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Posts: 6262
Dec 6 07 10:15 PM
Posts: 545
Dec 7 07 2:52 AM
Posts: 1811
Dec 7 07 2:26 PM
Dec 7 07 4:26 PM
Posts: 292
Dec 7 07 8:25 PM
Quote:In CONTEXT it looks like an interesting put-down.
Posts: 380
Dec 7 07 9:56 PM
Posts: 1570
Dec 8 07 12:10 AM
Quote:Personally I think its one of the better scores of the period, very Rózsalike in places and I, for one, am hopeful for a full score release someday.
Posts: 195
Dec 8 07 3:02 AM
Posts: 3609
Dec 8 07 8:45 AM
Dec 8 07 3:22 PM
Quote:He scores 30 movies a year. How can you do that? I write five, the maximum I work on is ten. Who works on ten pictures a year in Hollywood? Nobody can physically. But apparently Morricone can.
Posts: 205
Dec 9 07 6:35 AM
Dec 9 07 9:39 AM
Dec 9 07 10:11 AM
Dec 9 07 10:49 AM
Quote:anybody agree or disagree?
Dec 9 07 3:13 PM
Quote: Then Huston listened "Nirvana Symphony" of Mayuzumi and asked him to do the music. The initial contract was Mayuzumi to compose from the beginning to "Tower of Babel", and Petrassi to finish the movie with "Abraham".
Dec 9 07 11:55 PM
Quote:Now Rozsa was ALWAYS ... in every note he wrote, an ordered 'linear' composer, even when dealing with 'spiritual' subjects. Look at the melodic line in 'To Everything There is a Season'... it dips and climbs and is descriptive of the opposites in the text. He was in THAT sense as 'Hebrew' as it's possible to be, Mickey-Mousing through events and emotions. So Huston would no doubt have liked him for part 2 but to use him on part 1 would be an unknown quantity. Huston is indeed usually unerring. We also see how Mayuzumi had the sheer brass to use a WALTZ as the main theme. This is a Hindu idea (and Buddhism developed from Hindu principles) that 'God' DANCED his way through the Creation.
Dec 11 07 9:58 AM
Quote:Whether Huston and DeLaurentiis knew this or not is probably unascertainable by now, but if they had proffered a firm offer to Rózsa he would surely have withdrawn when the director's two-composer scheme revealed itself.
Dec 11 07 12:59 PM
Dec 11 07 2:16 PM
Quote:Is there such a thing as "religious music" (not including works in which the lyrics or libretti deal with relgious subjectes, such as Händel's Messiah, or Bach's various oratorios), beyond looking at something through hindsight and deciding that it satisfies whatever the listener thinks "religious music" should sound like?
Dec 11 07 8:19 PM
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