Tema: [Juego] Adivina la banda sonora

Otto+, llego con mucho retraso, pero algunas de las dudas que planteaste con respecto a la génesis y concepción de The Red Canvas de James Peterson, se han visto aclaradas por el propio compositor. Cito extractos del libro Soundtrack Nation: Interviews with Today´s Top Professional in film music, de Tom Hoover:


I have always enjoyed film scores with strong themes -tunes that one can sing and remember even after leaving the theatre. As a composer I gravitate toward the melodic intuitively. It´s what I love in music. For me, nothing is better than a great theme with delicious harmonies supporting it, and, as a result, The Red Canvas is a strongly melodic score. It´s a bit counterintuitive to write a bold orchestral score to a mixed martial arts, low budget film, but I had the support of the directors from the beginning and I think it has paid off.


(...)


Circumnstance and desire allowed the Red Canvas score to be written in a time when thematic, fully symphonic scores are not really in fashion. This, as a composer interested in that type of writing, it´s a great thing. The good news is that everything is cyclical. Perhaps one day we will see a return to the great scoring style of the 70´s and the 80´s instead of the lifeless sound-design approach so common today. One can only hope.

“you must hear this! it’s been a while since i’ve met a composer whose talent is exploding to greatness, and just waiting to be discovered. james peterson is he. listen and i know you will agree.”

-christopher young
composer
spiderman 3, ghost rider, the hurricane

Composing is not nearly as gratifying if the end result is computer generated, the action happens with real players and real performances.



Me cae bien este hombre , aunque la consecuencia directa de esa forma de pensar sea que para cine no le llame.

Recently he has turned his attention to the concert stage. In 2016 he received the pittsburgh symphony orchestra's heinz audience of the future award and they premiered his work americana at the heinz hall. he lives in santa monica with his wife kathy and their four cats, dragon, swen, lola and chewie.

¿Rien de rien?

- Banda Sonora ganadora del Oscar, uno de los tres del compsitor, aún vivito y coleando.

Vuelvo a ponerla para no tener que volver atrás:

https://audioboom.com/boos/5040017-p...e-naranaraaaaa

¿Puede ser Verano del 42 de Michel Legrand?

Saludos.

Exactement, mon ami! Se trata de la película de Robert Mulligan, con música de Legrand, de quien todos recordaremos las míticas melodías de Érase una vez... El Hombre, El Espacio, La vida...

Cuando quieras super MIK!

Gracias Akákievich.

Lo cierto es que me sonaba a Mancini, hasta que he recordado la melodía principal (la pista de que el compositor aún estaba entre nosotros, me hizo descartarle).

Siguiente propuesta:



Saludos.

Más comentarios por parte de James Peterson ( os voy poniendo lo que voy leyendo que me parece interesante). Con las cosas que dice no me extraña que no le hayan llamado más, sinceramente. Poco a poco se va relajando y se le va soltando la lengua:





I studied music education at UCLA and in addition to my composing career I am currently on the music faculty at Santa Monica College where I teach music appreciation. While in school I arranged for the bands and wind ensembles. I am a trumpet player and studied composition privately and independently throughout the years. I credit UCLA music theory program for my grounding in harmony and counterpoint. I had some great teachers there including David Raksin.

I also listen A LOT. I like music from the greats: Bach, Bartok, Barber, Copland, Harris, Hindemith, Stravinsky as well as the "real" film composers who can actually write and are properly trained not illiterate rock musicians who hum their scores to trained orchestrators. I think it is probably obvious who I mean by this and the devastating impact they have had on film music's greatness. We are in a sad sad time for film music. And people are starting to realize it. Thank God. All of us can work to make the change we want to see in the world (thanks to Gandhi for that one)


Both of the directors are musicians and were open to the big orchestral sound. The Miklos Rozsa references in the score were a kind of musical "joke"for me and a generous loving homage to one of my favorite composers. The film is about fighters (like gladiators of sorts) and that motive plays their entrance to the stadium to brawl. I thought wouldn't it be cool to tip my hat to Ben Hur because I knew there would be people out there who would get it.

Pistas:

Esta fue la segunda de muchas colaboraciones con el director (uno de esos tándems tan especiales, que pese a algunas ocasiones, se mantiene hasta el día de hoy), para un thriller marca de la casa.

Saludos.

Ayer ya me sonaba un montón y por las pistas diría que es Vestida para matar de Donaggio y De Palma

Saludos

¡Correcto Tripley!

Se trata del primer corte de la banda sonora de Donnagio (que abre la película), en una escena muy De palma.

Tu turno, pues.

Sí, el inicio de Vestida para matar, si no recuerdo mal, es muy "higiénico"

Nueva propuesta:

https://audioboom.com/boos/5051200-

Saludos

Sabía que había visto la peli... Legend, Carter Burwell

Correcto, Akákievich.

He visto en IMDb que hoy es el cumpleaños de Hardy y he pensado en poner la BSO de alguna película suya.

Tu turno

Saludos

Iniciado por Akákievich

Sabía que había visto la peli... Legend, Carter Burwell

Y eso que hace poco puse una suya y costó bastante

Thanks Tripley, pues más que por reconocer a Burwell ha sido porque al escucharla he pensado que me sonaba de alguna película de Hardy, qué cosas, le felicitamos desde aquí pues

Vamos con otra bso, de una peli que aprovecho para recuperar, sé que al menos dos de vosotros la habéis visto

https://audioboom.com/boos/5052873-ale-ale

Iniciado por Akákievich

Thanks Tripley, pues más que por reconocer a Burwell ha sido porque al escucharla he pensado que me sonaba de alguna película de Hardy, qué cosas, le felicitamos desde aquí pues

Vamos con otra bso, de una peli que aprovecho para recuperar, sé que al menos dos de vosotros la habéis visto

https://audioboom.com/boos/5052873-ale-ale

Jajaja Tripley y yo Alé, alé

Es de "Les combattants" Eso sí, no me preguntéis quienes son los compositores o artistas

Cómo me gustó la película

Saludos

Y llegamos al final y al plato fuerte del capítulo del libro dedicado a James Peterson. Jon Broxton (productor de música cinematográfica californiano), analiza la banda sonora de The Red Canvas, creo que de manera sencilla y comprensible por todo el mundo. Si alguien quiere que traduzca algo sólo tiene que pedírmelo.

I freely admit I know next to nothing about James Peterson. He grew up in Southern California, graduated from UCLA, and wrote music for commercials, video games, short films, and for the South Bay Ballet Company, prior to scoring this, his first theatrical film. Directed by Kenneth Chamitoff, The Red Canvas is an action drama set in the world of underground mixed martial arts. Ernie Reyes Jr. (who fans will remember as the karate kid from Teenage Mutant Ninja Turtles II back in the early 1990s) stars as Johnny Sanchez, a talented fighter who gets in trouble with the law, and who is forced by a crooked prison warden (John Savage) to take part in brutal illegal fights overseen by the evil Krang (George Takei). While the film itself sounds like a rather run-of-the-mill actioner - had it been made in the 80s it would have undoubtedly starred Jean-Claude Van Damme - the music is something else. It is utterly transcendent, rising above its low-budget roots.

As a break with convention, I'll start at the end with the thing that everyone is talking about: "Ballet for Brawlers". Written for a huge orchestra with special emphasis on brass, this gargantuan masterpiece of a cue is one of the greatest pieces of film music I have heard in several years - and, no, that's not hyperbole. A colossal collision of sound and fury that mixes classic lyricism with contemporary musical brutality, Peterson's piece sounds like it was written by the love child of Miklós Rózsa and Elliot Goldenthal. Beginning slowly from a bed of tense, martial cello rhythms, the piece gradually grows and grows to enormous proportions, eventually engaging the entire orchestra. The brass writing is fiendishly complicated, flashing across the orchestra from horns to trumpets to trombones with staggering speed and power. And it just doesn't let up; for eleven and a half astounding minutes the brass snarls furiously, enveloped in staccato string ostinati and punctuated by throbbing, primal percussion. It changes tempo restlessly, constantly pits different motifs against themselves, and just when you think it's reached its peak and can't possibly get any more massive, Peterson shuffles the deck again. The first time I heard this piece my jaw literally dropped. These days, for a piece of film music to do this to me, it has to be something really special. Ballet for Brawlers is special.

Almost inevitably, the 33 minutes of score that precede this monumental piece do not quite reach the same lofty heights, but the multitude of motifs heard in it have their genesis here, and there is still a great deal of sensational music to be found. One of the best things about Peterson is his obvious Golden Age sensibility. As I mentioned before, there is more than a hint of Miklós Rózsa in his writing, especially in his brass phrasing, as well as clear allusions to both Bernard Herrmann in the strings and Max Steiner in his use of percussion. In today's film music world it's rare to hear a composer who has such a clear mastery of his orchestra, who knows how to get the best from his players, and who can create such rich and vivid colors through detailed instrumental combinations, clever performance techniques and engaging rhythmic energy. It's especially rare to hear it from a composer as young and hitherto unheralded as James Peterson; if this score is anything to go by, his anonymity won't last for long.

The opening "Out of Darkness" grows from a bed of growling cellos to present the first of several vicious brass fanfares, underpinned by a bed of slashing, dramatic string writing. A 5-note Rózsa-inspired motif features prominently in the brief "Johnny Likes Extortion", before rising to the fore in the rich, ominous "Calling All Gladiators". The two main action cues within the body of the score are the "Grease Monkey Brawl" and the "Jungle Rumble", which feature all manner of orchestral carnage - flutter-tongued brass runs, whooping woodwinds, flashy string writing, booming drums - galloping over the top of a rumbling bass ostinato. It's just a taste of things to come.

Thankfully, the score also contains a great deal of attractive down time. "Awaiting the News" features the first performance of a moodily graceful string motif that somehow manages to simultaneously elicit a sense of listless drudgery and resurgent hope. The theme is restated to gorgeous effect in cues such as "A Great Fighter", "The Attic", "Maria Cries", "Bills and Tears", "Prayer" and "A Not-So Conjugal Visit", and gives Johnny's plight a feeling of defiant nobility, and of him retaining his sense of self despite overwhelming adversity. Occasionally, the chord progressions Peterson uses remind me of another one of film music's all-the great debut scores, Cliff Eidelman's Triumph of the Spirit from 1989, although the similarities are purely superficial.

The two "Death and Resurrection" cues oscillate between more of the tumultuous, thrusting brass writing and a gorgeous, darkly romantic elegy for violins that gives the score a much-needed release of tension. And if that were not enough, the "Jazz Café" cue contains an unexpectedly warm and authentic-sounding trumpet refrain that oozes nightclub cool.

Rounding out MovieScore Media's excellent album is the 20-minute "Moving Canvas Suite", an original concert work that Peterson wrote in 2007. With its unashamedly cinematic approach, varied styles, and excellent technique, it clearly illustrates that Peterson is capable of writing standout music across multiple genres, from whimsical comedy to sweeping romance, gothic horror and lush sun-kissed Americana. The flighty, Williams-esque "The Sorcerer" and the achingly beautiful "Pastorale" are worth the price of admission alone.

Over the past couple of decades there have been maybe a half a dozen or so mainstream film music debuts as overwhelmingly impressive as James Peterson and The Red Canvas. Basil Poledouris and Big Wednesday in 1978; Patrick Doyle and Henry V in 1989; the aforementioned Cliff Eidelman's and Triumph of the Spirit, also in 1989; David Arnold and Stargate in 1994; Michael Giacchino and The Incredibles in 2004; Douglas Pipes and Monster House in 2006. It's no exaggeration to say that, based on the music on offer here, Peterson has the talent and potential to be as successful and popular as all these composers.

If I sound like I'm gushing, I apologize, but when one hears music this good, and when you compare it to all the anonymous dreck that Hollywood spews out on a far too regular basis, it's difficult not to be overly-enthusiastic. Kudos should go once again to producer Mikael Carlsson and his independent label MovieScore Media, who time and again unearths fantastic scores from composers nobody knows, written for films nobody has seen, and blows us away. Buy this. Now.

Otto+ espero que esto sirva para satisfacer tu curiosidad. También la mía, pues cómo pudisteis comprobar esta banda sonora me impactó sobremanera. El libro cayó en mis manos recientemente por recomendación de un compañero, y mira por donde hemos hecho bingo.

Iniciado por Tripley

Cómo me gustó la película

Saludos

Y a mí

Aunque Aki, no me ha dado el ok, yo pongo que sé que he acertado

Nuevo tema:

https://audioboom.com/boos/5054072-song

Aprovechad de momento que no tengo sonido en el ordenador, aprovechad.

Iniciado por Campanilla

Por eso me sonaba Qué suerte!! Ya te cambiaba yo el clima

Oye, pues ya sabes, yo te dejo las llaves de mi casa y tú las de la tuya

Aún es verano, pero ha hecho hoy por aquí un día digno de Noviembre. Cielo gris sin un rayo de sol, lluvia persistente, un viento fuerte que hacía que la sensación térmica fuera más baja que lo que marcaba el termómetro. Total, que he estado dos meses tan ricamente paseándome por casa en camiseta ligera y pantalón corto y hoy ya me he puesto el largo y con jersey.

Iniciado por Jane Olsen

La original ni siquiera la vi de pequeña . En general, las películas de ratoncitos parlantes no me gustaban ya ni de cría. Con la excepcion de Basil, el ratón detective y el malo malísimo Ratigan, al que doblaba nada menos que Vincent Price en la versión original.

Y que se convirtió por lo que he leído en uno de sus personajes favoritos, nada mal teniendo en cuenta que su carrera duró décadas. A mí también me gustaba ese filo que tenían las propuestas disneyanas de los 80'. Supongo que el relevo generacional que se fue imponiendo en aquellos años acabó por templar un tanto el tono de sus propuestas.
Y sobre todo, los personajes por entonces hablaban normal, no en plan molón como sucede hoy en no pocos casos (se hizo más patenete a partir de Shrek). Refleja la evolución del público, claro.

Hablando de iconos del cine de terror, ayer medio vi parte de una peli de aventuras protagonizada por Alan Ladd y en ella aparecía un Peter Cushing pre-Hammer casi irreconocible. Se me daba un cierto aire al James Horner de los últimos tiempos y todo.



Brangh/Doyle, gracias por los comentarios de James Peterson. Van en la línea que ha ofrecido gente como Conrado Xalabarder y algunos más. Yo también tiendo a pensar eso del carácter cíclico en las tendencias, aunque creo que aún queda tiempo para que se pueda producir un giro de timón buscando un equilibrio mayor en un panorama actual musical cinematográfico el hollywoodiense en el que abunda bastante compositor impersonal (y maniatado). Puede que los estudios traten de baratar costes de producción en algunos casos.
Estoy seguro de que hay más Petersons anónimos de gran valía prestos a ser descubiertos y que tendrían interés en escribir música para cine si fueran más receptivos los mandamases a revisar los cánones actuales.
Y si no, siempre se pueden dedicar a la enseñanza o una labor concertística que les reporte el mismo nivel de gratificación sin verse sorprendidos por los vaivenes del medio cinematográfico.
Oh, y tengo the Red Canvas en CD desde el pasado Junio.

Iniciado por Branagh/Doyle

Aprovechad de momento que no tengo sonido en el ordenador, aprovechad.

Y encima es fácil y quizá ya la haya puesto antes ¡Dudas tengo!

Iniciado por Otto+

Oye, pues ya sabes, yo te dejo las llaves de mi casa y tú las de la tuya

Y yo terminaré enamorada de Jude Law y tú de Kate Winslet Nos'ta mal la cosa

Aún es verano, pero ha hecho hoy por aquí un día digno de Noviembre. Cielo gris sin un rayo de sol, lluvia persistente, un viento fuerte que hacía que la sensación térmica fuera más baja que lo que marcaba el termómetro. Total, que he estado dos meses tan ricamente paseándome por casa en camiseta ligera y pantalón corto y hoy ya me he puesto el largo y con jersey

Te cambio hasta la ropa Aquí ha estado nubladito, pero calor igual

Total, que he estado dos meses tan ricamente paseándome por casa en camiseta ligera y pantalón corto


Qué calor, ¿no?


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