japanese names in order to tag the tracks correctly - and expressed some concern that they may not be the right names. Three years later, I believe them to be correct - or mostly correct at any rate.

About the music; this is a 1999 album of orchestral versions of various Ultraman tunes. It seems to consist mainly of opening songs and not score but most of them are very good. I am not a fan of Kaoru Wada, so I am biased towards tend towards the pieces orchestrated by Takayuki Hattori (tracks 03, 04, 07, 08, 10, and 11) - but there's a lot to enjoy in the others. I am not quite as fanatically enthusiastic about this album as I once was - but I still find it a good listen.

Enjoy! :)

Thanks Tango...great stuff.

It's good to be back! Really busy the past months. Barely time for lurking... let's make up for my long absence with this little gift, fresh from the mailbox:

Ozuma



Music composed by Kousuke Yamashita

Download (http://www.mirrorcreator.com/files/1IRXLPBU/Ozuma.7z_links)
MP3 / VB0 / 32 Tracks

Huge thanks for the new Sato, Hattori and Amano. More stuff to come very soon.

Thanks klnerfan for Ozuma!!! Have been really looking forward to this since the first episode came out...
Cheers!!

=)

Thanks klnerfan!

Thanks as always klnerfan ;)

Thanks for Ozuma!

.

What an excellent idea... Phantasy Star coming up in a few minutes. :D

Great shares! I only had OST 1 of Princess 9 so OST 2 is very welcome :)

HIDEAKI KOBAYASHI, KENICHI TOKOI, FUMIE KUMATANI
Phantasy Star Universe (2006) - Orchestral Score
Orchestrated and Conducted by Masamichi Amano
The Warsaw Philharmonic Orchestra (Tracks 1, 3, 8, 9, and 10)
The Hollywood Session Orchestra (Tracks 2, 4, 5, 6, and 8)



Not my rip; sourced from doppel9014's splendid APE rip here: http://forums.ffshrine.org/f72/lossless-video-game-soundtrack-thread-links-first-64743/671.html
Orchestral score only; 10 tracks, total playing time 37:39. All electronic tracks and pop songs removed. Tagged in English.

http://go4up.com/dl/1CJkGtNwH6sp

There's heaps of crap in Phantasy Star Universe. There's also a stunning orchestral score hiding right in the middle of it - with orchestrations by Masamichi Amano in full Giant Robo and Battle Royale mode (not in lobotomised Shiro Sagisu mode) and a splendid performance by not one but two orchestras! The Warsaw Philharmonic provide twenty two minutes (and certainly the more noteworthy cues) with the Hollywood Session Orchestra picking up the remaining fifteen, for a total of 37 minutes of really lovely score. A full orchestral version of "Save This World" kicks off the album, and a shorter version finishes it off. "For Brighter Day" also receives a slightly more sedate arrangement. In between, there is glittering heroism, rollicking action, and tension galore. and Finally, you get a ravishing symphonic ballad - "With You" - just the kind of completely larger than life, schmaltzy, almost hilariously over-orchestrated piece that makes me completely weak kneed!)

Enjoy - and a thousand thanks to Herr Salat for bringing this score back into my mind. It's been forever since I listened to it and I don't think I really appreciated how good it was until now! :)

Please stop posting Japanese anime soundtracks, they are not allowed.

Sorry, it's all my fault. I just...don't know why I've become so infatuated with this Japanese composer Masamichi Amano.

I think...it's his glasses.

Joking aside, does Amano music sound...Japanese?

Sorry, it's all my fault. I just...don't know why I've become so infatuated with this Japanese composer Masamichi Amano.

I think...it's his glasses.

It's good stuff much better than the cookie cutter shit that's coming out of Hollywood these days.

---------- Post added at 04:15 PM ---------- Previous post was at 04:11 PM ----------


Joking aside, does Amano music sound...Japanese?

Haven't listened to that one as of this writing.

Please stop posting Japanese anime soundtracks, they are not allowed.

Eh?

Tango, can you show us a Hollywood score that recently surprised you in a good way? I don't know one and would be interested to listen to one. Kind of agree that too many Japanese scores were shared in a row. Not that there's anything wrong with that.

Eh?

Tango your under 30, British, and up way past your bedtime I thought certainly you would find the irony in that statement.

Come on I know you have a sense of humour underneath that hard shell exterior of yours.

It's currently 12:31 AM in London. I think tangotreats doesn't go to bed until it's 04:00 AM:P

It's currently 12:31 AM in London. I think tangotreats doesn't go to bed until it's 04:00 AM.

When your that young you don't need more than 5 or 6 hours of sleep lol.

Heyyyyyyyyy! I don't have a hard shell... I'm as soft and squishy as they come! To be honest, I was worried that there had been some rule change or another. Blame my fevered medication-induced stupor, if you like. I find the world confusing enough as it is.

And it is indeed just past half midnight. That's just when the party starts! Though I haven't been sleeping well lately due to illness - so at this rate I probably will be up until 4am...

:)

I'm going to re-upload a lovely collection of themes from a fantastic british composer. I can't recall if I posted it in this thread when I first got it. This Princess 9 is lovely though ;)

Well we can't blame you for being a little medicated. It is 4/20 after all (at least in the States).

Heyyyyyyyyy! I don't have a hard shell... I'm as soft and squishy as they come! To be honest, I was worried that there had been some rule change or another. Blame my fevered medication-induced stupor, if you like. I find the world confusing enough as it is.

And it is indeed just past half midnight. That's just when the party starts! Though I haven't been sleeping well lately due to illness - so at this rate I probably will be up until 4am...

:)

Forgot about that when we do that stupid Daylight Savings Time bullshit out here we pick up an hour on you folks on the other side of the Pond.

---------- Post added at 04:42 PM ---------- Previous post was at 04:40 PM ----------


I'm going to re-upload a lovely collection of themes from a fantastic british composer. I can't recall if I posted it in this thread when I first got it. This Princess 9 is lovely though ;)

Well we can't blame you for being a little medicated. It is 4/20 after all (at least in the States).

Obscure cannabis reference duly noted,lol

tangotreats, can you show us a Hollywood score that recently surprised you in a good way? I don't know one and would be interested to listen to one. Kind of agree that too many Japanese scores were shared in a row. Not that there's anything wrong with that.

Wait a minute, tangotreat's share of Tony Banks second work of orchestral music counts, right? He was from the band Genesis, so that's very mainstream and from the West. And I LIKED it, too.

It pains me to say so, but the Hollywood mainstream hasn't really produced anything that interested me for coming up to ten years now. That's really, really depressing. The best I can say for some is that they didn't stink quite as badly as they could've done; and that's no kind of compliment... Stepping out of the mainstream I liked James Paterson's Red Canvas in 2009... but nothing else really leaps out at me. Whilst good stuff does still turn up in the West (including my own splendid nation) it seems that the Japanese are the most consistent producers of quality scores. :)

---------- Post added at 12:48 AM ---------- Previous post was at 12:46 AM ----------


Forgot about that when we do that stupid Daylight Savings Time bullshit out here we pick up an hour on you folks on the other side of the Pond.

---------- Post added at 04:42 PM ---------- Previous post was at 04:40 PM ----------



Obscure cannabis reference duly noted,lol

I am a good boy and as such do not understand such things. :D

Lord of the Rings was probably the last truly great soundtrack(s) to come out of Hollywood Central in the last 11 years or so.

.

tangotreats, can you show us a Hollywood score that recently surprised you in a good way? I don't know one and would be interested to listen to one. Kind of agree that too many Japanese scores were shared in a row. Not that there's anything wrong with that.


Well since Tango doesn't have any suggestions, I'll give a few. Please note that this list, as Tango suggested, could be better but you go with what you have :)

In no particular order, going back to 2002:
Randy Edelman - The Mummy 3: Tomb of the Dragon Emperor, Leap Year
Patrick Doyle - Igor, Man to Man (released by Moviescore Media)
John Williams - War Horse
Howard Shore - Hugo
Lee Holdridge - Winston Churchill Battle for Destiny (released by Intrada)
James Newton Howard - Water for Elephants, Defiance
Ludovic Bource - The Artist
Danny Elfman - The Wolfman
Jeff Grace - I Sell the Dead (Released by Moviescore Media)
Zacharias M. De La Riva - Hierro, Imago Mortis (Both Released by Moviescore Media)
Alexandre Desplat - New Moon, The Painted Veil
Tuomas Kantelinen - Mongol, Quest for a Heart, Mother of Mine, The Promise, Year of the Wolf
Michael Kamen - Back to Gaya (Released by Moviescore Media)


Film Music of Christopher Gunning - Chandos 2010
BBC Philharmonic conducted by Rumon Gamba
MP3 VBR V-0

Download (http://www.peejeshare.com/files/362082430/FMCG.rar.html)

A lovely collection of themes from some of Christopher Gunning's works. This is available as a digital lossless download through Chandos and their related online shops so I will not upload lossless here. It is worth buying a download to support the label if you enjoy it :)

thank you very much!!

Interesting interview with Angela Morely:


ANGELA MORLEY:
ARRANGER HAS SCORED MANY SUCCESSES

By Kenneth LaFave

Published in The Arizona Republic

When superstar composer-conductor John Williams needs a difficult arrangement made or a new film score orchestrated, he sometimes dials a number in Scottsdale. The phone is answered by a woman with an elegant British accent.

She’s Angela Morley, and you’ve heard her work, whether you know it or not. You’ll hear some of it this week on CBS, when the unlikely combination of chanteuse Patti Lupone and cellist Yo-Yo Ma perform a duet with the Boston Pops on Evening at Pops. Williams leads the orchestra as its conductor laureate. (The show will be seen It 8 p.m. Thursday on Channel 8—KAET.)

Williams had engaged Lupone to sing a John Bucchino song called Unexpressed, a Broadway-flavored ballad from her catalog. But, how to fit in the contrasting classical talent of the evening’s other guest, Yo-Yo Ma? That was the challenge when Williams called Morley. Morley proceeded to boot her computer, grab the mouse and click into place a counter-melody for Ma that lifted the song into an entirely different dimension.

It’s the fate of the arranger to make such major differences while getting minor credit, but that doesn’t bother the 75-year-old native of Leeds, England. “If I can write countermelodies for the likes of Yo-Yo Ma, Itzhak Perlman and Joshua Bell.” Morley says, pondering, “well, that’s very satisfying, isn’t it? I’m very happy to be in that sort of company.” Bell and Perlman are still other classical superstars who have benefited recently from Morley’s crossover savvy. But a complete list of performers whose music has owed in part to Morley’s arranging or orchestration skills would go on for several feet. She’s penned arrangements for Mel Torm�, Benny Goodman, Julie Andrews and Rosemary Clooney.

She got into arranging after starting off as a saxophonist in World War II England and she branched into film and television scoring. Morley cinematic orchestrations are unavoidable.

“Do you know the scene in Star Wars where Luke goes down into the Death Star trench and the voice says ‘Use the Force, Luke?’” Morley asks, as if anyone would not know the famous moment. That’s my orchestration.” So is the ice-palace music in Superman. (“Lots of sliding glissando’ she says, in a disapproving tone.) And scenes in a parade of films scored by Williams and others, including E.T, The Empire Strikes Back, The Right Stuff, Karate Kid and The Verdict. She has also provided what the film biz calls “source music,” or music that happens in real time within the movie. The Viennese waltzes in Schindler’s List are her arrangements. Ditto the Christmas songs in Home Alone.

Three Emmies on Morley’s mantelpiece attest to the level of her arranging skills. She won in 1984 for the network special Christmas in Washington; in 1987 for Julie Andrews in Concert; and in 1990, again for a Julie Andrews–related project The Sound of Christmas.

Morley had awful luck starting out in music. Three months after her father got her a piano, he died, and the family’s new circumstances meant that the lessons and the instrument disappeared.
Then there was the incident with the anti–musical grandfather.
“At age 10, I had a month-long love affair with the violin,” Morley recalls. “My grandfather, a prankster who didn’t like the violin, smeared butter on my bow and very effectively brought my violin career to an end.”

Against all odds, young Angela insisted on a musical career, eventually taking up the saxophone and playing in some of England’s biggest big bands. At age 26, she put down the horn and turned to writing, and she has never looked back.

After scoring films in England, the success of her music for the 1977 film Water-ship Down encouraged her to make the move to Hollywood, which she did in 1980. That began a halcyon decade of TV work, including background scores for Dallas, Dynasty and Falcon Crest.

A self-confessed refugee to Arizona from ‘The very big, very scary” 1994 LA earthquake, Morley now writes less often than before. “I’ve had my fill of TV and I can’t seem to get any feature films,” she says.
Her most recent passion: the choir of the Alliance Francaise of Greater Phoenix, which she conducts for alliance functions and on two privately distributed CDs.

But when the phone rings and John Williams needs her help, chances are she won’t say no.


I was born at Leeds, Yorkshire in 1924. My parents had a shop that sold jewellery, silver plate, watches and clocks . My earliest musical memory was of sitting on the floor surrounded by records of the bands of Jack Payne and Henry Hall and playing them on our enormous wind up gramophone. My dad played the ukulele-banjo that he used to let me tune for him, using his pitch pipe, to either G-C-E-A or A-D-F#-B. My mother had a contralto voice and sang: ‘There is a Lady Passing By’ and, her favorite, ‘Big Lady Moon’.

When I was eight years old my dad bought a brand new Challen upright, that had pride of place in our over-the-shop Sunday sitting room, and sent me to an elderly lady a few streets away for piano lessons. Three months later, my dad became ill and very unexpectedly died at the early age of thirty-nine. My piano lessons were immediately stopped and never recommenced. They are the only piano lessons that I ever had. A year later, my mother, who had no head for business, sold the shop and we went off to live with her parents.

At age ten, I had a month-long love affair with the violin but my grandfather, a prankster who didn’t like the violin, smeared butter on my bow and very effectively brought my career as a violinist to an end. At eleven, I started to play the accordion, had lessons and won a couple of competitions. A judge from the BBC advised my mother that there was no future in the accordion, and that I should learn a band or orchestral instrument, for instance the clarinet or saxophone. My mother bought me a clarinet at the local pawnbroker’s for one pound ($4 at the time). It was built all in one piece; it was a simple system instrument that was ‘high pitch’ and had a broken mouthpiece. I had lessons on it and started to play in the school orchestra. Several months later, a doting mother bought me an alto saxophone that said ‘Pennsylvania’ across the bell. How could I fail with such an instrument? Quite recently, I was told that it was a cheap instrument made in Czechoslovakia. I started to play, unpaid of course, in a local semi-pro band. I left high school at fifteen and went on tour with ‘Archie’s Juvenile Band’ for ten shillings a week ($2 at the time). On joining the band I was asked to name my favorite band. ‘Ambrose’ I said. Whereupon they all laughed themselves silly and said: ‘What, you’ve never heard of Benny Goodman and Tommy Dorsey? I confessed that I hadn’t, and my education was taken in hand that very moment as we all headed off to the nearest record shop. I started to take down arrangements from records about this time under the tutelage of the pianist, Eddie Taylor, who was an old hand at it.

World War II started and created a new dimension to my life that was anything but a hindrance. Suddenly, with all the bands starting to lose musicians to the ‘draft’, a fifteen-year-old musician who could sight-read was eagerly sought by every band leader in the UK. Before I was seventeen and a half, I’d gone from band to band in quick succession until I found myself playing lead alto with Oscar Rabin’s Band, still touring alas, but broadcasting and making records too. It was during this period that I graduated from taking down records to writing arrangements for pay. At twenty, I joined the Geraldo Orchestra, arguably the best band in the UK at the time. The Geraldo Band practically lived at the BBC doing several radio programmes a week. The great bonus for a developing arranger was that the band might be a ‘swing band’ on Monday and then be augmented to symphonic size on Tuesday and on other days be various combinations in-between and, sometimes even adding a choir. Since I got to arrange for all these programmes, was there ever a better arranging academy? I doubt that anything like that exists today.

During this period, I started to study harmony, counterpoint and composition with a Hungarian composer, resident in London, Matyas Seiber. I also was an enthusiastic participant in a conducting course taught by the German born conductor, Walter Goehr. Both Robert Farnon and Bill Finegan had written many of the arrangements in our repertoire, and I fell under the spell of both of these great talents and remain, today, greatly indebted to them.

At age twenty-six I decided to give up playing to concentrate on writing. I was busy from the start and three years later, at age twenty-nine, a lot of good things happened to me. I became musical director of the newly launched Philips Records (UK) arranging and conducting every week for all the contract artistes and occasionally for American ones like Rosemary Clooney and Mel Torm� as well as recording several instrumental albums of my own. I started to score films under my own name (I’d ‘ghost’-written two scores the previous year) and I was writing all the cues for a top BBC comedy show: ‘Hancock’s Half Hour’ and doing the same, plus conducting, for ‘The Goon Show’ which was probably the most successful BBC radio comedy show of the 1950s.

The 1950s was a very exciting time to be recording, because not only had tape taken over from direct to disc recording and advanced German microphones were in every studio, but stereo had magically added a new dimension to sound. However, these advances had not found their way into film studios and to go to a cinema to hear one’s latest score was absolute torture. I was so depressed by these experiences that by the time I was thirty-six (1960), I started to turn down any offers to score films.

During the 1960s, although I had a very busy and interesting musical life, including doing a lot of recording for Readers Digest Records, writing arrangements for Benny Goodman and scoring some documentary films about art for television, I regretted having turned my back on feature film scoring and tried my best to get back into it. Finally, starting in 1969, I scored ‘The Looking Glass War’ (from a John Le Carr� spy novel featuring a very young Anthony Hopkins), ‘When Eight Bells Toll’ (another Anthony Hopkins movie) and ‘Captain Nemo and the Underwater City’. This led to my writing adaptation scores for ‘The Little Prince’ (collaborating with songwriters Lerner & Loewe) and ‘The Slipper and the Rose’ (collaborating with Robert & Richard Sherman). In 1977, I scored almost all of ‘Watership Down’. I was officially credited as the composer of this score but I had taken over the commission from indisposed composer Malcolm Williamson, who had written six minutes of very high quality music that is the first six minutes of music in the film, and who was given the not very satisfactory credit: Additional Music by Malcolm Williamson! In between scoring films I was also a regular conductor of the now, alas, defunct BBC Radio Orchestra and, from time to time, helped John Williams with the orchestration of his scores for ‘Star Wars’, ‘Superman’ and ‘The Empire Strikes Back’.

I had been nominated for an Academy Award for ‘The Little Prince’ and ‘The Slipper and the Rose’ and went to California on both occasions to attend the ‘Oscar’ ceremonies. The wonderfully warm and generous way that I was made to feel at home there by my American colleagues and friends resulted in my being rather seduced by the California life style and I soon returned with intention of staying, if not for ever, at least for some time.

I rented an apartment in Brentwood and set about getting permission to work. With this I was soon scoring television at Warner Bros. By 1980, I had bought a house and became futher involved with American TV. In the years from 1979 to 1990, I scored TV films and many episodes of TV series like Dallas, Dynasty, Hotel, Falcon Crest, Cagney & Lacey, Emerald Point, Wonderwoman, Island Son, Blue Skies and McClain’s Law. I conducted at most of the Hollywood studios such as Warner Bros., Paramount, M.G.M., Universal and 20th Century-Fox.

During the summer, I used to write many arrangements for the Boston ‘Pops’ Orchestra during the fourteen years that John Williams was that orchestra’s conductor, in addition to helping him with his scores for ‘E.T.’, ‘Hook’, ‘Home Alone’ I & II and ‘Schindler’s List’. I helped several other very good composers with their scores such as: Milklos Rozsa, Alex North, David Raksin, Bill Conti, Laurence Rosenthal, David Shire, Ernest Gold, Johnny Mandel and Pat Williams. I was nominated six times for an Emmy Award for TV composing and won three Emmy Awards for arranging. In addition, I wrote many arrangements for Julie Andrews and Mel Torme and occasionally some for opera stars like Frederica von Stade, Barbara Hendricks and Placido Domingo.


I never really tried very hard to find feature film commissions. In Hollywood your recent track record is all important, and, in my case, on my arrival from England, what had it been? A film about ‘a little prince’; one about ‘Cinderella’ and an animated one (animated films were, at this time, something that children watched on Saturday morning TV) about ‘some rabbits’! No sex, violence, explosions! There had been lots in of those things in my earlier films but they had not been recent or high profile enough to count. In short, I couldn’t ‘get arrested’ as they say.


Big changes were taking place in film music. 20th Century-Fox was the only remaining studio that had a music department head, Lionel Newman, who regularly conducted music scoring sessions. A far cry from the ‘golden years’ of Hollywood when brilliant musicians like Victor Young, Alfred Newman, John Green, Ray Heindorf etc. etc. ran the music departments at all the studios. They had great power on the studio lot and used it to promote and to protect composers in their charge. I experienced this with Lionel Newman. With his passing, music department heads are now, generally, former producers or executives from the ‘pop’ record industry. Another big change has been the coming of synthesizers. Producers long, and understandably, frustrated by their inability to look into what the composer was up to and having to wait until the scoring session to find out what the music was going to sound like, discovered that the composer could make a synth. demo and play it with the picture. The first time I heard about this practice was in connection with the score for ‘The Color Purple’. I heard that it took twenty-seven music writers to create that score and that nothing could go forward to the orchestration phase until the producer, Steven Spielberg, had heard a ‘polaroid’ (synth. mock-up) of a cue and heard it played with the picture. Today, composers are given far less time to write their scores than has been the practice in the past, and to be distracted by the constant requirement to make demos of everything must be a giant headache. To get through some of these assignments must need a constitution of iron, one which, I will freely admit, I no longer have!

Another great frustration for composers is the ‘temp. track’. This is where the director chooses a piece of existing music, very often from a commercial recording of a classical work, which he dubs on to the sound track to accompany an important scene as a temporary measure until a composer is hired to write the original score. Very often the director falls so in love with his temp. music that he can’t be persuaded to give it up and accept the new original music. I remember one extreme example of this: The composer’s drawn expression suggested to me that he hadn’t been to bed for some time. In a weary voice, he told me that a very long cue that we had recorded two days previously, that he had very skillfully composed and that had worked wonderfully with the scene, had been rejected by the director of the film because it wasn’t close enough to the latter’s beloved temp. track! My colleague had now reworked the sketch which he offered me together with the pocket score of the classical work that the director had used as a temp. track. My friend gave me an imploring look that seemed to plead for my complicity as one thief in the night to another, apologetically mumbling:‘You understand what has to be done here?’ I understood, only too well, that I was being required to incorporate the mercifully dead master’s engraved, published notes into the new version of the cue. Only thus would the director be satisfied. The thought crossed my desperate mind that perhaps the plea: ‘I vos only obeying orders!’ might get me acquitted when the case came up. I don’t know if this cue ended up in the released film or whether cautious legal minds had prevailed to protect the company from a possible action by the trustees of the estate of the dead composer, but six months later my colleague won the Academy Award for Best Original Score for this film. As a composer, he certainly merited this coveted award. In his acceptance speech, he was most generous with his praise for all of us who had helped him through this nightmare and, now a free man again, pointedly ignored the director.


In the last six or so years, life in Los Angeles had became less and less appealing to me. As soon as the Cold War came to an end, we had a bad recession in L.A.’s biggest industry, aerospace. Then we had race riots followed by fires, then floods and very great demographic changes caused by immigration. Finally, on Jan. 17th 1994, we had a big, very scary, earthquake only six miles from my house. I decided that I simply had to go and live somewhere else. The ‘somewhere else’ had to be out of California, because there are earthquake faults all over the state. I came and had a look at Scottsdale, Arizona (only one hour’s flight time to L.A.) where there has been no history of earthquakes. I loved what I saw. Several months later, I bought a house here.


Almost end of story. John Williams still seems to like my arrangements. I wrote three in the summer that he recorded with the LSO in London and three more that he recorded in early December conducting the Pittsburgh Symphony with Itzhak Perlman playing the violin solos. I’m very happy to be in that sort of company!

Talking to Howard Lucraft in 1997

---------- Post added at 10:36 PM ---------- Previous post was at 10:36 PM ----------

Interesting (OLD) interview with Angela Morely:


ANGELA MORLEY:
ARRANGER HAS SCORED MANY SUCCESSES

By Kenneth LaFave

Published in The Arizona Republic

When superstar composer-conductor John Williams needs a difficult arrangement made or a new film score orchestrated, he sometimes dials a number in Scottsdale. The phone is answered by a woman with an elegant British accent.

She’s Angela Morley, and you’ve heard her work, whether you know it or not. You’ll hear some of it this week on CBS, when the unlikely combination of chanteuse Patti Lupone and cellist Yo-Yo Ma perform a duet with the Boston Pops on Evening at Pops. Williams leads the orchestra as its conductor laureate. (The show will be seen It 8 p.m. Thursday on Channel 8—KAET.)

Williams had engaged Lupone to sing a John Bucchino song called Unexpressed, a Broadway-flavored ballad from her catalog. But, how to fit in the contrasting classical talent of the evening’s other guest, Yo-Yo Ma? That was the challenge when Williams called Morley. Morley proceeded to boot her computer, grab the mouse and click into place a counter-melody for Ma that lifted the song into an entirely different dimension.

It’s the fate of the arranger to make such major differences while getting minor credit, but that doesn’t bother the 75-year-old native of Leeds, England. “If I can write countermelodies for the likes of Yo-Yo Ma, Itzhak Perlman and Joshua Bell.” Morley says, pondering, “well, that’s very satisfying, isn’t it? I’m very happy to be in that sort of company.” Bell and Perlman are still other classical superstars who have benefited recently from Morley’s crossover savvy. But a complete list of performers whose music has owed in part to Morley’s arranging or orchestration skills would go on for several feet. She’s penned arrangements for Mel Torm�, Benny Goodman, Julie Andrews and Rosemary Clooney.

She got into arranging after starting off as a saxophonist in World War II England and she branched into film and television scoring. Morley cinematic orchestrations are unavoidable.

“Do you know the scene in Star Wars where Luke goes down into the Death Star trench and the voice says ‘Use the Force, Luke?’” Morley asks, as if anyone would not know the famous moment. That’s my orchestration.” So is the ice-palace music in Superman. (“Lots of sliding glissando’ she says, in a disapproving tone.) And scenes in a parade of films scored by Williams and others, including E.T, The Empire Strikes Back, The Right Stuff, Karate Kid and The Verdict. She has also provided what the film biz calls “source music,” or music that happens in real time within the movie. The Viennese waltzes in Schindler’s List are her arrangements. Ditto the Christmas songs in Home Alone.

Three Emmies on Morley’s mantelpiece attest to the level of her arranging skills. She won in 1984 for the network special Christmas in Washington; in 1987 for Julie Andrews in Concert; and in 1990, again for a Julie Andrews–related project The Sound of Christmas.

Morley had awful luck starting out in music. Three months after her father got her a piano, he died, and the family’s new circumstances meant that the lessons and the instrument disappeared.
Then there was the incident with the anti–musical grandfather.
“At age 10, I had a month-long love affair with the violin,” Morley recalls. “My grandfather, a prankster who didn’t like the violin, smeared butter on my bow and very effectively brought my violin career to an end.”

Against all odds, young Angela insisted on a musical career, eventually taking up the saxophone and playing in some of England’s biggest big bands. At age 26, she put down the horn and turned to writing, and she has never looked back.

After scoring films in England, the success of her music for the 1977 film Water-ship Down encouraged her to make the move to Hollywood, which she did in 1980. That began a halcyon decade of TV work, including background scores for Dallas, Dynasty and Falcon Crest.

A self-confessed refugee to Arizona from ‘The very big, very scary” 1994 LA earthquake, Morley now writes less often than before. “I’ve had my fill of TV and I can’t seem to get any feature films,” she says.
Her most recent passion: the choir of the Alliance Francaise of Greater Phoenix, which she conducts for alliance functions and on two privately distributed CDs.

But when the phone rings and John Williams needs her help, chances are she won’t say no.


I was born at Leeds, Yorkshire in 1924. My parents had a shop that sold jewellery, silver plate, watches and clocks . My earliest musical memory was of sitting on the floor surrounded by records of the bands of Jack Payne and Henry Hall and playing them on our enormous wind up gramophone. My dad played the ukulele-banjo that he used to let me tune for him, using his pitch pipe, to either G-C-E-A or A-D-F#-B. My mother had a contralto voice and sang: ‘There is a Lady Passing By’ and, her favorite, ‘Big Lady Moon’.

When I was eight years old my dad bought a brand new Challen upright, that had pride of place in our over-the-shop Sunday sitting room, and sent me to an elderly lady a few streets away for piano lessons. Three months later, my dad became ill and very unexpectedly died at the early age of thirty-nine. My piano lessons were immediately stopped and never recommenced. They are the only piano lessons that I ever had. A year later, my mother, who had no head for business, sold the shop and we went off to live with her parents.

At age ten, I had a month-long love affair with the violin but my grandfather, a prankster who didn’t like the violin, smeared butter on my bow and very effectively brought my career as a violinist to an end. At eleven, I started to play the accordion, had lessons and won a couple of competitions. A judge from the BBC advised my mother that there was no future in the accordion, and that I should learn a band or orchestral instrument, for instance the clarinet or saxophone. My mother bought me a clarinet at the local pawnbroker’s for one pound ($4 at the time). It was built all in one piece; it was a simple system instrument that was ‘high pitch’ and had a broken mouthpiece. I had lessons on it and started to play in the school orchestra. Several months later, a doting mother bought me an alto saxophone that said ‘Pennsylvania’ across the bell. How could I fail with such an instrument? Quite recently, I was told that it was a cheap instrument made in Czechoslovakia. I started to play, unpaid of course, in a local semi-pro band. I left high school at fifteen and went on tour with ‘Archie’s Juvenile Band’ for ten shillings a week ($2 at the time). On joining the band I was asked to name my favorite band. ‘Ambrose’ I said. Whereupon they all laughed themselves silly and said: ‘What, you’ve never heard of Benny Goodman and Tommy Dorsey? I confessed that I hadn’t, and my education was taken in hand that very moment as we all headed off to the nearest record shop. I started to take down arrangements from records about this time under the tutelage of the pianist, Eddie Taylor, who was an old hand at it.

World War II started and created a new dimension to my life that was anything but a hindrance. Suddenly, with all the bands starting to lose musicians to the ‘draft’, a fifteen-year-old musician who could sight-read was eagerly sought by every band leader in the UK. Before I was seventeen and a half, I’d gone from band to band in quick succession until I found myself playing lead alto with Oscar Rabin’s Band, still touring alas, but broadcasting and making records too. It was during this period that I graduated from taking down records to writing arrangements for pay. At twenty, I joined the Geraldo Orchestra, arguably the best band in the UK at the time. The Geraldo Band practically lived at the BBC doing several radio programmes a week. The great bonus for a developing arranger was that the band might be a ‘swing band’ on Monday and then be augmented to symphonic size on Tuesday and on other days be various combinations in-between and, sometimes even adding a choir. Since I got to arrange for all these programmes, was there ever a better arranging academy? I doubt that anything like that exists today.

During this period, I started to study harmony, counterpoint and composition with a Hungarian composer, resident in London, Matyas Seiber. I also was an enthusiastic participant in a conducting course taught by the German born conductor, Walter Goehr. Both Robert Farnon and Bill Finegan had written many of the arrangements in our repertoire, and I fell under the spell of both of these great talents and remain, today, greatly indebted to them.

At age twenty-six I decided to give up playing to concentrate on writing. I was busy from the start and three years later, at age twenty-nine, a lot of good things happened to me. I became musical director of the newly launched Philips Records (UK) arranging and conducting every week for all the contract artistes and occasionally for American ones like Rosemary Clooney and Mel Torm� as well as recording several instrumental albums of my own. I started to score films under my own name (I’d ‘ghost’-written two scores the previous year) and I was writing all the cues for a top BBC comedy show: ‘Hancock’s Half Hour’ and doing the same, plus conducting, for ‘The Goon Show’ which was probably the most successful BBC radio comedy show of the 1950s.

The 1950s was a very exciting time to be recording, because not only had tape taken over from direct to disc recording and advanced German microphones were in every studio, but stereo had magically added a new dimension to sound. However, these advances had not found their way into film studios and to go to a cinema to hear one’s latest score was absolute torture. I was so depressed by these experiences that by the time I was thirty-six (1960), I started to turn down any offers to score films.

During the 1960s, although I had a very busy and interesting musical life, including doing a lot of recording for Readers Digest Records, writing arrangements for Benny Goodman and scoring some documentary films about art for television, I regretted having turned my back on feature film scoring and tried my best to get back into it. Finally, starting in 1969, I scored ‘The Looking Glass War’ (from a John Le Carr� spy novel featuring a very young Anthony Hopkins), ‘When Eight Bells Toll’ (another Anthony Hopkins movie) and ‘Captain Nemo and the Underwater City’. This led to my writing adaptation scores for ‘The Little Prince’ (collaborating with songwriters Lerner & Loewe) and ‘The Slipper and the Rose’ (collaborating with Robert & Richard Sherman). In 1977, I scored almost all of ‘Watership Down’. I was officially credited as the composer of this score but I had taken over the commission from indisposed composer Malcolm Williamson, who had written six minutes of very high quality music that is the first six minutes of music in the film, and who was given the not very satisfactory credit: Additional Music by Malcolm Williamson! In between scoring films I was also a regular conductor of the now, alas, defunct BBC Radio Orchestra and, from time to time, helped John Williams with the orchestration of his scores for ‘Star Wars’, ‘Superman’ and ‘The Empire Strikes Back’.

I had been nominated for an Academy Award for ‘The Little Prince’ and ‘The Slipper and the Rose’ and went to California on both occasions to attend the ‘Oscar’ ceremonies. The wonderfully warm and generous way that I was made to feel at home there by my American colleagues and friends resulted in my being rather seduced by the California life style and I soon returned with intention of staying, if not for ever, at least for some time.

I rented an apartment in Brentwood and set about getting permission to work. With this I was soon scoring television at Warner Bros. By 1980, I had bought a house and became futher involved with American TV. In the years from 1979 to 1990, I scored TV films and many episodes of TV series like Dallas, Dynasty, Hotel, Falcon Crest, Cagney & Lacey, Emerald Point, Wonderwoman, Island Son, Blue Skies and McClain’s Law. I conducted at most of the Hollywood studios such as Warner Bros., Paramount, M.G.M., Universal and 20th Century-Fox.

During the summer, I used to write many arrangements for the Boston ‘Pops’ Orchestra during the fourteen years that John Williams was that orchestra’s conductor, in addition to helping him with his scores for ‘E.T.’, ‘Hook’, ‘Home Alone’ I & II and ‘Schindler’s List’. I helped several other very good composers with their scores such as: Milklos Rozsa, Alex North, David Raksin, Bill Conti, Laurence Rosenthal, David Shire, Ernest Gold, Johnny Mandel and Pat Williams. I was nominated six times for an Emmy Award for TV composing and won three Emmy Awards for arranging. In addition, I wrote many arrangements for Julie Andrews and Mel Torme and occasionally some for opera stars like Frederica von Stade, Barbara Hendricks and Placido Domingo.


I never really tried very hard to find feature film commissions. In Hollywood your recent track record is all important, and, in my case, on my arrival from England, what had it been? A film about ‘a little prince’; one about ‘Cinderella’ and an animated one (animated films were, at this time, something that children watched on Saturday morning TV) about ‘some rabbits’! No sex, violence, explosions! There had been lots in of those things in my earlier films but they had not been recent or high profile enough to count. In short, I couldn’t ‘get arrested’ as they say.


Big changes were taking place in film music. 20th Century-Fox was the only remaining studio that had a music department head, Lionel Newman, who regularly conducted music scoring sessions. A far cry from the ‘golden years’ of Hollywood when brilliant musicians like Victor Young, Alfred Newman, John Green, Ray Heindorf etc. etc. ran the music departments at all the studios. They had great power on the studio lot and used it to promote and to protect composers in their charge. I experienced this with Lionel Newman. With his passing, music department heads are now, generally, former producers or executives from the ‘pop’ record industry. Another big change has been the coming of synthesizers. Producers long, and understandably, frustrated by their inability to look into what the composer was up to and having to wait until the scoring session to find out what the music was going to sound like, discovered that the composer could make a synth. demo and play it with the picture. The first time I heard about this practice was in connection with the score for ‘The Color Purple’. I heard that it took twenty-seven music writers to create that score and that nothing could go forward to the orchestration phase until the producer, Steven Spielberg, had heard a ‘polaroid’ (synth. mock-up) of a cue and heard it played with the picture. Today, composers are given far less time to write their scores than has been the practice in the past, and to be distracted by the constant requirement to make demos of everything must be a giant headache. To get through some of these assignments must need a constitution of iron, one which, I will freely admit, I no longer have!

Another great frustration for composers is the ‘temp. track’. This is where the director chooses a piece of existing music, very often from a commercial recording of a classical work, which he dubs on to the sound track to accompany an important scene as a temporary measure until a composer is hired to write the original score. Very often the director falls so in love with his temp. music that he can’t be persuaded to give it up and accept the new original music. I remember one extreme example of this: The composer’s drawn expression suggested to me that he hadn’t been to bed for some time. In a weary voice, he told me that a very long cue that we had recorded two days previously, that he had very skillfully composed and that had worked wonderfully with the scene, had been rejected by the director of the film because it wasn’t close enough to the latter’s beloved temp. track! My colleague had now reworked the sketch which he offered me together with the pocket score of the classical work that the director had used as a temp. track. My friend gave me an imploring look that seemed to plead for my complicity as one thief in the night to another, apologetically mumbling:‘You understand what has to be done here?’ I understood, only too well, that I was being required to incorporate the mercifully dead master’s engraved, published notes into the new version of the cue. Only thus would the director be satisfied. The thought crossed my desperate mind that perhaps the plea: ‘I vos only obeying orders!’ might get me acquitted when the case came up. I don’t know if this cue ended up in the released film or whether cautious legal minds had prevailed to protect the company from a possible action by the trustees of the estate of the dead composer, but six months later my colleague won the Academy Award for Best Original Score for this film. As a composer, he certainly merited this coveted award. In his acceptance speech, he was most generous with his praise for all of us who had helped him through this nightmare and, now a free man again, pointedly ignored the director.


In the last six or so years, life in Los Angeles had became less and less appealing to me. As soon as the Cold War came to an end, we had a bad recession in L.A.’s biggest industry, aerospace. Then we had race riots followed by fires, then floods and very great demographic changes caused by immigration. Finally, on Jan. 17th 1994, we had a big, very scary, earthquake only six miles from my house. I decided that I simply had to go and live somewhere else. The ‘somewhere else’ had to be out of California, because there are earthquake faults all over the state. I came and had a look at Scottsdale, Arizona (only one hour’s flight time to L.A.) where there has been no history of earthquakes. I loved what I saw. Several months later, I bought a house here.


Almost end of story. John Williams still seems to like my arrangements. I wrote three in the summer that he recorded with the LSO in London and three more that he recorded in early December conducting the Pittsburgh Symphony with Itzhak Perlman playing the violin solos. I’m very happy to be in that sort of company!

Talking to Howard Lucraft in 1997

A great composer, and one who made a more-than-significant contribution to John Williams' 70s style than most would care to admit.

The world musical landscape is poorer place without her.

Re-upped and upgraded to FLAC because it's too awesome to not have a working link:


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

FLAC | 10 Tracks | 348 MB



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

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

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

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

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

This is a brand-spanking-new FLAC rip of this truly magnificent work and I hope you will enjoy it.


YouTube sample:
Movement 5 - Joie du sange des �toiles (http://www.youtube.com/watch?v=Tv67YkOWJNA)

DOWNLOAD LINK:
Free File Hosting - Online Storage; Upload Mp3, Videos, Music. Backup Files (http://www.peejeshare.com/files/362082712/FrenchButNoFry.zip.html)

You are Turanga Leela!

A great composer, and one who made a more-than-significant contribution to John Williams' 70s style than most would care to admit.

The world musical landscape is poorer place without her/him.

Fixed ;)

The world musical landscape is poorer place without her.

Re-fixed.

Aaaaaanyways, to stay on topic: John Williams: 2012: Fanfare for Fenway! (Stereo Version) - YouTube (http://www.youtube.com/watch?v=tVHm8kuP5is)

I'm sorry if it has been posted...

Takayuki Hattori - Karei naru Ichizoku OST (2007)
Performed by London Philharmonia Orchestra and conducted by Takayuki Hattori.

(http://imageshack.us/photo/my-images/856/karei.jpg/)

Tracklist:
　　1-1(10:06) メインテーマ・オブ・華麗なる一族
　　1-2(1:34) 時代のうねり
　　1-3(3:39) 光へ
　　1-4(2:27) 隠された真実
　　1-5(5:29) 高潔な思い
　　1-6(5:45) 憐れみの庭
　　1-7(3:52) 非情の果て
　　1-8(3:11) 予感
　　1-9(4:41) 一握の安息
　　1-10(1:35) 謀略
　　1-11(4:15) 哀しき血脈
　　1-12(3:57) 想い出の丘
　　1-13(2:25) 前進
　　1-14(3:07) 不穏な静寂
　　1-15(2:44) 大いなる決意
　　1-16(2:06) 不屈の魂
　　1-17(2:33) 真の愛
　　1-18(2:43) 儚き願い
　　1-19(3:40) 哀しき血脈　～Ｐｉａｎｏ　Ｖｅｒｓｉｏｎ～
　　1-20(4:42) 想い出の丘　～Ｐｉａｎｏ　Ｓｏｌｏ　Ｖｅｒｓｉｏｎ～
　　1-21(1:53) メインテーマ・オブ・華麗なる一族　～Ｆｏｒ　ＴＶ　Ｅｄｉｔｉｏｎ～

Karei-naru Ichizoku Ost.zip (http://www.mediafire.com/download.php?b8yntpmdzte8mn2)
Credits to original uploader

The quality is 128kbps and the titles have not been tagged properly. I'm really sorry for it >.< I haven't found better quality yet, but this should do until better rips are found .

It's good to be back! Really busy the past months. Barely time for lurking... let's make up for my long absence with this little gift, fresh from the mailbox:
Ozuma

Thank you so much for that, my friend! I wonder if Yamashita will ever write something crap? Been waiting a few years now!

The only thing I'd say about this is that there's not enough of it! I shouldn't complain, since Ozuma is only six episodes... but hearing that delicious theme, Garasu No Kantai-esque setpieces like Emergency sensor Bardanos!, and delicate melancholy in True Identity... I find myself crying that this wasn't a fifty episode series and there isn't hours of score to go along with it.

Nevertheless, a big-budget masterpiece right up there with Yamashita's best - and that is saying something.

Incidentally, the final minute of track 31 (from the delicate piano onwards) is in fact the END CREDITS from the final episode. Just beautiful. How many times in television anime do you get a powerful finale cue AND an orchestral end credits? So often they ruin the mood with the inevitable tacky pop song at the end - but Ozuma bows out with a triumphant statement of the symphonic main theme played against simple white-text-on-black-background credits. A bit of class in a largely classless world.

Thanks all for the wonderful posts lately, guys. I've got a lot of catch up to do, obviously. A very special thanks for Ozuma (not that the other posts aren't special, but you see what I mean...) because I really wanted to hear this one ASAP since the appetizing sample has been posted. I don't know where you managed to find it, klnerfan, but heaps of kudos to you, Sir!



I'm sorry if it has been posted...

I'm really sorry for it >.<

My friend, please stop being sorry! Be PROUD of yourself, for sharing such nice music with us. Thank you very much for this rare Hattori! (which I don't think has been posted here) :)

Actually, I bought it from cdjapan together with Gravity Daze almost a month ago since you can never go wrong with Yamashita and Tanaka and (as usual) it was well worth the price and wait.
This is a sublime score. I agree with everything you said, Tango, especially the comment on end credits. Nothing irks me more than a dramatic or touching scene during a show ... and then BAM! "Here's the happy-go-lucky music everyones been waiting for, we don't care if its appropriate at this point in the story, please buy the album."
I wonder if some of the credit scenes from Legend of the Galactic Heroes would have the same impact on me with generic J-Pop in the background *shivers*.

The only thing that prevents me from buying both volumes of Chihayafuru are the Pop songs (and some ambience cues). A single album with roughly 70 minutes of the score would have worked far better as a listening experience and would have been an instant buy. There is some absolutly gorgeous stuff on both volumes but not enough to spend 60 Euro. As much as I love Yamashita's music, I ain't a millionaire.

Now this isn't exactly "orchestral" music, but I thought you would find it interesting anyway. Since it is played at orchestra concerts around the world as a percussion section feature I figure it applies. Starting in the 1960s there was a push for concert works to feature the marimba and other parts of the percussion section. Most of these works came from japan through Keiko Abe and Minoru Miki. It is an essential piece of repertoire and most high level orchestral percussionists have played it at some point or another in there career. It is somewhat overplayed so some people will roll their eyes at the song, but there is a reason it became played so much. Simply put, it is solid high quality percussion writing with a nicely difficult solo part. Admittedly it does start off slowly but things really pick up at the second movement (about 6:00 into the tune).


Minoru Miki
Marimba Spiritual
Download Link (http://www.peejeshare.com/files/362086673/Marimba_Spiritual_(Minoru_Miki).zip.html)

John Williams - Fanfare For Fenway! (2012)

Free File Hosting - Online Storage; Upload Mp3, Videos, Music. Backup Files (http://www.peejeshare.com/files/362086694/JW-FFF-MRPS.zip.html)

Aah, there's nothing like poor quality audio from Youtube/some other video streaming site, with some headache-inducing pseudo-stereo processing, encoded proudly as 48khz FLAC... ;)

Nevertheless, whatever it sounds like - it's Williams and it's a splendid piece. Thanks!

Keith Lockhart & John Williams: Fenway Park 100th Anniversary

02 The Star Spangled Banner
03 Hymn to New England

Free File Hosting - Online Storage; Upload Mp3, Videos, Music. Backup Files (http://www.peejeshare.com/files/362086739/KL-F100thA.zip.html)

about this:

"The Pops conducted by Keith Lockhart perform John Williams� arrangement of �The Star Spangled Banner� and �Hymn for New England.�

Thanks for the great Gunning selection!

TORU FUYUKI conducts ULTRA SEVEN
The Tokyo Symphony Orchestra
orchestrated and conducted by The Composer





Gee-whiz. You just introduced me to a new sonic addiction: I can't get "Song of Ultra Seven" out of either my head or play rotation.

Thanks a lot!

Well since Tango doesn't have any suggestions, I'll give a few. Please note that this list, as Tango suggested, could be better but you go with what you have :)

In no particular order, going back to 2002:
Randy Edelman - The Mummy 3: Tomb of the Dragon Emperor, Leap Year
Patrick Doyle - Igor, Man to Man (released by Moviescore Media)
John Williams - War Horse
Howard Shore - Hugo
Lee Holdridge - Winston Churchill Battle for Destiny (released by Intrada)
James Newton Howard - Water for Elephants, Defiance
Ludovic Bource - The Artist
Danny Elfman - The Wolfman
Jeff Grace - I Sell the Dead (Released by Moviescore Media)
Zacharias M. De La Riva - Hierro, Imago Mortis (Both Released by Moviescore Media)
Alexandre Desplat - New Moon, The Painted Veil
Tuomas Kantelinen - Mongol, Quest for a Heart, Mother of Mine, The Promise, Year of the Wolf
Michael Kamen - Back to Gaya (Released by Moviescore Media)


Film Music of Christopher Gunning - Chandos 2010
BBC Philharmonic conducted by Rumon Gamba
MP3 VBR V-0

Download (http://www.peejeshare.com/files/362082430/FMCG.rar.html)

A lovely collection of themes from some of Christopher Gunning's works. This is available as a digital lossless download through Chandos and their related online shops so I will not upload lossless here. It is worth buying a download to support the label if you enjoy it :)

OOOOOOOH thank you, 8mn of unreleased Poirot made my day...week....month :D

Does anyone knows about of more compilations of live video game concerts, something like the five volumes of the orchestral game concerts and Final Fantasy 20020220?

I believe the OGCs are the best you can get. There is still Press Start with years of unreleased music (which is a crime). The 5th Anniversary of the concert is essentially OGC No.6 PRESS START (http://www.youtube.com/watch?v=MjswOXxH0Bo&feature=relmfu). Currently there's Video Games Unplugged: Symphony of Legends but it is still full of the usual suspects that may belong in Video Games Live but are not quality music material for a more classical oriented concert. Still, there are some welcome excepetions like Gravity Rush Symphony of Legends - Gravity Rush (http://www.youtube.com/watch?v=_Zv056SZxEU). If we are lucky we will get a DVD and a CD release.

Does anyone knows about of more compilations of live video game concerts, something like the five volumes of the orchestral game concerts and Final Fantasy 20020220?

I'm sure most on this thread have heard the releases in the series of Symphonic Shades, Symphonic Fantasies, Symphonic Odysseys, and Symphonic Legends. Shame the recordings are done live and don't sound the best. Symphonic Shades is still the best of the lot followed by Symphonic Odysseys. I wish there were a lot more too.

Chris H�lsbeck has announced on kickstarter that a new WDR Symphonic Game Concert is coming in november. As far as I know Journey ("Apotheosis") is part of the program.

Thanks for the suggestions guys, i listened Symphonic Odysseys and really liked what i heard.
Given that i have never heard a lot of video game music before, it's a delight and a much easier way to approach the music, with a concert arrangement of the principal themes.

Star Wars Kinect gorby haab soundtrack please ????

Thanks for the Gunning download, RDAF!

Given that i have never heard a lot of video game music before

Well, you certainly missed a lot of good music then. Here's something that could help, a nice selection of orchestral game music to be quickly introduced to it:


(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

Unfortunately all those links are dead... and I'm afraid I don't have this archived anywhere... :(

Guess the Scoring Style: Tough Guy Action Music - YouTube (http://www.youtube.com/watch?v=oke1F3hdDcc)

I don't have them either, because, in fact, I downloaded these... twice, and both times they got corrupted! And the problem with 7z files is that all data after the corruption is simply *lost*. So I just gave up after two attempts, because it's really too much hassle to download several times nearly 400 MB files...

BTW, klnerfan, could you please use zip or rar when you upload big files? This way, it's not too serious if there's some little corruption after downloading.

I might have them somewhere, I'll look later tonight.

Thanks for the help, Shadow! Really appreciated. :)

Speaking of good orchestral game music, I just listened again to Phantasy Star after several years, and it seems I forgot how fantastic the music was. I didn't know then that Amano was the arranger / orchestrator, but I did remember that the music sounded pretty awesome. But now that I try it again, it sounds even better, and not only because it's in FLAC! Really grand, beautiful, lyrical stuff. Some of the most pleasant space music I've heard, in fact (and I'm quite a fan of space music in general).

Listen to "Guardians" for instance: what a glorious mix of unbridled power and graceful lyricism, isn't it? It just gives you goosebumps!

.

May I suggest that the following euphonium related shares be re-uploaded?

jakob's
Euphonium Action Pack (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/173.html#post1416939)
David Maslanka's Symphony No. 8 (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/144.html#post1360706)








Euphonium Action Pack



Euph_sampler.rar (http://www.mediafire.com/?bc6t0rurpx4pf9a)



This set includes:

Vladimir Cosma Euphonium Concerto w/New Zealand Symphony

Vladimir Horowitz Euphonium Concerto Mvt. 1 w/Brass Band

Fantasie Original, and The Student Prince w/Cincinnati Wind Symphony

Allen Feinstein Concerto for Euphonium: "Swimming the Mountain"


The Cosma euphonium concerto was written for a french competition about ten years ago, and is a wonderful piece of music. Passionate, heroic, bombastic, thoughtful at times, and always rhythmically driven, it is one of my favorite works for euphonium. I hope you enjoy it as much as I do. The horowitz concerto is a tongue-in-cheek, quirky piece with a TERRIFIC brass band behind the soloist in this recording. If anyone really likes this, I can post the rest of it and more of his works for brass. The two recordings with the Cincinatti Wind Symphony are from one of my favorite soloists, in the more traditional brass soloist style (theme and variations). "Swimming the Mountain" is a newer piece (around 2005 I believe) that won an award I can't remember, but it is a refreshing piece that should be a delight to listen to. Soloists here are Adam Frey, Brian Bowman, and Steven Mead.



I'm going to try and find a better recording of Maslanka 8, as the one I posted before is really quite bad.

Herr Salat: your posts are so beautiful, detailed and meticulously done that I think you're in fact, an artist, who genuinely enjoys creating beautiful things, who carefully and tastefully arranges basic materials to achieve aesthetic purposes. Bravo, well done again, Sir!

But...


Condcutor: Hiroyuki Iwaki

HAHA, GOTCHA! :D No, you didn't reach perfection this time...


Thanks for the Euphonium / brass feast, guys. About that, I'm quite familiar with Vladimir Cosma's music (he's a renowned film composer in my country), but it's thanks to this pack that I discovered he composed an Euphonium Concerto! Quite interesting to hear his concert side!



Ozuma

So I just finished listening to this one. Great highlights, especially "Emergency sensor Bardanos!", which shows once again Yamashita's naturally fluid, virtuosic, effortlessly brilliant composing skills. Very nice score overall. Thanks again for sharing with us, my friend!


About Yamashita, I just started something I intended to do since a long time ago: the complete orchestral extraction / reconstruction of two of his best scores. Which ones? Clue: they're both in five CDs. Some of you have certainly guessed by now!

Thanks for the Euphonium / brass feast, guys. About that, I'm quite familiar with Vladimir Cosma's music (he's a renowned film composer in my country), but it's thanks to this pack that I discovered he composed an Euphonium Concerto! Quite interesting to hear his concert side!


His euphonium concerto comes from themes from one of his film scores, which I wasn't aware of until someone posted that huge Cosma box (40 film scores), but I didn't keep the whole thing and I can never remember which movie now.

Magi-magi-Magiranger, OK! All right! Ashita wo kono te ni... :D

It's not often we talk about the euphonium, so while we're there I'll take the opportunity to post this standard: The Martin Ellerby Euphonium Concerto!


Tormod Flaten with the Bergen Symphonic Band
The Martin Ellerby Euphonium Concerto





http://www.mediafire.com/?utn9z75e8x52z8l/MEECTF.zip

The Ellerby concerto is one of the more popular concerti for euphonium, which may not sound like much as the repertoire is fairly thin for the instrument, but it is. This is an unrelenting, fierce, angular piece with lots of intercourse between the soloist and the ensemble, but it can also be quite delicate. Often times in concerto writing you get an inert "boom chuck" from the ensemble and a real "face-melter" from the soloist, but this isn't really the case with this piece. The band is just as important as the soloist, with the band introducing rhythmic and melodic themes that are developed in solo passages and answering the calls of the soloist decisively, and for that reason I've chosen this concerto to post here.

There is some fairly bad skipping at the end of mvt 2 and the beginning of mvt 3, but these are from itunes so I can't do anything unless they respond to my support ticket and fix the issue. Sorry!

Very interesting, thank you! I didn't know this composer, apparently he's contemporary. Is the music contemporary too or more classically oriented?

And there's a typo in your link. It should be this:

http://www.mediafire.com/?utn9z75e8x52z8l/MEECTF.zip



Magi-magi-Magiranger, OK! All right! Ashita wo kono te ni... :D

I said *two* of his best scores. ;)

Let's go! Let's! Gokaiger Go! Go! Let's go! Let's! Kaji wo tore... :D

Very interesting, thank you! I didn't know this composer, apparently he's contemporary. Is the music contemporary too or more classically oriented?

And there's a typo in your link. It should be this:

http://www.mediafire.com/?utn9z75e8x52z8l/MEECTF.zip


I actually haven't heard a lot of Ellerby. His euphonium concerto is contemporary in character, but I can't speak for the rest of his music. Also, how embarrassing! I fixed the typo.

Herr Salat - sorry, I wasn't ignoring your question, I just barely listened to the "Euphonium Concerto" in Japanese Band Rep album you posted, and I thought it was good. It's a bit more modern-sounding than is typically my taste, and I wouldn't say I loved it, but it's definitely well performed.

Elements Garden - Senki Zessho Symphogear Bonus Soundtrack 1
MP3 320kbps - 29mins - relaxing|electronica|solo instruments

Download (http://jumbofiles.com/pbcvuqrp3lsq)
PSW: smile

This is a test of jumbofiles. Please let me know how it works for you :)

I say, what a splendid opportunity for a repost! :D

Here's a really special one. It's a crosspost with the classical section but it fits in here splendidly. Lens - you'll love this one. As will anybody with more than a passing interest in the British brass band tradition - and in superlatively orchestrated, modern classical works that are tuneful and approachable without being mass-appeal nonsense.




Philip Wilby (b. 1949, British)
Concerto for Euphonium and Orchestra
performed by the BBC Philharmonic
Yan Pascal Tortelier, conductor
David Childs, Euphonium soloist (BBC Young Musician (http://en.wikipedia.org/wiki/BBC_Young_Musician_of_the_Year) 2000 Finalist - aged 19 in this recording)



(Note: My first post of this piece in October 2010 mistakenly credited Ivor Bolton as the conductor; it was in fact Yan Pascal Tortelier. I have amended the cover and this post accordingly.)

GO4UP : Upload everywhere ! (http://go4up.com/dl/1x46RO73wyH6) - (Live recording. My transfer and remaster from VHS. LAME 3.98.4)

VIDEO OF THE CONCERT

GO4UP : Upload everywhere ! (http://go4up.com/dl/1lfiQmXLcBxJ) - (MKV container, 8-bit H264 video, MP3 audio.) Quality is reasonable given the source material - a twelve year-old VHS tape. There's occasional picture breakup here and there but nothing serious.)

This is one of my all time favourites in the classical repertoire. Originally written for brass band, Wilby made this orchestral arrangement exclusively for soloist David Childs, who performed it live at the BBC Young Musicians competition in 2000. The concerto is available on Naxos in its original arrangement (a glittering but somewhat sterile performance by the Black Dyke band) and there is another (awful) recording by the Williams Fairey band (or whatever they're calling themselves today) floating around too, but to my knowledge, the orchestral version has never been heard since. I find the orchestral version superior; both are beautiful, of course, but the presence of a full orchestra is felt - especially in the slow movement which achieves such a feeling of peace and stillness.

"But," I hear you cry. "You said the orchestral version was never recorded!"

Well, actually, it was... by me! The concert at which it was performed received a live television broadcast in the UK. Fortunately, somebody (me) made a recording of that concert (broadcast in Stereo) on Hi-Fi VHS - and it sounds absolutely magnificent.

VHS, as anybody who has had the pleasure of using it will know, deteriorates - and when it does, the first thing to go is usually the audio track. Fortuitously, this recording survived completely intact - albeit with a handful of problems with that telltale VHS crackle. After my initial transfer to the digital domain, I painstakingly removed these (each and every crackle, by hand, over a period of three days) and that is absolutely all that needed doing. If you're thinking of passing this up because it's an amateur recording, don't! The sound quality on the broadcast was phenomenal and the recording is spotless.

In fact, it sounds ravishing - and it certainly captures the powerful performance (both Childs and the BBC Philharmonic are on top form) and the absolutely electric atmosphere of the concert, not to mention the wonderful acoustic of Manchester's Bridgewater Hall. You'd never believe that the source was an ten year old consumer video tape.

As far as the concerto is concerned, it's absolutely sublime - if you ever thought the Euphonium was just for oompah-oompah, give this a try - you'll be surprised. It's a powerful showpiece, but it's also tenderly romantic - the slow movement is just beautiful. A fine piece that embraces all the finest traditions of the British brass band, and a once-in-a-lifetime performance - preserved for you and in the name of great art, by your friend Tangotreats.

This is a test of jumbofiles. Please let me know how it works for you

No problem here. A little long to load the file but globally fine.

BTW, thanks for posting, as usual, but this one isn't really what one would call "orchestral". In fact only the last track sounds good to me (very beautiful emotional tune), the other ones sound like some Yuji Kajiura in bad shape, IMO. But since you said it's only a test...

Yeah, well I posted it because other Elements Garden scores have been well received before and there are some nice tracks here. Plus it is much better than Kajiura's recent work for Fate/Zero.

Haha, I must be in a weird mood because I'm rather enjoying it! :D

Mashiro-Iro Symphony



Download (http://www.filebox.com/3aad6szql50a) (Not my rip, credit goes to animeost.info)

The music is as cute as it's cover, very relaxing and immensely enjoyable. Mostly somber strings with piano and woodwinds, it puts your mind at ease.

Sample (http://www.youtube.com/watch?v=NNHnQakup0o)

I hope I didn't sound too douchy in my last post, guys!

Perhaps the music wasn't really my thing (except one track), but as I said, I do appreciate Sirusjr's contribution and also the fact that other people actually enjoy it. So, thank you again, Sirusjr!

BTW, in case some people wonder, this is why I seem to compulsively press the "like" button. Not because I tried everything and liked all of it, since I can only progressively listen to each posts as soon as I can (very rarely immediately), but because I genuinely like the fact that people contribute to this thread. I just like this, so I just press "like"!

(This can be a trap, though, because if you don't press it at times, then people might think that you specially disliked their post and could get offended by this, so you don't dare not pressing it once you're used to it!)


Thanks for Mashiro-Iro Symphony, klnerfan, I could really use some good graceful and soothing music these days. :)

Thanks for this last on klnerfan :)

As per request, another reup:


The Film Music of
ALEX NORTH

Eric Stern conducting the London Symphony Orchestra



FLAC + scans
FMAN.part2.rar (http://www.mediafire.com/?74gkn9vtcy1mvbg)
FMAN.part1.rar (http://www.mediafire.com/?b19kwk7y9dwjb6z)

Now from what I've seen, this fantastic disc gets a bad press on a certain *neurotic film score appreciation forum*. As far as I can gather, this is because it's a "bad recording" (read: natural concert hall perspective with powerful dynamic range) and it "doesn't sound like the original soundtracks" (played and interpreted coherently as music, not a fetish exercise). The LSO play beautifully as always; sharp as you like with North's jagged rhythms, balanced in matters of detailing, and swooning and swinging their way through the big melodic statements- there are a few, I promise! ;)

The 'Gathering of Forces' heard here is the most exciting on record, and it needs to be heard in best quality possible.

Enjoy!

RIP Joel Goldsmith, November 19 1957 - April 29 2012... :(

Words genuinely fail me.

.

Very sorry to hear of Joel Goldsmith's passing. I'm sadly unfamiliar with much of his work, but I've been interested in giving Kull the Conqueror a try for a while now and it seems like a fitting way to pay tribute to the man.

Coincidentally, Herr Salat, I heard about this last night just after watching the Rambo films for a project I'm working on and "It's A Long Road" was very much in my mind when I read this terrible news.

Very sorry to hear of Joel Goldsmith's passing. I'm sadly unfamiliar with much of his work, but I've been interested in giving Kull the Conqueror a try for a while now and it seems like a fitting way to pay tribute to the man.

Coincidentally, Herr Salat, I heard about this last night just after watching the Rambo films for a project I'm working on and "It's A Long Road" was very much in my mind when I read this terrible news.

Indeed. I haven't really listened to his work much either. From what I could tell, many of his scores tended to have a lot of synth so that kept me away. I'd welcome some suggestions of the better works to honor his passing. I wonder what he was working on these last few years?

Wow, very nice find, bravo!

But I've got here something even rarer, mister. Since we're into this "rare stuff" thing, here's something film score fans have been waiting for YEARS to no avail... until now.



JAMES HORNER
The Lord of the Rings
Overture

James Horner Lord of the Rings.mp3 (http://www.mediafire.com/?q8x1vzqxc1w8e7c)





As you all know, sometimes, when a film project begins, a bunch of composers are contacted and asked to produce a mock-up to show their own vision of the film (and their competence, of course). What you probably *don't* know, is that James Horner did get contacted, among others, to score The Lord of the Rings! Yes, the actual films that made gazillions of bucks to the box office!

And he composed one mock-up for it, a whole overture that states in a coherent way a few important themes he specially created for the occasion, performed by an unknown orchestra and choir.

Nobody except the people directly concerned knows exactly why Horner didn't get the job, but it was quite a pity, because as you can hear, his overture was a real masterpiece, that could have led to really exceptional scores. Anyway, for some reason, probably having something to do with obscure copyrights stuff, this piece has been very thoroughly kept secret from the public... Until recently, when it leaked in a private forum of which I'm also a member.

And here it is, my friends, specially for you, one of the rarest and most fascinating pieces of music in the history of film scores. Hope you Enjoy!

PS: I couldn't identify the language of the choral parts, perhaps it's latin. I did recognize the syllables MA GI KA LU, perhaps they're related to the magical setting of the story?

I got some aweful, AWEFUL Japanesse cartoon song.

Don't explain the joke!

I'm telling ya, the french man was 10 days too late.

Has anyone ripped the rear/front channels of the BBC Narnia films? The music is/was really good, but unfortunately my release is the older Stereo mixed release.

I'd welcome some suggestions of the better works to honor his passing.
Everyone should try Moon44 and the Stargates. I've been really enjoying his work on First Contact on the new complete edition. Without Joel's added spice and creativity it would be a pretty one dimensional score! He forgoes Jerry's sense of musical logic for a more free-wheeling, even rhapsodic approach. A great shame he never had a bigger break in films. He was infinitely more qualified and capable than today's in-crowd.

RIP

I thought some of you might be interested in this. :)
Pure Orchestral score and I think it will be wonderfull for the ears of some here. The compositions are really wonderfull in my opinion and there is a lot of feelings present in there. The only catch, is that it is 128kbps mp3 and I do not know if that is evena problem to some of you.
If you wish to continue with the orchestral thing in this series, I recomend to get from my rip of SILENT M�BIUS the best music collection (Thread 71456) (which I just bought because of teh unreleased tracks) and take the track called "chichi sei ~Father ' s Love~" which is also wonderfull. I don't know why was not this track included in the cd I am presenting to you here. :/

Anyway, I hope some of might enjoy it. :)



Silent M�bius Original Soundtrack Vol.1 - Orchestra Score Version ''SYMPHONY'' (http://forums.ffshrine.org/f91/silent-m-bius-original-soundtrack-vol-1-a-113445/#post1984147)

Release date: 1998.05.21
Catalogue number: AYCM-607
Label: AYERS INC.

MP3 CBR 128 kbps / Front Cover

Music by:
JIMMY HASKELL (01, 06, 07, 10, 16)
KEN'ICHI SUDOH (03, 04, 09, 12, 13, 14)
SUZIE KATAYAMA (05, 08, 11)
Daisuke Inoue (02)
BEGIN (15)

Arranged by:
KEN'ICHI SUDOH (02)
RYOMEI SHIRAI (15)

Vocals:
Saori Ishitsuka (02)
Karen Mok (15)

Lyrics:
Mami Takubo (02)
KAREN MOK (15)

Tracklist:

01 - joshou ~Prelude
02 - kindan no Pensee ~The Forbidden Pensee~ TV Opening Version
03 - kibou ~The Hope~
04 - yuusou ~The Mighty Force~
05 - yuubi ~The Gentle Heart~
06 - bosei ~Mother's Love~
07 - shukumei ~Destiny~
08 - jujutsu ~The Curse~
09 - hakugeki ~The Attack~
10 - an'on ~Tranquility~
11 - shibo ~The Yearning~
12 - yuushuu ~The Perplexity~
13 - fuwa ~The Discord~
14 - meito ~The Fate~
15 - ~Silently~ TV Ending Version
16 - souzou ~The Creation~

Lens thank you so much for Alex North film music re-upload. "Gathering Forces" is brilliant. It evokes such an inspiring feeling of liberation, that i never get tired to listen to it again and again.


Very sad news indeed about Joel Goldsmith :sad:
I admit i haven't heard a lot of Joel's music. The only thing by him that i heard were his music parts on First Contact, and coming to think about it, it's even more shocking to know that he passed away a few days only after the special release of the score.

RIP

I did not read 0.0
Joel Goldsmith, passed? so sad. I was indeed liking some of his compositions.-

I am posting these for his honor

Thread 79847
Thread 82027

Por favor pode re-upload?

Since we seem to be honoring the music of Joel Goldsmith (r.i.p.), here's one you might have missed...



GO HERE: Thread 99759

Don't explain the joke!

What's funny is he missed April Fool's Day by TEN DAYS.

Perhaps that was part of the joke... The French sense of humour often eludes me. ;)

Leonard Rosenman
Lord of the Rings

FLAC | LOG | CUE | Scans




Thanks to arthierr (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/19.html#post1166730) for posting this soundtrack back in the early days of the thread. I had never heard it, but it's amazing! This is the kind of soundtrack I hope to hear in this thread, and I was not disappointed. Lush, great themes, and beautifully written! Here it is in FLAC, and I'd be happy to do mp3 later if anyone likes.



---------- Post added at 08:01 AM ---------- Previous post was at 07:56 AM ----------



QUEEN EMERALDAS
Michiru Oshima



FLAC + scans
Tagged in English
QEMO.part1.rar (http://www.mediafire.com/download.php?nhftmtovlzoo62a)
QEMO.part2.rar (http://www.mediafire.com/download.php?4vwfv3o316tgf12)

As a large proportion of links in the thread are now gone, I thought a program of reups was in order. This one started me off on Oshima, so I thought it would be a nice way to say thanks :) It's an upgrade from the 320kbps originally posted; if mp3 is required then just sing out.



---------- Post added at 08:05 AM ---------- Previous post was at 08:01 AM ----------



ROMEO x JULIET
Composed by Hitoshi Sakimoto
Performed by the Eminence Symphony Orchestra





---------- Post added at 08:09 AM ---------- Previous post was at 08:05 AM ----------


Agreed that this score has a deserved place in the thread, and I love it! I had it before, but not in flac, so thanks Lens.

Edit: Suppose I'll just add these here!


Crest of the Stars by Katsuhisa Hattori was posted by JRL3001 earlier in the thread and later again by klnerfan, but those are long gone so I am reuploading them for you now! These scores have some lovely themes, and they also have their share of drum kit and bass and some odd blends of synth on top of orchestra. Consider yourselves forewarned, and enjoy! (not my rip)


Crest of the Stars
Katsuhisa Hattori
http://userserve-ak.last.fm/serve/300x300/29637803.gif
FLAC

Seikai no Monshou OST.part1.rar (http://www.mediafire.com/?i5xwmp8k6wk6jz5)
Seikai no Monshou OST.part2.rar (http://www.mediafire.com/?269dz5ayrb53f24)

Banner of the Stars OST 1 & 2
Katsuhisa Hattori

FLAC

Seikai no Senki I OST.part1.rar (http://www.mediafire.com/?pm827k0qhtmm2bj)
Seikai no Senki I OST.part2.rar (http://www.mediafire.com/?f01053uowf23w93)

Seikai no Senki II OST.part1.rar (http://www.mediafire.com/?q75a547q4d793bu)
Seikai no Senki II OST.part2.rar (http://www.mediafire.com/?pq74v19z9svv34k)


All 3 albums in mp3 v0 (KH-SNMNS.part1.rar (http://www.mediafire.com/?pykua476wwmyeii) and part 2 - KH-SNMNS.part2.rar (http://www.mediafire.com/?1pzr3g15xdw4xnj))

This thread is paradise ! Multiple thanks to all uploaders and reuploaders

The French sense of humour often eludes me. ;)

Speaking of which, I'm glad to announce that the next Super Sentai season has been finally unveiled! Apparently, it follows the story of Choujuu Sentai Liveman in 1988, and is now called Fukkiu Sentai Biouman. Having seen the trailer, I think I recognised the style of Sahashi in the music, this would mean it's his THIRD Sentai score! That's a record!

Here's the trailer, starting with a very catchy opening song:


Fukkiu Sentai Biouman (http://www.youtube.com/watch?v=ite9Xcy3edg)

The Kid Icarus Uprising soundtrack has been posted in a rip thread. The CD is apparently from Club Nintendo. I haven't gotten to listen to it yet but others mentioned it is quality stuff so check it out.
http://forums.ffshrine.org/f72/my-kid-icarus-uprising-gamerip-112208/2.html#post1985307
There is FLAC posted further down in the thread.

EDIT: Oh my! What joyful music! Where oh where has this style of writing gone?

Starhawk - Crafting the Soundtrack (http://www.youtube.com/watch?v=lXk81y71n4M)

Main Theme (http://www.youtube.com/watch?v=IpA71K4V1ps&fmt=18)

Starhawk - Crafting the Soundtrack (http://www.youtube.com/watch?v=lXk81y71n4M)

Main Theme (http://www.youtube.com/watch?v=IpA71K4V1ps&fmt=18)

The crafting the soundtrack video was awesome. I can't wait for this. Rumor has it that La La Land is going to be releasing the soundtrack on CD for those who don't want to buy the limited edition game.

I'm so glad that Lennertz finally has the chance to do something amazing, instead of the comedy scores he has been working on lately. He has some great chops from his early work on the Medal of Honor scores and it sounds like the studio here is giving him the leeway to write something big and thematic.

Lennertz can be really good. He's one of these very professional, competent, thoroughly trained composers / orchestrators who are capable of great things... when given the opportunities. I don't know if this game is one of these, but it sounds promising at least. The mixed genres / ethnic instrumentation approach is rarely musically the best one (I tend to be disappointed, even at times irritated by this tendency, which can be a cheap recipe), but let's trust Lennertz, because he's actually capable of coming up with something really good and interesting.


Thanks about Kid Icarus. I remember having played the original game a long time ago, and what was striking was the very beautiful and memorable melody during the title screen. Have you listened to this new score? Is it orchestral, and is it any good?


Oh, and little explanation about the stuff up there: it's just an example of classic french humour from the 90's, by a famous comic band called "Les Inconnus" ("the unknowns"). This sketch (and many others by the same humorists) has become a cult piece of humour, very popular even nowadays. A pity you can't understand what they say (unless you're good at french), because it is as funny as the images!

Speaking of Lennertz, does anyone have the Warhawk itunes release or a quality game rip? I never listened to the score and all the stuff on youtube is badly transcoded.

Here you go. Quality is good.


Christopher Lennertz - Warhawk

Thread 80346




Tracklist:01. The Warhawk
02. Clear Skies
03. Home Base
04. Boots On The Ground
05. Danger On All Sides
06. Dark Pursuit
07. Archer's Run
08. Flying Warriors
09. Dire Spiral
10. Red Mercury
11. On The Lookout
12. Honor
13. Dangerous Territory
14. Fly To Victory
15. Battle Of The Kraken
16. March To Kreel's Door
17. The Dominator
18. War Machine
19. Saar Showdown
20. Glory.MP3

Released: 2007
Bitrate: 256kbps
Size: 116MB
Total Playing Time: ~62min

Link is still alive, but 4shared requires a signup to download now. Can anyone upload to another host?

Yep, will do a full repost tomorrow. ;)

Wasnt Warhawk being released by LLL?