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Re: Bandas sonoras
Iniciado por Otto+
Spoiler:
Vaya tela... odio este tipo de empaquetados precisamente por el riesgo que entrañan.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
¡fantastica noticia!
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Es incomprensible. En otro campo similar, a veces he tenido problemas para sacar un disco Blu-Ray de ciertos estuches, particularmente Steelbooks
In space no one can hear you scream.
Re: Bandas sonoras
A mí lo que me apena, más que considerar si está infravalorado o no (que bueno, sí lo está) es que está casi retirado de la música cinematográfica.
El tándem Pons-Cases para mí es de lo mejor del cine español desde los noventa hasta ahora junto con el trío Medem-Iglesias-Almodóvar.
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"
Re: Bandas sonoras
00:00 Part I.
16:59 Part II. The Anfortas Wound
29:21 Part III. Meister Eckhardt and Quackie
Otto+ y Jackaluichi, ¿habeis esciuchado Harmoniehlre ya?. Tengo muchas ganas de conocer vuestras impresiones, que de esta obra referencial de John Adams, compuesta en 1985, y que combina minimalismo con post romanticismo y toques de vanguardia, deriva la trilogía de Matrix de Don Davis (compuesta de hecho como un homenaje), y parte del estilo de Goldenthal, sobretodo en lo referente a la timbrica de los metales. Creo que os va a gustar mucho, es de la más accesibles de Adams.
Y quiero aunque sea un parrafillo de impresiones, va:
Última edición por Branagh/Doyle; 27/09/2020 a las 00:14
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
La última variante de cajas de doble CD que se está imponiendo es ésta que ha quebrado el CD (una edición de 500 unidades encima): diría que más resistente pero al mismo tiempo tiempo puede atrapar un CD de tal manera que has de ir con mucha precaución para soltarlo, y esta vez ni con suaves presiones aquí y allá salía. Tampoco me gustan a mí; prefería las bandejas de color grafito, ya puestos, más elásticas. Las transparentes pierden dientes de sujeción a la mínima.
Un forero que ha tenido el mismo problema que yo, aunque a él se le dobló el disco, no se le quebró. Alguno más se lo confirma y además otro se refiere a lo de los Blu-Ray que menciona Jackaluichi:Es incomprensible. En otro campo similar, a veces he tenido problemas para sacar un disco Blu-Ray de ciertos estuches, particularmente Steelbooks
The big problem I've had with discs is Blu-rays in a steelbook, almost impossible to get the disc out, I don't buy steelbooks anymore
¿Compositores españoles? Sólo diré que Illaramendi está desaparecido en combate.
Re: Bandas sonoras
Otro compositor que yo creo que tampoco está muy valorado es Ángel Illarramendi, que también últimamente esta bastante alejado de la música de cine.
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"
Re: Bandas sonoras
Y si le pido a Tripley que también me de sus impresiones de Harmonielehre, ¿que pasaría?
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Para muestra, un botón:
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"
Re: Bandas sonoras
Me pongo ello. Yo debo dar las gracias a Guadagnino por usar composiciones de Adams en Yo soy el amor. Ají es donde conocí a este compositor.Y si le pido a Tripley que también me de sus impresiones de Harmonielehre, ¿que pasaría?
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"
Re: Bandas sonoras
Otro coloso. Los Borgia, Yoyes, Teresa, por ejemplo, ya bastarían para auparlo al olimpo.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Pues ya ves, fuera de la música de cine.
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"
Re: Bandas sonoras
¡Gracias!
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Por ahora, me gusta más el inicio, más rítmico que la parte más melodiosa que estoy escuchando ahora.
¡Gracias!
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"
Re: Bandas sonoras
Pues he escuchado poco de Carles Cases. Solo su "Dagón" que es una banda sonora muy reivindicable.
Re: Bandas sonoras
Lo melódico sería la parte post romántico, que se combina con el minimalismo rítimico y toques de vanguardia.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Ya sabes que yo me suelo quedar antes con el minimalismo rítmico.
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"
Re: Bandas sonoras
Final apoteósicoY si le pido a Tripley que también me de sus impresiones de Harmonielehre, ¿que pasaría?
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"
Re: Bandas sonoras
Final apoteósico
Saludos.
Bueno, pero en general... ¿pulgar arriba o abajo?
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Pulgar para arriba. Por ahora todo lo escuchado de Adams me ha gustado.
Bueno, pero en general... ¿pulgar arriba o abajo?
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"
Re: Bandas sonoras
En ciertos momentos de los fraseos de metales es verdad que casi parece que estas viendo a Trinity saltar por los tejados.
Mañana pongo Film Noir (no es una obra cinematográfica sino inspirada en el cine negro ), a ver que os parece.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Un poco de la música de cine de Vladimir Cosma:
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Y una de las obras más notables de marco frisina:
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
Tenéis las cuatro horas y media de la soberbia música de Antón Garcia Abril (otro que sigue vivo y en su casa, sin trabajar) para El Hombre y La Tierra disponible en Spotify, Apple Music, y Youtube Music, y también disponible en compra digital. Hasta hace poco solo estaba disponible en formato físico (6CD, editados vía Quartet Records).
Una obra maestra orquestal para nuestra pequeña pantalla.
Otra muestra de su talento:
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Bandas sonoras
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
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