Part 2 examines the long professional relationship between Alexander Courage and John Williams from early collaborations like Funny Face to the great John Williams scores of later years. Courage p...
Part 2 examines the long professional relationship between Alexander Courage and John Williams from early collaborations like Funny Face to the great John Williams scores of later years. Courage provided orchestrations for Williams in such popular movies as Fiddler on the Roof, Empite of the Sun, Jurrasic Park, Star Wars; Return of the Jedi, Home Alone, Indiana Jones 2 and 3 and The Poseidon Adventure. Later he provided Williams with arrangements for the Boston Pops - including a Fantasia for violinist Joshua Bell of the Gershwin opera Porgy and Bess.
Best known as the composer of the Theme from Star Trek, Alexander Courage worked for over 5 decades in Hollywood as a composer, orchestrator, arranger and conductor for classic films from Some Like it Hot through The Mummy. He helped create the classic sound of the MGM Musical and contributed to the very best of the genre. The Malibu Celebration of Film awarded him their first annual award, named in his honor in 2005. John Williams hosts this tribute documentary which I had the great pleasure to put together... I hope you like it.
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From watching part 1 and now part 2, it would seem that Courage enjoyed simple tunes. Tunes you could whistle to. John Williams collaberated for a larger effect appearently.
So does John Williams, when there is time (his concert works are all orchestrated by him alone).
However when scoring a film, a composer often has a mere five weeks to compose 60-80 minutes of orchestral music -- which is painstakingly synchronized to motion picture images, and very often subject to re-writes at the request of the director.
Because of these working conditions, even composers like Aaron Copland and John Corigliano also used orchestrators when working in Hollywood.
I'll cut you some slack because you're only 22, but you really have a lot to learn about the music business, and what it means to be a working composer in the real world.
Keep telling yourself that. Your profile says you're 23, yet you're "old school". Composers have hired orchestrators since before your grandparents were born.
Most composers, as you should know start out, arranging their mentors compositions. But I suspect the closest you've been to an orchestra is the pirate copy of East West you downloaded.
john williams does that sometimes too... id like to see you take on a big task like he does, compose the music in a limited time, orchestrate it, often produce the album and conduct the music to film... if you could do that, you would be where john williams is now
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However when scoring a film, a composer often has a mere five weeks to compose 60-80 minutes of orchestral music -- which is painstakingly synchronized to motion picture images, and very often subject to re-writes at the request of the director.
Because of these working conditions, even composers like Aaron Copland and John Corigliano also used orchestrators when working in Hollywood.
Again, I'm from the old school.
If I write it, I orchestrate it.
Besides, most of the film music that's come out of Hollywood the past many, many years could have been written and orchestrated by ANY hack.
LOL!
You say I'm 22?
Well, says you and whatever I put down as my age on my YouTube home page.
Surely, you know you shouldn't believe everything you read online, right?
Most composers, as you should know start out, arranging their mentors compositions. But I suspect the closest you've been to an orchestra is the pirate copy of East West you downloaded.
Again,Williams music is nothing special. It's okay.
It all just sounds the same.
Herrmann and Rozsa can get their dead asses in line behind the thousands of other people I presume disagree with me.