[Fmpro] FMPRO Digest, Vol 38, Issue 4

[bipcress@comcast.net]

THANK YOU: Shore's THE FLY is a truly superb film score. - JohnB

----- Original Message ----- 
From: "The Composer Collective" <general at thecomposercollective.com>
To: <fmpro at nxport.com>
Sent: Monday, June 02, 2008 7:55 PM
Subject: Re: [Fmpro] FMPRO Digest, Vol 38, Issue 4


> >
>> 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
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