This is hands down, my favorite podcast at the moment. Between the incredible music, Austin's near encyclopedic knowledge and Troy's almost child-like excitement when he hears a track do something crazy or when Austin shares an anecdote, this is an absolute joy to listen to everytime. Please never stop doing this Austin.
James Thatcher is an absolute legend! He did a week-long masterclass/residency at the university I attend recently and even played with the orchestra on their Pops program. He's definitely still got it and hearing him play that Jurassic Park horn solo (and many other pieces of Williams) was just something else! He's also one of the most humble musicians I've ever met especially considering the absolutely insane length of his résumé and he had tons of great advice for us music students. Definitely one of the greats!
One that always comes to mind for me on this topic is the Tim Morrison trumpet lines in Born on the Fourth of July. So much room for expression given & then nailing every little micro decision on vibrato approach & slur length to just turn it into something special. That ascending line towards the end of the credits and how much that legato movement stretches out to the top note of the line has always been a moment that sticks with me.
I was exactly where Troy was with J.S. Bach for many years of my life. And the sound of the harpsichord did play a role in this as well. (The Passions were always an exception. Have loved them from the very start) Until I heard a bunch of his organ music and was absolutely floored how far ahead of his time it sounds. And now I own the big "Bach 333 Box" from Deutsche Grammophone which costs a fortune but is well worth it. Especially since you get to choose whether you want to listen to his keyboard works on the Harpsichord or on the Piano. I still listen to the cantata of the day each Sunday and I'm always floored how this man was able to produce such music week by week and get it ready for performance with his musicians. A little bit like Leo from "Frog Leap Studios" who produces one metal cover song all on his own every week. And how could you not be moved by "Erbarme dich" especially in the context it shows up in the passion. It is the aria that is sung right after Peter denied Jesus three times and the Evangelist has just said that the cock crew and Peter went out and wept bitterly. And then comes this aria and the soprano sings: "Have mercy on me, my God, for the sake of my tears." Even a stone would be moved by this.
I keep trying to tell my friends and family about this show and how great it is, and they're like, "What's it about?" and I say, "There's these two huge nerds and they shoot the shit and geek out over film scores for an hour as though they didn't even know they were recording a podcast."
REALLY appreciate you mentioning it to folks! Always benefit from some word of mouth, so thank you! And that's a fabulous description. Exactly the aspiration :)
I just witnessed that foot shuffle the other day when I was attending the dress rehearsal for a concert that included the Mahler 1. After the double-bass solo that opens the 3rd Movement the other string players did it, and I thought it was a very nice gesture. And on the note of the stupidest layout for a sheet music I have EVER seen is the snare drum part in Ravel's Bolero. Whoever designed that should be drawn and quartered. If you were actually playing this by notes you would actually have to turn the page in mid piece. Which is of course impossible. Because you are the only one in the orchestra who is playing ALL the time without interruption. I played the part once with my music school orchestra and I was thinking the page turn was some kind of sick joke, before I decided to just learn the piece by heart and memorize where I should change the dynamics.
That notion that classical musicians shouldn't enjoy or emotionally connect with the music they are playing but only be the vessel to it, really reminds me of those people that get all pissed with musicians that actually enjoy playing metal or hard rock and "break character" by doing so. I don't know what's wrong with people, I personally enjoy going to concerts far more -yes, even with my super dark, mega aggressive, uber noisy, gnarly and grityy metal music ;) - when the musicians on stage get to enjoy themselves as well 🥰😁
Well, with metal, either epic power metal or angry thrash, I think it's ok for the band to be in character a little to fit the tone of the music, I mean you don't want Dio telling knock knock jokes in between epic tales of sword and sorcery, right?
And it's total rubbish. A performer should not get carried away, that is true. Not be self indulgent. But of course they should be moved by the music they play.
Sorry, that probably sounded a little flip, but I just meant that in live performance, I think sometimes it's ok for musicians to do a little acting in the good sense especially in metal (long time fan). Maybe you could compare it to opera, which I don't know anything about, but I'm guessing opera singers lean into the scene a little, or a lot, and act angry or sad depending on the point in the story, hope that makes sense!
I play a neon yellow Ibanez in my death metal band and intentionally wear bright colors on stage. Sure my music is angry, but I want to have FUN on stage.
I’ve never taken the time to really listen to this soundtrack. I will include it in my rotation now. It’s gorgeous. Field of Dreams is bit of a reminder of The Natural.
I'm so glad to hear you guys talk about doing a future bit about Hans Zimmer. As someone who very little in this world of composers I tend to see his name on a lot of my favorite movie scores. I cant wait to here the future discussion and personal knowledge about some of his work :)
I have just finish the video (i had to repeat the last 20 min because a fall sleep last night) but i am so glad, the last piece of music is genius! Thank you for this videos they are a great joy and an discovery
I can’t tell you how much a gem this is. I look forward to these every time I get the notification one’s been uploaded! As an aspiring composer…and honestly a film geek this is awesome!!
As someone who is musically challenged (as far as playing and creation goes), these discussions are SO amazing to listen to. I'm learning so much. keep it up guys, thanks for the great videeos!
My Spotify library always gets an amazing boost in quality music thanks to this podcast! Thank you for shining a light on all of the amazing artists that I was not privy to! I Love the podcast please keep making more! ❤️
What a great show! Everytime it´s a great pleasure to watch it. My moment of that episode: Jerry Goldsmith´s furious action masterpiece "Raisuli Attacks" and the reaction of Mister Baker, when he listened to it (I think, for the first time). Incredible!!!! Thanks so much!
I'm not sure how much time you take to prepare for each of these, or if they are presented to you in an almost divine way, where inspiration is thrust upon you, in a flash. Maybe a bit of both...or whatever's in between. But the way you're able to bring wildly different pieces of music together, while finding common ground with each, and both analyzing and appreciating the passion contained within them... It's nothing short of brilliant. I never fail to be educated and entertained by these episodes, and your efforts are beyond treasured. Thanks, guys, for another hour of awesome.
Years ago I was at a masterclass with James Thatcher. He talked about a part that was put in front of him with some very high delicate solo playing. I believe he said the composer was John Williams who warned him about the section and said that there are cues in the flute part if he couldn't do it. He pulled on his collar and talked about the pressure in that session. (I wish I remembered which movie it was.) The rest of the master class he had a section of student horn players play some movie parts he brought. The main thing I remember is there was one run through he mentioned that one of the parts was flat and asked what a section leader should do. He said often the answer is to do nothing and as a principal player you are playing with other competent musicians who will make adjustments. It felt like he was talking more about how to not be jerks to each other :).
One of the things I love about this show is how awesome is to see you two nerd out on film music (as well as providing us a place to do the same haha). Thanks a lot for that. I kinda expected to hear Interstellar on this one tho, as I remember Zimmer saying that there were things in that score that you "can't" do on a real organ (similarly to the French Horn in Field of Dreams), so mucho so that they were kinda expecting to use the sampled organ for the final score, but they showed it to this gentleman (whose name I'm blanking right now) who played the organ for church said "I can do this" and proceeded to floor everyone. Still, an amazing episode, thank you.
I've been listening to a lot of Horner and JNH recently. Horner's Nearer My God To Thee from Titanic is my favorite of that tune. I've watched The Tourist twice in the last month, feels like JNH's score is hugging me through the film. Really diggin these breakdowns, AW. Keep em comin
Amazing. When I checked the timer when you had the Field of dreams piece playing and I realised I still had almost an hour more to go, I was very happy. This was a real treat. I love these videos. Also, thanks to Troy for introducing me to Yo-Yo Ma's version of Gabriel's Oboe.
I loved this episode! A great tribute to people who literally make the music of our heroes come alive. I had the immense honour of talking with many LA-based studio musicians who performed in many John Williams scores (including Jim Thatcher) for my podcast series. They're some of the nicest people on Earth, incredibly humble yet so amazingly talented. They pull off extraordinary performances literally on the fly and they truly make such great music sound even more amazing. By the way, I love your giddy enthusiasm when you talk about Goldsmith's flabbergasting "Raisuli Attacks". I really feel very much the same when a musical performance really grab you by your throat. On a final note: Williams' "The Mine Car Chase" cue calls for SIX piccolos playing (divided in two groups of three, labeled "Red" and "Black" on the conductor' score). Louise Di Tullio and Jimmy Walker were certainly among them (I think Geri Rotella started playing for JW in 1990). Anyway, I loved Trey's final remarks about empathy and it speaks volumes about the level of high skills these musicians are asked to deliver in such a pressure-laden environment. Composers like Goldsmith, Williams, Horner always seemed to demand a lot from them, but at the same time they had the utmost respect and admiration.
What a great topic. I've always loved the score to Field Of Dreams but I never knew "The Cornfield" was considered so difficult. I play a couple instruments (poorly), but learning about the technical limitations of some of the others is super interesting. And thanks to this episode I also learned about a ton of other cues. Even things from movies I've seen before. Thank you!
Another fantastic episode! Unfortunately I’m way behind in a lot of my UA-cam stuff, this is always higher priority on my viewing list. Aways a nice “feet up with a nice cocktail” way to end the week.
Terminal, it's by far my favorite Tom Hanks movie, not the story of being stuck or can't go home , or the jar thing, the music and the solo is what makes all of it, story and acting feel real, it's as if a main character on its own. And then you had to bring up the violin from Sherlock Holmes, that music was stuck in my head all of my architecture school .
SO happy to hear you feature and talk about Viktor's Tale from The Terminal. It may be my bias as a clarinetist but that score is definitely one of Williams' underrated gems and such a fantastic performance by Emily Bernstein. As a lifelong Williams fan, I made sure to perform the piece on one of my college recitals as well. On a similar note of underrated gems and absolutely brilliant scoring music to picture, I'd love to hear you discuss Hook, in particular "The Ultimate War". Lastly, I have to say that Goldsmith's Raisuli Attacks gives me strong vibes of the 5th movement of Bartok's Concerto for Orchestra (and yes, it was I who told suggested in jest that Angela take a picture of your face if someone said "Jerry Goldsmith's music just isn't that good" - priceless!). Keep up the great work on this - a favorite podcast for sure and would also love to be able to download/stream an audio version of the episodes.
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I heard a whole lot of "Klingon Battle" and a few other tracks from Star Trek: TMP in "Raisuli Attacks". Goldsmith sure didn't shy away from exploring ideas further in subsequent works. :)
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I'm glad Troy closed it with the importance of empathy. I find that it is severely lacking in today's world in general, and I've been thinking about it a lot in the recent days, as, yet again, a series of live action adaptations of beloved animated and written works came out, and have been literally savaged by people so immersed in their own vision of what something SHOULD be that they're unable to appreciate it, and the amazing work by so many people who worked on it, for what it is. Learning about what goes into creating a complex collaborative work of art has fundamentally changed how I view music, television, animation, film... I went from a disgruntled Tolkien fan after FOTR came out, to being part of the huge community who - to this day - can recite the names of people who contributed to many pieces of those amazing films, and so many that came before and after. This, after all, is essentially why I am here, and I'm immensely thankful.
I found the entire page turn discussion at the end very interesting, because it does sort of mean that there is some form of room for different runs or something similar by making the stands and the music digital screens or tablets with the page turning in the hands of an out of play area copyist or something similar making it at least some what possible with a little bit of software to have that part of the process changed and maybe support new compositions or at least allow musicians to be arranged different. I am of course a complete music incompetent but I am a software developer so I am certain that in terms of it being possible with software. Even accounting with the delay of communication over wifi and render time this should be doable. If it something orchestras could use for something that is a different matter. It would require e-ink displays to avoid any screen glare during concerts (stands can have little lights on I know) and some custom software. I think the bigger issue would be to have something nice in terms of input software for the copyist... oh well just a thought really.
There are already many apps, the leading of which is called ForScore that can handle this. For our show JOURNEY LIVE in which we do the entire game start-to-finish in an unbroken , continuous sitting, 100% of the musicians use iPads to play and bluetooth foot pedals to turn pages. This way they never have to pause performance. Controlling page turns from a central source ignores the fact that different players manage it different ways. So the foot pedal is ideal. Among the reasons why this isn't ubiquitous with orchestras is that 100 iPad Pro's per orchestra (plus the foot pedals) adds enormous cost that 99% of the repertoire doesn't actually need, since the parts have already been prepared to account for page turns.
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The part where you talked about the process on the vocal track in "Journey" reminded me of one of my own favorite elevating performances: Laura Michelle Kelly as Galadriel in the entirety of the "Lord of the Rings" musical, and the song "Lothlorien" in particular. Galadriel sings about how she created the realm of Lothlorien almost like a mother singing to her child, she takes it high and soft, very gentle in the beginning, and then at 2:25, she shifts into full power god mode as she pledges to protect it: "Although storms may descend Mountain and valley may quake For the days that remain This is the promise I make No shadow fall across this land Before the wind and fire I stand And you, my child, will know no harm Enfolded in my arms" And I get goosebumps just reading the lines. She makes you BELIEVE that she stands before the wind and fire and nothing in this world can change it. It's such a shame it's not on any of the usual streaming services.
My go to performance that came to mind at the head of the video is Yoyo-Ma's playing on the "Crouching Tiger, Hidden Dragon" soundtrack. Not particularily technical or difficult, but it's absolutely heartwrenching and beautiful. Funny you guys should mention him. :)
A great…and unknown and maybe even forgotten score is James Horner’s score the movie, The Name of the Rose. The cue Beata Viscera sung by Charles Brett is truly an amazing performance! A lot of medieval sounds and textures in that score. But all the Gregorian chants and motets are just amazing! Also your piccolo joke got me pretty rolling dude!! Love this series man!!
I bought the album to Name of the Rose in high school, not knowing what it was. I haven't listened to it in ages. I remember thinking it was very dark and unsettling... I'll have to go back and listen again!
@@awintory haha I did a similar thing this year! I’ve never heard of the movie…but I’ve been a James Horner kick and was like “I gots to get this” and listened cover to cover haha. Its such a different type of score than a normal Horner score and took me by surprise! I definitely think it’s worth a listen to most definitely!! I’m going to try and find the movie and watch it lol
Listing to this on the way home from an hour drive to my city from the capital, with my mother next to me having no idea what is she listening to... All I think of is " what's the legality of this show in terms of copywrits" then Troy drops a casual F bomb...
Not sure where to put this, but thanks to Spotify‘s yearly wrap up it turns out that you, Austin, were my Number 1 artist with 2,226 minutes. Closely followed by Jessica Curry and Zebrahead. So, two of the best composers and the best punk rock band ever. That works.
That is why I love orchestral music. The orchestra can make a piece of music better just with sheer raw talent. Bravo to them! And bravo to you, Austin for shedding light on the often unsung hero of film music - the orchestra. P.S. The Mine Car Chase is easily the best piece from the entire Indiana Jones saga (next to The Raiders March ofc). Another great performance of a piece of music is The John Wilson Orchestra playing Tom and Jerry at the BBC Proms in 2013 ua-cam.com/video/kYrUWfLlYI0/v-deo.html
The Mine Car Chase is most definately the piece that came to my mind when I heard the former LSO members talk about the fact that Williams started to write music that would be a challenge for them and they enjoyed cracking. I also heard them talk about the day the cue "Princess Leia's Theme" was recorded. Which was a Soundtrack album only cue. An orchestral arrangement of one them from the movie, but not actually a cue that needed to be synched to the movie. The horn players in particular said they recognized immidiately that the solo that opens the piece was going to be one of the great horn solos in the orchestral repertoire, right along the great solo from the slow movement from the Tchaikovsky 5. And they recorded that at the end of a long session. And the solo horn player nailed it. Not only once. But 4 times.
The story about the trumpet performance on Field of Dreams reminds me of piccolo trumpet solo on Penny Lane. The piccolo player had to end the solo on an near impossibly high note. He did it on the first take, but McCartney didn't realise how extraordinary the performance was and asked him to try it again. George Martin had to explain to McCartney that the solo was fantastic.
Apparently the story behind Hans being on Sherlock was the editing team had temped it with Dark Knight score and Guy called Hans just to tell him he hated it lol
Speaking of amazing performances, I would love to hear you break down one of the most incredible pieces of rejected film music of all time... Don Davis' unused "Burly Brawl" from The Matrix Reloaded. ua-cam.com/video/t76CWike00I/v-deo.html
Holy crap Erik I've never seen or heard this before! I knew about the remixes (I actually love them!) but this was new to me. Given Troy's MATRIX obsession this may warrant an entire episode :)
@@awintory Awesome! I'm honoured to have introduced you to this (it's on La La Land Records expanded edition of the score) and I can't wait to hear you pick it apart!
Incredible horn solo! As a horn player myself this song with binary sunset were inspirations for me! However, I'm pretty sure there's not a high F in the Horner tune. Goes up to a high A I think. Still very difficult at pianissimo though!
In concert pitch terms, he hits a D (on the horn, the A you mention). So yes, you're right, I'm an idiot I *swore* he hits a high F (horn C) but that we talked over that exact moment. Re-listening you're right. Still a nuts thing to hit that quietly. BUT nonetheless I'll atone with Richard Watkins' mindblowing high G (horn D!) from PROMETHEUS: ua-cam.com/video/rzI3AdpA9e4/v-deo.html
I know you weren't discrediting her, and leave it to me to comment on a throwaway statement, but I will say, when Lindsey Stirling just plays without all the glitz and glamour of the show, it is still a veerrry beautiful performance.
I don't even remember mentioning Lindsey! Her talent is not in question, and obviously all the videos and album releases showcase her playing off-stage, in a controlled studio environment. And obviously they sound great!
@@awintory Oh, I didn't think it was at all! Troy just briiiefly mentioned that her shows are more spectacle - which they absolutely are. I just love to comment on her whenever I get the chance to.
I have no strong opinion on any of the nominees for TGAs, other than being very happy for my friends (in particular I love Marcin and Paul from CB team)
I've watched this episode like four times, and I just noticed that the note you emphasize in the Horn solo is a D5, not an F5. Did you misspeak? I've double, triple-checked it, lol. Maybe there's something weird with the audio...? Also... your thoughts on the Horn solo in the Beatles' For No One? The high note is a G#5!
@@awintory I'll have to check that out. I had no idea he scored that movie Edit: Oh, I see... he only did some extra music on the soundtrack album, but not the score. Interesting.
When referring to tracks from a film, TV or game OST, the correct term would be "cue." A song refers to a type of music, specifically (almost always implying it has vocals / lyrics or at minimum, as a certain sensibility similar to a piece with vocals/lyrics)
Hey Austin, I love all of your music and your videos, and I really don't want to be or sound like THAT GUY, but on the whole you should probably steer clear of the phrase "gypsy music" in the future, as it has some really racist and shitty historical origins in relation to the Romani people. Again, I feel like I'm inviting people saying "yo that doesn't matter" by pointing it out, but someone did it to me once and I've tried to be better about it since, so just trying to pay it forward. Love this show and all of the games I've played that you've scored, all the best to you and Troy and your families.
I assumed someone would flag this. It's not an area I'm an expert in, but given its ubiquity as a term (including having met self-described Gypsies, who wore the term with a badge of pride) I opted to use it given most people would have no idea what "Romani" means. But I'm fully aware and always sensitive to its potential implications. Appreciate you flagging it
This show is criminally underrated
This is hands down, my favorite podcast at the moment.
Between the incredible music, Austin's near encyclopedic knowledge and Troy's almost child-like excitement when he hears a track do something crazy or when Austin shares an anecdote, this is an absolute joy to listen to everytime.
Please never stop doing this Austin.
Wow. You're officially the second pan-semitist I've met in my entire life. Such a great idea... It's sad that it's such a hard sell.
God damn, 'The Mine Car Chase' is like the second movement in a "Symphony for Action & Adventure".
James Thatcher is an absolute legend! He did a week-long masterclass/residency at the university I attend recently and even played with the orchestra on their Pops program. He's definitely still got it and hearing him play that Jurassic Park horn solo (and many other pieces of Williams) was just something else! He's also one of the most humble musicians I've ever met especially considering the absolutely insane length of his résumé and he had tons of great advice for us music students. Definitely one of the greats!
One that always comes to mind for me on this topic is the Tim Morrison trumpet lines in Born on the Fourth of July. So much room for expression given & then nailing every little micro decision on vibrato approach & slur length to just turn it into something special. That ascending line towards the end of the credits and how much that legato movement stretches out to the top note of the line has always been a moment that sticks with me.
So glad Austin mentioned Ma's Goat Rodeo sessions. They're the stuff of legend.
That was a great closing speech from troy.
I was exactly where Troy was with J.S. Bach for many years of my life. And the sound of the harpsichord did play a role in this as well. (The Passions were always an exception. Have loved them from the very start)
Until I heard a bunch of his organ music and was absolutely floored how far ahead of his time it sounds.
And now I own the big "Bach 333 Box" from Deutsche Grammophone which costs a fortune but is well worth it. Especially since you get to choose whether you want to listen to his keyboard works on the Harpsichord or on the Piano.
I still listen to the cantata of the day each Sunday and I'm always floored how this man was able to produce such music week by week and get it ready for performance with his musicians.
A little bit like Leo from "Frog Leap Studios" who produces one metal cover song all on his own every week.
And how could you not be moved by "Erbarme dich" especially in the context it shows up in the passion. It is the aria that is sung right after Peter denied Jesus three times and the Evangelist has just said that the cock crew and Peter went out and wept bitterly. And then comes this aria and the soprano sings: "Have mercy on me, my God, for the sake of my tears." Even a stone would be moved by this.
Didn't know Hans did Sherlock. I love that score, it felt so true to the Downey Jr take on the character.
26:49 A yes, la vie en rose, Edith Pilaf 😂😂 Thanks as always for making these, an absolutely fabulous listen
I keep trying to tell my friends and family about this show and how great it is, and they're like, "What's it about?" and I say, "There's these two huge nerds and they shoot the shit and geek out over film scores for an hour as though they didn't even know they were recording a podcast."
REALLY appreciate you mentioning it to folks! Always benefit from some word of mouth, so thank you!
And that's a fabulous description. Exactly the aspiration :)
I don't regret using hours and hours only for your videos.
I just witnessed that foot shuffle the other day when I was attending the dress rehearsal for a concert that included the Mahler 1.
After the double-bass solo that opens the 3rd Movement the other string players did it, and I thought it was a very nice gesture.
And on the note of the stupidest layout for a sheet music I have EVER seen is the snare drum part in Ravel's Bolero.
Whoever designed that should be drawn and quartered. If you were actually playing this by notes you would actually have to turn the page in mid piece. Which is of course impossible. Because you are the only one in the orchestra who is playing ALL the time without interruption. I played the part once with my music school orchestra and I was thinking the page turn was some kind of sick joke, before I decided to just learn the piece by heart and memorize where I should change the dynamics.
Well, this is a great way to start the day........as I procrastinate. Hope all is well, man.
Haha get back to work man! The world needs more of your music pronto!!!
@@awintory Don't do it to me......LOL!
Some very fun cues mentioned here, I love these!
I keep rewatching these, taking notes, listening to all the mentioned music I haven't heard till now and it's great!! Thank you
That notion that classical musicians shouldn't enjoy or emotionally connect with the music they are playing but only be the vessel to it, really reminds me of those people that get all pissed with musicians that actually enjoy playing metal or hard rock and "break character" by doing so. I don't know what's wrong with people, I personally enjoy going to concerts far more -yes, even with my super dark, mega aggressive, uber noisy, gnarly and grityy metal music ;) - when the musicians on stage get to enjoy themselves as well 🥰😁
Agreed. Look at the constant joyousness of Dave Grohl as a perfect example
Well, with metal, either epic power metal or angry thrash, I think it's ok for the band to be in character a little to fit the tone of the music, I mean you don't want Dio telling knock knock jokes in between epic tales of sword and sorcery, right?
And it's total rubbish. A performer should not get carried away, that is true. Not be self indulgent. But of course they should be moved by the music they play.
Sorry, that probably sounded a little flip, but I just meant that in live performance, I think sometimes it's ok for musicians to do a little acting in the good sense especially in metal (long time fan). Maybe you could compare it to opera, which I don't know anything about, but I'm guessing opera singers lean into the scene a little, or a lot, and act angry or sad depending on the point in the story, hope that makes sense!
I play a neon yellow Ibanez in my death metal band and intentionally wear bright colors on stage. Sure my music is angry, but I want to have FUN on stage.
Would love your take on the DUNE soundtrack, I think it's the most Hans Zimmer soundtrack he's done, which isn't a bad thing.
I second this suggestion 👍
i so love Troy's band mentions!!
I’ve never taken the time to really listen to this soundtrack. I will include it in my rotation now. It’s gorgeous.
Field of Dreams is bit of a reminder of The Natural.
Weekend off to the best possible start with a YGHT and a PWL double bill. Top banana.
I'm so glad to hear you guys talk about doing a future bit about Hans Zimmer. As someone who very little in this world of composers I tend to see his name on a lot of my favorite movie scores. I cant wait to here the future discussion and personal knowledge about some of his work :)
Oh man, you've got to listen to Dune. I've been obsessed with it since I watched the movie a week ago.
@@kdports I'm yet to see it, but from what I hear, the score enhances the experience tenfold.
I f**king love these chats!!
It always shocks me when they end and I realise that over an hour has gone by.
Thank you again 👍
WOOOOW, JOYEL IS ALIVE
I have just finish the video (i had to repeat the last 20 min because a fall sleep last night) but i am so glad, the last piece of music is genius! Thank you for this videos they are a great joy and an discovery
Always appreciate an Iowa shout-out
Walking to my Christmas Oratorio rehearsal hearing Troy say he doesn't like Bach feels bad
Keep listening!
love this show!!!!!!
I was totally thinking the same as Troy when I heard the Field of Dream music about the solo being story of the film.
I can’t tell you how much a gem this is. I look forward to these every time I get the notification one’s been uploaded! As an aspiring composer…and honestly a film geek this is awesome!!
As someone who is musically challenged (as far as playing and creation goes), these discussions are SO amazing to listen to. I'm learning so much. keep it up guys, thanks for the great videeos!
My Spotify library always gets an amazing boost in quality music thanks to this podcast! Thank you for shining a light on all of the amazing artists that I was not privy to! I Love the podcast please keep making more! ❤️
I could listen to him all day
Presumably Troy. And yes, agreed :)
My favorite show at the moment. Please keep them coming!
What a great show! Everytime it´s a great pleasure to watch it. My moment of that episode: Jerry Goldsmith´s furious action masterpiece "Raisuli Attacks" and the reaction of Mister Baker, when he listened to it (I think, for the first time). Incredible!!!! Thanks so much!
Sometimes the performers are the show. Like in "The Village", where they credit the lead violin ahead of the acting cast. :)
That score is truly exceptional
I'm not sure how much time you take to prepare for each of these, or if they are presented to you in an almost divine way, where inspiration is thrust upon you, in a flash.
Maybe a bit of both...or whatever's in between.
But the way you're able to bring wildly different pieces of music together, while finding common ground with each, and both analyzing and appreciating the passion contained within them...
It's nothing short of brilliant.
I never fail to be educated and entertained by these episodes, and your efforts are beyond treasured.
Thanks, guys, for another hour of awesome.
Brilliant episode! I will most certainty play the thatcher solo on my radio show!
Years ago I was at a masterclass with James Thatcher. He talked about a part that was put in front of him with some very high delicate solo playing. I believe he said the composer was John Williams who warned him about the section and said that there are cues in the flute part if he couldn't do it. He pulled on his collar and talked about the pressure in that session. (I wish I remembered which movie it was.)
The rest of the master class he had a section of student horn players play some movie parts he brought. The main thing I remember is there was one run through he mentioned that one of the parts was flat and asked what a section leader should do. He said often the answer is to do nothing and as a principal player you are playing with other competent musicians who will make adjustments. It felt like he was talking more about how to not be jerks to each other :).
Might have been Always. Great horn solo at the beginning of that.
One of the things I love about this show is how awesome is to see you two nerd out on film music (as well as providing us a place to do the same haha). Thanks a lot for that.
I kinda expected to hear Interstellar on this one tho, as I remember Zimmer saying that there were things in that score that you "can't" do on a real organ (similarly to the French Horn in Field of Dreams), so mucho so that they were kinda expecting to use the sampled organ for the final score, but they showed it to this gentleman (whose name I'm blanking right now) who played the organ for church said "I can do this" and proceeded to floor everyone. Still, an amazing episode, thank you.
The generosity of your time and knowledge is not lost on me, it is absolutely incredible. Thank you so much.
Gents please keep this podcast going, absolutely love this show!
I've been listening to a lot of Horner and JNH recently. Horner's Nearer My God To Thee from Titanic is my favorite of that tune. I've watched The Tourist twice in the last month, feels like JNH's score is hugging me through the film. Really diggin these breakdowns, AW. Keep em comin
Amazing. When I checked the timer when you had the Field of dreams piece playing and I realised I still had almost an hour more to go, I was very happy. This was a real treat. I love these videos. Also, thanks to Troy for introducing me to Yo-Yo Ma's version of Gabriel's Oboe.
I loved this episode! A great tribute to people who literally make the music of our heroes come alive. I had the immense honour of talking with many LA-based studio musicians who performed in many John Williams scores (including Jim Thatcher) for my podcast series. They're some of the nicest people on Earth, incredibly humble yet so amazingly talented. They pull off extraordinary performances literally on the fly and they truly make such great music sound even more amazing.
By the way, I love your giddy enthusiasm when you talk about Goldsmith's flabbergasting "Raisuli Attacks". I really feel very much the same when a musical performance really grab you by your throat.
On a final note: Williams' "The Mine Car Chase" cue calls for SIX piccolos playing (divided in two groups of three, labeled "Red" and "Black" on the conductor' score). Louise Di Tullio and Jimmy Walker were certainly among them (I think Geri Rotella started playing for JW in 1990).
Anyway, I loved Trey's final remarks about empathy and it speaks volumes about the level of high skills these musicians are asked to deliver in such a pressure-laden environment. Composers like Goldsmith, Williams, Horner always seemed to demand a lot from them, but at the same time they had the utmost respect and admiration.
What a great topic. I've always loved the score to Field Of Dreams but I never knew "The Cornfield" was considered so difficult. I play a couple instruments (poorly), but learning about the technical limitations of some of the others is super interesting. And thanks to this episode I also learned about a ton of other cues. Even things from movies I've seen before. Thank you!
YES!
Another fantastic episode! Unfortunately I’m way behind in a lot of my UA-cam stuff, this is always higher priority on my viewing list. Aways a nice “feet up with a nice cocktail” way to end the week.
Terminal, it's by far my favorite Tom Hanks movie, not the story of being stuck or can't go home , or the jar thing, the music and the solo is what makes all of it, story and acting feel real, it's as if a main character on its own.
And then you had to bring up the violin from Sherlock Holmes, that music was stuck in my head all of my architecture school .
I am one of those horn players who was inspired to take horn seriously by film music. For me, it was Michael Kamen's score to Robin Hood (1991).
SO happy to hear you feature and talk about Viktor's Tale from The Terminal. It may be my bias as a clarinetist but that score is definitely one of Williams' underrated gems and such a fantastic performance by Emily Bernstein. As a lifelong Williams fan, I made sure to perform the piece on one of my college recitals as well. On a similar note of underrated gems and absolutely brilliant scoring music to picture, I'd love to hear you discuss Hook, in particular "The Ultimate War". Lastly, I have to say that Goldsmith's Raisuli Attacks gives me strong vibes of the 5th movement of Bartok's Concerto for Orchestra (and yes, it was I who told suggested in jest that Angela take a picture of your face if someone said "Jerry Goldsmith's music just isn't that good" - priceless!). Keep up the great work on this - a favorite podcast for sure and would also love to be able to download/stream an audio version of the episodes.
I heard a whole lot of "Klingon Battle" and a few other tracks from Star Trek: TMP in "Raisuli Attacks". Goldsmith sure didn't shy away from exploring ideas further in subsequent works. :)
I'm glad Troy closed it with the importance of empathy. I find that it is severely lacking in today's world in general, and I've been thinking about it a lot in the recent days, as, yet again, a series of live action adaptations of beloved animated and written works came out, and have been literally savaged by people so immersed in their own vision of what something SHOULD be that they're unable to appreciate it, and the amazing work by so many people who worked on it, for what it is. Learning about what goes into creating a complex collaborative work of art has fundamentally changed how I view music, television, animation, film... I went from a disgruntled Tolkien fan after FOTR came out, to being part of the huge community who - to this day - can recite the names of people who contributed to many pieces of those amazing films, and so many that came before and after. This, after all, is essentially why I am here, and I'm immensely thankful.
I found the entire page turn discussion at the end very interesting, because it does sort of mean that there is some form of room for different runs or something similar by making the stands and the music digital screens or tablets with the page turning in the hands of an out of play area copyist or something similar making it at least some what possible with a little bit of software to have that part of the process changed and maybe support new compositions or at least allow musicians to be arranged different. I am of course a complete music incompetent but I am a software developer so I am certain that in terms of it being possible with software. Even accounting with the delay of communication over wifi and render time this should be doable. If it something orchestras could use for something that is a different matter. It would require e-ink displays to avoid any screen glare during concerts (stands can have little lights on I know) and some custom software. I think the bigger issue would be to have something nice in terms of input software for the copyist... oh well just a thought really.
There are already many apps, the leading of which is called ForScore that can handle this. For our show JOURNEY LIVE in which we do the entire game start-to-finish in an unbroken , continuous sitting, 100% of the musicians use iPads to play and bluetooth foot pedals to turn pages. This way they never have to pause performance.
Controlling page turns from a central source ignores the fact that different players manage it different ways. So the foot pedal is ideal.
Among the reasons why this isn't ubiquitous with orchestras is that 100 iPad Pro's per orchestra (plus the foot pedals) adds enormous cost that 99% of the repertoire doesn't actually need, since the parts have already been prepared to account for page turns.
The part where you talked about the process on the vocal track in "Journey" reminded me of one of my own favorite elevating performances: Laura Michelle Kelly as Galadriel in the entirety of the "Lord of the Rings" musical, and the song "Lothlorien" in particular. Galadriel sings about how she created the realm of Lothlorien almost like a mother singing to her child, she takes it high and soft, very gentle in the beginning, and then at 2:25, she shifts into full power god mode as she pledges to protect it:
"Although storms may descend
Mountain and valley may quake
For the days that remain
This is the promise I make
No shadow fall across this land
Before the wind and fire I stand
And you, my child, will know no harm
Enfolded in my arms"
And I get goosebumps just reading the lines. She makes you BELIEVE that she stands before the wind and fire and nothing in this world can change it. It's such a shame it's not on any of the usual streaming services.
yo that Emily Bernstein bit is amazing. Its crazy smooth and reminds me of some like Danny Elfman type shit.
Yeaa!
My go to performance that came to mind at the head of the video is Yoyo-Ma's playing on the "Crouching Tiger, Hidden Dragon" soundtrack. Not particularily technical or difficult, but it's absolutely heartwrenching and beautiful. Funny you guys should mention him. :)
A great…and unknown and maybe even forgotten score is James Horner’s score the movie, The Name of the Rose. The cue Beata Viscera sung by Charles Brett is truly an amazing performance! A lot of medieval sounds and textures in that score. But all the Gregorian chants and motets are just amazing! Also your piccolo joke got me pretty rolling dude!! Love this series man!!
I bought the album to Name of the Rose in high school, not knowing what it was. I haven't listened to it in ages. I remember thinking it was very dark and unsettling... I'll have to go back and listen again!
@@awintory haha I did a similar thing this year! I’ve never heard of the movie…but I’ve been a James Horner kick and was like “I gots to get this” and listened cover to cover haha. Its such a different type of score than a normal Horner score and took me by surprise! I definitely think it’s worth a listen to most definitely!! I’m going to try and find the movie and watch it lol
Listing to this on the way home from an hour drive to my city from the capital, with my mother next to me having no idea what is she listening to...
All I think of is " what's the legality of this show in terms of copywrits" then Troy drops a casual F bomb...
Possibly the best episode yet! Can you possibly link us to the version of the Passion piece that Troy loved so much?
Yeah I'll ask him and put it in description!
Beautiful, thank you!
Not sure where to put this, but thanks to Spotify‘s yearly wrap up it turns out that you, Austin, were my Number 1 artist with 2,226 minutes. Closely followed by Jessica Curry and Zebrahead. So, two of the best composers and the best punk rock band ever.
That works.
Oh great, now I have to pull a Bithell on Field of Dreams and rewatch it although I had other things to do... just too good.
Passion, Mass = Oratorio
That is why I love orchestral music. The orchestra can make a piece of music better just with sheer raw talent. Bravo to them! And bravo to you, Austin for shedding light on the often unsung hero of film music - the orchestra.
P.S. The Mine Car Chase is easily the best piece from the entire Indiana Jones saga (next to The Raiders March ofc). Another great performance of a piece of music is The John Wilson Orchestra playing Tom and Jerry at the BBC Proms in 2013
ua-cam.com/video/kYrUWfLlYI0/v-deo.html
The Mine Car Chase is most definately the piece that came to my mind when I heard the former LSO members talk about the fact that Williams started to write music that would be a challenge for them and they enjoyed cracking.
I also heard them talk about the day the cue "Princess Leia's Theme" was recorded. Which was a Soundtrack album only cue. An orchestral arrangement of one them from the movie, but not actually a cue that needed to be synched to the movie. The horn players in particular said they recognized immidiately that the solo that opens the piece was going to be one of the great horn solos in the orchestral repertoire, right along the great solo from the slow movement from the Tchaikovsky 5. And they recorded that at the end of a long session. And the solo horn player nailed it. Not only once. But 4 times.
Potential future episode idea, Japanese Jazz Fusion aka how YMO basically created video game music.
The story about the trumpet performance on Field of Dreams reminds me of piccolo trumpet solo on Penny Lane. The piccolo player had to end the solo on an near impossibly high note. He did it on the first take, but McCartney didn't realise how extraordinary the performance was and asked him to try it again. George Martin had to explain to McCartney that the solo was fantastic.
By trumpet (in Field of Dreams) you mean french horn, but yah. I hadn't heard that Penny Lane story!
@@awintory Oh yeah, french horn. Whoops.
Apparently the story behind Hans being on Sherlock was the editing team had temped it with Dark Knight score and Guy called Hans just to tell him he hated it lol
Wow you have a source?? That's new to me
12:59 which recording of St. Matthew’s Passion should I listen to?
44:00 sherlock homes ost
Speaking of amazing performances, I would love to hear you break down one of the most incredible pieces of rejected film music of all time... Don Davis' unused "Burly Brawl" from The Matrix Reloaded. ua-cam.com/video/t76CWike00I/v-deo.html
Holy crap Erik I've never seen or heard this before! I knew about the remixes (I actually love them!) but this was new to me. Given Troy's MATRIX obsession this may warrant an entire episode :)
@@awintory Awesome! I'm honoured to have introduced you to this (it's on La La Land Records expanded edition of the score) and I can't wait to hear you pick it apart!
@@awintory Here's another one. Are you familiar with the rejected "Chateau Swashbuckling" from the same score? ua-cam.com/video/OqhYunT9Io8/v-deo.html
07:45 While I love live music, I always had the exact opposite reaction to Tina Guo.
Meaning what? You think it's an affectation?
Incredible horn solo! As a horn player myself this song with binary sunset were inspirations for me! However, I'm pretty sure there's not a high F in the Horner tune. Goes up to a high A I think. Still very difficult at pianissimo though!
In concert pitch terms, he hits a D (on the horn, the A you mention). So yes, you're right, I'm an idiot I *swore* he hits a high F (horn C) but that we talked over that exact moment. Re-listening you're right. Still a nuts thing to hit that quietly. BUT nonetheless I'll atone with Richard Watkins' mindblowing high G (horn D!) from PROMETHEUS:
ua-cam.com/video/rzI3AdpA9e4/v-deo.html
@@awintory Yes! He makes it sound so effortless too!
There’s a screaming high horn in one of HGW’s scores, high C# I think
@Dallas see the link above!
@@awintory Do you know how frequent is it that the session horn players would swap descant horn for high-range solos?
I know you weren't discrediting her, and leave it to me to comment on a throwaway statement, but I will say, when Lindsey Stirling just plays without all the glitz and glamour of the show, it is still a veerrry beautiful performance.
I don't even remember mentioning Lindsey! Her talent is not in question, and obviously all the videos and album releases showcase her playing off-stage, in a controlled studio environment. And obviously they sound great!
@@awintory Oh, I didn't think it was at all! Troy just briiiefly mentioned that her shows are more spectacle - which they absolutely are. I just love to comment on her whenever I get the chance to.
05:36 Bach had to write new music for the church every week. It’s the earliest form of mass production.
I’ll let myself out.
Well done
What do you think about cyberpunk being nominated for best score?
I have no strong opinion on any of the nominees for TGAs, other than being very happy for my friends (in particular I love Marcin and Paul from CB team)
Nitpicking a bit… Beethoven was never shutdown. He was highly sought after, even though quite often people didn’t understand his music at first.
I've watched this episode like four times, and I just noticed that the note you emphasize in the Horn solo is a D5, not an F5. Did you misspeak? I've double, triple-checked it, lol. Maybe there's something weird with the audio...?
Also... your thoughts on the Horn solo in the Beatles' For No One? The high note is a G#5!
Yes I misspoke. Great reference re: The Beatles. Also listen to the theme to PROMETHEUS of Harry Gregson-Williams. Also a high G# if memory serves!
@@awintory I'll have to check that out. I had no idea he scored that movie
Edit: Oh, I see... he only did some extra music on the soundtrack album, but not the score. Interesting.
Hey Austin have you heard of Cody Fry?
Negative!
RUSH
You mentioned that “songs” technically shouldn’t be called “songs,” so what’s the technical term for them?
When referring to tracks from a film, TV or game OST, the correct term would be "cue." A song refers to a type of music, specifically (almost always implying it has vocals / lyrics or at minimum, as a certain sensibility similar to a piece with vocals/lyrics)
Just do Hans Zimmer!
Hey Austin, I love all of your music and your videos, and I really don't want to be or sound like THAT GUY, but on the whole you should probably steer clear of the phrase "gypsy music" in the future, as it has some really racist and shitty historical origins in relation to the Romani people. Again, I feel like I'm inviting people saying "yo that doesn't matter" by pointing it out, but someone did it to me once and I've tried to be better about it since, so just trying to pay it forward. Love this show and all of the games I've played that you've scored, all the best to you and Troy and your families.
I assumed someone would flag this. It's not an area I'm an expert in, but given its ubiquity as a term (including having met self-described Gypsies, who wore the term with a badge of pride) I opted to use it given most people would have no idea what "Romani" means. But I'm fully aware and always sensitive to its potential implications. Appreciate you flagging it