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For those of you who missed it, here it is: https://youtu.be/S2E-PHhxtYg Listen quick, I'll be taking this down in a day or so, unless YouTube beats me to it, as they've done quite quickly in the past for radio broadcasts...

The language is very chromatic, there are shades of the Viennese School (Berg, Schoenberg) here and there, but something also made me think of Bernstein's Serenade for Violin. It's a fantastic piece that evokes lots of different atmospheres.

It's an amazing stew of influences, for sure, yet 100% vintage Williams throughout. I get hints of Holst's "Venus, Bringer of Peace" from those slow pandiatonic wedges towards the end of the piece.

Here's the audio only file of this really interesting piece. Enjoy! John_Williams_Highwoods_Ghost_An_Encounter_for_Cello_Harp_and_Orchestra_-_Premiere_Broadcast.mp3

What a great piece! For some related reading, here is an interview with Yo-Yo Ma about Williams that posted today: http://projectorandorchestra.com/yo-yo-ma-on-john-williams-classical-side/. The interview was supposed to be part of a larger story about Williams' concert/classical career but the Washington Post pulled it when the author couldn't get an interview with Williams.

Fantastic interview by Tim Greiving @Maestro with cellist Yo-Yo Ma about John Williams: http://projectorandorchestra.com/yo-yo-ma-on-john-williams-classical-side/

Loved it but my only complaint is it wasn't longer. Our Maestro is in top form! I don't remember the last time I listened to a brand new work that I immediately relistened to.

THE GHOST PIECE! Luv u johnny. I absolutely love this little portrait of John hanging out at Tanglewood (also thanks to @Doug Adams for finding that)

Definitely check out Chris Willis' "The Death of Stalin". Excellent Soviet style soundtrack. Like this:

Their website should show their OOP titles like Intrada does.

I hear BH in so much of what JW has done throughout most of his film writing to present, but in this case the influence seems more subtle to me. Maybe some gestures, if not the tonal language which is more in line with JW's own concert voice from the violin concerto onwards, and nicely varied at that here. But moods, the man has moods. Definitely communing with the netherworld (or one who has returned from it, etc...) My favourite Williams type of sound is his "chord of unrest" - a tonic major chord with added dissonances or polychordal in nature (e.g. endings of Miracle of the Ark, Qui-Gon's Funeral, The Mecha World, The Call motif from E.T., TreeSong, etc.) I wish filmmakers would produce fictional films with JW's existing concert works as the score, a la 2001 - watch this happen after he passes. His writing is so different when he doesn't have to match beats or fit a specific, detailed narrative. And when he lets loose there is an intensity (not necessarily orchestral volume) you don't hear in his film work.

Some of you might enjoy this little glimpse into how music used to be demoed. In this clip, Rachmaninoff is playing his last work, Symphonic Dances, to the conductor of the Phili Orchestra, Eugene Ormandy, who would lead the premiere. The Rach hums and sings the themes and comments on details for the conductor as Ormandy follows in the score. Apparently someone taped this even unbeknownst to those involved.

An important and undervalued work of both the director and composer, and still Bale's best film.

PM me for the Ghost. The full Broadcast file will follow shortly. Wa... this ghost, I never want to meet him in person!

I saw the movie the other day because I really enjoyed the last one - score and film. I hadn't realised there was a composer change before going into it, but it was a relief finding it out afterwards because my lord did this score stink. I found myself constantly being taken out of the film, either because the music was far too loud and overblown or just straight-up not fitting the scene it was written for. At one point in the film, the characters are wordlessly interacting in an underground canal in Paris after the motorcycle chase. Great spot for music - no dialogue, just shots of the characters doing their thing. The score consisted of a basic snare drum pattern (which is fine - simplicity is often the best approach) but with the most inane, disjointed staccato cello/bass hits playing over the top. Every single note sounded exactly like the last one with no variation in dynamics or articulation, no contour to the melody and absolutely no tension to speak of. I was not only taken out of the film but completely confused at the choice of music and baffled at its execution. I don't enjoy speaking ill of composers that often because I am one myself, but that was some undergraduate shit right there. I'm sure Balfe is an extremely accomplished composer (I'm not at all familiar with his other work) but if I were him I'd stop working with producers that ask for such tripe in their films. But then again I haven't been asked to do a major Hollywood film, so who knows what I'd do in his shoes.

Am I the only one who was reminded of Bernard Herrmann at times?

Agreed, I've sometimes found his concert works a little too meandering for my tastes but this is concise and conjures terrific imagery (for me at least). Bravo, Mr. Williams! His writing really has never been as good as it is now. How lucky we are to enjoy it!

Guys, I figured it out! The ghost is me! Listening to this piece killed me. Everything after it started getting going a few minutes in was so beautiful and captivating. Sometimes Williams approaches the edge of being too prolific to the point of certain works sounding like sequels or outtakes from an earlier piece (some prominent composers unnamed for politeness have gone way over the line in this aspect), but this piece struck me as very unique in the canon of Williams and musical literature in general. The use of the cello, the cluster chords that sometimes sound like some Doug E. Fresh kind of thing...no matter what intensity or momentum it had, it sparked my imagination at every turn.

Is it possible that Bernard Hermann is the ghost referred to in the piece?

Wrong thread.

Phew, I was out for a while there. I'm good.

That one scene in particular kicked the whole episode up a notch. Who doesn't want a woman like that defending their ass? She fucking rocked in that scene

Frankly, I thought your username was inspired by a character from LOTR.

Indeed! Brilliant even. I am so glad I found a copy for under 10 € at Amazon.de a while back.

A japanese CD, playing music from an American composer, flying from Norway to Québec. That's how music travels! But it remains costly for one picture and a single worth track of music! And the booklet, wow... All I can say (and read in fact) about it is: Bravo Keisuke!

People think "Oh, it's so sentimental, the pilot even waves his hand at Bale! Jeez!" But does he really? Or is it what Jamie makes of it? A whole movie seen through kids' eyes makes everything what you see more figurative than literal. You can watch this movie 10 times and still discover something symbolic or metaphorical. Spielberg's masterpiece!

That's what I assumed Quint meant, yeah

Sure. Her talent is undeniable. But it still annoys me when puerile little shits think it makes them intellectual to talk about. It's a nuanced subject and to think including the necessary context of it being truly despicable propaganda is being over-sensitive is grandstanding bullshit. Just like the stupid teens who think it makes them cool anti-authoritarians to read Mein Kampf. Same juvenile "you can't tell me what to do" instinct. Her work will always have to be discussed in this way, with major asterisks. That's just how it is.

Over sensitive snowflakes and reactionary edgelords who take on opinions mostly because they bother the snowflakes are pretty much equally annoying IMO.

One thing I always liked about the show is that at no point during its long run did Jerry Seinfeld ever attempt to act.

Not by me. I've loved it since it was released in the UK, in 1988.

Bale was indeed impressive in that one. Maybe Spielberg's most underrated film.

"No? Who do you think I am? You can't deny me access! I AM ACCESS! I demand to be let in!" - @Jim Ware (late October)

Hmm, where to find the landing bay on this beast that I happened to come out of warp alongside. Not around the back then. Ah, I see it now. Just waiting on clearance. Big fleet of 'em. Meeting the captain (just because I can). Sometime later... ... a dramatically different locale. That's the beauty of a limitless universe. Pity about the caustic atmosphere burning into my shield reserves and eroding the integrity of my life support. And that planet had a low gravity moon in its orbit, a bit like our own. Hang on what are those egg looking things? Methinks I'll give 'em a wide berth. I doubt anything like this is hidden beneath the surface of Lunar. In a darkened room on a big TV and with the eerie "empty expanse of space" sound design, this was one of the most weirdly unsettling moments I've experienced in No Man's Sky so far. It was pure 2001: A Space Odyssey.

God, I hate those monthly waves of dispensable thread batches (although I'm often responsible for them).

I'm a big fan of JW's recent concert works. Conversations for solo piano, Rounds for solo guitar, and that new violin piece whose name I can't recall. Conversations is a wonderfully meditative series of works. Rounds is what I like best about JW's concert works. It explores the unique sound qualities of the instrument, it has nice changes in pace, and there is a subtle, sweet melodic figure that holds the whole piece together. I remember really liking the recent violin concert work but I haven't been able to track down a recording so I've kind of forgotten it.

I'm swimming.

May our children forgive us.

This thread is like a river of slime.

Yes! One of those pieces you don't want to end, but that end just the moment they should.

What are you talking about, Indy says the whole thing within the first 15 seconds of this clip! People diss Koepp, but they fail to see he's a master of efficiency! Other screenwriters might use character's actions to outline the plot, but all Koepp needs is 3 seconds for a character to just spit it out! Now you can just focus on all of the exciting action! (PS @Jurassic Shark I answered your PM)

A bit heavy on the spanish pop folklore, but a few pieces really shine.

Unpouplar Opinion: the Concord Indy box set was a good release that just had some problems, nothing crippling.

Ye Mods!

I like their chili con carne.

It is not really a matter of the company, when you have MM. If the labels would hand him around like hippies do with a joint or desperados with a slut, every release would be perfect - always.

I like the LOTR Theme!

Poe’s Theme - although it has similar harmonic language to The Adventures of Han, so we kind of already half have it ..