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you are correct. Gennaro had it great, he is the first human eaten by a Tyrannasaurus Rex.

I was in the Montréal Metro few minutes ago and came across a String Quartet that played Classical Music. When I passed them by, they started Schindler's List Theme. My eyes went wet automatically. Well, I guess that's the magic of John Williams!

Star Trek died, then Goldsmith. He ditched the romantic shit and went all grim on us, like Nemesis.

I prefer Don Davis' Jurassic Park /// score. The Williams island fanfare with chorus in The Hat Returns is better than anything Giacchino has ever done.

Erich kunzel - star tracks. Half naked in my backyard, eating nachos and drinking rhum punch. ?

Great theme!

My god, what an horror.

Nah, "Neptune's Bar" and "Preparations," and...

I came across this tidbit today on trumpetherald.com: Tickets for the concert went on sale June 5: http://cso.org/TicketsAndEvents/EventDetails.aspx?eid=7391 Edited to add a review of Music for Brass posted on trumpetherald.com:

It seems to me that a few different ideas are being conflated here and it's worth separating them out to understand them better. Yes, these passages all have a minor triad as their basis, but what's added to that triad is not always the same, nor is it always used in the same way. Some are essentially used as ornamented pedal points, others as part of functional progressions, others as passing sonorities, etc. Basically, I think it's safe to say that Williams has a huge penchant for minor chords in underscore, whether it contains added notes or not. There are many passages where there is nothing but minor triads used in parallel - the opening of E.T., the Ark theme, and so on. So there's something about that type of chord that elicits the sort of inconclusiveness that is so effective for underscore. Maybe it's that it's difficult for it to suggest a tonic, dominant, or subdominant without other functional chords around it, which as you mentioned occurs in Journey to the Island to make the chord a subdominant. But on its own, it can only sound like a tonic, and even then, only by a kind of insistence rather than by the surrounding chords. In other words, it's hard to get a sense of the chord's meaning, which is a great for underscore since it usually accompanies scenes where the narrative is driven forward - we don't know what will happen next, and this musical technique is an ideal match for that sort of feeling. As for its origins, this minor chord with added sixth, or more commonly known as the half-diminished seventh chord, was a staple of late-nineteenth-century music. Wagner's famous Tristan chord is precisely that, and the impact that opera and its famous chord had on music that followed was nothing short of phenomenal. You'll find it in many of those works from the late nineteenth and early twentieth centuries that film composers have drawn on, pieces like Debussy's Prelude to the Afternoon of a Fawn, and Dukas' The Sorcerer's Apprentice, to name a couple of prominent examples. Williams sometimes uses the chord in its pure form, and other times he adds abrasive dissonances to it, and I'm not sure we would call them all half-diminshed chords but perhaps minor triads with added notes - forms of what I've called "bristling". I would separate out those that are functional from those that are non-functional, and those that are half-diminished chords from those that are minor triads, and those that have added notes from those that do not. As we've seen so many times before, Williams' sense of harmony is anything but simple, and I think allowing for these many categories allows its complexity to come through somewhat more. In short, I believe that the reason we find this in Williams is that he is ultimately rooted in the music around the turn of the twentieth century, but many of the more dissonant constructions might be seen as a fusion of this basically tonal technique with more atonal techniques. Another example of the "tonalization of atonality" I've also mentioned before in our many discussions on the forum.

It's good, but I prefer Mulan's personal theme from... Mulan.

Temple of Doom The best Indy score!