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  1. When you say that you don't like a theme, you mean that you don't like the concert arrangement, or really the theme itself? They are two very different concepts, and while I generally like all of JW's themes, I am not a huge fan of many of his concert arrangements, in other words I prefer the way he uses the themes in the film scores to the way he presents them to the audiences in concerts or in dedicated CD tracks (although Imperial March, DOTF and Anakin's theme are among my favourite concert arrangements - Anakin's theme should have been a bit longer, though).
  2. I didn't buy the scheduling conflict as well. Suppose you DO have a scheduling conflict: between a SW score and anything else, who would not choose the SW option? If your goal is to let people hear your music and make money out of it, SW is the greatest opportunities for anyone. If the French source is reliable, Desplat has been working on SW for more than one year, so he must have at least sketched a lot of stuff, maybe even the whole score. Apart from any comparison between Desplat and Giacchino or whoever else, what makes me sad is that a great professional such as AD might work for so long and have his score binned, with no immediate chances to let anyone hear it. But again, this has happened in the past to North, Goldsmith, Herrmann, Yared... Independently of the merits of the music (in principle, a score can be rejected simply because it is bad), in such cases they should just allow the rejected composer to publish at least a suite from his score, maybe some time after the movie opening, so that it can be performed by orchestras.
  3. Without taking any responsibilities, I try to translate with what I know from French and a bit of help from google-translate (maybe some French-speaking people could improve this): Just one month ago, AD declined the offer to work on a French feature movie alluding to his full-time immersion in the project Rogue One. His involvment seemed total, and nothing would let you think that he would leave the project. "In the middle of a working dinner, he would not stop leaving the table to answer to calls coming from Disney from Los Angeles. It was a huge pressure", confides a source close to the case. Desplat's departure seems all the more abrupt and betrays great turmoil backstage: "On a Star Wars, you just don't change composer three months before the film opens with a snap of fingers, it's unbelievable! Complex contracts were binding both parties ... Either Disney fired him, or he is throwing in the towel because he had enough and does not understand what Disney wants, but there was surely some clash." Some rumors, here also insistent, show a shift in Rogue One toward a more "light" tone. This would explain the fatigue of the composer, forced to readjust everything at the last minute. "Writing the score, recording, booking a symphony orchestra ... all this takes time. It is impossible to redo everything from scratch!" they tell us. "Disney is bound to keep some of Desplat's score, he has been working on this project for more than a year, I do not see how they could do otherwise. In any case, it is a huge surprise and they must be very, very late. It would not surprise me if some heads would eventually fall. It smells like a little sabotage. " this correct?
  4. "Horseplay" is the name of the cue in the sheet music, as it was published years ago in an arrangement for strings and piano/harpsichord.
  5. A piano solo analogous to the one kicking in at 2:31 might indeed be a bit too much for Han and Leia.
  6. Do you mean something like this, but based on Han Solo and the Princess, angel baby?
  7. It's a completely original piece composed by Williams for TESB concert suite (other pieces are the concert arrangement of Asteroid Field, Imperial March, Yoda's Theme and End Credits). As far as I know, he never recorded it (sadly) and this is probably Gerhardt's recording, I think it's the only available one. I'm not sure about this, but I know for sure that it's a Williams piece. The comment about it being Gerhardt's orchestration is wrong. And yes, it's an excellent piece, worth of the great score it comes from
  8. Sadly true. He seems to underestimate the ability of his audience to enjoy anything different from the standard tricks. He could easily make full concerts of great music that he has written without including a single cliché fanfare, just by taking some cues as they are from his film scores, without additional "popularization". If he started to do that, I guess the attitude of the few remaining "elitists" would be gone forever. But no, despite the immense art that he puts in his work, he somehow thinks that for the movie music concerts he needs to re-arrange the cues so that you build up to an operatic finale in the time of three minutes, which triggers the big applause.
  9. Yes, absolutely! I would never put Schindler's List or E.T. in the same league as Family Plot or the few pieces that I know from Heartbeeps. So, to be more precise (maybe): in my opinion, his great film scores (and fortunately, there are MANY!!) are more important than his concert music (maybe with the exception of the Violin Concerto), which is more important than his minor film scores.
  10. I completely agree both with your opinion about John Williams compared to other "classical" composers and with the perception that this is starting to be noticed also by music professionals who are not strictly connected with movies. The signs are very encouraging. The fact that a first-class conductor like Gustavo Dudamel has developed such a friendly relationship with Williams, has conducted a full concert of his music, and has conducted the recording of the end credits from "The Force Awakens" is fantastic in itself. Then, so many other "classical" conductors have included pieces by Williams in their performances (mostly from Star Wars, as far as I know): Simon Rattle, Zubin Mehta, Franz Welser-Möst... and I am really, really happy to see that Simone Pedroni is becoming a champion of Williams' music in Italy. But I know some very good musicians who still resist the idea of considering Williams as a "real" composer (probably because they have never listened to a complete score of his with some attention). Here I have a different view. I think his film music is most representative about him, and if he will be remembered and loved mostly for that, it will be the right thing. His "concert music" has several merits (mostly about harmony and orchestration, for which he has an outstanding gift), but I would not rank that at the same level as that of, say, Ligeti, Berio or Messiaen, or, to mention a more similar situation, as Korngold's Symphony or Violin Concerto. I would say this mostly for reasons of musical form. I will always be convinced that the place where Williams expresses himself most deeply and where he gives his best is film music and the point, as TownerFan already mentioned, is that his film music is so good that it can be enjoyed and ranked as pure music. Based on his film music, I would rank him among the most important composers of the second half of the 20th century (I would not think so based only on his concert music).
  11. Yes, there is a cue called "The Jedi Steps (concert version)", which is the one that you are hearing here, and a cue called "The Jedi Steps and Finale", which is the movie cue tied to the End Credits. If the first piece is performed, the editor recommends to skip the first 36 bars of the last cue (that's the film version of "The Jedi Steps"), thus starting with the End Credits.
  12. Yes! It's the official concert cue, written note by note by John Williams. Its score is available in "The Force Awakens Suite", from the Hal Leonard Signature Edition series. Great video! I really liked the performance. It is a bit slower than it would be supposed to be according to the score, but I prefer it this way - everything really "sings".
  13. Maybe you already know, but there is shakuhachi in Jurassic Park, already in the very first cue of the score. Another nice contribution by John Williams, definitely not for ethnographic association. Also, I don't know if the pan flute qualifies as well as a world instrument, but Morricone uses it in "Cockeye's Song", from the score of "Once upon a time in America".
  14. Definitely not vain . Reading a score is as close as you can get to talking with the composer himself. I am convinced that the benefit of reading a score, for someone who loves music, would be enough to justify the process of learning to read music, even for people who do not play an instrument (although in this case it is more difficult). Of course, the problem is that it takes time, effort, and to invest some money to buy the scores, so it is always a matter of priorities and possibility to balance with the other aspects of life. The latter problem can be in part avoided by studying public domain scores, most of which can be downloaded for free at . And definitely, John Williams' scores are not the way to go for beginners, since the orchestra is always big and one should start with smaller ensembles, just to learn to read several staves simultaneously. Besides piano music, the first scores that I read with the intent of "understanding everything" were rather simple pieces, like Mozart's "Eine Kleine Nachtmusik" and Vivaldi's "Four Seasons". Only strings (so, no transposing instruments), just a few lines to be read at the same time, and simple harmonies, rather easy to grasp after some training. Williams' scores are much more complex from every point of view.
  15. I have Star Wars, Music from SW saga, The Phantom Menace Suite, 3 pieces from Schindler's List, Harry Potter and the Sorcerer's Stone, and I have ordered The Force Awakens. Despite the unacceptable errors that appear sometimes, they are very beautiful editions. If only the proofs were checked more expertly and/or passionately...