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Showing content with the highest reputation since 04/23/19 in all areas

  1. 22 points
    Saw this posted on the Jedi Council Boards https://www.thetimes.co.uk/edition/times2/john-williams-the-best-film-composer-in-the-galaxy-l7jx0f8gq (the article is behind a paywall apparently)
  2. 17 points
    New audio interview with Conrad Pope, talking about the music and the legacy of John Williams, the art form of film music and his life and career in the Hollywood film music community. It’s a fun one! Hope you all enjoy! https://thelegacyofjohnwilliams.com/2019/04/26/conrad-pope-interview/
  3. 16 points
    This was a nice little insight into his writing process. “Oxygen is a wonderful thing” - John Williams
  4. 15 points
    First single is "Hedwig's Theme" and is available on digital platforms in any country where it's already Friday I.E., https://itunes.apple.com/nz/album/hedwigs-theme-from-harry-potter-philosophers-stone/1462046153 From the 30 second sample there, it sounds great!!
  5. 14 points
    The symphony has actually been performed three times. I found a concert review in The Guardian from July 10 1972, and the LSO and Previn performed the symphony in Nottingham, the day after the London performance.
  6. 13 points
    It's better than I dared hope. Williams truly completely re-approaching the material and not just adding violin on top of the normal concert arrangement. I'm in love! What's happened here is we've gotten actual new Potter music from Williams in 2019, that's what's happened.
  7. 13 points
  8. 12 points
    This arrangement is wonderful!!!! It feels more like the Azkaban score in mood than the other two I think. The violin part and especially that re-arranged opening celesta has that sense of magical mischief that was best represented in the Azkaban score, more of a sense of how the Potter world is both fantastical and dangerous. I love it! It's so cool that in these latter years, we have Williams revisiting/re-arranging older material like the new version of Han Solo & The Princess, and now a whole album of them!
  9. 11 points
  10. 11 points
    Schindler's List was recorded onto analog tape that is perfectly vaulted at Universal with no issues. Those original tapes were not pulled to assemble this release; they've probably been sitting in the same place since 1993. I am sure some day in the future they will be pulled and a fresh and modern high res transfer will be made from those tapes, and a new definitive release will be created from that transfer, but that wasn't possible to do for this release. I am sure LLL would have funded a transfer of those tapes, and MM would have built two CDs full of music from scratch using it if it were possible, but Williams wanted the OST on disc 1, and MM had to fight to get any kind of bonus tracks release at all, so Mike and I went through the possible alternate/film version cues to present to JW to potentially release on a second disc, and when he heard what Mike put together, he thankfully agreed. If he hadn't, this would have been a single-disc straight OST reissue (with a new booklet). I am sorry you are seeing things on a computer screen that you can't hear when listening, but I don't think there's much reason to be so dramatic about it. It sounds good to me, a definitive proper release will very likely happen in the future, and everybody who worked on this has long since moved on to making many other JW expanded issues happen so I doubt any explanation for what you are seeing here is coming. And I don't think it'd be possible to "fix" without pulling and transferring those analog tapes anyway, which is a very expensive endeavor nobody can afford to do unless a new CD edition was the reason to do so. Sorry!
  11. 10 points
    If anyone is interested, spoke with David Cripps from the LSO if he recalled playing John William's Symphony. I thought for sure he would say no but he said "Oh yes, remember playing it with Andre Previn. John T. Williams as he was called then, to differentiate from the better known (in those days) guitarist, John Williams, was there. Previn conducted the rehearsal and they had a few words after but Williams left it to Previn." So it seems we have eyewitness memory that the 1972 LSO concert of Williams' Symphony did in fact happen and was memorable enough to remember the rehearsal and subsequent concert at Covenant Garden (I think he said) but sadly, he didn't recall what it sounded like because they were playing new music all the time and JW wasn't famous yet. Previn was actually far more famous as both film composer and conductor so it makes sense that JW would rely on Previn's interpretation and performance. Maybe someone can reach out to the archivist to see if the concert was recorded or if program notes might provide more info. David was a bit surprised there is no score available and no subsequent performance but it seems the 1972 concert performance of Johnny's Symphony did infact happen. I wonder if Gramaphone magazine has a concert review from that time.
  12. 9 points
    It's definitely fascinating to witness the journey of this almost 90 years old artist. He truly seems a contemporary version of Haydn, or Brahms. What's also interesting is JW using a quite established classical vehicle and applying it to his own material. In some ways, it almost seems as if he's putting his own spin to the works of someone else, like the classical Carmen Fantasy by Sarasate--but he's actually making a fantasia for soloist from material written by himself
  13. 9 points

    Best of these Recent Star Wars pieces

    Rey's Theme!
  14. 9 points

    Official Indiana Jones 5 Thread

    Mutt died on the way back to his home planet
  15. 9 points
    Digital single tomorrow http://filmmusicreporter.com/2019/05/02/john-williams-star-wars-galaxys-edge-symphonic-suite-to-be-released/
  16. 8 points
    "Perfectly balanced, as all things should be" - John Williams to Shawn Murphy
  17. 8 points
    You can really tell that they ponied up for the London Symphony Orchestra for this one. It finally has that "Star Wars" sound, for the first time since Disney and Jar Jar Abrams and Ruin Johnson got their hands on Star Wars.
  18. 8 points
    Nick Parker

    John Powell Shrine

    When I want to remember why I like film scores, I just look at a poster I Xeroxed and stapled to my wall: -THE ORCHESTRA IS THE ONLY VALID MEANS OF MUSICAL EXPRESSION, COMPLEXITY, SOPHISTICATION, AND INTELLIGENCE -SYNTHESIZERS DO NOT EXIST (except sometimes to augment aforementioned orchestra) -PERCUSSION IS A SIGN OF WEAKNESS AND LAZINESS (outside of traditional instruments and usage) -MELODIES ARE THE ULTIMATE FORM OF MUSICAL WORTHINESS. WITHOUT THEMES TO ATTACH TO CHARACTERS OR SITUATIONS, THERE IS NO WORTH -HARMONIES AND SONIC TEXTURES THAT ARE TOO "ADVENTUROUS" ARE BAD FOR THE SPIRIT I have other posters with similar wisdom (and some hilarious ones about Hans Zimmer and his ghost army lol), but I put this one across from my bed so that when I feel intimidated by the winds of change and feel pressured to face the possibility of expanding my tastes beyond where they were as a child, I can look at this poster at nighttime, relieve my nervous spirit, and drift off to sleep listening to my C & C Hook playlist (except for that trash Banning Back Home, that is!)
  19. 8 points
    Hi!, I'm in the she in question. You're more or less correct. Basically, the discussion of all SW music on twitter vs here is very different (for example, Rogue One's music is almost universally adored on SW twitter, but I get the impression that it is not well-loved here), but I've noticed it especially with trailers, where some on twitter often assume the trailer music is either written or chosen based on what is going to happen with the film's plot and themes. There's always a possibility that there's some direction or input from directors, etc but even if that were the case, it's probably not as significant as it's interpreted to be. A lot of people there are looking for any hint or clue to those things in marketing, which is understandable, but has some interesting results at this stage.
  20. 7 points
    It's really heartening seeing Williams revisit his catalog of works at this stage of his career. Not only reviewing his complete scores via Matessino's expansions, but also reinterpreting his older concert works with a fresh set of eyes, informed by his modern sensibilities. There's something wonderfully rewarding about it all, like enjoying all the payoff in the third act of a great novel.
  21. 7 points
    The whole Tokyo concert just popped up courtesy of YouTube's amazing "recommended videos" magic thing...
  22. 7 points
  23. 7 points
    1) The Jedi Steps I remember when all the trailer music guessing games were going on with TFA and people spent a lot of time arguing back and forth over which piece of trailer-house score was really John Williams. And then that one TV spot dropped with some of "Jedi Steps" in it, and not only was it immediately clear everything else was a well-done imitation and this was the real deal, but that this was special, on top of that. The first comparison that occurred to me was, believe it or not, "Duel of the Fates." Not that they seem to have much in common, but it immediately sounded nothing like Star Wars to me while also being the most Star Wars thing I'd heard in a lonnng time. It's a neat trick (not as neat as spinning) and really, only Jedi Steps and Duel have pulled it off. 2) March of the Resistance It's like in an RPG when your character gets enough XP to level up into a new class or whatever - This is what happens to the Droid Army music when it finally completes its training and ascends to a higher purpose. 3) The Adventures of Han I'm not sure that Williams' thematic work is even the best stuff in the Solo score (I'd put Chewie's theme ahead of it, really) but this concert piece is really, really fun not only in how many buckles get thoroughly and unapologetically swashed throughout, but because the sort of thematic development that usually takes a whole movie to grow happens in the entirety of this one piece. 4) The Rebellion is Reborn This is notable mostly for how it seems like the sort of very clever motif-mixing that used to happen in the end titles (before those became just post-production puzzles to be fitted together and glued down) but as its own separate suite. The fact the motifs are for two characters that never even see each other much less interact in any meaningful way makes it more of a pure musical exercise than anything. Like, imagine a suite that manages to blend Enfys Nest's theme with L3's. Something like that. I'm not saying it wouldn't sound great - "The Rebellion is Reborn" sounds great, too! It just doesn't quite resonate the way the three above it do. 5) Scherzo for X-Wings This has quite a bit in common with "The Rebellion is Reborn," except it's not quite as clever or interesting in how it re-purposes the new material and the old into a cohesive whole. It's very cool that Indiana Jones and Star Wars both have their vehicular scherzos now, and depending on which symphony/conductor are putting it through its paces (I've heard it a little punchier and up-tempo - faster and more intense if you will - and that really helps it out) but it feels like a taster plate on the way to being seated for a full meal later in the evening. 6) Galaxy's Edge This is being unfair probably, but really, it's only been out for a day and I've only listened to it like 3 or 4 times. Almost by default it's gonna sit down at the end of the bench until it becomes more familiar and more interesting things make themselves noticed and the whole thing settles in my brain for increased appreciation. It's not you, Galaxy's Edge, it's me. And unfortunately, I'm not someone like Frank Lehman or Doug Adams or David Collins, so it takes me a little longer to suss out why a thing is brilliant sometimes.
  24. 7 points


    This scene was great though
  25. 7 points

    STAR WARS Custom Covers thread

    Two new sets for the Original Trilogy, First set is using the gorgeous artwork by Nicolas Alejandro Barbera: Second set uses the fantastically simply art of Adam Faniszlo: