Music Composers Unite!
Not that I need much excuse, but here's some Williams from Return of the Jedi. It's not one of the ballbusting main or character themes, though Palpatine's leitmotif is present.
For those ignorant: it's the final fight between space laser dad and space laser son, on a giant floating bomb-marble. I love the mournful power and drama, and that the music isn't about epic fanfares but underscoring the dread, unique emotional situation. My favourite section is 1.13 - 1.45, when space-laser-fight is happening. I've linked the video from there, but I'm not your space dad. Listen to it however you like. https://youtu.be/7MJzvyzbqGI?t=1m13s
Good luck with your session.....
Dave Dexter said:
I've seen that before, and do not resent being reminded of it in the slightest.
Semi-related, this conversation thread seldom fails to cheer me up. https://s-media-cache-ak0.pinimg.com/736x/02/df/c1/02dfc116921911d1...
"The moustache of a man with nothing to lose."
Mike Hewer said:
Watch this all the way through......excellent stuff.
The challenge with evaluating John Williams is that so much of his music was composed as a film score and was subservient to the action on the screen. In Bach's cantatas the music was subservient to the text. While that adds a small constraint it's nothing like a film score. So let's try one of Williams' concertos, here's a slow movement from his horn concerto.
I've always enjoyed this one, Song for World Peace. It's a little different from the one on the American Journey CD.
Williams is a master of orchestration and the modern orchestra offers so much more than Bach had available to him. It's just not fair to old JSB. Comparing young Bach to mature Williams is also unfair. Compare the St Matthew Passion to Star Wars or Harry Potter and it gets closer, but the separation of two and a half centuries makes the point moot. They are or were both at the top of their game for their time and place. Can we just leave it at that?
"They are or were both at the top of their game for their time and place. Can we just leave it at that?"
Well, obviously I'm with you there.
Though I disagree with "The challenge with evaluating John Williams is that so much of his music was composed as a film score and was subservient to the action on the screen"; while I have no evidence of this mindset from Williams, other film composers have more or less stated the perspective that they are, ideally, being allowed and paid to record the kind of music they would want to anyway. Barring some very mickey-mouse moments where someone's sneaking down some steps and JW is scoring pizzicato strings, or the more obvious instances of classical temp score in his ouvre, it feels like he's just doing what he wants, and fortunately - or naturally, given his status - he's both allowed to and encouraged.
I'm scoring a game at the moment - again a little different from film scoring of course - and perhaps because I was sought out by the studio based on previous work, I'm getting to do near exactly what I want, which because they like my style is happily exactly what they want.