Sentences with phrase «from orchestral»

Near the beginning of «La Grand Sortie,» a characteristically stylish short film the Los Angeles photographer Alex Prager directed for the Paris Opera Ballet, the dancer Émilie Cozette is preparing to step out onstage when she hears a sound, a muffled thump that is divorced from the orchestral stirrings in the pit.

Works range from orchestral music pieces to sound sculptures and installationsRead more

The diverse environments and battles are backed by a staggering 70 - song soundtrack containing everything from orchestral arrangements to rock and J - Pop.

From its orchestral score soundtrack to the colourful realms and character design, there's plenty the two games have in common.

The Soundtracks draws inspiration and grandeur from orchestral scores of classic films for the 1940s.

Its score shifts from orchestral might to relaxed ukulele and whistling as the levels unfurl, and its hilarious sound effects, from its grunting toads to whooping Teensies to stinging smack attacks, are great.

We looked at the musical journey of the game as kind of a «history of horror film», from orchestral, through the 1980s synth scores, and on to a more processed, artificial modern sound.

Some of the instrumentation from the orchestral score is also steered to the surrounds, and ambient sounds percolate there throughout.

The audience sees the maestro silhouetted on his podium, summoning forth music from his orchestral forces.

Not exact matches

At times, I'm known to switch over to lush orchestral synth music from an artist like Banners.

And when Schwartz really needs to deliver THE BIG TUNE (you know, the «Climb Every Mountain» moment), he gives us the rather flat - footed and formulaic «When You Believe,» which all of Zimmer's orchestral tricks can't rescue from mediocrity.

Just seventy years ago, a Fortune poll reported that 62 percent of Americans listened to classical music, 40 percent could identify Arturo Toscanini as an orchestral conductor, and nine million listeners (11 percent of American households) tuned in to weekly Metropolitan Opera broadcasts from New....

From the fourth grade on, every student takes up a stringed instrument and thus, has an orchestral experience.

The music from western culture was designed to induce a range of emotions from calm to excited, and from happy to anxious or sad, and included both orchestral music and excerpts from three popular films (Psycho, Star Wars, and Schindler's List).

Bronze bell chimes were important orchestral instruments until they vanished from history 2,000 years ago.

Whether you opt for classic, orchestral Christmas carols a la Nat King Cole and Bing Crosby or festive contemporary tunes like our favorites from Mariah Carey and N'Sync, the music will determine the energy of the evening.

Apart from the soft pad of her feet on the carpet, the scene is nearly silent, with no orchestral sting underlining the looming threat, and when she turns around, he's vanished, but the movie has succeeded in making us afraid of empty spaces and the human monsters that might at any moment step into them.

August 31, 2016 • From operas about Steve Jobs and Alice in Wonderland to an orchestral evocation of Detroit and a new concerto for Yo - Yo Ma, the new concert season is flush with premieres.

Its the most subtle, accessible and in actual fact orchestral album of Radioheads career and with such a change this may turn some away, this however in no way retracts from the sheer beauty that develops from a group of people who are masters of their craft.

Ballads of Hyrule (out now digitally) is a collection of orchestral arrangements from the Legend of Zelda series, envisioned in the artist's own words as a «relaxing environment for your ears, while it takes you on a night walk across the lands of Hyrule».

Absolute Middle Age Masterpiece with a naked soul kind of sound all along... This is the album that all us (the fans) deserve from the Band that have just reinvented themselves one more time... Striped down to the the core of Thom Yorke's vision of Self, Society and the Human Mankind... beautifully crafted over half acoustic and orchestral / half electronic instrumentations... this is the OK Computer for the Y Generation... Classic!

From a variety of midi formats, to a live recording of orchestral instruments, the music of the Mario series has grown to different heights in its lifetime.

From its simple, yet compelling story, to its deep character development, to its methodical combat, to its breathtaking visuals and wonderful orchestral score.

To hear some tell it, Alexandre Desplat is just about the finest thing to happen to motion picture scoring since Bernard Herrmann or Franz Waxman, the sensualist who will redeem the most (in most cases rightly) denigrated of orchestral literature from John Williams or James Horner.

And while Greenwood is primarily PTA's composer, for «Inherent Vice,» he was given the opportunity to break from the atonal orchestral scoring sonic palette he's rendered thus far and presented something exciting, typically askew and eclectic.

Starring the bandleader Paul Whiteman, then widely celebrated as the King of Jazz, the film drew from Broadway variety shows of the time to present a spectacular array of sketches, performances by such acts as the Rhythm Boys (featuring a young Bing Crosby), and orchestral numbers overseen by Whiteman himself (including a larger - than - life rendition of George Gershwin's «Rhapsody in Blue»)-- all lavishly staged by veteran theater director John Murray Anderson and beautifully shot in early Technicolor.

The unmemorable orchestral score is supplemented by contributions from Alan Parsons, whose synth - driven music has an electronic dance beat and sounds like discarded tracks from «I, Robot.»

3 Paolo Sorrentino is a fascinating film - maker, and in Youth he tells the story of a revered and retired orchestral conductor who is on holiday in the Alps when he receives an official request from the Queen to perform for Prince Philip's birthday.

It shows a bit of trivia on what went into creating the games orchestral soundtrack as well as inspirations the games took from other games from other series because of the developers they had in common.

Working with lyricists Benj Pasek and Justin Paul, Hurwitz comes up with a truly wondrous tune in «City of Stars,» using it to form a beautifully thematic basis for the surprising amount of underscore here, his excellent, spot - on retro arrangements going from the simplest guitar and piano to swooning, planetarium - elevated orchestral melody.

Now they move together from the positively demure «Single Man» to the cunning sordidness of «Nocturnal Animals,» as done up in the height of LA art chic - meets white trash murderousness, Given a multi-story enigma of a film, Korzeniowski's ultra-lush themes beautifully dress up unspeakable behavior, a rapture of erotic orchestral melody whose contrast with the onscreen grotesqueries is exactly the point as his music shivers with anticipation towards the next shocking chapter.

[Director Alex Garland] said, look, this segment is music from start to finish, there's not a single word spoken, and it goes from strange orchestral pulses into this sort of very involved and heavy electronic workout into a choral thing.

With the morally uncertain «Monkey King 2» battling mountain - sized skeleton demons and flying witches, he's the closest thing that China has to a superhero (and likely one of the oldest in the world at that), Young jumps off such robust Marvel scores as «Spider - Man 3» and «Ghost Rider» for a series of hellzapoppin orchestral battles, as a battery of millennia - old Asian instruments like the erhu are skillfully blended with raging electric guitars, the score's numerous themes bursting with the honor of eternal warriors and choruses thundering from the heavens.

The emotional disquiet builds like an orchestral crescendo from near - silence to a roar.

Wallfisch's score blends rich, beautiful orchestral themes with influences from traditional East African music.

His eclectic output has been pretty impressive so far — ranging from electronic soundscapes through to fully - orchestral scores.

that is as fittingly dynamic as the movie — from bouncily orchestral to simple but sweet acoustic guitar work.

Cinematographer Sean Bobbitt («Shame») emphasizes the sharp redness of blood in an otherwise shadowy world often tinted by yellows and greys, while Javier Navarrete's downbeat orchestral score roots the story in the baroque traditions of the period from which the two lead characters hail.

That makes Félicité one of the experiences I craved most from this edition of the NYFF: something like a Dardenne brothers movie, but with a driving beat, a goofy love story, and the interpolation of some mysterious, blue - tinted images of orchestral performances and forest settings to remind me that Félicité's mental world isn't all slums and soggy francs.

Augmenting it, is a magical soundtrack by Jon Brion that is as fittingly dynamic as the movie — from bouncily orchestral to simple but sweet acoustic guitar work.

However, it's rather undermined by an overly sentimental, on - the - nose score from Polish composer Zbigniew Preisner, whose orchestral stirrings never quite match what we're seeing on screen.

Like Bernard Herrmann, McCreary has a sense of richly thematic orchestral music gleaned from mentor Elmer Bernstein.

The supplemental section includes Richard Dyer on Nino Rota and Orchestra Rehearsal, a 21 - minute interview speaking about the film's composer and his last collaboration with Fellini; Orchestrating Discord, a 23 - minute visual essay on the film by Fellini biographer John Baxter; 30 images from the «Felliniana Collection», including rare posters and press materials for the film; a 24 - page insert booklet featuring the film essays «In a Nutshell» by Adrian Martin and «Orchestral Rehearsal: In the Picture» by Tony Mitchell, as well as restoration details.

Bava's choice of music (and composer) has sometimes been very uneven: Carlo Rustichelli's romanticized and treacly music for Whip and the Body detracted from the film's pinched, sadistic sequences; Libra's prog - rock score for Shock felt at times like an effects - ridden mimic of Goblin's supernatural score for Dario Argento's Suspiria; and Stelvio Cipriani's muzak for the original Italian version of Baron Blood deserved to be replaced by Les Baxter's more eerie, orchestral score when AIP initially released that film in North America.

The soundtrack's full of 90s hits from Pulp, Primal Scream, The Housemartins and more, while Steven Price's orchestral score actually has quite a bit of refreshing earnestness to it — the 90s pop songs solidify the nostalgia - comedy part of The World's End, while the eerie electronic sounds and intense orchestration of Price's score help immensely to sell the action scenes and drama.

-- Movie Poster — Orchestral Sheet Music from recording session at Abbey Road Studios signed by Alexandre Desplat — Soundtrack on CD — 2nd CD with additional score

Just because you're adding layers of drums doesn't mean you can leave your orchestral music highly - simplistic - Davis's music remains furiously complex from start to finish.

Though it might seem at odds with the orchestral motif that figures Suzy and Sam as instruments waiting to play their part, this deferral of their meeting gives the film a welcome improvisatory spirit in its most important section, which details their coupling away from families biological and surrogate.

That warning signals a closing act that gathers adults and children alike — all seeking refuge from a storm — for the promised orchestral finale, set in the same church where Sam first spotted Suzy in a production of Britten's Noye's Fludde.

The composer attempted a soundtrack that stitched together multiple influences from superhero movies past, all while creating a mélange of orchestral themes for the various heroes, none of which really lands with any force.