[Fmpro] FMPRO Digest, Vol 38, Issue 4

[The Composer Collective]

>
> Message: 13
> Date: Mon, 2 Jun 2008 14:03:47 -0700
> From: Ted Peterson <ted.peterson at tcsn.net>
> Subject: Re: [Fmpro] "Where are the Distinctive Voices In Scoring?"
> To: d-dmusic at rogers.com, fmpro at nxport.com
> Message-ID: <AE3F207A-9F04-40CA-B121-B30E7CEB58A1 at tcsn.net>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>
> You mistake my position on Williams and other film composers.


No not at all. I was being serious. I think you and I are in direct
alignment.


> I simply stated that compared to composers working in the symphonic or
> operatic realm, his music isn't innovative. I would  never classify
> him as a major voice in 20th or 21st century music.  Is he a good
> composer? You bet. He's terrific! Is he expanding musical vocabulary?
> Not in the least and I don't think he cares about that. I have
> watched several interviews and talked with some orchestrators who
> have worked with him and his aesthetic is firmly rooted in supporting
> the film with the type of music that will satisfy both the director
> and the audience according to them.
>

Yeah well Goldsmith did both, as do a lot of composers opening the language
up and serving the popularity contest. It's all about what you choose to be
interesting at. In William's case it's nothing special.

But let's get back to the topic at hand. Any takers?

"Where are the Distinctive Voices In Scoring?"

I stand by Howard Shore loud and clear, amongst others. I always have. Since
Bernard Herrmann, Howard Shore has been my favorite composer. Mainly due to
his score to THE FLY.

Evan