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Don't have time to go into that much detail, but I can summarize a few things. First, with the exception of the Sabrina arrangement, the two from Memoirs of a Geisha, and the Schindler's List encore, every violin arrangement was new. Even the pieces he's arranged for violin before are considerably expanded and transformed, especially the Far & Away and Witches of Eastwick scherzi. The versions of Rey's Theme and Yoda's Theme were the same as the YouTube previews that were released last week. The Hedwig's Theme arrangement is lengthier than the YouTube version, with most of the newer material coming towards the end, including a mini cadenza and some broad material for orchestra when the opening theme returns, IIRC. The treatment of Leia's theme was, as many have noted, a real revelation, even though structurally, only the opening really differs hugely from the original arrangement. Eagle-eared listeners may have noticed a very brief allusion to the Han & Leia love theme in solo horn in measure 4. Notably, the ending is quite shortened following the arrival at the big climactic B-major chord, essentially bypassing some of the accustomed woodwind material transitioning immediately to where the solo violin comes in in the original arrangement. Of special interest to me, since I gave a pre-concert talk on it, was that the Across the Stars arrangement. The version premiered at Tanglewood was a slightly different, updated version compared to the YouTube version w/ A-SM that we've been listening to for a month or so now. The opening introductory passage is ever so slightly modified such that the penultimate chord is a straight G-Minor rather than the E-halfdim from before. (Why, I cannot imagine.) More substantially, the second rotation of the Main Love theme is stated more fully before the climactic middle section, where it had sounded clipped and developmental before. There may have been a few more spots with alterations, but those are the two big ones I noticed. It's a *big* improvement for an already stellar reimagining of this theme. Galaxy's edge was basically the same as the commercially released suite, including the presence of the opening fanfare. The one big difference is the trimming of everything from 3:18-3:38, for brevity's sake I guess. Amazing concert!

Perhaps I'm still just reeling from the experience of seeing Williams live but I feel like that arrangement of Leia's theme is my favorite take on the piece. Like rpvee said, and I hadn't really thought about, it seems to nicely sum up Leia's character as a whole. I can't help but think that some of the more intense violin parts were written with Carrie's passing in mind. When Williams came out, he gushed quite a bit about Mutter and how wonderful she was but all he said about David Newman, who conducted the first half, was "That fucker has to work on West Side Story. I really dodged a bullet on that deal," which I thought was a rather crass and surprisingly tasteless thing for him to say. Joking aside, concert was fantastic, as was to be expected. Williams seemed in good spirits and health. Was super impressive seeing how deftly and energetically he manned the podium. When it came time for him to conduct "The Duel" from Tintin, his baton was nearly a blur. He gave four encore performances. First one was the new arrangement of Yoda's Theme, followed by his Star Wars main titles/end credits arrangement from ANH that he usually plays at concerts, third was the new arrangement of "Remembrances," and then he closed up shop with some good ol' Indiana Jones. Williams came out a fifth time and mimed with his hands under his head like a pillow that he needed to go to bed. One neat little bit of trivia is that Alan Silvestri was in attendance with his wife in the third row or so to watch Williams.

My understanding is that he made this decision after the 5 days he worked with Ms. Mutter in LA. They apparently just clicked, and he wanted to do it. Perhaps, he was already going to be present for the concert in any case as an audience member, especially with the Koussevtizky sculpture dedication a few days before? (I made it a point to see all 3 busts JW has donated - see images.) As I wrote earlier, you could definitely feel the chemistry between Anne-Sophie and John. My wife and I were just on the aisle about 10 rows back on the left with a great view of both of them. The concert was long - 2.5 hours or just over depending on if you count that they started the normal 5 mins late (at 2:35 instead of 2:30 pm). Williams was out there for 100 minutes, Newman just for 55. (25 min interval.) Anne-Sophie was probably on stage over an hour in total. Must have been more with applause etc. I loved after The Duel from Tintin that she and Williams sort of shadow sword fought - baton vs. bow. I also loved that JW got a standing ovation just for showing up to start the 2nd half. (I think I might have been the first on my feet in our section!) JW seemed energetic and with it. He had some issues with the step to the podium, but once atop, his energy and attention to everything the Pops were doing was intense. You get the sense of his skill as a conductor watching from up close and also seeing how rapt the players are in following his lead, Ms. Mutter included. It's hard to say what was my favorite part. First, JW told some nice stories which is always great. Second, Leia's theme was lovely as written about by others on this thread, and as Falstaff mentioned (sorry to miss your talk - did not know about it!), Hedwig's Theme was longer than the release so far, and I liked it more as this longer version. Ending on Raiders is always special for me as an Indy fan. But really, it was this sense that something amazing was on stage. These new pieces have a chance to enter the general concert repertoire in a way that only Schindler's List and Geisha have in terms of "serious" pieces of hard to play music that can show up in concert programming. And more over that aspiring musicians may try to master and learn from. I love most of Williams' concerti, but they are just played that often. I think these may become more likely to be heard, and I expect Anne-Sophie will use them as encores and parts of her program for years to come. Most are not just orchestrations - they are truly arrangements of themes we love. Let's never forget that JW spent many an hour arranging for the likes Shelly Mann and Henry Mancini. These may not be jazz like his pieces for them, but there is still fundamental quality to how to treat and develop material. Plus, he had to work in cadenza challenges for Ms. Mutter in a way that might parallel a jazz solo. Concert attendance was a bit sparser than I would have thought - although certainly well attended. Lots of empty seats around, but with the lovely weather, the picnic grounds were packed. (My wife and I attended the Saturday night BSO concert which included the Previn concerto written for and played by Anne-Sophie, and it was raining, so only people under the Shed were in attendance.) At dinner Sunday night, we overhead two couples discussing Sunday's concert, and one of the four said he was happy to sleep through it! I wanted to have a word with him, if you know what I mean. Happily his wife, who clearly is the smart one in that family, came to the rescue and told him she enjoyed hearing these themes on violin and the artistry of the playing. What else to say? As a first weekend ever at Tanglewood, my wife and I were blown away by the beauty and fun. She's wearing her Tanglewood t-shirt today as we fly home. We have spent many nights at the Hollywood Bowl, and this beats it. We actually stayed after the concert just to walk the grounds for an hour and soak in the views and ambience. And who knows when we will get to see JW conduct again? So, if this is the final time, it was one for the ages - amazing music, great atmosphere, world premiers, a glorious soloist and a magical summer afternoon. (And to let the Williams fun continue, we are seeing live performances by the Seattle Symphony of E.T. Wednesday and Prisoner of Azkaban Friday - which is also my birthday!)

Williams did an arrangement of "Devil's Dance" for violin and piano for Gil Shaham several years ago. I guess that was the starting point for this new orchestral version performed yesterday, which was a premiere.

What a splendid performance of the Main Title that sounds like! Love how Williams stretches out the crescendo at 0:23. Really, really hope he re-records it in the TROS sessions. The saga deserves one final, glorious studio recording to close out the saga.

Our own Marian Schedenig reviews the album extensively here: http://celluloidtunes.no/celebrating-john-williams-gustavo-dudamel-the-la-philharmonic-orchestra/

Plus the Chairman's Waltz, though I suspect this was similar to the existing arrangement? Has anyone kept a comprehensive list of everything Mutter has mentioned vs what's actually included? There's Markings and Remembrances (on the vinyl) plus Prayer for Peace, Leia's Theme, Han Solo and the Princess, Chairman's Waltz, Devil's Dance all missing. We know several of these were recorded, check this out: Neither track anywhere to be found on the CD. Fancy getting a cello soloist to record these pieces only to omit them...

Miklos Rozsa's The Private Life of Sherlock Holmes (which was based around his own gorgeous Violin Concerto)

Just heard the new Leia’s Theme arrangement at Tanglewood! It’s gorgeous. Becomes truer to the original once it gets going, but the first minute or so is really mysterious (even E.T. like in a way with those mysterious, spacey kind of bells). There was one statement of the main theme in the middle where do think Mutter’s solo bits over it were a bit too busy and different from what the orchestra was doing, but it balanced out when the orchestra got its big solo statement of the theme at the end before Mutter joined in for the big finale. Definitely will be a bonus track or something at some point. Really beautiful, and summed up everything Leia has been through since the original arrangement in 1977 and Carrie’s passing.

That was exclusively made for LLL by Jim Titus... and it was GREAT.

There were a few built in cameras that they seem to have at Tanglewood (I saw one to the left of the orchestra, and other at the back of the Shed behind the percussion). I think (but did not see it) that they were showing a live video on the big screens that are behind the Shed so that people on the lawn could see what was going on. Thus, I would guess there was video made - but I doubt it will be released - there were not cameras on the platforms in the audience area where I think those go for produced shows. Someone who has been there before can probably comment on that. This recording would be more serviceable than something actually directed (such as the Bernstein concert last year, for example). I was hoping - wrongly - that they would replay the concert on Live from Tanglewood last night on Classical WCRB radio so we would get audio. However, they aired a concert from last year instead. I suspect rights issues and wanting to keep these performances for the CD release kept that from happening. As a counter example, Saturday night's BSO show was broadcast live. But maybe after the CD comes out, WCRB will air this concert at some point in the future. The usher in my aisle kept shooing my wife and I (and others) from even taking photos - and that was just during the bows! So, someone told the ushers to be vigilant I guess. I thought about trying to clandestinely record some of the show, but I really wanted to focus on the experience and not technology. So, alas, only have echoes in my head, but happy I was so engaged with the show. Others may have been more adventurous. I saw that person too. I suspect b-roll footage to support the album launch and maybe also promote the German concert in September.

Well, yeah, but he himself talked about how CMIYC really gave him a second wind for composing. While he has not said that publicly in connection with this project, there is an air to the interviews and videos of him conducting the stuff that seems to show a bit more enthusiasm than usual. Most importantly, the brilliance of the pieces themselves and the obvious care he put into them (and the sheer number of them) indicates, to me at least, that this was a special collaboration in terms of at least the last 15 years or so. But, yes, your basic point stands--the man clearly loves composing music.

Really well, thanks! Alas, no Mutter or Williams -- we could hear them off in the distance rehearsing! Unfortunately, the talk wasn't publicized all that well, but Jack Sullivan (the other speaker) and I still had a great crowd. I'm not sure what you mean, it's identical to the commercial recording -- big swell on Bb for two measures, then four measures of the lydian fanfare, followed by the main theme. No re-writes or edits that I can discern.

Bad joke. I'm totally kidding. He didn't say any of that. Yes. This one, for instance, ends with a brief variation of the main theme from Schindler's on the violin.

That is pretty cool. I was there for a film night back in 06, where the Memoirs suite was premiered with Ma. Spielberg was in attendance (Williams called him up to the stage during the encores too, which was fun).

I completely agree - that was amazing, and in fact, I really enjoyed all the pieces, as did my wife. All this material will be released somehow or in some fashion. No way they would have recorded it and left it in the can. I also have to say that Ms. Mutter seemed much happier and comfortable with JW than with David Newman, but I suspect that will change once she and David have time to practice for the September concert in Munich.

Once recovered from the concert, a full review would be most appreciated!

@Jay How about some original cue titles and numbers? 1M1A - Starry Night 1M2A (fix) - [no title] 1M3B R - The Attack On The Village 1M3C - I've Seen Too Much 1M3D - The Attack On The Village 1M4 R - The Arrival of Kylo Ren (w/ fixes 5/27+session fixes 6/4) 1M4B - Landing 5M43 R Fix - Find Rey! 5M43A (Fix) - Maz's Treasure Chest 5M44 - [no title] (Rey && BB8 Running) 5M46 R - Kylo Stalks Rey 5M48 - We've Got What We Need 5M49A - The Abduction of Rey (Fix 11/5/15) 6M50 - Han and Leia Reunion 6M57B - Ice Landing 7M62A - On The Inside 7M65 - Father And Son [the original, unused version] 7M65B - Father and Son [the revised version on the soundtrack and in the film] 7M65C - Leia Fix 7M66 - The Control Room And Ren In The Forest 7M67 R - It Is You 7M67A - Rey vs. Ren 7M67B F - Rey Catches Sword 8M74 - Climbing The Mountain [The Jedi Steps] Opening [main title] Finale (11/11/15) Rey's Theme (10/7/15 longer version) Reading the Map Scherzo For X-Wings (11-4-15) [concert version] Scherzo For X-Wings [film version] The Resistance Theme Notes in [brackets] are my own. Everything else is verbatim. Updated to add 2 other known cues. Thanks @CGCJ!

Yes, there was a guy with a camera on a tripod, sitting on platform about halfway back, who seemed to be filming the whole time. Cameras could also be seen filming from the stage door whenever Mutter or Williams entered or exited the stage. It seems like too much to hope for that we'd get video of the whole thing, but maybe they're planning to at least use excerpts for future promo?

Interestingly enough, I did see a guy with a large industrial-level camera and light standing in the backstage area just off the stage when the concert ended. No idea what that means - I didn’t see any filming notices anywhere - but they at least filmed something backstage after.

I will use everyone's final list. I will not copy the list till then

Dario Marianelli is set to compose the music for Matteo Garrone’s upcoming new live-action film adaptation of Carlo Collodi’s Pinocchio. http://filmmusicreporter.com/2019/07/08/dario-marianelli-to-score-matteo-garrones-pinocchio/

Done! Completely slipped by me too.

https://drive.google.com/open?id=1hnJyL-CHMCKKUV4R7ERS1LXOBJgyikTy I've got a vague memory that the one I've got was done by @GoodMusician after I requested it, but I might be wrong there. I myself have combined and split tracks at will here and there, with little regard to how they were recorded. For example, my "Over the Himalayas" ends early; before the spooky bit for the introduction to the Indian village starts. That part I merged instead with the next cue in "The Starving Village", which seems to flow together beautifully. In theory, I suppose these two tracks should've been one; but with the tone changing so drastically midway, this split seems to make the most sense to me. https://drive.google.com/open?id=1ErTbnRl0dCv2CR8BjuQScIu4TdjNt4Df I do something similar with "Water! and The Bridge", which ends right after the British fanfare. "Return to the Village and End Credits" then starts with the happy/relieved music right after. My reasoning is again similar: The music flows well together, but the resulting track is too long and changes pace drastically. The first bit is extremely intense and exciting, while the denouement is basically the exact opposite. https://drive.google.com/open?id=1UZfGv3uLetrdmxRzH43gcSOBUb7t_7S1 https://drive.google.com/open?id=173RRl743lw0mGE40N0qZaWP60ro7Cpvh

An enlightening, detailed review that puts nothing in-between!

Here's the program that was performed yesterday in Tanglewood: "Devil's Dance" from Witches of Eastwick was also performed by Mutter... another piece which seems nowhere to be found on the upcoming album. Yes, I'm fairly sure it's the regular version as published on Hal Leonard.

The solo violin is most likely avoided in film scores because of its strong connotations with the recital hall and classical music. It's not the Hollywood sound.

I posted the cue list from the music sheets on the complete cue lists thread, but just in case anyone missed it, and to have it in a score specific thread, I'm posting it here too; 1M2 The Witching Hour (with fixes 2/29/2016) 1M4 Sophie is Taken 1M5 To Giant Country 1M6 Time For Eat 1M8 Please, Don't Eat Me 1M9 I Will Run Away 1M9A Bedtime Story 2M10 Mixing The Bad Dream 2M11 Sophie's Bad Dream (w/ fixes 3/8/16) 2M11A More Fleshlumpeater 2M12 Fleshlumpeater 2M14 I is Hungry 2M16 Insert 2M16 Building Trust 2M17 I Catch Dreams 2M18 Dream Jars 2M19 R Get Over It, Again 2M19 Get Over It 3M20 Sleeping Giants 3M21 Giant Football 3M22 The Glasses and the Blanket 3M23 Dream Country 3M24 Insert The Origin of Dreams 3M24 It's A Fizz Wizard 3M24A Sophie's Dream 3M24AR Chasing Dreams 3M24B Presenting The Dream 3M25 Insert Bad Dream Insert 3M25 Catching a Bad Dream 3M26 How Old Are You? 3M25A Blowing Dreams 3M26R New Start 3M28 Insert Monsters! 3M28 March Past of the Giants 4M30 There Was A Boy 4M31 Jump, Sophie 4M35 Sophie, ...Hide! 4M36 I'll Find This One 4M37 Flute Sweeteners 4M37 Boy's Drawings 4M38 The Queen's Portrait 4M39 The Queen's Dream 5M41 Inside The Palace Garden 5M44 Insert BFG's Garden Walk 5M44 Meeting The Queen 5M45 The Queen Calls Nancy 6M50 The Queen's Helicopters 6M52 BFG's Alchemy 6M54 Sophie's Future (w/ fixes) 6M55 Giants And Bad Dreams 6M56 Giants Netted 6M56R Fix 6M57 Rev A Place Where No One Goes 6M57 A Place Where No One Goes 6M58 Finale (transposed to G Major) 6M58 Finale Blinks Dream I.D.s Dream Quartet Dreams & Fly Boys End Credits

He actually said Newman does not deserve to smell his shit and that the limey cocksucker can rot in hell for all he cares.

Context is key. Not all scores can take on a life outside the film, but I think Mysterio's Theme and Spidey's Theme work well enough to be distinct and memorable.

Oo! I really like numbers 1, 3 and 12!

There's a heart achingly beautiful solo violin overtop of Across the Stars in the first minute of the cue Scenes and Dreams (starting at 0:08) from Revenge of the Sith. Plus, I'm sure there are more Across the Stars iterations that have some sort of prominent violin, but not many quite like this. Not exactly the same, but an interesting thread from a violinist forum popped up after a quick Google search. https://www.violinist.com/discussion/archive/11510/

I think he's asking for scores where a solo violin is prominently featured. Like how it is in Schindler's List. It isn't source but very prominent in the score.

James Newton Howard's "The Village" of course. Plus why no mention of Corigliano's Red Violin? There was a great Dudley Moore comedy (forget the title) where he was a conductor and the score was full of violin. EDIT: This is the film I forgot about:

I did a series for Rogue One back when it came out a few years ago, so I might as well share them right The first cover uses one of (if not the first) official poster released, which is the one I think they should've used for the official cover. #2 was my attempt to recreate the simplicity of the first vinyl release of Star Wars, with the symbol of the Rebel Alliance added behind the logo. #3 uses an image of what could've been one of the more iconic shots in the film, and what most of the entire marketing campaign was based on, sadly we never got to see it (only shown in the trailers). #4 was an idea to make it look like a booklet for Plans to the Death Star. #5 is just a simple addition, which would probably work best for the FYC. #6 again uses a great shot of, well, yeah him Sadly it was also only shown in the trailers. #7 is based on Chris Alcock's artwork. #8 is based on Kevin Tiernan's artwork. #9 and 10 uses screenshots taken from the trailers, and because they feature the Death Star I wanted to emphasize one thing director Gareth Edwards is brilliant at (e.g. Godzilla); showcasing the scale/size of it, so it was critical for me that the logo and text appear tiny in comparison. #11 was another attempt at making a Plans to the Death Star cover. #12 is based on the fantastic IMAX poster. #13 was meant as an alternate to the official cover. #14 is part of my Olly Moss series. #15 was a request as an alternate for my Nicolas Alejandro Barbera series. #16 is of course part of the Signature Collection seen above. And the final version is part of my Steelbook series. Star Wars covers collection.

Patrick Doyle frequently does this.

What can I say? We have similar tastes!

Williams top 5 1. Superman 2. Jaws 3. CE3K 4. Star Wars 5. E.T. non Williams - this one is hard. 1. Ben-Hur (Rozsa) 2. North By Northwest (Herrmann) 3. Gojira (1954) (Ifukube) 4. Spartacus (North) 5. Star Trek TMP (Goldsmith)

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I can't wait to hear what JW does with Rey's Theme in TROS. I loved the brassy, powerful renditions of the theme in TLJ. I'm thinking specifically of Rey's Journey, Lesson Three, and The Last Jedi. Really interesting variations. I hope JW continues to play with the theme in new ways.

Raiders and TOD are both wrong in the Concord box, but not every track, and not at a consistently wrong speed; They basically didn't use the tape machine properly, so the tape went through it at an inconsistent speed, causing the pitch to be off by a different amount in a fluctuating way as the tracks go on. I think for most people, it is not going to be that noticeable, but for people with perfect pitch, it must be incredibly annoying. Any new edition of Raiders and TOD should absolutely start with a brand new, properly done 192/48 transfer of those tapes. Crusade does not have any pitch issues, and it seems a digital master was used for the OST and Concord. A fresh transfer of a tape master (which hopefully exists) would yield more fidelity than 1989-era digital.

Complete tape rescan at correct speed, remix from scratch, pristine sound quality, completeness, correct order, well handled alternates, sweeteners and overlays, Königgrätzer with timpani overdub, no asinine OST edits reproduced, no pointless short audio interview taking up space, a box that fits its bloody contents. Jim Titus, ideally.

The head, the tail, the whole damn thing.

Remembrances and Markings only available with pops, skips and crackles I what to know what happened to Han Solo and the Princess

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Thought this would be fun; If you want to listen to the score by country! MEXICO 1 cue not on the OST NEW YORK CITY 3 or 4 cues not on the OST VENICE 2. It’s Perfect (0:30) 3. World’s Worst Water Feature (7:30) 4. Multiple Realities (3:32) AUSTRIA 5. Brad to the Drone (3:32) PRAGUE 6. Change of Plans (2:28) 7. Night Monkey Knows How to Do It (0:19) 8. Mr. One Hundred and One (3:20) 9. Prague Rocked (3:43) 10. Who’s Behind Those Foster Grants (2:57) 11. Power to the People (3:33) 12. Personal Hijinks (3:53) 13. Praguenosis: BAD (1:08) BERLIN 14. A Lot of ‘Splaining to Do (2:14) 15. The Magical Mysterio Tour (3:21) 16A [first 2 minutes] Taking the Gullible Express THE NETHERLANDS 16B [final 3 minutes] Spidey Sensitive LONDON 17. Gloom and Doom (4:16) 18. High and Flighty (2:20) 19. An Internal Battle (1:50) 20. Happy Landings (2:58) 21. Tower of Cower (5:12) 22. Bridging the Trap (1:58) 23. Bridge and Love’s Burning (2:50) NEW YORK CITY 24. Swinging Set (1:47) 25. And Now This… (0:58) END CREDITS 1. Far From Home Suite Home (8:27)

At multiple concerts, before playing Scherzo for X-Wings, he lamented the fact you could barely hear the music in the film because the "sound effects were a little bit loud." He knew exactly what he was doing pointing that out so publicly.

Oh, no, haha, I actually joined the forums in October 2015 and joined in the TFA excitement. The lead up to TFA and then the release was really what made me a Williams super fan (but even for a year or two before that I'd been listening to various famous Williams themes on YouTube and considered myself a big fan, which all started in the first place with hearing the Olympic Fanfare and Theme on TV and loving it back in summer 2012). ----------------- Anyway, wow!!!!!! I told you there'd be an FYC, @Jay! This is the awesomest day ... it's the start of the weekend, I'm about to dig into the RO OST and FYC (!) and now we learn the BFG will have one too!!