What are you listening to now?
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That was a great concert! (is it available in the NRK app/website, Thor?) I remember they were quite faithful to Goldsmith’s originals, including live echoplex effects during PATTON, for instance.
And wow – it’s been 14 years already! 😮
Edit: This was a reply to Thor’s post from 12th March about the ‘Jerry Goldsmith Live’ concert with the Norwegian Broadcasting Orchestra. I thought the original post including the picture would be included when I used ‘Reply’ on the post, but apparently not.
Yeah, the “reply” function isn’t the same as on other boards. You have to copy/paste.
But YES….great concert! Did we go together? I can’t remember.
Cool! I’ve learned since then that it’s better to have beers afterwards rather than before (due to toilet breaks). WINE is the way to go beforehand. Incidentally, I wrote a concert review on Montages, it seems, which is available here (Google-translated). And if I shared that before, I’m sorry.
As far as I know, it’s not available anywhere. I got an audio copy from an NRK acquaintance. Let me know if you want a copy.
As far as I know, it’s not available anywhere. I got an audio copy from an NRK acquaintance. Let me know if you want a copy.
Sure – would love to!
Thanks also for the link to your Montages review. I must have read that back in the day, but I see now that you wrote that PATTON did not have echoplexed trumpets – while my recollection, as I mentioned above, is that they had! 😀 Guess we’ll have to listen to the recording to settle that. 🙂
Yeah, I thought it was computerized. But I could be wrong. I’ll send you the concert asap, via Wetransfer.
I was just alerted to this! As I don’t have ANY Kabiljo in my collection, and as he died just a short while ago, I decided to check out his stuff. And wow, this is a brilliant sampler with that spacey, acidic electro sound that I dig so much in Artemiev’s work of the era. Cool and hypnotic Soviet block-era grooves, man!
This 2002 album is, I think, the last full album John Williams worked on that was not related to his own music (not counting a couple of “cameos” later on). Unless they merely used some of Williams’ old Gerswhin arrangements, of which there are plenty. But I think they’re new. Pretty free-form interpretations, with the famous melodies tucked neatly away, but swingin’.
Maybe the best version of Fauré’s Requiem I’ve heard (can’t decide between this one and the one by Herreweghe on Harmonia Mundi).
Such a breathtakingly beautiful work.Except for “Pavane”, which is on every “best of” compilation of classical music, ever, I must admit I haven’t heard much Fauré. What’s a good intro album?
Maybe the best version of Fauré’s Requiem I’ve heard (can’t decide between this one and the one by Herreweghe on Harmonia Mundi).
Such a breathtakingly beautiful work.Thanks for the recomendation. I haven’t checked it out yet, but for now I haven’t heard a recording with a better soloist than Lisa Beckley on Naxos.
I eventually got hold of his delightful, loungey, folksy score for one of my favourite comedies of all time (although culture collision comedy is not PC these days), probably some 5-6 years ago. It’s the only film score by Johnny Boshoff I’m aware of. Any other fans?
Having a funky good time with this 1973 score — composed by the world’s oldest film composer, John William (“Johnny”) Pate, who turned 101 in December.
After their somewhat disappointing GODS & MONSTERS (2008), which took Juno in a more rock/poppy direction than I liked, they thankfully returned to their roots in this album from 2013, with long, epic, funky psytrance tracks. Especially the opening, 10-minute “Final Frontier”.
Absolutely heartbreaking score, one of the best from 2014. Shades of SCHINDLER’S LIST, but slightly more accessible, emotionally.
Looking forward to sampling it (despite, sadly, my tinnitus worsening over the last week, hopefully not for forever).
Quite eclectic, but mostly an elegant film noir score with brooding melodicism. Definitely a highlight of 2011.
Agnes Obel – Aventine
Sorry, I didn’t pay attention to the fact that the cover doesn’t have any text.I just checked it on Spotify. Calm and beautiful.
Thank you for the hint.
Sounds to me a little like the result if you filtered all the calmest parts of early Tori Amos songs into new ones.I can see why you said that…. both Tori Amos and Agnes Obel are singer/songwriters with a classical piano background, so I see the connection. I actually do have all of Tori Amos’ albums and liked Agnes Obel from her debut album “Philharmonics”.
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