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Posted: |
Feb 16, 2016 - 6:19 PM
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By: |
Trekfan
(Member)
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From EmpireOnline:
http://www.empireonline.com/movies/news/aliens-books-royal-albert-hall-date-royal-philharmonic-orchestra/
Nice idea for the 30th anniversary! 
Aliens books a Royal Albert Hall date with the Royal Philharmonic Orchestra
16 Feb 2016 15:46
Last updated: 16 Feb 2016 16:13
Shortly after ticket sales of the Royal Albert Hall’s orchestrally-accompanied screening of Jurassic Park went gangbusters, the austere old dome has announced that it’ll be swapping T-Rexs for slathering xenomorphs and playing host to another Empire favourite. Yes, James Cameron’s Aliens - and its James Horner score - will be celebrating its 30th birthday with the full Royal Philharmonic orchestra treatment.
The two shows are taking place in London on November 6, with tickets on sale on February 18. Judging by the response to the live Jurassic Park, which sold 10,000 tickets in a few hours, you’ll have to get in quick. There’ll be M577 Armored Personnel Carriers backed up on Kensington Gore that night.
“We’re delighted to reveal the other headline show for November’s film festival [features] more big blockbuster scores in the shape of James Cameron’s explosive Aliens," the Royal Albert Hall’s Lucy Noble said in a statement, "with James Horner’s incredible music brought front and centre by the Royal Philharmonic Concert Orchestra, conducted by Ludwig Wicki."
It's a fittingly grand venue to celebrate not just a classic sci-fi, but the work of the great James Horner, who died last year. His Aliens score was, of course, recorded by the London Symphony Orchestra rather than the Royal Philharmonic – you can’t have everything – and won him an Oscar nomination.
Head to the official site ( http://www.royalalberthall.com/ ) from 10am on February 18 for tickets, or you could try standing outside the Royal Albert Hall shouting “Punch it, Bishop!” until someone brings you some.
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This is fantastic. I wish they would do events like these in the U.S. more. I would also imagine it will be the music as edited for the film. Otherwise, it wouldn't work when viewing the film.
Jurassic Park's score only sold 3,000? That seems awfully low.
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He wasn't talking about Jurassic Park specifically with the 3,000. Anyway, this would be something to see.
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I agree with Kev. I'm not too keen on the live orchestra to film format. It's neither one thing or the other. I'd go for a concert of just the music but I'll pass on this.
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1. Will this present Horner's score as originally conceived, or the post-Cameron edit hack job? I surely can't believe they would dare to do the latter.
Since they're screening the movie with the score, I'll guess it must be the latter.
These movie-with-film-score screening are getting out of hand. Any day now they might stoop as low as screening a Hans Zimmer movie with live accompaniment.
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First POTA live, now this. Everything awesome for live film music happens in London.
Here in San Francisco all we get live are the films that take place in SF, ad nauseum.
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First POTA live, now this. Everything awesome for live film music happens in London.
Here in San Francisco all we get live are the films that take place in SF, ad nauseum.
In Canada, we don't get any of that stuff unless you're in Toronto.
Yup, if Regina did this it'd sell about 30 tickets. Will have to catch one of these things when I get back to Blighty.
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I only attended the matinee performance, too. Wow, I didn't know Cameron and Weaver would be there in the evening!
I would have preferred to hear the composer's version of the score as well, but I must admit that the hacked up film version of the score worked surprisingly well. Probably the arrangements and live performance helped masquerade what originally were just awkward audio edits. Also with the SFX and dialogue it wasn't even that obvious that several cues were used more than once.
I wonder if it has ever been discussed that some elements from the score still remain unreleased, even with Varèse's Deluxe Edition and the the two isolated scores on the Blu-ray. The concert reminded me of this again. There are some interesting discrepancies between what has been released and what is heard in the actual movie:
"Going After Newt":
The opening bars in the film (and concert) are played noticeably slower than on the soundtrack release. Horner's faster version was timed to start exactly on the cut to the outside, right after we see Bishop piloting the rescue ship. Either the recording was slowed down to start in the middle of the shot of Bishop or an alternate recording exists. From listening to it I suspect it was just slowed down, although it's surprising that it kept its original pitch, something that wasn't easily done in the 80s. On the Blu-ray both isolated music tracks conform to the slower film version. The second isolated track (the composer's intended score) should have started a little later and featured the album recording, but it doesn't.
Horner's complete album track actually matches the timing of the Director's Cut with the additional dialogue between Ripley and Hicks. For the film the track was edited and shorted and also faded out before the elevator scene (a fact that is also not duplicated on the isolated Blu-ray score).
"The Queen":
The film version remains unreleased. During the quiet confrontation (before Ripley's flamethrower attack) some music can be heard which is not taken from any of the other released tracks of Horner's score. An unreleased low bass pulse and some brass clusters are used which are not part of any previously released music. Some excerpts from "Face Huggers" are added on top. That actual film version was duplicated at the concert but not on the Blu-ray of the supposed isolated film version of the score. Here is where things get complicated: The booklet of Varèse's Deluxe Edition claims that the low pulse heard in the film is an electronic pulse created by Robert Allan Garret, not mentioning the brass clusters and the tracked music from "Face Huggers" at all. Yet the pulse sounds very much accoustic and was faithfully re-created by the bass section during the concert. Some further unreleased percussion elements can also be heard during that scene.
On the Blu-ray's isolated "composer's intended score" Robert Allan Garrett suddenly gets a composer credit for the electronic cue "The Queen" from the Varèse CD (only called "Egg Chamber" in the Blu-ray's credits). That same track is used in the background of the Blu-ray's supposed isolated film version of the score to approximate the actual film version, this time without giving any credit to Garrett at all. Yet this composition is not heard in the film, not even low in the background. The actual film version remains unreleased. The same goes for the scene right before, when Ripley finds Newt's tracker on the floor. The very same unreleased combination of bass pulse, brass cluster and percussion can be heard. Again, this is only approximated on the Blu-ray's fake isolated score using Varèse's "The Queen" in the background.
It's a mess. I wonder if we'll ever learn if Horner or Garrett actually composed Varèse's "The Queen" and if the yet unreleased film version will ever see the light of day. The Blu-ray with no less than two isolated score tracks should have been an excellent opportunity, but for whatever reason it wasn't taken. And it's not even that they didn't have access to the actual music stems. Harry Rabinowitz' film version of the landing sequence and the slower beginning of "Going After Newt" testify to that. Still, all the other tracks on the isolated score are just re-creations of the film edits using the Varèse recordings. And some aren't even that accurate. A pity about the missed opportunity.
The concert was great though. Kudos to the Ludwig Wicki and the orchestra for hitting every single mark. AMAZING!
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