Finally! Tickets are now on sale for the “Music of Battlestar Galactica” Live at the HOUSE OF BLUES in San Diego during the Comic Con convention: July 23, 24 and 25th! Get them fast, because they are going to sell quick!
What a week! I’ve been in final rehearsals for tomorrow’s big free concert in Downtown LA. If you’re in the area, don’t miss this incredible event under the stars. There will be some VERY EXCITING surprises that I wish I could spoil for you now, but it’s only a day away… might as well save it for tomorrow.
You are all welcome to bring a video camera or take photos at tomorrow’s concert. If you get some video or stills, I’d be grateful if you could share them with me: the higher quality the better. After the concert, just leave a comment below and we’ll coordinate with you.
UPDATED: Photography is fine, but DO NOT USE A FLASH! Thanks!
“THE MUSIC OF BATTLESTAR GALACTICA” SUMMER 2009 SOUTHERN CALIFORNIA TOUR.
Last year, my orchestra and I performed two SOLD OUT shows at the famed Roxy Theater in Los Angeles and the overwhelming response from fans around the world brings us back to the stage this summer in FOUR LIVE CONCERT EVENTS.
Saturday, June 13th
Grand Performances Series in Downtown Los Angeles
The concert at this gorgeous outdoor venue will be FREE ADMISSION.
Thursday, July 23rd
Friday, July 24th
Saturday, July 25th
The House of Blues in San Diego
As many of you probably already know, this week is the second and final BATTLESTAR GALACTICA AUCTION, May 8 – 10, 2009 at the Pasadena Convention Center: your last chance to own a little piece of BG history… at least until half the stuff ends up on eBay again for ten times as much in a few years!
(This piano is up for auction, however Slick’s piano from Joe’s Bar was sadly destroyed because it was deemed damaged beyond repair. Too bad.)
Thursday May 7th is PREVIEW DAY and there are some very special events happening (all the details are available at the official site).
At 6pm, I’m taking part in the Production Executive Panel. The official line-up also includes sound designer Daniel Colman, producer Harvey Frand, VFX superviser Gary Hutzel, co-producer Paul Leonard, director Michael Nankin, director Wayne Rose, editor Andy Seklir and the dynamic writing due of Bradley Thompson and David Weddle. I will screen an exclusive sneak-peek at the Music Documentaries included on the forthcoming Season 4 Blu Ray and DVD sets.
I have exciting news! NBC Universal recently announced the “Battlestar Galactica” Season 4.5 DVD and Complete Series Blu Ray releases. These will include TWO documentaries about my work: “The Evolution of a Cue” and “The Musicians Behind Daybreak.”
These two docs were directed and co-produced by Matthew Gilna, who did our last film, “Inside the Secrets of the Behind the Making of the Music of Battlestar Galactica: Revealed.” I know many fans who enjoyed that movie, but were disappointed that it didn’t actually reveal anything about how my music team and I work. 🙂 You will all be pleased to know that both of these films are serious documentaries and run a combined 60 minutes!
“The Evolution of a Cue” (DVD and BluRay) will walk you through my entire process of scoring, from the editor’s temp score, through sketching, writing, recording and the final mix. “The Musicians Behind Daybreak” (BluRay only) features interviews with each principle musician and goes into further detail of the Daybreak score, including several music videos like this one that went up on Hulu recently:
A few months ago, I posted an entry asking fans which pieces they would like included in the upcoming Battlestar Galactica: Season 4 soundtrack CD. Since then, my blog has been brimming with ideas and suggestions from all of you, which will be very useful in the coming weeks as I finally begin assembling the album. Even though I haven’t picked out all the tracks yet, I think that this fourth album will easily rank amongst the first three, and possibly outshine them all.
The one question I get more often than any other is “When will the CD come out?” I recently spoke with the lads over at La La Land Records and got a tentative release schedule for my various projects this year. Let me take this opportunity to update you all with all the information I know right now. Please keep in mind, that all of this is subject to change. I’ll announce official release dates and track lists as they get solidified. But, there are currently THREE “Galactica”-related Bear McCreary albums set for release in 2009:
First up, Caprica:
Sorry for the delay. This blog entry took more energy to write than I anticipated, but it’s finally finished! I hoped to have it ready for the premiere airing last Friday, but I only finished the score a couple weeks ago and my trip to Germany combined with other work obligations made it impossible to set aside enough time to do it right. But, I’ve loved reading all the comments already posted and seeing the passionate response to this super-sized episode. Thanks for being patient with me and checking back.
I’ve already seen heated discussion all over the internet about this episode, including wildly mixed feedback even here on my own blog. Personally, I am not interested in or qualified to make the inevitable argument over whether Daybreak is the best episode of the series (it’s certainly close), or even my best score to date (it probably is). However, I can safely say it is the most ambitious and epic episode that required the grandest, most thematically developed score I have yet written. In this blog, I will show you the path I followed in order to write it.
Perhaps the nearly 100-minute score to Daybreak should be re-titled: The Battlestar Galactica Symphony. With all my thematic material firmly established in previous episodes, I took this opportunity to develop them further than ever before. Themes were combined, fractured, distorted, elongated, inverted and augmented in rewarding ways. This process became so overwhelming, I actually made myself a checklist of every major theme I wanted to appear in the finale and marked them off as I wrote. With very few exceptions, each was woven into the score somewhere along the way.
I just got back to the United States, after attending the premiere of my first ballet, “Prelude to War,” in Germany and, as I predicted, have neither the time nor energy to write a full blog entry for last night’s Daybreak, Pt. I. I will discuss the complete 3-hour Daybreak in next Friday’s blog, when the final episode airs.
In the meantime, I thought I’d try something fun. Since my blog has attracted so many extremely perceptive and insightful readers, I’ve decided to put up a little BG SCORE POP QUIZ about last night’s episode. Here are 10 score-related questions about Daybreak, Pt. I. See how you do and let us know in the comments. (Click on the theme title for either notation or audio of that theme, and be warned that obviuosly SPOILERS LAY BEYOND)…
1. What theme accompanies the opening of the episode, as we zoom in on Caprica City, before the fall?
Last Friday I was very fortunate to attend the world premiere performance of “Prelude to War,” my ballet based on my scores for Battlestar Galactica. The ballet was performed by the outstanding dancers of the Theaterhagen, in Hagen, Germany. The choreography was by the resident choreographer Ricardo Fernando, and the orchestra was conducted by Bernhard Steiner.
When I was first approached about writing a ballet based on my Galactica scores, I leapt at the opportunity to translate my music to a new medium. From my initial discussions with Ricardo it was clear that he and I shared a similar vision of the ballet. We wanted to create a new and exciting narrative, using the music of the series but completely stripping it from the context of the show.
This week’s episode is the last regular-length episode of the series (next week’s hour is technically the first of the three-hour finale). This episode is a transitional story, used to set in motion events that will transpire in the finale. And after the trials and tribulations of scoring last week’s musically complex Someone to Watch Over Me, Islanded in a Stream of Stars was a welcome return to more traditional scoring for me.
This episode is all about internal conflict. We witness each character struggling with their own personal demons and making difficult decisions. Rather than simply scoring the immediate action or dialog, I wanted the music to help summarize the intense journey we’ve made with these characters: to remind the audience of where they’ve been as we prepare to move forward to the finish line. I avoided writing any new themes, but re-imagined and adapted familiar themes into new contexts.