Sentences with phrase «symphonic score»

The symphonic score was composed by Joshua Cody and featured guitar soloist Elliott Sharp.

As a film work, A Journey that Wasn't juxtaposes a sailing expedition from Tierra del Fuego in search of an uncharted island off the coast of Antartica, with the recording (and re-recording) of its symphonic score at the Wollman ice rink in Central Park.

Andriessen's four - part symphonic score offers a sonically varied journey through music history — from the early Renaissance, to the jazz - infused roaring 20s, to contemporary music of today.

It contains all the charm of the original and more — while it is possible to play the entire game in a classic mode with the pixelated graphics and synthesized sounds of the original, you can toggle back and forth between the original version and the new version redone with high resolution visuals, voice acting, and a symphonic score.

With a subtle blend of both action RPG & puzzle elements, hand drawn & pixel art styles plus chiptunes & symphonic score, we can't wait to see how this iOS game out of Dallas, TX turns out!

The video is narrated by U.K. national treasure Stephen Fry with his dulcet tones complementing an original symphonic score by legendary nature documentary composer George Fenton.

Its impressionistic backgrounds and resplendently symphonic score (one of Disney's best) accentuate that sentiment.

Timothy Brock's lyrical symphonic score for Prix de beauté (Augusto Genina, 1930), Bologna's opening night film screened in the Piazza Maggiore.

Alexandre Desplat's symphonic score adds to Birth's patina of physical beauty and symmetry, by turns ironic and wistful.

Meanwhile, an armchair John Williams puts together a symphonic score on his home synthesizer, and a host of onlookers tweak the text.

The music was performed by the Budapest Symphonic Scoring Orchestra, the Brandenburg State Orchestra Frankfurt, and the Live Choir was recorded with members of the Latvian Radio Choir.

As a result, his game credits alone include more than one hundred titles, ranging from electronic and rock to full symphonic scores.

I am a huge film score fan, and love sweeping symphonic scores which led to my choice for Ost of the year.

Not exact matches

The awards made some questionable decisions when it came to recognizing this film, and among the most questionable, in my opinion, was a lack of recognition for the score by the great Alfred Newman, who hit some conventions and contrivances, but did what he did best by breaking down a lot of barriers for epic scoring sensibilities at the time to come up with refreshing and stellar compositions whose symphonic beauty is remarkable by its own right, and important in the selling of the sweep of this film.

Jones was very early on in his career at this point but was already reasonably well - known for his symphonic fantasy score The Dark Crystal and fans of that ought to be delighted with this release, the first ever for this excellent swashbuckling score.

With his most impressive score yet, Tyler recalls the richly atmospheric, melody - driven horror of such classic composers as Franz Waxman, Hans J. Salter and Heinz Roemheld — all Eastern Europeans who heralded a dark, romantic sound that powered the likes of «The Bride of Frankenstein,» «The Wolfman» and «Dracula's Daughter» (which isn't to mention how Tyler also draws on the symphonic, sandstorm force that Jerry Goldsmith gave to the first «Mummy's» vintage - set reboot).

That Debney's muscularly exotic score doesn't play like symphonic kid's stuff is emblematic as to why «The Jungle Book» exceeded just about everyone's wildest expectations, as Debney's majestic score that proudly swings through the jungle with Max Steiner's «King Kong» in terms of chest - beating, old - school symphonic power.

The late and seriously under - appreciated composer Michael Small wrote one of his best scores for the film, providing some stirring symphonic passages and atmospheric synth material.

Above all, it's an impressively epic score that firmly declares its love for sweeping melodies a la John Barry, let alone any Hollywood film from the WW2 era worthy of its nobly symphonic salt for two composers signaling their thematic talents.

The score is given extensive action workouts that draw on Young's rousing magical powers where the symphonic sky is literally the limit.

Now after an even longer musical history of handling action films and trailer soundtracks form «Full Contact» to «Dishonored 2,» composer John R. Graham impressively carries on the saga's epic musical tradition with «Kingsglaive,» matching its astonishing mo - cap visuals with a score that captures both the characters» emotional stakes as well as the furiously drumming symphonic fury of its hellzapoppin mash - up of steampunk, sword and sorcery and giant monsters.

Appropriately, the film presents artistic creation as a symphonic tantrum in its own right, something intensified by regular collaborator Jonny Greenwood's near constant score, which creates a propulsive rhythm through use of orchestration that's both lush and flinty.

The string and piano somberness of an empty victory builds to a rousingly symphonic moral epiphany as the score finally hears the truth behind the façade of false promises.

Given a series that's been scored by the likes of David Newman and John Powell, Debney quickly establishes his own brightly identifiable symphonic palette that's still well in line with the past soundtracks» frenetic energy, with friendly, pokey rhythms and busts of spastic comic energy that also bring to mind Debney's score to «Liar Liar.»

Still a top fan favorite after nearly 200 scores, Debney's beyond boisterous work treasure chest of symphonic swaggering on La La Land Records.

If Klaus Badelt turned pirate scores into electro - orchestral rock operas with the «Caribbean» movies, «Cutthroat Island» stands tall as a last, defiant gasp to the old - school symphonic way of playing brigands in all of their unapologetically symphonic glory, as accompanied by Jeff Bond's entertainingly blunt notes about Carolco's sinking ship.

Yoko Shimomura combines memorable pop songs with complex symphonic music, and in doing so has reached the hearts of countless players worldwide, particularly with her KINGDOM HEARTS score.

The score features the Macedonia Radio Symphonic Orchestra and a lineup of top soloists (Audio excerpts available here).

I co-wrote the soundtrack with Sony's Jim Fowler, score recorded live with the Macedonia Radio Symphonic Orchestra Developer: Supermassive Games Ltd, Release...

Undisputably the biggest name in game music and someone I closely associate with symphonic RPG scores, Uematsu can also drop funky electronic beats like no other.

Miyoshi has only been composing for games since 2012 (he worked on Soulcalibur V Collector's Edition and Steins; Gate Symphonic Reunion), but this score ought to establish his name solidly as a highly respected composer.