Es increíble el proceso: Como tiran y aflojan entre ellos para pulir la música sin perder ambos sensibilidad artística... Sin palabras me hallo.
Es increíble el proceso: Como tiran y aflojan entre ellos para pulir la música sin perder ambos sensibilidad artística... Sin palabras me hallo.
Sobre el Superman de Williams.
POR EL AMOR DE DIOS SANTO BENDITO. PERO QUE DEMONIOS HAN HECHO. Estoy escuchando un podcast (en inglés) con Mike Matessino y Tim Burden donde el primero habla de la restauración y su trabajo en todas las ediciones de la partitura completa de Superman, y a lo largo del programa ponen pistas de la BSO, en alta calidad, sacadas de la restauración más reciente, esta edición, y puede ser la mejora más bestia que he escuchado jamás en la remasterización de un score clásico desde el BEN-HUR de FSM en 2012.
Parece casi que se grabó ayer, literalmente. No hay ni rastro del "sonido sentetero", que puede aún notarse en otras restauraciones de Williams. También porque comenta Matessino que los masters de primera generación -que se daban por perdidos- estaban en excelentes condiciones, nada que ver con Tiburón o Drácula, por ejemplo. De verdad, no es ni medio normal la diferencia. Imaginad este tratamiento para las futuras ediciones definitivas de SW. Solo imaginadlo.
En serio, este lanzamiento es histórico en términos de lo que se puede hacer partiendo de buenos materiales con la tecnología de restauración actual.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Samples:
https://johndadlez.com/MP3/SupermanT.../1_01_PAMT.mp3
https://johndadlez.com/MP3/SupermanT...19/1_04_TK.mp3
https://johndadlez.com/MP3/SupermanT...19/1_09_LH.mp3
https://johndadlez.com/MP3/SupermanT...9/1_13_THS.mp3
https://johndadlez.com/MP3/SupermanT..._14_TBSACC.mp3
https://johndadlez.com/MP3/SupermanT..._17_TFS_IV.mp3
https://johndadlez.com/MP3/SupermanT...9/2_03_TTL.mp3
https://johndadlez.com/MP3/SupermanT...9/2_05_LLW.mp3
https://johndadlez.com/MP3/SupermanT...2_06_SRACR.mp3
https://johndadlez.com/MP3/SupermanT..._13_TPK_AS.mp3
https://johndadlez.com/MP3/SupermanT...2_14_TDO_A.mp3
https://johndadlez.com/MP3/SupermanT...21_TBTW_EV.mp3
https://johndadlez.com/MP3/SupermanT..._01_TFS_MT.mp3
https://johndadlez.com/MP3/SupermanT.../3_04_TTTE.mp3
https://johndadlez.com/MP3/SupermanT.../3_06_LTFS.mp3
https://johndadlez.com/MP3/SupermanT.../3_08_TFOS.mp3
https://johndadlez.com/MP3/SupermanT...3_13_TMOTV.mp3
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Muchas gracias.
He flipado especialmente con el tema "The planet Krypton"
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Sí.
UFFFF!!
El Schindler ha sobrevivido a aduanas. En breve me lo traen.
Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn.
Fortuna y Gloria.
Has corrido riesgos. Has cometido errores. ¡Y ahora, una última victoria!
Nuestro podcast:
https://www.ivoox.com/podcast-voces-metropolis_sq_f12312831_1.html
https://open.spotify.com/show/72q1UBW7MWhrbAcxxHi81y
Policía de mundodvd silenciada
No hay comentarios de los ultimos de Powell y McCreary?
HTTYD 3 es soberbia y HDD2U es un disfrute como suele hacer McCreary
John Powell siempre me da la sensación de que consigue mejores o peores resultados, en función de cuanto casa con la película que esta haciendo. En el caso de esta trilogía animada, es sublime. Me queda bastante cosa suya que no he escuchado, pero de momento creo que es lo que mas me ha gustado suyo (meto las 3 juntas... aunque sobre todo la primera, que es la que dió el tomo y los motivos de la saga).
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Paycheck y Bourne muy bien... pero por la propia naturaleza de las películas en si, prefiero esta trilogia, como digo. Hay una variedad de temas que ha ido desarrollando, y se alternan bien temas mas emocionales e íntimos, con otros mas adrenalíticos o incluso solemnes, muy bien.
De lo mejor de John Powell me quedo con Paycheck , X-men the Last stand y Solo
Luego HTTYD 1.
Desplat ha compuesto su primera ópera
https://www.latimes.com/entertainmen...221-story.html
Saludos
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Si, B/D, por fin he visto Vértigo...
¿Y qué tal?
Pues muy bien, me ha gustado mucho. Lo que no me ha convencido del todo ha sido la BSO, meramente resultona...
Conversación literal de ayer por la noche, en un bar, tapeando. Santo dios....
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Mike Matessino desvelando al mundo los masters originales de las sesiones de grabación del Superman de Williams, hallados 40 años después.
Última edición por Branagh/Doyle; 24/02/2019 a las 20:45
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Branagh/Doyle, gracias por la noticia.
Caerá caerá, que es de Elfman
Qué bien que lo editen
Saludos
Última edición por Tripley; 24/02/2019 a las 21:51
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.