Brass Quintet in a National Park

The Grand Teton Music Festival recently wrapped up. Some fine folks made a recording for Performance Today. The recording was made out in the middle of Grand Teton National Park. This really makes the video version required to enjoy the amazing scenery. 

The quintet includes:

Trumpet: Thomas Hooten, Jennifer Marotta

Horn: Gail Williams

Trombone: Michael Mulcahy

Tuba: Craig Knox

 

The performance is two movements from John Stevens' Seasons Quintet. Performing movements names Summer and Autumn seems appropriate given the setting here. The group, as expected, is a pleasure to listen to. Enjoy!

What else would you like to see performed in a national park? Tell us in the comments. 

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Film Score Friday: Apollo 13

This week on Film Score Friday, we listen to the score from Apollo 13. James Horner wrote the score for this 1995 space disaster film. Horner wrote this score during one his more prolific periods. He had several major score debut around the same time as this one. Despite this, Apollo 13 is still one of his best works. There are several times when Horner uses a brass choir feel to evoke a feeling of reverence. This goal achieved and really pairs well with the on screen mood. 

In many ways, the film pays tribute to American ingenuity and perseverance. Along with this theme, Horner places some subtle patriotic themes throughout. This is most apparent when he uses a Trumpet solo with a thinly scored orchestra. The always great Tim Morrison plays an amazing solo that evokes the emptiness and endlessness of space. Horner draws sharp contrasts with this feeling in other parts of the score with themes that evoke the claustrophobic sense of being trapped in a tiny space capsule. 

The inclusion of some period pop music meant that Horner did not create as much material as does for most of this works. The opportunities he's given are not wasted here. This is a truly wonderful score for a wonderful film. 

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Film Score Friday: 1941

1941 [Blu-ray]
Starring John Belushi, Dan Aykroyd, Lorraine Gary, Christopher Lee, Ned Beatty
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This week on Film Score Friday, we listen to the score from 1941. John Williams wrote the score for this 1979 comedy. We often associate the music of Williams with the biggest of box office blockbusters like Star Wars. This film had Steven Spielberg attached with some well know stars, but was a failure at the box office. Consequently, it's a lesser know score from Williams. The main theme march is the highlight here. It takes on a quality more similar to the style of Elmer Bernstein at times than that of Williams. It's playful in the same style the film attempts to achieve, but fails to match the quality of the score. 

Despite this, it's a hidden gem from Williams' catalog. Enjoy!

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Film Score Friday: Godzilla

This week on Film Score Friday, we listen to the score from Godzilla. David Arnold wrote the score for this 1998 monster movie. This movie is really terrible. Seriously, don't watch it. Also, there's a lot of 90s pop music thrown into the movie. Beyond all that, David Arnold wrote some fun music for this movie. It's very over the top, but then again that is what this occasion was here. Enjoy!

 

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Film Score Friday: The Big Country

This week on Film Score Friday, we listen to the score from The Big Country. Jerome Moross wrote the score for this 1958 western. Those that love the western genre will feel right at home here. Moross does some things that were new at the time while still capturing the sound that Copland was known for. This score is not as well known as some other westerns, but it''s worth your time. 

Where does this score rank in the pantheon of great western scores? Let us know in the comments. 

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Film Score Friday: The Untouchables

This week on Film Score Friday, we listen to the score from The Untouchables. Ennio Morricone wrote the score for this 1987 film. The score contains some of Morricone's unique approach and it benefits. There are some portions of the film where the film's tone doesn't match that of the music. We'll blame that on the director since Morricone is so awesome. One of the highlights of the film comes when the main characters get their first real victory. Morricone begins the scene with a Tuba solo that builds to triumphant sounds from the full brass section. The score is not without problems though. At times it does get cheesy. On balance though, it is one well worth a listen. 

 

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David Bilger plays the Tomasi Concerto

David Bilger is always magnificent to listen to as he gets around the horn. His precision is amazing at times. In this video, Bilger plays a great performance of the Tomasi Conerto. The highlight for us is the cadenzas. He strikes a great balance between interpretation and faithfulness to what's on the page. Enjoy!

Film Score Friday: Maleficent

This week on Film Score Friday, we listen to the score from Maleficent. James Newton Howard wrote the score for this 2014 remake. Howard's score is a welcome addition to this retelling of the Sleeping Beauty story. 

The score hits an early win with an extended Tuba solo in the first act. This is a welcome and unexpected addition to the beginning of a fantasy film. The themes of royalty and fantasy play heavily in the film and Howard gives all the brass ample opportunities to represent this dichotomy. Horns, as is common with Howard's scores, have plenty to do in the final act. This is worth a listen and solid staple in this composer's list of works. 

What did you think of Maleficent? Let us know in the comments. 

Film Score Friday: Ben-Hur

This week on Film Score Friday we listen to the score from Ben-Hur. Miklos Rozsa wrote the score for this 1959 epic. The film itself is epic in scale, but the score would be epic on its own. Rozsa wrote over 2 and a half hours of music for this film. As you listen to this score, it will likely feel familiar. It's easy to see how this influenced film music for many years after this premiered. Despite its length, there's very little repetition. 

 

Rozsa uses the length to his advantage. The entire Brass section will disappear for long periods. This only serves to accentuate the return like the Victory March. This is a great brass choir section about halfway through the film that really does eel like victory. The most recognizable portion is the Parade of the Charioteers. The fanfares and soaring lines from the brass make this memorable. 

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Film Score Friday: Chinatown

This week on Film Score Friday, we listen to the score from Chinatown. Jerry Goldsmith wrote the score for this 1974 detective film. This falls into the bad film, great score category. The story goes that the original composer was fired at the last minute and Goldsmith had 10 days to put this score together. What he put together is a score emblematic of the film noir vibe the film takes. The highlight is the solo Trumpet that is front and center for so much of the score. Uan Rasey, the prolific studio musician, played these amazing solos on the original recording. When you listen to this score, it's easy to hear the level of influence this had on scores ever since. 

Film Score Friday: The Patriot

This week on Film Score Friday, we listen to the score from The Patriot. John Williams wrote the score for this 2000 film. Williams has done a masterful job in many of his works stirring the fires of patriotism. The Patriot has this same spirit. The film itself centers on the early days of the American Revolutionary War and the part of the fight that took place in South Carolina. Williams threads the needle by emulating the fife and drum elements consistent with the time while also using broad orchestral themes that mirror the gravity of the material. 

One highlight of the score is a Trumpet solo from Tim Morrison. As always, he nails it. Williams also makes an opportunity for a Brass choir like segment that really hits the spot. There's familiar elements for a Williams score, but this is one of our favorites to listen to around Independence Day

 

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Film Score Friday: The Pagemaster

The Pagemaster, limited-edition CD-Original Soundtrack Recording
By James Horner, London Symphony Orchestra, Universal Voices London, Wendy Moten, Babyface, Lisa Stansfield
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This week on Film Score Friday, we listen to the score from The Pagemaster. James Horner wrote the score for this 1994 animated film. As you would expect in Horner score, the horns have plenty to do and it's great. The rest of the brass is certainly not neglected though. The film is oriented around a whimsical adventure. Horner captures this spirit with ease. The original recording was done by the London Symphony and lives up to expectations and then some. 

Where does this score rank for Horner's works? Let us know in the comments. 

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Film Score Friday: Exodus

Exodus
Buddha Records
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This week on Film Score Friday, we listen to the score from Exodus. This 1960 score was written by Ernest Gold. This film centered on the rise of the modern Israeli state. Gold chose to incorporate many Jewish themes as part of the score. Beyond that, the score shares many common traits with "epic" movies of the period. There are some unique elements in the brass such flutter tonguing and horn shakes that were less common in score of the era. As one would expect, many of the climactic parts of the film offer the best opportunities for brass with thinly scored parts and other parts in octaves. 

Have you listed to Exodus? Let us know in the comments? 

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