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07 September 2007 @ 02:46 am
So.. free intarwebz radio= much confusion!  
I was listening to straight techno for level grinding in WoW and it was great. But the intarwebz swears bright lights and loud noises can contribute to eyebrow twitches. So I decided to eliminate the techno factor and play nothing but classical, opera, and chamber music. Eventually I got bored with that and found a whole station of nothing but film scores. That sounded a lot like fun, so I put that on to listen for a while. Like the showtunes channel, I didn't really recognize most of it. But then, hey! Pirates of the Carribean, MIRITE? NO! Apparently, it was the Gladiator sountrack. Now normally I'd be fairly amused by picking out composers or whatever based on their style, but the more I listened to it, the more I was certain there had been some mix up and the track was mislabeled. But eventually, I heard unhappy, exotic wailing so I knew it wasn't a mix up. It was like.. the dude said "Hey, I'm really proud of this battle track. Let's build another movie score around this one peice! :O "

You learn somthing new every day :P
 
 
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The Ten Thousand Things: Mephistofelekhet_tcheba on September 7th, 2007 02:49 pm (UTC)
Hans Zimmer and the Media Ventures people in general (Klaus Badelt and Harry Gregson-Williams being the foremost Baby Zimmers, though there are several others) have a very distinct sound. I happen to like it in most cases because it tends to be so visceral, but they take a lot of flak for having "corrupted" the way that modern movies are scored. But that's one of those epic scale soundtrack geek arguments. Pirates (all three) and Gladiator are great working/driving/cleaning/killing Huns/whatever music.
HIDE your facekyonomiko on September 7th, 2007 04:57 pm (UTC)
Oh yeah, it's wonderfully forceful and violent XD

The thing that got me was... There were seriously measures and measures of music in this gladiator peice that were only 1-2 notes off of the Pirates stuff XD
(Noticably the beginning of the gladiator battle peice and the beginning of pirates where Jack rides on shore in that busted peice of junk) Towards the middle of the gladiator peice, you can hum the main pirates theme along with it and only be maybe 2-3 notes off XD
I guess I didn't watch Gladiator enough to notice. I mean, it's not like the first time it's been done, like your Titus/300 ST, but he was at least ripping himself off. lol

OMG... last's night's intarwebs adventures turned up this: http://www.youtube.com/watch?v=xT0qeRzh4C0

It's directed by Kenneth Branaugh and apparently the english lyrics are written by Stephen Fry. It's pretty much done, and been screened at a few film festivals, and slated to come out in like.. January-ish.
But holy fucking hell.. the opera snobs are out in full force on YouTube. IIRC, just on that page alone, they're flaming each other as to whether or not the number of arias in The Magic Flute qualify it to be an Opera. And any of the pages for recitals of the peices by the sopranos have huge flame wars over who can hit the notes better and who sucks less. Conclusion: Opera snobs think they all suck, and they're just tolerating the performances. Nice!
The Ten Thousand Things: Red Shoeskhet_tcheba on September 7th, 2007 06:42 pm (UTC)
Well, technically, the first Pirates movie was primarily Badelt and Gladiator was headed by Zimmer (and Lisa Gerrard of Dead Can Dance), but as Zimmer worked on Pirates and Badelt on Gladiator...it's just one big mess. XD But they are very similar. Good on you for picking that out! GOLD STAR!

Zimmer is a big fan of syncopated waltz time, which features in just about every action/adventure track he scores - it's usually a big giveaway that you're listening to his work if the choral and synth don't give it away. And he does tend to recycle motifs from one score to the next (listen to Crimson Tide for a predecessor to the Gladiator score). But he also borrows a lot from classical works and traditional sources (Mars from Holst's Planets Suite and the Dies Irae from the traditional mass for the dead show up frequently).

It's fairly common for composers to recycle their own work - particularly if it didn't get a lot of screen time or was otherwise unremarked upon the first time around (just look at James Horner...). It's just when they rip off other composers (i.e. Tyler Bates and Elliot Goldenthal) that people get pissy. Incidentally, there is now an "expanded" full score for 300 available - I wonder how much of that is going to Goldenthal, and if he is given props anywhere in the liner notes? *dork*

OMGWTF? I mean, Magic Flute is very light opera and has little to no actual plot, but what the hell is going on there? XD It would probably be interesting to see, but opera translated into English, however well done, is always jarring. D: I saw a production in Houston that was designed by Maurice Sendak (AWESOME), but the English lyrics were really bizarre. Even things originally written in English sound weird. I don't know. I suppose it depends on what you're used to.

And yes, opera people are pretty much all snobs. :D And you will run into HUGE flame wars about whose rendition of any particular aria is better. I'm sure there are gigantic arguments over the Queen of the Night's aria for this one (though I personally think Caro Nome, which has the same high note, is far more technically demanding and argument-worthy. I have no idea how Rigoletto is so often performed when it includes an aria like this). And of course, everyone has their own preferences. UPPITY SNOB MUSIC FTW XD
HIDE your facekyonomiko on September 7th, 2007 08:16 pm (UTC)
XD
So I guess that puts John Williams under a lot of pressure to come up with somthing no one's going to recognize every time, huh? XD

But yeah, I started looking around at different performances of the Queen of the Night's aria, and the flamwars were amazing. D: Opera snobs are scary. I think they are a whole new breed of evil, because scary anime fans don't pretend to be smart :( They just pretend to like the gay sex