My 0.02,

When I was a lowly freshman at the unheard of University of Buffalo, my first contact with the music department was through Alexander Schneider who was in residence with the famed 'Budapest String Quartet' (Joseph Roisman, Mischa Schneider, Boris Kroyt, and Alexander Schneider'). They were all 'professors' and great guys - over a period of 3 years, we consumed tons of pizza and burgers at 3AM, just talking about music, having lots of laughs and just hanging out and listening to 'jazz'. They were followed by 'Professors' Aaron Copland, Ned Rorem and Morton Subotnik - each and every one displaying infinitely less ego and pompousity than I've seen displayed on these pages. Just my 2 cents, for what it's worth!

BTW, Evan, I was privileged to meet your dad in NY on three occasions years ago - he fit into the above category. Never have I met a nicer or more talented man.

@drg said:

My 0.02,

- each and every one displaying infinitely less ego and pompousity than I've seen displayed on these pages. Just my 2 cents, for what it's worth!

I'm a little slow. What pompousity do you refer to?

How about this for a starter?

"...Let's not slight one of the best composers of the late 20th century. Save that for twits like Andrew Lloyd Weber."

@drg said:

How about this for a starter?

"...Let's not slight one of the best composers of the late 20th century. Save that for twits like Andrew Lloyd Weber."

Okay perhaps that was a little gruff but we're talking amoungst ourselves here about composers who couldn't care less about our discourse much less ones who will ever read this forum.

By contrast sir, you have seen fit to criticize people who will actually read your comments.

As for Lloyd Weber, well, I don't turn to his scores to learn how to be a better orchestrator or composer. I do have some conductor's scores of Goldsmith and Williams' film work and I find those tremendously educational. But that's just me.

How do you know who is actually reading these pages?

I know you're not asking but, if you would ask me, I'd say the air is redolent of sour grapes.

"Der Ton macht die Musik."

@drg said:

How do you know who is actually reading these pages?

I know you're not asking but, if you would ask me, I'd say the air is redolent of sour grapes.

"Der Ton macht die Musik."

Listen, I don't want to get into a pissing contest with you. Your profile indicates that you are an orchestrator/arranger. For that, you have my respect. I love to learn from other musicians. I bet you have some great advice and knowledge (I'm not being sarcastic either). And yes, I'm not omniscient- I don't know who's reading these posts, but I bet Lloyd Weber isn't one of them.

After 30 years in this business, I still learn every day, even from guys like A.L.W. I respect everyone on this forum and avoid all pissing contests especially if I'm not wearing a raincoat and hat! Happy Holidays!

@drg said:

After 30 years in this business, I still learn every day, even from guys like A.L.W. I respect everyone on this forum and avoid all pissing contests especially if I'm not wearing a raincoat and hat! Happy Holidays!

30 years! What types of projects have you worked on? Just curious.

I've been involved with music for hmmm, not quite as long, maybe 16 years professionally and 20 years altogether. The reason I love music so much is that there is always something to pick up, be it orchestration, harmony, counterpoint, whatever...

We obviously came up through a different school systems. I studied at York University in the late '80's with guys like David Mott, Pat LaBarber, Jim Tenney, Don Thompson, saw Dave Holland give an amazing bass clinic. Primarily jazz guys, musicians so amazingly adept at their chosen instrument it was bloody scary. I actually don't recall any of them being too arrogant regarding their own abilities but some did have an elitist mentality toward other forms of music (pop being the biggest casualty).

@PaulR said:

I'm just watching a so -so 1978 film called The Last Great Train Robbery. But the score is by Jerry Goldsmith and I think he has to be the broadest filmscore writer out of everyone to be honest. The way he could change styles is quite amazing - this is very traditional writing on this film - and a year later - he writes the score to Alien. Pretty good stuff I would say -being able to do that.

yeah, really. Just think:

The Burbs
Total Recall
Boys From Brazil
Under Fire
Planet Of The Apes
Alien
Patton

I also would lump in The Edge and Islands In The Stream, only becuase they are his best purely orchestral scores IMHO. But just look/listen how different each of those scores is, how they each sound like they are by the same composer, and yet how they each have a completely different approach.

Evan Evans

@Another User said:

Let's not slight one of the best composers of the late 20th century. Save that for twits like Andrew Lloyd Weber.

Don't forget Kenny G, and Hans Zimmer (one of the most gifted twits of our time).

Evan Evans

@Another User said:

BTW, Evan, I was privileged to meet your dad in NY on three occasions years ago - he fit into the above category. Never have I met a nicer or more talented man.

Thanks. He was a very understated person. I have a story that Lalo told me once while I was at his place in reciprocal lessons with him (Music and Computers respectively [;)] ). He said, on days where Bill and him where playing opposite sets, they'd sit together on break and not say a word, eating dinner or what not. Then suddenly at the exact same moment they would burst into fantastic and electrifying dialogue on EXACTLY the same subject as if they had been reading each other's minds the whole time. my dad had the kind of mild nature that seemingly allows one to connect to the essence of the Universe and ride the wave of the now as it occurred. It was almost like he didn't exist, that is how powerfully understated he was. And in his unexistance, he accomplished some of the greatest feats of the 20th century IMHO. And it was so understated that his contribution to mankind is still being discovered to this day.

Although many MANY MAAAAAAANY disagree with me, I feel the same way about Philip Glass. His music to me is WAAAAAAAAAAAAY ahead of it's time. YES, some of it is a bit uninspired, but if you are a true Philip Glass aficionado, I can assure you there are not only some gems in there, there is music that simply cannot be appreciated for another 500 years!

Certain people like that become legends. Their existence and tellings of their existence transcends reality and the basis of reality. It makes you think, maybe they WERE more than reality. [[:|]]

I love my father, I wish I spent time with him, especially musically, but all said and done, I probably spent less time with him than more than 99% of the people that knew him, and still I hold him in the highest regards, not simply because he was my father, but because he deserves to be called a legend for his contributions to mankind.

I'm fortunate enough to either have inherited enough musical ability or learned enough music, that I can recognize that about my own father. Becuase his contribution was subtle. Strong but unnoticed. And it takes a real deep feeler, or listener to understand just how special he was to all men. He's a hero, to be sure.

Evan Evans

Evan, all valid points regarding Goldsmith/Williams. Believe me, I love Jerry's work a lot. From a film composer's perspective, he did have a very interesting way of interpretting what music a film needed and went ahead with it. It's been said that Williams responds to a film like your average patron and thus writes music that is his visceral reaction to it. Goldsmith had a more clinical way of getting into the guts of a film and scored it inside out.

I LOVE Islands in the Stream. Just gorgeous music. And First BLood is one of my favorite scores of all time. Same goes for PAPILLON (how brilliant is it that the first music cue comes in at 20 minutes into that film and with dissonant trumpets at that?).

I won't debate the originality of Goldsmith's application of music to film but I think he, like Williams had his influences and they showed up in various films, some more obviously than others. Poltergeist to me is an amalgam of Ravel with a smattering of Stravinsky. One of the cues in Total Recall sounds note-for-note of BArtok's Mirculous Mandarin. Goldsmith's references are obviously less discussed because his material was drawn from more modern composers like Bartok, Stravinsky, Varese, Berg, and such. Williams is writes in an idiom that recalls Strauss, with a dash of Prokofiev, Elgar, etc. Although I've heard some Barber in his pieces too and not the ubiquitous Adagio. More "Overture to the School of Scandal" and his Essays for Orchestra.

As for your father, yes, he's a legend and for good reason. I don't know a single person that hasn't heard of Bill Evans. Everytime I'd be playing at the piano in university, with closed chord inversions with little movement on the keyboard, someone would declare "hey, you're playing Bill Evans voicings". I mean, that's the legacy your dad left behind. A complete style of playing is attributed to him. A real musical genius. And we have had so few true genius' in our midst in the late 20th century.

As for minimalism. what do you think of John Adams? I had the pleasure to talk with him for a while after a concert he gave in Detroit a few years back. A very smart and friendly person. Considering his compositional prowess, I was impressed how interested he was in what I was writing at the time (although he didn't and still doesn't think much of film scoring or should I say current film composers in Hollywood).

Wow, Evan! I didn't know you were Bill Evan's son? That's pretty cool!

Unfortunately, I can't agree with you about Phillip Glass. Sorry. To me, he's someone who hit upon something genuine back in the day, then hit on it again, and again, and again... I would like to see some true development in his recent (or somewhat recent) orchestral music, but I just find it kind of trite. This is only an opinion, though, so don't get too upset. Yes, his music will be around in 500 years, but I'm not sure it is in any way ahead of its time...(?) Come to think of it, I'm really not sure it was ever ahead of its time, but rather very much *of* its time. Mind you, I've always felt that this is much more important than place to be than "ahead", which is kind of an illusion anyway. (okay, I may be starting to convince myself that you're right about him... perhaps I just don't like it on a superficial level. hmmm...)

I'd imagine you'll feel inclined to prove me wrong, so hop to it!

J.

"How do you know who is reading these pages?" - drg

Are you kidding?

It is my fondest wish that the people I criticize read this but unfortunately they will probably miss it.

By the way Evan, thanks for doing a zoological study on me. You know sir, I've never had that done to me. Of course I've been to the doctor, had blood tests, etc., but never been the subject of zoological studies.

Also, Phillipp Glass is the most egregious example of pretentious minimalist claptrap in the history of that lamentable movement. Five hundred years from now he won't be understood? You must be attempting irony. He could have been understood five hundred years AGO.

He also is responsible for the most arrogant and disgusting act of artistic sabotage since Ted Turner instituted colorization. He removed the soundtrack to Cocteau's "Beauty and the Beast" by George Auric - a French composer who wrote individual works superior to all of Phillip Glass's output put together - and substituted his own piece of shit for the music. This is a criminal act that should be punished with significant jail time.

Don't pull your punches, Bill. How do you really feel. [[;)]]

..

@jbm said:

Unfortunately, I can't agree with you about Phillip Glass. Sorry. To me, he's someone who hit upon something genuine back in the day, then hit on it again, and again, and again...

I'd imagine you'll feel inclined to prove me wrong, so hop to it!

J.

No no no. I can't. Don't feel inclined to either. I respect people's personal choices. It's just something really personal I feel. believe me I know what it's like to try to convince someone that Philip Glass has merit. But alas, it's impossible. I think people are listening and feeling too much of his music. It's actually more of a mathematical masterpiece. Although it's true, I think it has some merit what Randy Newman said: "With Philip Glass, if a flea farts it's a huge deal!". And that's true. That's teh beauty of his musical genius. He's able to take the epic and reduce it to trivia. He's able to take the trival and make it Epic. It's a very NEW kind of music that I don't think the world is ready for yet.

Evan Evans

@Another User said:

He also is responsible for the most arrogant and disgusting act of artistic sabotage since Ted Turner instituted colorization. He removed the soundtrack to Cocteau's "Beauty and the Beast" by George Auric - a French composer who wrote individual works superior to all of Phillip Glass's output put together - and substituted his own piece of shit for the music. This is a criminal act that should be punished with significant jail time.

A purist idealist are ya?

LOL.

Evan Evans

@evanevans said:

It's not about the music ...

Correct, Glass is not about music. Good one.

@evanevans said:

It's not about the music ...

Correct, Glass is not about music. Good one.Right. I love all artforms too much to consider that just because something has a musical sound to it it means it fits in the artform called music. i've seen painter's transcend the art of fine art (painting). I've seen sculptures create music. I've seen musicians create a dance with nature. I like to see a person's foray into expression as something unique to them. I would never be so biased as to say, that's bad music because it's not as good as most music. Maybe it's not meant to be music. I respect each artist as just that ... an artist. I can't respect someone for instance who thinks my father was just a jazz pianist / composer, or that he was better than Bud Powell or Keith Jarrett. Each one has their own thing going for them, and some of what they have going is less about music and more about a unique presentation of expression.

On that note, Philip Glass is way ahead of his time, as I see it. Try experiencing something of his again, without hearing, but rather by thinking. His art is intellectual. Some people don't like new art though. Stravinsky was tomatoed offstage in 1911. I can't help that. I can't help those who must compare what is being presented to what they know. That is not being open minded though, and it is not being respectful either.

I am one who respects those on the new frontier most. The originals. The innovators. To say that Glass isn't an innovator is to pigeon hole him into the art of music. It's just not what it's all about. His mind is more expansive than to be limited like that. It takes being open minded to even have the opportunity to understand that. And even then, you might still not get it. So it's ok with me, anyone who doesn't like Glass. However, I understand him as being way ahead of his time. I'd bet you there'll come a point in our future where pop music or rock music becomes something very similar to Glass' music. Just as the early 90s went through an acoustic phase, so will electronic music someday in the future. Then all those minimalistic beats and arpeggios will be played on classical instruments, and the popular form of music will suddenly be something that someone thought of hundreds of years earlier, in the mid 20th century. And those in the 25th Century will go on a rampage for Glass' recordings and he will be looked at in high regards.

I don't expect people from this time to appreciate him now though. I have a hard time appreciating him myself. It's just not the right time. But if you know enough about music theory and history you might be able to deduce that the future holds a place for music like his ... not the past ... and not the present. Ives and Stravinsky, Debussy, DiVinci, Monet, Columbus, Magellan, Einstein, Newton ... history is full of examples of people sometimes as many as 500 years ahead of their time. I choose to respect these kinds of persons, while they are alive, and can fill me with excitement, NOW, not later.

Evan Evans