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ruckus
Cadet 2
Joined: Feb 18, 2006
Member#: 13471
Posts: 9
Location: Ireland
   
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 Posted:
Mon Feb 27, 2006 9:23 pm Post subject: Check out Marco Beltrami's website |
 
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Hello,
The Marco Beltrami's (Terminator 3, I Robot) website has some excellent material under the 'samples' section including mp3's and score downloads (in pdf format).
http://www.marcobeltrami.de
p.s> I just joined the site a few days ago and I've been listening fairly constantly. Its a great site - I've found nothing else like it. Hope this topic hasn't been covered already.
ruckus |
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 payableondeath
Lieutenant
Joined: Nov 10, 2005
Member#: 12372
Posts: 125
Location: Germany - Koblenz
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Posted:
Tue Feb 28, 2006 6:17 am Post subject: |
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cool thanks ruckus..... i can hear samples of "underworld evolution" yeahhhhh... great...
asri enjoy it....
____________________
i´m not the jedi i should be... i want more... |
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 Twopop 
Rear Admiral (Ambassador)
Joined: Jul 21, 2004
Member#: 7382
Posts: 2673
Location: Oregon
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Posted:
Tue Feb 28, 2006 1:02 pm Post subject: |
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Awesome site. Thanks, ruckus!
And it's great to see an Irishman here!! |
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 bpewien
Captain
Joined: Feb 01, 2006
Member#: 13275
Posts: 1334
Location: Vienna, Austria
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Posted:
Tue Feb 28, 2006 9:31 pm Post subject: |
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Whoa, great find!
But why is it so tough or let's say impossible to find/get written scores of the soundtracks (any film, any composer)?
This just makes it harder to be performed in public concerts. (Except you pay a high fee...)
I just think it's something musicians and filmmusic lovers would appreciate a great deal if purchaseable. |
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Auroter
Lieutenant
Joined: Feb 19, 2006
Member#: 13482
Posts: 158
Location: Santa Cruz, CA
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Posted:
Tue Feb 28, 2006 10:28 pm Post subject: |
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There's not enough market for them, as far as I can tell. People are content enough with fake books of the scores. I'm not, but people are. I of course, am not a person.
_________________
"Love keeps her in the air when she oughta fall down, tells you she's hurting 'fore she keens, makes her a home."
-Malcolm Reynolds, Serenity |
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Francel
Ensign
Joined: Sep 02, 2004
Member#: 7814
Posts: 40
Location: Mexico City, MX / Wellington, NZ
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Posted:
Wed Mar 01, 2006 12:29 am Post subject: |
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Getting actual film scores is hard for a number of reasons, the most prominent being that this is not some piano piece written over 100 years ago and on the public domain.
These works are copyrighted and studios have the power (and the right) to decide if they want to seize the opportunity for a very limited market and launch a transcription for private use; thus you can find transcriptions of certain pieces for individual instruments (i.e. Williams' ET, Silvestri's Forrest Gump theme and the like)
Now, if you were a collector and you would like to buy an actual film score with all the written parts, well that's just not gonna happen unless you're a professional working in the industry or if you have some sort of liaison with an orchestra.
So, let's say you have an orchestra or you are connected with one, one way or the other, and you are interested in performing X piece or X score, then John Waxman (and his Themes & Variations enterprise) is the man to get.
John (who's a wonderful guy and the son of the great Franz Waxman, no less) has been, for some 30 years now, responsible for reconstructing film scores and for renting them to orchestras worldwide for performing. And no, he doesn't rent them for a high fee, quite the opposite. He's probably more interested than any of us in bringing the film score to the public performance and the concert scene. His film score catalog represents the work of some 100+ film composers and the number of scores is vast by the hundreds, ranging from full symphonic ones by Korngold, Rózsa, Waxman, Goldsmith, Williams, to more contemporary names like Doyle, Wiseman, Portman, Ottman, Yared and Young, to name a few.
So, all the material is there, ready to be played in the concert hall, with all the good intentions this magnificent business implies, one just has to know where to look for. The thing that has to change is the awareness that this is some random kind of music. It has to do with the pop sensibilities and horrible prejudices that still exist in the concert scene and the stubborn people who would rather hear Beethoven's 9th for the umpteenth time than some atonal film work by Takemitsu.
Remember that we are all a minority here, and if the general consensus is that people keep thinking film music is just a randomly-made device and it's dumb to listen to it and even worse, that Williams is a hack who only whistles melodies and magically puts them in paper (I know some empty-headed people who feel this way), the world will still be quite horrifying.
_________________
The good people sleep much better at night than the bad people. Of course, the bad people enjoy the waking hours much more. |
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Hurr78
Commander
Joined: Feb 12, 2004
Member#: 5061
Posts: 739
Location: Toronto
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Posted:
Wed Mar 01, 2006 5:49 am Post subject: |
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| Francel wrote: |
| Remember that we are all a minority here, and if the general consensus is that people keep thinking film music is just a randomly-made device and it's dumb to listen to it and even worse, that Williams is a hack who only whistles melodies and magically puts them in paper (I know some empty-headed people who feel this way), the world will still be quite horrifying. |
Sigh. If only we could just... re-educate them.  |
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bpewien
Captain
Joined: Feb 01, 2006
Member#: 13275
Posts: 1334
Location: Vienna, Austria
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Posted:
Wed Mar 01, 2006 9:06 am Post subject: |
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Thanks for the info, Francel!
One the reasons why I'm so interested into printed scores is for study reasons (studying composing at the University for music and arts in Vienna).
I'm curious about the style of orchestration, because you can't hear all details on the soundtrack alone to make out the score in your head.
(Or did someone notice the marimba in the Hellboy-track "Fireproof"?)
And transcriptions for piano, which mostly are so oversimple a 4-year old could play it... I beg your pardon.
By the way: On March 16th, the orchestra of the Vienna Music High School (I graduated there 2 years ago) is going to perform the John Williams "Star Wars-Suite" (Episode IV-VI) in the Wiener Musikverein (the concert hall where the Vienna Philharmonic Orchestra always perform the "New Years Eve Concert").
It took a very long time when they finally got the sheets.
And at least in Middle Europe there's still a great deal of interest into contemporary music. (There are several festivals, concert weeks, etc. in the whole Austrian and German area regularily.)
In my point of view filmmusic is sometimes the best possibility to be introduced into avantgardistic or modern music. (Just think of Bernard Herrmann or Leonard Rosenman, who wrote the first 12-tone score in filmhistory.)
After being confronted with such pieces there shouldn't be too much confusion about a Ligety, Penderecki, Schoenberg, Berg, Stravinsky, Bartók or Messiaen... right???
And maybe we SHOULD re-educate concert listeners in certain ways.
No matter if in the US, Southern America, Canada or Europe.
There's already an average age of visitors to "classical" orchestral concerts/Operas/etc. at the 50ies and higher.
Except for music students I hardly find youngsters or kids at most of the concerts I'm going to in Vienna.
And Vienna is allegedly THE city of music itself.
So there must be something wrong, or am I just paranoid?
(Okay, it's a little off-topic, but I think it suits into that discussion since we're talking about "minorities") |
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Auroter
Lieutenant
Joined: Feb 19, 2006
Member#: 13482
Posts: 158
Location: Santa Cruz, CA
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Posted:
Wed Mar 01, 2006 10:45 am Post subject: |
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| bpewien wrote: |
And transcriptions for piano, which mostly are so oversimple a 4-year old could play it... I beg your pardon.
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You are so right, sir. And I agree/share your wish to view the scores for orchestrating practice; however, you can always become an awesome composer and just have the studio hire and orchestrator for you  . Seriously though, I totally see where you're coming from, but orchestration of classical/romantic pieces aren't too far off. And if you're looking for some odd instrumentation combinations, you can always look in the direction of (for example) Le Marteau sans maitre by Pierre Boulez which has an ensemble of xylophone, guitar, tlue, viola and vibraphone
_________________
"Love keeps her in the air when she oughta fall down, tells you she's hurting 'fore she keens, makes her a home."
-Malcolm Reynolds, Serenity |
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bpewien
Captain
Joined: Feb 01, 2006
Member#: 13275
Posts: 1334
Location: Vienna, Austria
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Posted:
Wed Mar 01, 2006 11:43 am Post subject: |
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| Auroter wrote: |
And I agree/share your wish to view the scores for orchestrating practice; however, you can always become an awesome composer and just have the studio hire and orchestrator for you . |
Well, as long as it is well paid and I can have my pieces being performed at concerts (doesn't have to be only filmmusic)... I think I could get along well with that for a while...  Nevertheless I'd like to do the orchestration myself if possible.
Thanks though! But it's still a far way...
It's not only because of the orchestration alone I'm interested of course, but it's really thrilling to look at modern scores, especially when they're not so easy to get. And it can be helpful for conducting to analyse them.
If I'd like to learn more about orchestration, I'd buy the "Handbuch der Instrumentationspraxis" (= Manual of instrumentation, sadly quite expensive, but a great book) by Ertugrul Sevsay (he also teaches at the Vienna University) and look at Ravel, Stravinksy, Bartók, Lutoslawski and many other scores.
Looking at the notes sometimes helps me to understand more of the connections, the details and so on.
You can't tell everything by only hearing it from a record, no matter if you have the "musical ear"/"perfect pitch" or not.
*Okay, I admit. I just love to look at scores and listen to the music simultaneously.*  |
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Auroter
Lieutenant
Joined: Feb 19, 2006
Member#: 13482
Posts: 158
Location: Santa Cruz, CA
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Posted:
Wed Mar 01, 2006 11:48 am Post subject: |
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| bpewien wrote: |
| *Okay, I admit. I just love to look at scores and listen to the music simultaneously.* |
Why do you think I bought the complete scores to all 9 Beethoven Symphonies?
_________________
"Love keeps her in the air when she oughta fall down, tells you she's hurting 'fore she keens, makes her a home."
-Malcolm Reynolds, Serenity |
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bpewien
Captain
Joined: Feb 01, 2006
Member#: 13275
Posts: 1334
Location: Vienna, Austria
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Posted:
Wed Mar 01, 2006 11:59 am Post subject: |
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Or Mahler, Shostakovich, Brahms, Richard Strauss, Hindemith, Webern, Krenek, Wellesz, Wagner...  |
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Twopop
Rear Admiral (Ambassador)
Joined: Jul 21, 2004
Member#: 7382
Posts: 2673
Location: Oregon
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Posted:
Thu Mar 02, 2006 3:13 pm Post subject: |
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| bpewien wrote: |
| Okay, I admit. I just love to look at scores and listen to the music simultaneously. |
One of my favorite things to do, too! I find it fascinating, especially for operas (talking about the full scores, not just the libretti) but enjoy symphonies & concertos as well.
This is a great thread!  |
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bpewien
Captain
Joined: Feb 01, 2006
Member#: 13275
Posts: 1334
Location: Vienna, Austria
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Posted:
Thu Mar 02, 2006 3:23 pm Post subject: |
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| Twopop wrote: |
| ...especially for operas (talking about the full scores, not just the libretti) but enjoy symphonies & concertos as well. |
Yeah, seeing what for instance Richard Wagner puts into his orchestrations (especially the brass section!!!) can be very satisfying... not to forget Stravinsky
| Twopop wrote: |
| This is a great thread! |
Agreed!! |
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