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Hmmm...it's cool they got Glass, who is a legend not only in film music, but also in the classical world. And probably the most influential composer for film composers of THIS generation. Also, Daniel Pemberton is an exciting, up-and-coming composer. But I am (for reasons I've cited many times) not too thrilled about the inclusion of Giacchino and Desplat. And the last guy, I've not heard of.
If I'm watching this, it would be to scroll to the Glass segments.
Cool, thanks for the play-by-play!
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Posted: |
Nov 17, 2017 - 2:23 PM
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By: |
Thor
(Member)
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When I heard my first Philip Glass score KOYAANISQATSI I told myself "Great, someone has taken Herrmann's minimalist tendencies and gone hog wild with them!". Indeed he cornered a new age of a certain type of minimal composing, mostly away from films. But if you look at whose music was THE minimalist influence over the widest range of film composers it was Herrmann. Glass comparatively was barely a blip on that map.
I beg to disagree.
They are apples and oranges, really. They don't really share the same musical history, and Herrmann can't really be called a minimalist in its strictest definition anyway, even if he used a lot of repetitive clusters.
Herrmann never really had any influence beyond film music, and the repetitive clusters he used weren't really the type of minimalism that was championed by Riley, Reich, Glass, Nyman etc.
But it was Glass, in particular, who made this particular expression cross over from classical music to film. Over the years, it's had many permutations. But the whole ostinato-heavy tendencies these days -- in both big blockbuster action movies and artsy, more ambient-flavoured indie scores -- all come back to Glass in some form or fashion.
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To be honest, as big as Herrmann is in the world of film music, he’s mostly unheard of in the classical world. I’m not overstating this. To that end, I’d be surprised if Philip Glass has ever heard of Bernard Herrmann or Max Steiner or any of them. On the other hand. He speaks often about Boulez, Stockhausen, etc. Hell, he mentions John Cage in this roundtable. It’s just where he’s coming from.
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Herrmann is very well known in classical circles. Not for his concert works but for his film scores.
To suggest Glass would have a less than encyclopedic knowledge of other pioneer cellular technique composers is unthinkable. Glass was about avoiding clichés where possible, and Herrmann is so accepted by mainstream film composers as to be almost a cliché today. I hear vestiges Herrmannesque in Glass's few film-works.
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Back to the actual article, no real point in reading it if you’ve read or watched previous roundtables. They all talk about the exact same thing every single year. Temp music sucks, writing music is hard, etc.
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Giacchino listening to old radio dramas actually helps make sense of his shrill, mono-sounding recordings that always seem like they are scoring a shocking moment just before an ad for the local malt shop.
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