[Fmpro] FMPRO Digest, Vol 37, Issue 33

[Claude Castonguay]

It's great isn't it. My favorite pqrt is when the Cbs and Violins come  
in just after the 1st jazz combo section (with the alto sax)   and go  
from a Gm to Ebm with the Vlns doing a dramatic G to Gb and it's done  
with such "retenue". Very classy film music if you ask me.

Best,

Claude

P.S. Note that on youtube the audio and the video are rarely in synch  
so keep in mind that wat you see and hear are not exactly as was  
intended by the composer.
Le 08-05-31 à 21:31, bipcress at comcast.net a écrit :

> Claude - my god man, I watched and I was inexorably thrust into a  
> Stendhal Syndrome fugue-state. My wife heard me laughing and she  
> said, "Oh, I'll watch the funny video when you're done." And I had  
> to explain my laughter had nothing to do with humor - I was filled  
> to overflowing with the ecstasy of art - I was laughing out of pure  
> joy. These titles are simply how it is done. All involved  
> accomplished, in it's fullest expression, what cinema is capable of.  
> I miss such bravura and boldly emphatic sophistication, I miss it  
> because I am still spoiled from the artistry of the 60s (Europe) and  
> 70s (America). Whomever has of late been posting critically of  
> Williams now has some postings to eat. CATCH ME IF YOU CAN - scoring  
> at it's best my friends. I swear I can detect the direct influences/ 
> points-of-departure that John might have actually had in mind for  
> CMIYC, and if so these would only add to the genius of the finished  
> product. I am thinking of Jerry Goldsmith's main title movement for  
> THE LIST OF ADRIAN MESSENGER, as regards the devilish, disturbing  
> tone, and Fred Katz's music for the classic AIP quickie LITTLE SHOP  
> OF HORRORS, and this as regards the quirky structures/arrangements  
> and the oblique references to jazz. I'm getting my wallet out again,  
> there is a CD I have to buy. - JohnB