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Post by driscollmusick on Jun 17, 2018 20:19:43 GMT
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Post by driscollmusick on Jun 17, 2018 20:21:43 GMT
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Post by Dave Dexter on Jun 17, 2018 20:45:31 GMT
I think it's stuff like this that has led to some calling him an orchestrator rather than a composer, quite wrongly imo. Kings Row I find a little troubling, but even JW was subject to temp tracking, or the equivalent. He's still left with about 99% of his output (all his other major themes, as well as his incidental and action scoring) being very much his own voice.
He does steal from himself quite happily, much like Horner did. Horner had enough recurring motifs and fluorishes through his scores for a whole thread in itself.
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Post by Dave Dexter on Jun 17, 2018 20:46:30 GMT
Too rational? RAAAAHHH THIS IS TROLLING NO COMPOSER HAS EVER COPIED, LIFTED, OR SIMPLY BEEN INSPIRED BY ANOTHER COMPOSER
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Post by Tim Marko on Jun 17, 2018 21:52:53 GMT
Unfortunately, most people are only familiar with his "big stuff". The man's work spans back to the early 60's. He actually worked on "Gilligan's Island". If you want to hear the depth of his voice, you have to look beyond Lucas and Spielberg.
He may have been influenced, but his influences always served his purpose of scoring for film.
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Post by Dave Dexter on Jun 17, 2018 22:10:12 GMT
Unfortunately, most people are only familiar with his "big stuff". The man's work spans back to the early 60's. He actually worked on "Gilligan's Island". If you want to hear the depth of his voice, you have to look beyond Lucas and Spielberg. He may have been influenced, but his influences always served his purpose of scoring for film. When most people talk about his music sounding more memorable than other composers, or similar to that of his predecessors, it gets me going a bit. Both perspectives, whether supporting or attacking, are concerned almost exclusively, as you put it, with his "big stuff", and only his themes and leitmotifs within that category. In every film containing 15 minutes of famous Williams themes, there's maybe 7-10 times that duration of underscore, incidental cues, actioning, fluff, and - for want of a better term - filler. He's excellent at all of it, but it's the themes that get remembered 90% of the time and since that's where any influence is most likely to be - well, that's why some people call him an orchestrator. Ignoring that every theme with a prior similarity has many entirely original brethren. I know far less of him than I should, I'm sure. And I do love the big stuff.
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Post by Mike Hewer on Jun 19, 2018 8:58:23 GMT
Unfortunately, most people are only familiar with his "big stuff". The man's work spans back to the early 60's. He actually worked on "Gilligan's Island". If you want to hear the depth of his voice, you have to look beyond Lucas and Spielberg. He may have been influenced, but his influences always served his purpose of scoring for film. Definitely this Tim. His own voice is also big enough to accommodate any influence, absorb it and transform it.It is worth remembering that film scoring itself is a practice that thrives on derivation, be it influences or damn temp tracks and director pressure - not that Williams needs to be reigned in by a temp track. I do wonder though, in moments where there is a discernible link with other pieces, if his direction was influenced by temp tracks or a reference to those tracks during a briefing session. Most likely, given that he is the best and you would hire him for him.
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Post by rayinstirling on Jun 19, 2018 9:32:13 GMT
The fact is, if you want a sellout audience in a concert hall, put on an orchestra playing film music and especially John Williams film music. My one visit to the Royal Albert Hall in London was for such an event.
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Post by Mike Hewer on Jun 19, 2018 9:42:06 GMT
I bet that was a great concert Ray, who was the orchestra?
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Post by Dave Dexter on Jun 19, 2018 9:55:20 GMT
The majority of my live concert trips have been on the basis of a programme featuring or dominated by Williams. There's a yearly RAH concert called "Space Spectacular" or similar which is essentially Williams, plus guests. And then there's "Zimmer vs Williams", but just imagine how much more Williams you could fit in by removing the Zimmer.
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Post by rayinstirling on Jun 19, 2018 18:59:57 GMT
I bet that was a great concert Ray, who was the orchestra? The Royal Philharmonic Orchestra and Royal Choral Society conductor Robert Ziegler in Oct 2012. seems like only yesterday. How quickly the years pass.
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