I saw this in Adelaide (Australia) before this year.
This was my dream come true live to pic performance.
Merely ruined slightly by the fact that the film volume was turned upwards besides much and didn't really let the orchestra shine.
This is my favourite score. Ever.
Even if nosotros don't actually need one - I would purchase an upgrade in a heartbeat.
Posted:
Nov iv, 2019 - 12:07 AM
By:
kc-technerd (Fellow member)
Only ruined slightly by the fact that the picture book was turned upwards besides much and didn't really let the orchestra polish.
I was also a bit disappointed that the orchestra followed the dial-outs in the movie. Some, such as the 1 during the carbon freeze scene are rather abrupt. I'm there more for the orchestral performance than the moving-picture show, so I'd prefer they play the dial out sections. I'd also almost prefer that they completely mute the sound from the film. It did sometimes drown out the orchestra. I also wish the audience would withhold adulation until the orchestra finishes, as is washed with more formal performances. It likewise tin drown out details of the music. I was particularly surprised and distracted by applause for "No, I am your father." Woo-hoo! Yay! Darth Vader is Luke's father. Let's clap!
I attended Back to the Future in Concert a couple of years ago, and I thought the additional music that Alan Silvestri wrote specifically for the concert functioning was a nifty idea. I don't think that's specially necessary or even a good idea for something similar TESB, but I would like the dialed-out music played through.
I too noticed a few times where the orchestra made some variance from what I'm familiar with on the original soundtrack recording, which I sometimes observe distracting too.
Posted:
Nov four, 2019 - 9:51 AM
By:
other tallguy (Member)
I finally saw one of these. I figured if it was good Empire would be one of the ones I'd want to see.
Someone mentioned that these things aren't really for people similar me (us?). The audition wants to come across the moving-picture show with the novelty of a alive orchestra. They don't want to merely hear the music per se. This was evidenced past people who got up and left during the credits.
I have to say it was not every bit satisfying as seeing a movie and not as good as hearing a concert. I'm glad people enjoy them. I'm not going to need to run across another i.
Posted:
Nov four, 2019 - x:21 AM
By:
jkruppa (Member)
Only ruined slightly by the fact that the pic volume was turned up too much and didn't really let the orchestra polish.
I was also a fleck disappointed that the orchestra followed the punch-outs in the film. Some, such as the one during the carbon freeze scene are rather abrupt. I'grand there more for the orchestral operation than the pic, so I'd prefer they play the dial out sections. I'd also most prefer that they completely mute the sound from the picture show. It did sometimes drown out the orchestra. I too wish the audition would withhold applause until the orchestra finishes, equally is done with more than formal performances. Information technology too tin drown out details of the music. I was particularly surprised and distracted by applause for "No, I am your father." Woo-hoo! Yay! Darth Vader is Luke's begetter. Allow's clap!
I attended Back to the Hereafter in Concert a couple of years ago, and I thought the boosted music that Alan Silvestri wrote specifically for the concert functioning was a great idea. I don't think that's particularly necessary or fifty-fifty a expert idea for something similar TESB, only I would similar the dialed-out music played through.
I also noticed a few times where the orchestra made some variance from what I'm familiar with on the original soundtrack recording, which I sometimes find distracting as well.
I saw Star Wars this way concluding year and it was a lot of fun with the orchestra playing live. I get what y'all're saying about the dialed out sections, and I concur that the novelty of hearing some of the unused music under certain scenes would be interesting. It would exist hard to know, notwithstanding, where that music is advisable, considering the score is edited to the final cutting of the picture show, and some of that music was composed to lucifer an earlier cut.
I recently edited the TESB score to create a version of the score as information technology's used in the picture show, and from that I learned there was a slap-up deal of combining of cues, editing sections out of cues (presumably to accommodate removed footage), fading out in the middle and fading early. Knowing where and how to put that missing music dorsum in would require noesis that may be across the scope of the people who do these projects.
Posted:
Nov 4, 2019 - 11:24 AM
Past:
paulhickling (Member)
Know what?
I have never seen the signal of these things. If I lived in London I would have seen 1. No way am I going to the effort it takes to do information technology from the sticks. It's hard to meet who they're aimed at. Two schools wondering what? That is, we who dearest the music and those who like the movie and are wondering what's going on.
Merely sayin'....
Posted:
Nov iv, 2019 - 3:43 PM
Past:
alexp (Member)
I saw Star Wars this manner last twelvemonth and information technology was a lot of fun with the orchestra playing live. I get what you lot're maxim well-nigh the dialed out sections, and I agree that the novelty of hearing some of the unused music under certain scenes would be interesting. It would be difficult to know, however, where that music is appropriate, because the score is edited to the concluding cutting of the film, and some of that music was composed to lucifer an before cut.
I recently edited the TESB score to create a version of the score as it'due south used in the film, and from that I learned in that location was a great deal of combining of cues, editing sections out of cues (presumably to accommodate removed footage), fading out in the middle and fading early. Knowing where and how to put that missing music dorsum in would crave knowledge that may be beyond the telescopic of the people who practise these projects.
We have seen a few of these 'flick-with-live-orchestra' concerts where music cues that were not used in the finished film, either portions of each cue or the whole cue, got to be performed by the orchestra forth with the film.
For the film-concert version of CE3K, the music cues, 'The Kidnapping of Barry' and 'The Inflow of the Mothership,' where presented in its entirety past the orchestra.
Here's a video from one CE3K motion-picture show-concert in London.
Observe that at that place'south music for this footage at the concert, but in that location'south no music for this same footage in the final-edit of the film.
For the film-concert version of JAWS, 5-minutes of unused music were restored. These notes are from Jason LeBlanc from his attending of a JAWS-film-with-live-orchestra concert in Boston, MA:
"The Alimentary canal was restored, and worked brilliantly!!" "The previously dialed out $.25 of Tug on the Line and 2 Barrels Under were restored and sounded great!"
Mike Mattesino has been involved in the said ii concerts, then, maybe he may take some input on restoring these music cues. Or the producers of these said concerts, Jamie Richardson and Steven Linder. For the Back TO THE Hereafter pic-concert, they insisted that Silvestri add extra music exclusively for this concert.
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