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Tiomkin: The Greatest Film Scores – review

Playfoot/London Voices/Lso/Kaufman

(Lso Live)

Among the greatest Hollywood composers, Dimitri Tiomkin once made an Oscar acceptance speech in which he thanked Brahms, Strauss, Beethoven and Rimsky-Korsakov for teaching him his craft. He was much derided at the time, though in fact his classical pedigree was impeccable. Born in the Ukraine, he studied composition with Glazunov in St Petersburg and established himself as a pianist, specialising in Scriabin, before the Us beckoned. His music remained rooted in Russian late Romanticism. Borodin is never far away from his score for The Alamo, while the famous title theme for the TV series Rawhide gravitates, more than once, towards Glazunov. Elsewhere, Rimsky collides with Wagner in The Fall of the Roman Empire, while clotted, Scriabinesque harmonies accompany Ray Milland's terrorisation of Grace Kelly in Dial M for Murder. This fine selection was recorded at the Barbican last year, and is
See full article at The Guardian - Film News »

Distant Worlds: Music From Final Fantasy Review

Many of you may recognise the name Nobuo Uematsu. Chances are even if you haven’t, you will have heard some of his music. You probably know it very well indeed. For 24 years now Nobuo Uematsu has provided scores for one of the most beloved gaming franchises of all time, the Final Fantasy series. Uematsu’s name is synonymous with the Final Fantasy games, and even the few recent titles he has not scored fully (Xii and Xiii) have his finger prints all over. Over the years Nobuo Uematsu has strived to bring his music to live audiences. One of his avenues for this has been his band The Black Mages, who cover classic themes from the Final Fantasy games in a rock/metal fusion. The other way Uematsu has spread his music beyond gaming sessions is through a series of concerts titled Distant Worlds. This year Uematsu took his show world wide,
See full article at Obsessed with Film »

Music in the movies: celebrating John Williams’ Star Wars prequel trilogy scores

This week’s Music in the movies sees Glen continues his look back at John WilliamsStar Wars scores – this time, it’s the turn of his work on the prequel trilogy…

Having covered John Williams’ scores for the original Star Wars trilogy last week, now it’s time to take a look at his work for the divisive prequels. Can his scores outclass the films they accompany?

Star Wars Episode I: The Phantom Menace

The extraordinary level excitement that preceded the release of The Phantom Menace seems rather ridiculous now. A new Star Wars after more than 20 years: how could it not be the best thing ever? Well, we were shown exactly how over a period of 136 minutes.

Even though George Lucas forgot that Star Wars was supposed to be, you know, entertaining, John Williams didn’t, as he managed to recapture the spirit of the original trilogy, and
See full article at Den of Geek »

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