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  1. Ricard

    JWFan turns 25!

    JWFan was born 25 years ago today! Hard to imagine back then that the site would still be up and running two and a half decades later, let alone that the Maestro would still be active after having composed nearly thirty more film scores and a similar number of concert works, as well as conducting over 200 concerts including Vienna, Berlin, Milan and Japan! Dozens of his film scores have received perfect releases during all this time, providing fans with the confidence that many more will come in the future, while maintaining and further enhancing the collective appreciation and admiration for the music we all love and which will remain with us for the rest of our lives. The analysis and discussion of his work has reached such level of comprehensiveness and detail, that our forums have become an essential reference for fans and scholars, while fomenting the creation of fascinating projects that expand and deepen the study of the Maestro’s oeuvre and contribute to increasing its appreciation by future generations who, without doubt, will continue to ensure that his name is in the place it deserves in the history of music and cinema. Thank you, Mr. Williams, and thanks to all those who have contributed during this time to make the site such a wonderful place. Here’s to 25 more! PS. The following quoted post, written for this thread 10 years ago, provides a short summary of the origins of the site:
    59 points
  2. I'm not going to lie—I was excitedly curious how quickly this news would hit JWFan! For those who don't know me, I've been writing about film music and interviewing composers (and directors and actors) professionally for the past decade. Besides the many liner notes, I also write articles and create radio stories for mainstream news outlets like the L.A. Times and NPR. I teach a film music history course at USC. And I've been a card-carrying member of this site since 2003. I won't divulge too much just yet, because it's still a little early, but I was excited to finally make it public that this book is happening. I've been working on it for three years now, and I've interviewed approximately 150 people. The big kahuna, of course, is John Williams. I plan to share the story of how that happened one day, but not yet. Thanks for your excitement! I can promise you that there are many things (stories, facts, quotes) in this book you have never heard... Tim
    55 points
  3. Apparently Tim Greiving has just announced the first English biography on John Williams, to be released in 2025: https://timgreiving.com/john-williams-in-his-adventure-on-earth/
    50 points
  4. And finally...last but not least... BANGARANG!!! HOOK – THE ULTIMATE EDITION: EXPANDED & REMASTERED LIMITED EDITION (3-CD SET) LLLCD 1632 Music by John Williams Limited Edition of 5000 Units RETAIL PRICE: $39.98 STARTS SHIPPING DEC 1 Available to order now at www.lalalandrecords.com La-La Land Records, Sony Pictures, Amblin Entertainment and Sony Music present HOOK – THE ULTIMATE EDITION, a remastered and expanded 3-CD soundtrack presentation of legendary composer John Williams’ (STAR WARS, E.T., HARRY POTTER) original motion picture score to the 1991 adventure-fantasy HOOK, directed by Steven Spielberg. An undisputed masterwork within the treasured John Williams and Steven Spielberg collaboration that has spanned five glorious decades, HOOK is an astounding orchestral odyssey that exemplifies the Maestro’s musical genius—a sonic epic that soars with imaginative joy, wonder and adventure! This remastered ultimate presentation unleashes Williams’ iconic score as never before, expanded beyond any previous soundtrack release, with never-before-released score, alternate tracks, songs and source music. Produced, edited and mastered by Mike Matessino, in consultation with the composer, Disc One of this deluxe reissue contains the score presentation, which continues through Disc Two with additional music tracks. Disc 3 offers a sumptuous bounty of songs (highlighting the wonderful songwriting talents of Leslie Bricusse), alternate cues and source music! With stellar art direction by Jim Titus, this limited-edition release of 5000 units features a 48-Page booklet that includes exclusive in-depth liner notes by Matessino and associate producers John Takis and Jason LeBlanc. The track listing is featured on a 12-page second booklet within the package. TRACK LISTING: DISC 1 SCORE PRESENTATION 1. Hook Prologue (Extended Version) 1:33 2. We Don’t Wanna Grow Up (Extended Version) * 2:57 3. Banning Back Home (Film Version) 3:21 4. Wendy’s Entrance 2:12 5. The Bedroom 1:08 6. The Nursery Scene 1:40 7. Saying Goodnight :57 8. Hook Returns To Kensington 2:00 9. Hook Is Back 2:09 10. Forgotten How To Fly :56 11. The Stories Are True 2:24 12. The Arrival Of Tink 3:33 13. The Flight To Neverland 2:40 14. Pirate Town And Presenting The Hook 5:09 15. Hook’s Entrance 2:42 16. Draw Your Sword! 2:14 17. Peter’s Challenge 5:42 18. From Mermaids To Lost Boys (Film Version) 4:26 19. Enter Rufio 1:19 20. The Lost Boy Chase 3:35 21. The Face Of Pan 2:42 22. Hook’s Epiphany 2:16 23. Smee’s Plan 1:46 24. Pick ’Em Up * 2:56 25. Hook’s Lesson 3:08 26. The Banquet 3:14 27. The Never-Feast (Film Version) 4:41 28. When You’re Alone * 3:17 29. Goodnight Neverland 1:45 Total Time Disc One: 78:54 DISC 2 SCORE PRESENTATION (Continued) 1. Stop That Clock! 4:05 2. Home Run And Follow That Shadow 5:24 3. Peter Remembers (The Flying Sequence) 8:23 4. You Are The Pan (Film Version) 1:26 5. Tink Grows Up 2:21 6. The Ultimate War (Film Version) 8:02 7. Death Of Rufio 4:23 8. The Sword Fight And The End Of Hook 7:07 9. Farewell Neverland 10:18 10. Hook End Credits And Exit Music 5:52 Total Score Time: 2:16:23 ADDITIONAL MUSIC 11. Hook Prologue 1:25 12. Banning Back Home (Extended Version) 4:24 13. From Mermaids To Lost Boys 4:26 14. The Face Of Pan (Choral Version) 2:43 15. The Ultimate War 7:54 Total Additional Music: 21:00 Total Time Disc Two: 78:32 DISC 3 SONGS, ALTERNATES AND SOURCE MUSIC 1. We Don’t Wanna Grow Up * 1:52 2. God Rest Ye Merry, Gentlemen 1:10 3. Childhood * 3:54 4. When You’re Alone – Moira’s Lullaby * :46 5. The Stories Are True (Alternate) 2:24 6. The Arrival Of Tink (Alternate) 3:35 7. The Flight To Neverland (Alternate) 2:33 8. Low Below – Pirate Sequence * 4:58 9. Hook’s Entrance (Alternate) 2:42 10. The Lost Boy Chase (Alternate) 3:34 11. The Never Song * 2:04 12. The Never-Band 1:20 13. The Never-Feast 4:42 14. When You’re Alone (Instrumental) 3:19 15. Mothers * 2:26 16. Stick With Me * 2:00 17. Take Me Out To The Ball Game 2:18 18. Remembering Childhood 11:06 19. Believe * 3:01 20. Farewell Neverland (Short Version / Alternate) 6:54 21. Hook Exit Music (Alternate) 1:48 BONUS TRACKS 22. Pirate Sequence (Instrumental) 3:59 23. Smee’s Concertina Medley 4:50 24. Presenting The Hook (Vocal Version Segment) * 1:38 Total Time Disc Three: 79:17 Three-Disc Total Time: 3:56:43 * Lyrics by Leslie Bricusse This is a CD format release https://www.facebook.com/lalalandrecords/posts/pfbid0v345Qm15U7zFVDxCpCQ1Xv3cJRByUzeWBTASjKsLmzW59uKwsNhhYCCuoN8ujV53l https://lalalandrecords.com/hook-the-ultimate-edition-expanded-remastered-limited-edition-3-cd-set/
    49 points
  5. I wonder what a potential tracklist would be. 1. Main Title: New York, 1932 (4:06) 2. Dead Composers Anecdote (3:54) 3. John Meets Steven (2:34) 4. George's Theme (11:38) 5. Dead Composers Anecdote (Reprise) (3:54) 6. Arrival in Boston (4:35) 7. The Microediting Montage (15:48) 8. Dead Composers Anecdote (Reprise) (3:54) 9. Scherzo for Turtleneck and Orchestra (2:49) 10. The Lasik Scene (5:23) 11. Journey To Tanglewood (3:45) 12. Dead Composers Anecdote (Reprise) (3:54) 13. Welcome To Vienna (1:42) 14. Turning 90 and The Adventure Continues (7:03) 15. Dead Composers Anecdote (For Violin And Orchestra) (feat. Anne-Sophie Mutter) (4:21)
    45 points
  6. 1968 - Heidi My Google Doc 1969 - The Reivers JWFan thread discussing the complete cue list 1969 - Goodbye, Mr. Chips Mike Matessino text interview by Neil Bulk on the FSM Edition, March 2006 (1) Mike Matessino text interview by Neil Bulk on the FSM Edition, March 2006 (2) 1972 - The Cowboys Score Restore videos by Holko 1972 - The Poseidon Adventure Mike Matessino audio interview by Maurizio Cashetto and Tim Burden on the La-La Land edition, December 2019 1974 - The Sugarland Express My Google Doc 1974 - Earthquake Mike Matessino audio interview by Maurizio Cashetto and Tim Burden on the La-La Land edition, December 2019 1974 - The Towering Inferno My Google Doc Mike Matessino audio interview by Maurizio Cashetto and Tim Burden on the La-La Land edition, December 2019 1975 - Jaws My Google Doc Tim Burden and John Takis discuss Jaws (July, 2012) Mike Matessino text interview by me on the 40th Anniversary Intrada Edition, November 2015 JWFan thread discussing the complete cue list Music synced to picture by Disco Stu 1977 - Star Wars My Google Doc Unused music restored to picture by Faleel 1977 - Close Encounters of the Third Kind My Google Doc Mike Matessino text interview by me, November 2017 (includes brief Close Encounters discussion) Mike Matessino audio interview by Tim Burden for Cinematic Sound Radio on the 40th Anniversary La-La Land Edition, February 2018 Music synced to picture by Disco Stu 1978 - The Fury Tim Burden and John Takis discuss The Fury (March 2013) 1978 - Jaws 2 My Google Doc Mike Matessino text interview by me on the Intrada Expanded Edition, November 2015 1978 - Superman: The Movie My Google Doc Mike Matessino text interview by Neil Bulk on the FSM Blue Box, March 2008 Mike Matessino audio interview by Soundcheck, June 2013 Mike Matessino audio interview by Tim Burden for Cinematic Sound Radio, February 2018 (Includes brief Superman discussion) Mike Matessino audio interview by Maurizio Caschetto and Tim Burden on the 40th Anniversary La-La Land edition, February 2019 (part 1) Mike Matessino audio interview by Maurizio Caschetto and Tim Burden on the 40th Anniversary La-La Land edition, February 2019 (part 2) Mike Matessino text interview by Todd Gilchrist for Nerdist, June 2019 Score Restore videos by Faleel 1979 - Dracula My Google Doc Mike Matessino audio interview by Tim Burden on the Varese Deluxe Edition, November 2018 Score restore videos by Holko 1979 - 1941 My Google Doc Mike Matessino text interview by me on the 2011 La-La Land Expanded Edition, September 2011 1980 - The Empire Strikes Back JWFan thread discussing the complete cue list Unused music restored to picture by Faleel 1981 - Raiders of the Lost Ark A VERY OLD Google Doc Unused music restored to picture by Faleel 1982 - E.T. The Extra-Terrestrial My Google Doc Mike Matessino text interview by me on the 35th Anniversary Edition by La-la Land Records, November 2017 Mike Matessino audio interview by Tim Burden for Cinematic Sound Radio on the 35th Anniversary Edition by La-la Land Records, February 2018 Music synced to picture by Disco Stu 1983 - Return of the Jedi My Google Doc Unused music restored to picture by Faleel 1984 - Indiana Jones and the Temple of Doom A VERY OLD Google Doc Unused music restored to picture by Faleel 1984 - The River My Google Doc Audio Interview by Maurizio Caschetto and Tim Burden, May 2020 Score restore videos by Disco Stu 1986 - SpaceCamp My Google Doc 1987 - Empire of the Sun My Google Doc Mike Matessino JWFan article on the 2014 La-La Land Records Expanded Edition (1) Mike Matessino JWFan article on the 2014 La-La Land Records Expanded Edition (2) Mike Matessino audio interview by Tim Burden, June 2014 Score restore videos by Holko 1989 - Indiana Jones and the Last Crusade My Google Doc 1989 - Always My Google Doc 1989 - Born on the Fourth of July My Google Doc 1990 - Stanley & Iris My Google Doc Mike Matessino text interview by me on the 2017 Varese Deluxe Edition, November 2017 1990 - Home Alone Mike Matessino text interview by me on the 2015 25th Anniversary Edition by La-La Land Records, November 2015 Score Restore videos by Holko 1991 - Hook Didier C. Deutsch text interview by me on the 2012 La-La Land Records Expanded Edition, March 2012 Didier C. Deutsch text interview by Olivier Soude on the 2012 La-La Land Records Expanded Edition, March 2012 Tim Burden interviews MV Gerhard and Matt Verboys on the LLL edition (March 2012) JWFan thread discussing the complete cue list 1991 - JFK My Google Doc 1992 - Far and Away My Google Doc Audio Interview by Maurizio Caschetto and Tim Burden, May 2020 1992 - Home Alone 2: Lost In New York My Google Doc Mike Matessino text interview by 'Kevin McCallister' on the Varese Deluxe Edition, February 2003 Score Restore videos by Holko 1993 - Jurassic Park My Google Doc Mike Matessino audio interview by The Jurassic Park Podcast on the 2016 La-La Land Records Expanded Edition, December 2016 Mike Matessino text interview by me on the 2016 La-La Land Records Expanded Edition, November 2017 Music synced to picture by Mr. Breathmask JWFan thread discussing the complete cue list 1993 - Schindler's List My Google Doc 1995 - Sabrina My Google Doc 1997 - Rosewood My Google Doc 1997 - The Lost World: Jurassic Park My Google Doc Mike Matessino text interview by me on the 2016 La-La Land Expanded Edition, November 2017 Music restored to picture by Mr. Breathmask JWFan thread discussing the complete cue list Mike Matessino and me on the Legacy of John Williams for the 2023 reissue 1997 - Amistad My Google Doc Mike Matessino and me on the Legacy of John Williams for the 2022 expansion 2001 - A.I. Artificial Intelligence My Google Doc Mike Matessino text interview by me on the 2015 La-La Land Records Expanded Edition, June 2015 Score Restore videos by Holko 2001 - Harry Potter and the Sorcerer's Stone My Google Doc Mike Matessino audio interview by Tim Burden on on the La-La Land edition, November 2018 Score restore videos by Holko 2002 - Attack of the Clones My Google Doc 2002 - Minority Report My Google Doc Score restore videos by Chewy 2002 - Harry Potter and the Chamber of Secrets My Google Doc Mike Matessino audio interview by Tim Burden on on the La-La Land edition, December 2018 Score restore videos by Holko 2004 - Harry Potter and the Prisoner Of Azkaban My Google Doc Mike Matessino audio interview by Tim Burden on on the La-La Land edition, December 2018 Score restore videos by ragoz350 2004 - The Terminal My Google Doc 2005 - War of the Worlds My Google Doc 2005 - Memoirs of a Geisha My Google Doc 2008 - Indiana Jones and the Kingdom of the Crystal Skull My Google Doc 2011 - War Horse My Google Doc 2012 - Lincoln My Google Doc 2013 - The Book Thief My Google Doc 2015 - Star Wars: The Force Awakens My Google Doc 2017 - The Post My Google Doc Score restore videos by Disco Stu 2019 - Star Wars: The Rise of Skywalker My Google Doc 2022 - The Fabelmans My Google Doc 2023 - Indiana Jones and the Dial of Destiny My Google Doc Miscellanea Future Proofing The Music of John Williams - Tim Burden interviews Mike Matessino (June 2018) Producing Soundtrack Albums: an Interview with Mike Matessino (part I) - David Collins interviews Mike Matessino (November 2018) Producing Soundtrack Albums: an Interview with Mike Matessino (part II) - David Collins interviews Mike Matessino (December 2018)
    41 points
  7. https://variety.com/2024/film/news/john-williams-oscars-star-wars-steven-spielberg-collaborations-1235929403/
    39 points
  8. SCORE ONLY VERSION!!! https://thedigitalbits.com/columns/my-two-cents/101023-0700
    39 points
  9. Interview_4-1-23.mp3
    37 points
  10. What a beautiful reason for Falstaft to dust off that musical catalogue once more! There is something I find genuinely so endearing about Williams, this very soft-spoken, private, and reserved man who deals in the traditional ways of pen and paper, being so protective over this massively loud space opera franchise of all things. Prior to the Disney ownership, I really wasn't sure how much Williams cared about his association to Star Wars, but the last few years have really helped to drill home that he really seems to hold such an association close to his heart. And now we can add new John Williams Star Wars music to the list. 2022 sure is feeling a lot like 2002. "Hmm, a theme for Obi-Wan, huh? Okay, um, let's see here... George had me shelve that theme for him back in '98. Damn, it's got to be here somewhere. Think, Johnny, think!"
    36 points
  11. Happy Birthday Maestro @88..... [just saw this on my facebook Sony Classical page] https://www.facebook.com/1497289083843603/posts/2489944331244735/
    36 points
  12. It's real. It exists. Pictures courtesy Mike Matessino, who shares them with this message Once again it didn't feel real until I actually saw and held it as a three dimensional object. So much work went into this with so many people involved. It's taken years but here it is! I can't emphasize strongly enough that listeners should enjoy the crafted album experience of Disc 3 as we've presented it. I'm so thrilled this can finally be shared.
    35 points
  13. https://www.facebook.com/lucasfilm/photos/a.465029866888384/4105758406148827
    35 points
  14. For over 30 years of the 88 that you have been around, I have have been enthralled by your music. I have listened to it for countless hours. I have formed many friendships because of it, and it has impacted my life in ways that are simply undeniable. Thank you John Williams Thank you JWFAN.
    35 points
  15. To the one, the only, the iconic John Williams, 90 years young! Happy 90th Birthday, Maestro!!! Wait, that's not right... Let's try that again... Nope, still wrong. Getting warmer... Keep circling... Try again... One more try... Ahh, that's better! Here's to another 90 years of incredible music! Now get back to scoring Indy 5, Mangold just changed the edit again.
    34 points
  16. Of the Star Wars sequels, The Last Jedi proved the most faithful to John Williams' intended score, with one major exception: the opening Escape sequence. After Williams recorded the score's first 8 cues, Rian Johnson restructured the entire sequence, forcing deep music edits to match the revised opening. Sadly Williams followed suit on his OST, presenting a heavily truncated suite of these cues in Main Title and Escape. Now, with the aid of sheet music and mockups, I've reconstructed the film's opening sequence, reintegrating deleted footage where available, and restored Williams' complete score to its intended glory. In my opinion, the best continuous stretch of film scoring in the trilogy. Enjoy! Williams' ability to ratchet up musical tension is simply unrivaled, paired with a climactic release to make the hair on your neck stand up. A shame neither the film nor soundtrack presented Williams' complete intended score; this had every potential of being the greatest opening track of any Star Wars soundtrack, period. Alas, the wait continues for expanded releases that showcase the Maestro's complete musical vision. Special shout out to @BrotherSound and another anonymous user for their help!
    33 points
  17. This forum has a "report post" feature and this is now the most reported post we've ever had in the entire history of this forum. This post is a reply to one short sentence: "Seems like 2015 is when the BF slate started having really high profile releases" I am shock and dismayed that a label representative, let alone a label owner, would choose to sign in to our forum to post a reply like this to what is a very innocuous post. The post never read to me as "Boy, LLL sure sucked in the past, 2015 was the year they FINALLY got good!", it read as "Boy, 2015 is when they kicked things up a notch!" There are many "score collectors" who don't happen to like Star Trek music, or don't happen to like Lethal Weapon music, or don't happen to like Home Alone music. Why would you want to bully and shame them when all they did was express positivity towards different titles? This forum is full of film score fans who are constantly praising and purchasing from all the specialty labels, and LLL gets more attention than any label for a number of factors, such as the sheer amount of John Williams releases you've put out, and the fact that we skew younger than a forum like FSM so there is more discussion of 80-00s scores and you've also released more of those than the other labels. Day after day our forum members are constantly say positive things about LLL and we as a collective are always looking forward to seeing what's next, and I have spent lots of my free time doing what I can to promote LLL releases in the forums as well as via main page articles, which gets shared all over social media, providing more exposure to the great work you do. I can't believe you'd decide to come here and pick apart a post that you perceived as a negative one, when there is an ocean of positivity on this site about LLL across too many different threads to ever count. I also can't believe that you'd go beyond disagreeing with the opinion shared, but also elect to call his statement "stupid" and a "dumb ass comment". I think you should apologize to Richard, who has provided two followup posts that detail what it was he was actually trying to say: And I hope in the future you don't plan to attack your paying costumers on our forums, even if they do express a dislike of something you've released. Every single score collector on planet earth has different opinions of which scores they like and which they don't. You should know that as a whole, we appreciate and admire everything you do, and can't wait to see what's next.
    33 points
  18. https://www.thetimes.co.uk/article/interview-john-williams-at-89-the-man-behind-the-best-and-most-hummable-film-scores-6z32zqz3h Interview: John Williams at 89, the man behind the best (and most hummable) film scores The composer tells Richard Morrison about his decades-long career — including the time he helped out a struggling LSO with ‘some sci‑fi film’ He left it late, but in January this year John Williams added another achievement to a body of work that includes more than 100 film scores, dozens of symphonic works and 52 Academy award nominations. Just a few weeks shy of his 88th birthday he made his conducting debut with the Vienna Philharmonic in the ornately gilded Golden Hall of the Musikverein. The concert, filmed and recorded by Deutsche Grammophon and released next week, was remarkable for several reasons. According to Williams, this venerable orchestra had never played a note of his music before. It certainly made up for lost time, delivering extracts from more than a dozen of Williams’s greatest scores, including Star Wars, Close Encounters of the Third Kind, the Harry Potter films, Jurassic Park, ET, Jaws and Schindler’s List. And the Viennese musicians weren’t the only ones venturing into unfamiliar territory. “Although I’ve done a lot of concert work in America, I had never conducted publicly in Europe before,” Williams admits, speaking down the phone from his Los Angeles home. “And I never really intended to. It always seemed a long way from California. When this invitation came, however, I thought, ‘Well, if I’m ever to conduct a concert in Europe in this lifetime, I’d better get on with it.’ And there’s no greater honour than being invited to conduct in the Musikverein.” Was Williams aware of the history of the hall as he walked out on to that famous platform? After all, in his remarks from the conductor’s podium he referred to his soundtracks for the Star Wars films — all nine of them — as “a nice round number”, a remark clearly picked up by the Viennese audience as an allusion to the number of symphonies written by Beethoven, Schubert, Mahler and Bruckner. “Absolutely,” he replies. “For any composer, to visit Vienna is a spiritual journey. It’s as much of a Mecca as we musicians have. Especially if, like me, you revere Haydn, Mozart, Beethoven, Schubert, Brahms, Mahler. Just the chance to breathe the same air as Haydn — one of the purest, most instinctive talents in the history of music — was more than I could resist.” Which of those composers would Williams most liked to have met? “Oh, Beethoven of course,” Williams says. “I still read through his scores for the pleasure of what I hear in my head, and for the beauty I find in their craftsmanship. And I think he might have been interested in film if he’d lived 200 years later, though he probably would have been horrified by having his music drowned out by the noise of spaceships flying past.” And how did the Vienna Philharmonic take to Williams’s epic film scores? “They rose to the challenge brilliantly,” the composer says. “To be honest, I was a bit concerned before I got there. I know they have this fabulous romantic sound, and they can seem to turn on 19th-century style more genuinely than any other orchestra — but I had worries about the rotary valve trumpets [a more old-fashioned form of trumpet, still favoured in German and Austrian orchestras]. I was concerned about so much upper-register work being played by trumpets without the sort of pistons we use in Britain and America. I need not have worried, though: the trumpets were fabulous. Their pitching and power blew me away.” Hearing music from so many films and decades collected together on one recording makes one appreciate the protean nature of Williams’s genius. There is no single “Williams style”. Yes, the swaggering imperial marches of Star Wars and Raiders of the Lost Ark might be regarded as a hallmark, but so might the spooky, bitonal shifts of the Harry Potter score, or the relentless Prokofiev-like ostinatos of Jaws, or the uneasy Vaughan Williams-like pastoralism of War Horse, or the Yiddish melancholy of Schindler’s List. Does Williams recognise this aspect of his craft, the ability to use the past 200 years of orchestral composition in the way that a painter might use a palette, selecting the colours and textures appropriate to the mood of each movie? “Yes, that’s the essence of being a film composer,” he says. “We are asked to conjure all sorts of moods. I remember in my early days being asked to write burlesque and vaudeville-type music for comedies simultaneously with supplying big romantic scores for dramas. If you are going to write music for cinema, or at least for more than one or two films, you have to accept all varieties of challenge. It goes with the territory.” And although few people think of Williams as an avant-garde composer, there are many moments in his films when he displays a remarkable grasp of what were, at the time, very avant-garde techniques. The nebulous string clusters that open Close Encounters, for instance, could have come straight out of a score by Ligeti or Penderecki. “Yes, it’s true,” Williams acknowledges. “In film there’s often the need for a composer to change gear even in the space of a few minutes. So in Close Encounters, yes, you get those Penderecki-like clusters, but they are then combined with a romantic tune, all in the course of a six-minute sequence.” Does his inspiration ever dry up? Down the phone there is a sardonic chuckle. “There can be no such thing as writer’s block in film composition,” he says. “You are closer to being a journalist than a novelist. You have a certain number of days to write a certain number of minutes of music, and you have to get on with it. It’s a job of carpentry, of manufacturing musical things.” So he never hits a blank? “Oh sometimes, but if there’s a section of a scene I can’t think how to treat I will just move on to another bit, then come back to it. It usually solves itself.” How much do film directors help or hinder the process? Another knowing chuckle down the line. “Directors will always talk about what they think they want musically,” Williams replies. “And I always listen to them. But usually when I get to the piano and start to work, those ideas are pretty much gone. It’s always better for me to respond to the visual material — the film that’s actually being shot — than to verbal instructions. “And of course there’s huge variety in that species of humanity called film directors. Some are very musical. Others are suspicious of using music at all.” Where does Steven Spielberg, the director with whom Williams has collaborated for 46 years, sit in that spectrum? “Oh, with Steven there can’t be enough music,” Williams exclaims. “He always wants more and more. It’s rather touching in its way. He will come to a recording session that ends at a certain hour, the musicians will be packing up, and Steven will say, ‘Where are they going? Why are you stopping? Haven’t you got anything else you can play?’ He just loves the process so much.” Williams admits to being a “child of Hollywood” — his father, a jazz drummer, moved the family there in 1948, and Williams began his career playing piano in Hollywood orchestras throughout the 1950s. Yet some of his most famous scores for Spielberg were recorded not in Hollywood, but in Britain, with the London Symphony Orchestra at Denham or Shepperton studios. “I was introduced to the LSO by my dear friend André Previn, when he was the orchestra’s principal conductor, and of course the LSO players were whizz kids at sight-reading, so we made many recordings together,” Williams recalls. In fact, the story is more dramatic than that. In 1976 the LSO — in desperate financial difficulties — asked Previn if he could write another film score so the orchestra could make some money by recording it. Previn said he was too busy, but offered to phone a friend who was writing a score for “some sci-fi film”. The friend was Williams, who said he would hire the LSO as long as the orchestra could squeeze in 18 sessions in the next month. The orchestra agreed, as long as some sessions could begin at 11pm, after its regular concerts were over. And thus was the soundtrack to Star Wars recorded. Even more extraordinary, the LSO had just recruited a new principal trumpet — the soon-to-be-legendary Maurice Murphy. So on his first day in his new job Murphy’s first task was to blast the opening notes of one of the 20th century’s greatest movie melodies. “Yes, Maurice came out to Denham and we started with the fanfare from Star Wars,” Williams recalls. “And of course he shocked the world by hitting that top C with that extrovert, heroic, raw timbre he had — the perfect sound for the kind of action film that Star Wars was. I loved him from that moment! We always said that we would have a round of golf together, but of course we never found the time, and then he died way too soon.” With most work in Hollywood suspended during the pandemic, Williams might be forgiven for taking a well-earned break from composition. Not a bit of it. He’s spending his time finishing a violin concerto for Anne-Sophie Mutter, who also features in the Vienna concert playing virtuoso arrangements of his soundtracks (“Harry Potter meets Paganini,” Williams quips). Astonishingly, it will be the 19th concerto or quasi-concerto he has written for the concert hall. “I think of my work outside film as being part of my own musical self-education,” he says. “And believe me, the road to being harp-savvy enough to write a harp concerto is a long one. But it’s also nice to write something that doesn’t require the approval of a studio boss. And, you know, even if I wasn’t being paid I would always want to write music. The greatest thrill of my life has been hearing my music played, almost immediately, by wonderful orchestras. It’s something I wish every composer could experience.” He’s not so far away from his tenth decade. Does he ever contemplate hanging up his quill? “Never,” he says. “I will press on. Music isn’t a profession. It’s my oxygen. Take that away and I’d really be in trouble.”
    33 points
  19. John Williams turns 87 today! Happy birthday, Maestro! 🎂🥂🎉🎊🎈🎁
    33 points
  20. In a couple of months, I'll be celebrating my '30th anniversary' of being a John Williams fan and collector. Growing up with films like Star Wars, Indiana Jones and E.T., I've been intrigued by Williams' music since childhood, but it was during the Spring of 1993 that I became a true and devoted fan. My life was very different 30 years ago. I was still living with my parents, attended the final year of high school, had hair on my head and I had no idea how my life was going to turn out. I look back on 30 years filled with significant events, ranging from wonderful to not so great. I became a teacher and headmaster, got married to a beautiful wife, bought a house, lost my stepfather and grandparents, traveled the world, became father to an autistic son and successfully overcame an episode of depression. The music of John Williams has been an integral part of my personal journey and has always had a positive effect on me. Today I had some photos taken of my entire collection, something I've been wanting to do for years. I hope you will enjoy them and here's to the next 30 years!
    32 points
  21. Holko

    JW's Liner Notes

    Thought it might be a good idea to start a collection - he writes precious little but it's always great! I'll be updating this master list with posts later posted here. Booklet scans in first spoilers, transcripts for accessibility in second spoilers. Signature Edition notes graciously donated by @mrbellamy! 1969 - Flute Concerto 1983 LSO/Slatkin recording 1970 - Jane Eyre Hal Leonard Signature Edition - Suite 1972 - Images Written for the LP OST that went unreleased, circled around as an Academy FYC promo, then as a boot, then as a not-quote-properly-legal release, then finally released officially and authorised in 2021 by Quartet Records, text reproduced in the booklet. 1975 - Jaws Hal Leonard Signature Edition - Suite (1974-)1976 - Violin Concerto I. 1983 LSO/Slatkin recording 1976 - Midway Hal Leonard Signature Edition - "Midway March" 1977 - STAR WARS Written for and appearing on the double LP OST. http://www.jw-collection.de/scores/swlp.htm 1977 - Close Encounters of the Third Kind Hal Leonard Signature Edition - Excerpts from Close Encounters of the Third Kind 1977; 1980 - Star Wars and The Empire Strikes Back Hal Leonard Signature Edition - Suite 1977; 1980; 1983 - Music from the Star Wars Saga Hal Leonard Signature Edition - Suite 1978 - Superman: The Movie Hal Leonard Signature Edition - "Superman March" 1979 - 1941 Hal Leonard Signature Edition - "The March from 1941" 1980 - The Empire Strikes Back (Charles Gerhardt Rerecording) 1981 - Raiders of the Lost Ark Hal Leonard Signature Edition - "Raiders March" 1982 - E.T. the Extra-Terrestrial Hal Leonard Signature Edition - "Flying Theme" Hal Leonard Signature Edition - "Adventures on Earth" 1982 - Monsignor Written for and appearing on the LP OST packaging, reprinted in the 2019 Intrada Records reissue/expansion. 1983 - The Star Wars Trilogy (Varujan Koijan/Utah Symphony Orchestra Recording) 1984 - NBC News - "The Mission Theme" Hal Leonard Signature Edition 1986 - SpaceCamp Written for and appearing on the LP OST packaging, reproduced in the 2014 Intrada reissue. 1988 - "The Olympic Spirit" Hal Leonard Signature Edition 1989 - Indiana Jones and the Last Crusade Hal Leonard Signature Edition - "Scherzo for Motorcycle and Orchestra" 1990; 1992 - Home Alone and Home Alone 2: Lost in New York Hal Leonard Signature Edition - "Three Holiday Songs from Home Alone" 1991 - JFK Hal Leonard Signature Edition - Suite 1991 - Hook Hal Leonard Signature Edition - "The Flight to Neverland" 1992 - Far and Away Hal Leonard Signature Edition - Suite 1993 - Jurassic Park Hal Leonard Signature Edition - "Theme from Jurassic Park" 1993 - Schindler's List Hal Leonard Signature Edition - "Three Pieces from Schindler's List" 1993 - Sound the Bells! Hal Leonard Signature Edition 1996 - Concerto for Trumpet and Orchestra Hal Leonard Signature Edition - Solo Trumpet with Piano Reduction 1997 - The Lost World: Jurassic Park Hal Leonard Signature Edition - "Theme from The Lost World" 1997 - Amistad Hal Leonard Signature Edition - "Dry Your Tears, Afrika" 1997 - Five Sacred Trees Hal Leonard Signature Edition 1998 - Saving Private Ryan Hal Leonard Signature Edition - "Hymn to the Fallen" 1999 - Angela's Ashes Hal Leonard Signature Edition - "Two Concert Pieces from Angela's Ashes" 1999 - Star Wars Episode I: The Phantom Menace Written for and appearing on the CD OST. Looking for a better booklet scan if anyone's willing to work on it. 1999 - Star Wars: Episode I - The Phantom Menace Hal Leonard Signature Edition - Suite 1999 - Tributes!/For Seiji! Can be found on The John Williams Collection Webpage. 2000 - The Patriot Hal Leonard Signature Edition - "Theme" 2000 - TreeSong Source: http://www.jw-collection.de/classical/treesong.htm 2001 - Harry Potter and the Philosopher's Stone Hal Leonard Signature Edition - Suite for Orchestra 2001 - Harry Potter and the Philosopher's Stone - Children's Suite Written for and appearing in the Hal Leonard published sheet music, reproduced in the 2018 La-La Land Records Harry Potter 1-3 Expanded Box's common tracklist and liner notes booklet. 2002 - "Call of the Champions" Hal Leonard Signature Edition 2002 - Star Wars: Episode II - Attack of the Clones Hal Leonard Signature Edition - "Across the Stars" 2002 - Harry Potter and the Chamber of Secrets Hal Leonard Signature Edition 2002 - Catch Me If You Can Hal Leonard Signature Edition - "Escapades for Alto Saxophone and Orchestra" 2004 - Harry Potter and the Prisoner of Azkaban Hal Leonard Signature Edition - Suite for Orchestra 2004 - The Terminal Hal Leonard Signature Edition - "Viktor's Tale" 2005 - Star Wars: Episode III - Revenge of the Sith Hal Leonard Signature Edition - "Battle of the Heroes" 2005 - Memoirs of a Geisha Hal Leonard Signature Edition - "The Chairman's Waltz" 2008 - Indiana Jones and the Kingdom of the Crystal Skull Hal Leonard Signature Edition - "The Adventures of Indiana Jones" 2011 - War Horse Hal Leonard Signature Edition - "Dartmoor, 1912" 2012 - "Fanfare for Fenway" Hal Leonard Signature Edition 2015 - Star Wars: The Force Awakens Hal Leonard Signature Edition - Suite 2017 - Star Wars: The Last Jedi Hal Leonard Signature Edition - "The Rebellion is Reborn" 2018 - Solo: A Star Wars Story Hal Leonard Signature Edition - "The Adventures of Han" 2019 - Star Wars Episode IX - The Rise of Skywalker Written for and appearing on the CD OST. 2019 - Across the Stars Written for and included in the releases' booklets. 2020 - Live in Vienna Written for and appearing in the limited golden 2LP edition. 2021 - West Side Story (Leonard Bernstein, adapted by David Newman) Written for the OST booklet. 2021 - Violin Concerto No. 2 Written for the 2022 DG release.
    32 points
  22. Mangold just posted some very interesting tweets! Not only has he raised the idea of a "big fat album" with JW's team (in response to questions about a complete soundtrack), he also describes the score as "heroic, bombastic, sly, majestic, sinister, romantic & screwball!" And to allay fears of another inaudible TFA/TROS mess, he's reassured fans about the sound mix: Just imagine if Mangold's the guy who finally convinces JW to release a 2CD OST, or even encourages JW to release an expansion alongside his regular OST! Or at the very least, bonus tracks on the digital album...
    32 points
  23. The Legacy of John Williams is proud to announce an exclusive online video event coming MAY 4, 2021 dedicated to one of the most iconic and beloved collaborations in the history of music. 'The Special Relationship: John Williams and the London Symphony Orchestra' will explore the 40+ years collaboration between the legendary film music Maestro and one of the world’s leading symphonic institutions in a conversation featuring several former and current members of the LSO who performed under John Williams’ baton in many of his iconic scores recorded in London: CLIVE GILLINSON (former Cellist and subsequently LSO Managing Director), DAVID CRIPPS (former LSO Principal Horn), MAXINE KWOK (current LSO First Violinist), DAVID JACKSON (current LSO Percussionist). Joining this esteemed group of musicians is Planning Director SUE MALLET, a member of the LSO family since 1976, who worked closely with John Williams in his projects with the LSO since the early days. The panelists will talk about their fond memories recording and performing with John Williams on such legendary films as the original Star Wars trilogy, Superman, Raiders of the Lost Ark, the Star Wars prequel trilogy,Harry Potter and the Chamber of Secrets, but also on several other recording projects and live performances. The event is moderated and produced by The Legacy of John Williams’ editor/producer Maurizio Caschetto and film music journalist/concert producer Tim Burden. 'The Special Relationship' will premiere on MAY 4 (a.k.a. Star Wars Day) at 8PM BST / 3PM EST / 12PM PST at thelegacyofjohnwilliams.com and official YouTube channel. https://thelegacyofjohnwilliams.com/2021/04/23/lso-jw-video-event-announcement/ To get you in the right mood for this special event, Tim Burden produced a TERRIFIC musical tribute montage dedicated to this special relationship in music, featuring excerpts from the beloved film scores and compositions by John Williams recorded with the LSO from 1977 until today. Sit back, relax and listen to this magical musical journey with John Williams and the London Symphony!
    32 points
  24. Like this post if you want JW to do a cameo for SW Ep. IX. EDIT: By popular demand, here's the real petition. Spread the good word! EDIT: We've just passed 1200 signatures!
    32 points
  25. Star Wars: The Rise of Skywalker - For Your Consideration (FYC) Album 01 Prologue (1:45) 02 Falcon Flight (2:22) 03 We Go Together (2:10) 04 In the Desert (2:26) 05 A Prisoner (1:23) 06 To Kimiji (1:37) 07 Fleeing from Kimiji (1:53) 08 Hallway Shooting (2:11) 09 Hard to Get Rid Of (2:19) 10 Join Me (2:21) 11 The Old Death Star (2:14) 12 Off the Waterfront (1:03) 13 Final Saber Duel (1:38) 14 Healing Wounds (2:49) 15 Advice (1:54) 16 Battle of the Resistance (1:54) 17 Approaching the Throne (4:16) 18 Parents (1:57) 19 Coming Together (1:44) 20 Seeing Sights (3:17) 21 Rescue (1:10) 22 Farewell (4:27) 23 A New Home (1:42) TOTAL TIME - 50:32 F.A.Q.: FYC? What's that stand for? For Your Consideration. Basically, Disney setup a website where eligible voters for the various awards that are given out around the end of the year could learn where they could attend a screening of their films, see which awards the films were pushing for, and listen to selections of the score for Best Score nominations. For the films that had score selections, they are exactly what is heard in the film, and sometimes include music not on the commercial soundtrack albums! So the music here is different than the album? Yes! Some tracks are almost the same, but the structure of the FYC program is fundamentally different; It is a selection of music from the movie exactly as it appears in the final cut of the film, even if the music used in the film was edited from Williams' original intentions. This could mean that a track might contain an Insert Williams later wrote, where the OST presented his original version; or a track might contain less music than its OST counterpart of the scene was re-edited after the recording of the music, or even a track might contain some music artificially looped or stretched if a scene got lengthened after scoring. The FYC always reflects these non-intended conforms to final picture from start to finish. So does the FYC contain the complete score? Certainly not. The FYC is only 50 minutes long. Which tracks contain music that is not on the OST album? We won't know that until the OST album is available to hear. Where can I find this FYC? https://disneystudiosawards.com/star-wars-score.html https://disneystudiosawards.com/star-wars-rise-of-skywalker/score In case Disney later removes this page, it is archived permanently here: https://web.archive.org/web/20191210202934/https://disneystudiosawards.com/star-wars-score.html I don't see a download link there; How do I download the files from Disney's site? In case Disney ever takes the files down, they are archived permanently here: The files on Disney's site have really low bitrate of 192kbps; Is there any chance its available uncompressed somewhere? Disney should be mailing out pressed physical CDs with the FYC program to Academy music department voters sometime soon. Usually not long after that, they begin turning up on ebay, and not long after that, lossless rips appear online. NOTE: It is against the board's rules to ask for a lossless rip in the public forum. Use the PM System or go to other websites for that discussion! Posts asking for illegal downloads will be deleted! Alright, so what's on the FYC album that is not on the OST album? 01 Prologue (1:45) [0:00-0:07] (0:07) = alternate mix of OST 02 Journey to Exegol [0:47-0:50] [0:07-0:26] (0:19) = OST 02 Journey to Exegol [1:02-1:20] [0:26-0:28] (0:02) = OST 02 Journey to Exegol [1:24-1:25] [0:28-0:36] (0:08) = OST 02 Journey to Exegol [1:31-1:40] [0:36-0:56] (0:20) = OST 02 Journey to Exegol [2:13-2:33] [0:56-1:28] (0:32) = NOT ON OST (Tracked music, an alternate for Rey arriving at Exegol late in the film) [1:28-1:37] (0:09) = tracked music from OST 01 Fanfare and Prologue [1:44-1:52] [1:37-end] (0:07) = NOT ON OST (Tracked music from Hard To Get Rid Of 1:58-2:01) 02 Falcon Flight (2:22) [all] = NOT ON OST 03 We Go Together (2:10) [all] = OST 09 We Go Together [0:00-2:33], with minor edits, but a proper clean ending 04 In the Desert (2:26) [all] = NOT ON OST 05 A Prisoner (1:23) [all] = NOT ON OST 06 To Kimiji (1:37) [all] = NOT ON OST 07 Fleeing from Kimiji (1:53) [0:00-1:35] (1:35) = OST 08 Fleeing From Kijimi [0:00-1:33], with minor edits [1:35-end] (0:18) = NOT ON OST (Full clean ending of the cue) 08 Hallway Shooting (2:11) [all] = NOT ON OST 09 Hard to Get Rid Of (2:19) [all] = NOT ON OST 10 Join Me (2:21) [0:00-1:48] (1:48) = OST 10 Join Me [0:00-2:05], shortened in numerous places [1:48-2:03] (0:15) = tracked music from The Battle of the Resistance [2:03-end] (0:18) = OST 10 Join Me [3:17-end] 11 The Old Death Star (2:14) [0:00-1:14] (1:14) = OST 04 The Old Death Star [0:00-1:19], with minor edits [1:14-end] (1:00) = NOT ON OST, either tracked in from something or a replacement insert for what's on the OST from 1:19-2:21 12 Off the Waterfront (1:03) [all] = OST 04 The Old Death Star [2:21-end] 13 Final Saber Duel (1:38) [0:00-1:10] (1:10) = OST 12 The Final Saber Duel [0:00-1:05], with minor edits [1:10-end] (0:27) = NOT ON OST (The proper full ending to the cue) 14 Healing Wounds (2:49) [0:00-0:31] = NOT ON OST, definitely a replacement insert for what's on the OST from 1:05-1:42 [0:31-end] = OST 12 The Final Saber Duel [1:42-end] 15 Advice (1:54) [all] = NOT ON OST 16 Battle of the Resistance (1:54) [0:00-0:02] (0:02) = OST 13 Battle of the Resistance [0:04-0:08], shortened [0:02-end] (1:52) = OST 13 Battle of the Resistance [1:12-end], with minor edits 17 Approaching the Throne (4:16) [all] = OST 14 Approaching The Throne, with minor differences (including a pitch-shifted opening and a different ending [a different choral performance with less orchestra under it]) 18 Parents (1:57) [all] = NOT ON OST 19 Coming Together (1:44) [all] = NOT ON OST 20 Seeing Sights (3:17) [all] = OST 15 The Force Is With You [0:00-3:02], with minor difference (including a clean ending) 21 Rescue (1:10) [0:00-0:15] (0:15) = OST 15 The Force Is With You [3:02-3:16] [0:15-0:30] (0:15) = NOT ON OST (A nice section he chose to microedit out of the OST program) [0:30-end] (0:40) = OST 15 The Force Is With You [3:16-end] 22 Farewell (4:27) [all] = OST 16 Farewell [0:48-end], with minor edits 23 A New Home (1:42) [all] = OST 18 A New Home If I'm adding that up right, that's 21:10 of unreleased music! Great! Now what if I want to combine both albums together into a long expanded album? Here is a quick and dirty playlist to get the most total music possible, without using a WAV editor, just combining tracks from both into a playlist OST 01 Fanfare and Prologue 4:34 OST 02 Journey to Exegol 2:49 FYC 02 Falcon Flight 2:22 OST 09 We Go Together 3:17 OST 05 The Speeder Chase 3:21 FYC 04 In the Desert 2:26 FYC 05 A Prisoner 1:23 FYC 06 To Kimiji 1:37 OST 08 Fleeing from Kijimi 2:51 FYC 08 Hallway Shooting 2:11 FYC 09 Hard to Get Rid Of 2:19 OST 10 Join Me 3:42 OST 04 The Old Death Star 3:16 OST 12 The Final Saber Duel 3:57 FYC 15 Advice 1:54 OST 06 Destiny of a Jedi 5:12 OST 11 They Will Come 2:50 OST 13 Battle of the Resistance 2:51 OST 14 Approaching the Throne 4:16 FYC 18 Parents 1:57 FYC 19 Coming Together 1:44 OST 15 The Force Is with You 3:59 OST 16 Farewell 5:14 OST 17 Reunion 4:04 OST 18 A New Home 1:47 OST 19 Finale 10:51 SCORE TIME - 1:26:44 BONUS TRACKS OST 07 Anthem of Evil 3:23 OST 03 The Rise of Skywalker 4:18 BONUS TRACK TIME - 7:41 GRAND TOTAL TIME - 1:34:25 Here is a more detailed editing guide, which you have to use sound editing software to make. THE FILM SCORE OST 01 Fanfare and Prologue 4:34 OST 02 Journey to Exegol 2:49 FYC 02 Falcon Flight 2:22 OST 09A We Go Together [0:00-2:33], with the clean ending from FYC 03 We Go Together 2:10 OST 09B Arrival at Pasaana [2:33-end] OST 05 The Speeder Chase 3:21 FYC 04 In the Desert 2:26 FYC 05 A Prisoner 1:23 FYC 06 To Kimiji 1:37 OST 08A Fleeing from Kijimi [0:00-1:33], with the clean ending from FYC 07 Fleeing from Kimiji 1:53 FYC 08 Hallway Shooting 2:11 FYC 09 Hard to Get Rid Of 2:19 OST 08B I'm The Spy [1:33-end] 1:19 OST 10 Join Me 3:42 OST 4A The Old Death Star [0:00-1:19], seguing into the revised version of the rest of the cue heard in FYC 11 [1:14-end] FYC 12 Off The Waterfront 1:03 (If you are feeling up to it, you can attempt to segue from the FYC's clean opening into OST 4B [2:21-end] instead) OST 12A The Final Saber Duel [0:00-1:05], with the full complete ending from FYC 13 Final Saber Duel 1:38 FYC 14 Healing Wounds 2:49 [0:00-0:31] seguing into the rest of the cue from OST 12B [1:42-end] FYC 15 Advice 1:54 OST 06 Destiny of a Jedi 5:12 OST 11 They Will Come 2:50 FYC 01 [0:56-1:28] Rey Arrives at Exegol OST 13 Battle of the Resistance 2:51 OST 14 Approaching The Throne 4:16 (FYC 17 features a slightly different choral ending if you prefer that) FYC 18 Parents 1:57 FYC 19 Coming Together 1:44 OST 15A [0:00-3:02] Seeing Sights, with the full clean ending from FYC 20 Seeing Sights 3:17 FYC 21 Rescue 1:10 (If you are feeling up to it, you can attempt to segue from the FYC's clean opening into OST 15B [3:02-end] instead, but you also have to restore the 15 seconds microedited out of the OST version at 3:16) OST 16 Farewell 4:27 OST 17 Reunion 4:04 OST 18 A New Home 1:47 OST 19 Finale 10:51 Alternates: OST 04A [0:00-2:21] The Old Death Star (Alternate) (2:21) OST 12B [1:05-end] Healing Wounds (Alternate) (2:52) Concert Arrangements: OST 07 Anthem of Evil 3:23 OST 03 The Rise of Skywalker 4:18 And finally here is a Google Doc with all this information, if you prefer to look at it that way: https://docs.google.com/spreadsheets/d/1VWApmUMfiSF9gvXb3LW9QloZO-St-ITFMF-qYaNN0fw Additionally, here's a theme list I started before the OST came out, that may be a bit outdated now, but hopefully I can keep it updated at some point. 01 Prologue (1:45) 0:08 Kylo Ren's Theme 0:43 Wayfinder Theme 0:48 Kylo Ren's Theme 0:57 Anthem of Evil 1:17 Rey's Theme 02 Falcon Flight (2:22) 0:20 The Emperor's Theme 0:31 March of the Resistance 0:48 March of the Resistance 0:57 The Rebel Fanfare 1:13 We Go Together 1:30 March of the Resistance 1:47 Hyperspace from TESB moment 1:53 Heroics 2:05 The Rebel Fanfare 2:09 The Death Star is about to blow up from ANH moment 03 We Go Together (2:10) 0:14 We Go Together 1:07 Rey's Theme 1:21 The Force Theme 1:45 We Go Together 04 In the Desert (2:26) 0:24 March of the Resistance 05 A Prisoner (1:23) 1:01 We Go Together 06 To Kimiji (1:37) 0:17 We Go Together 0:31 We Go Together 0:40 The Knights of Ren Theme 1:12 Rey's Theme 07 Fleeing from Kimiji (1:53) 0:00 Heroics 0:23 Kylo Ren's Theme 0:34 Kylo Ren's Theme 1:17 We Go Together 08 Hallway Shooting (2:11) 1:22 March of the Resistance 09 Hard to Get Rid Of (2:19) 1:29 The Emperor's Theme 10 Join Me (2:21) 0:57 Anthem of Evil 1:16 Kylo Ren's Theme 1:28 Rey's Theme (dark again) 1:53 Luke's Theme 2:07 Rey's Theme 11 The Old Death Star (2:14) 0:58 The Imperial March 1:46 Poe's Theme 1:57 March of the Resistance 12 Off the Waterfront (1:03) 13 Final Saber Duel (1:38) 0:43 Kylo Ren's Theme 14 Healing Wounds (2:49) 0:40 The Force Theme 1:47 Leia's Theme 15 Advice (1:54) 1:18 sounds kinda like Rey's Theme? 16 Battle of the Resistance (1:54) 0:09 Luke's Theme 0:38 The Force Theme 1:19 The Force Theme 17 Approaching the Throne (4:16) 1:22 Rey's Theme (the dark variant again) 2:07 Wayfinder Theme 3:18 Victory Theme 3:33 March of the Resistance 18 Parents (1:57) 1:19 Kylo Ren's Theme 1:33 Kylo Ren's Theme 19 Coming Together (1:44) 0:00 The Emperor's Theme 0:11 Kylo Ren's Theme 0:22 Knights of Ren Theme 1:18 The Force Theme 20 Seeing Sights (3:17) 0:24 We Go Together 0:42 Rey's Theme (on piano!) 1:44 Rey's Theme 1:57 Kylo Ren's Theme 2:20 The Emperor's Theme (with bad-ass choir!) 2:49 The Force Theme 21 Rescue (1:10) 0:02 Victory Theme 0:39 The Rebel Fanfare 0:47 The Rebel Fanfare 22 Farewell (4:27) 0:13 Kylo Ren's Theme 0:48 sounds like a sad variation of Rey's Theme 1:27 sounds like a defeated version of Kylo Ren's Theme 1:44 Rey's Theme 2:35 sounds like... something? 3:32 Victory Theme 23 A New Home (1:42) 0:19 Rey's Theme Big thanks to @thx99 for first posting the link here. Head over there and give him a big LIKE, will ya?
    32 points
  26. Hi everyone, I just attended an open rehearsal of tomorrow's Boston Pops concert (with the maestro himself conducting!). It's going to feature the world premiere of "The Adventures of Han," as well as Pops premieres of "Rebellion is Reborn" and the new "Han Solo & the Princess" arrangement. I've got a lot to say about the new Solo piece, which I'm sure we'll all be poring over soon enough. But I thought I'd just share this much -- you're going to love it. It's complex, substantial, and memorable. There's some impossibly virtuosic trumpet writing in the middle that is especially impressive, very much in the vein of "Rey's Journey" from TLJ, only even more elaborate. In fact, the whole piece feels like a hybrid of straight-forward character themes (themes--yes, there's two) and action set-piece. I noticed some welcome shades of the ostinatos from "I Can Fly Anything" and the little recurring octatonic motif from "The Battle of Crait." If it's using this thematic material, I imagine Powell's score should be a real barn-burner!
    32 points
  27. https://variety.com/2023/music/news/john-williams-writes-new-theme-for-espn-college-football-1235480841/ Legendary composer John Williams has written an original theme for ESPN’s College Football Playoff National Championship, airing at 7:30 p.m. Eastern Monday night prior to the TCU-Georgia game at SoFi Stadium in Inglewood, Calif. Titled “Of Grit and Glory,” it runs three and a half minutes and will score a specially created series of visuals that convey “the feeling behind the night, fear and anticipation, triumph and failure,” ESPN co-director and producer Martin Khodabakhshian tells Variety. Williams’ new theme – previewed for Variety late Thursday – plays like a joyful overture, opening with fanfares and shifting seamlessly from martial urgency to anthemic splendor, all richly orchestrated and instantly memorable. Khodabakhshian and his co-director and editor Michael Sciallis of Victory Pictures had dreamed about getting the world’s most famous film composer to write music for their opening sequence. So three months ago, at the urging of lead game producer Bill Bonnell (who had worked with the composer on past Olympic events), they wrote what Khodabakhshian calls “a love letter” to Williams, outlining their thoughts and gently inquiring about the possibility of an original theme. “There’s no better person on the planet to write about emotions and the things that come with the biggest night on ESPN’s biggest stage, our Super Bowl, than John Williams,” Khodabakhshian says. Adds Sciallis: “We wrote about the emotions of bringing people together, not just the competition side of it, but how audiences are affected.” Two days later, word came back: “He’s started writing something.” The ESPN team jumped into action, conceiving a visual sequence that would feature “college football heroes and legends from all eras” but also add “the beauty of Hollywood and California,” where the game would take place, Khodabakhshian notes. Williams conducted a 96-piece orchestra on the Sony scoring stage on Dec. 21. And ESPN was there with seven cameras, shooting the entire three-hour recording session, parts of which will be intertwined throughout the opening segment – “so you feel the energy of those orchestra members, and of John, playing this music for the first time, so the audience gets to feel that as well,” Sciallis says. The “giddiness and excitement” associated with a new Williams anthem for their big college football game was palpable throughout the ESPN executive suites, Sciallis says. Yet it remained top secret until today. On Saturday, ESPN will tease the opening and the Williams score during its NFL Wild Card Doubleheader. Williams’ new music will be heard throughout the TCU-Georgia matchup. He recorded several takes of the main piece as well as briefer excerpts, “a re-join piece and a vamp,” Sciallis reports; “cutdowns and stingers,” shorter pieces that could be useful during the game itself, were edited in the days following the Dec. 21 session. “He captured the spirit of the night,” says Sciallis. Khodabakhshian confesses he broke down in tears after the recording session. “I’m so overwhelmed and grateful because he’s the GOAT!” This is believed to be the largest-scale musical commission ever for the sports network. What will happen with the piece after Monday night is not clear. ESPN could theoretically use it in future college football broadcasts; no plans for a commercial release have apparently been discussed. In terms of music for athletic competition, the five-time Oscar winner has written four Olympic fanfares, a gridiron march for NBC’s football coverage, and the score for Kobe Bryant’s Oscar-winning short “Dear Basketball.” He hasn’t written music for television since his “Great Performances” theme for PBS, which won a 2009 Emmy. Williams, 90, was unavailable for comment. He is currently on the Oscar shortlist for his music for Steven Spielberg’s “The Fabelmans,” and has been working for the past several months on the score for “Indiana Jones and the Dial of Destiny,” slated for release June 30.
    31 points
  28. 31 points
  29. ANOTHER WILLIAMS/SPIELBERG MASTERPIECE... RELEASE #4 AMISTAD: 25th ANNIVERSARY EXPANDED LIMITED EDITION (2-CD SET) LLLCD 1612 Music by John Williams Limited Edition of 5000 Units RETAIL PRICE: $29.98 ORDERS BEGIN TUESDAY NOVEMBER 29, 2022 AT 12 PM PST In celebration of John Williams‘ 90th birthday and the 25th Anniversary of the acclaimed feature film AMISTAD, La-La Land Records, Paramount Pictures, DreamWorks Pictures and Geffen Records present AMISTAD, a special 2-CD remastered and expanded release of Academy Award-Winning composer John Williams’ (E.T., SCHINDLER’S LIST, SAVING PRIVATE RYAN) original motion picture score to the renowned 1997 big-screen historical drama directed by Steven Spielberg and starring Morgan Freeman, Anthony Hopkins and Djimon Hounsou. Maestro Williams’ masterwork encompasses the depths and heights of human experience, unleashing unforgettable moments of anguish and uplift as it supports the film’s true chronicling of the 1839 African slave ship revolt abord the La Amistad and its subsequent landmark U.S. court case. A breathtaking fusion of orchestral Americana with African percussion rhythms and vocal chanting, this important John Williams score finally gets a definitive release with this deluxe 2-CD presentation, meticulously produced, edited and mastered by Mike Matessino, in consultation with the composer and director. Remastered in high resolution from studio master elements, Disc One and Disc Two of this program features the film Score Presentation, which expands the original 1997 soundtrack album by almost double its length, including cues not used in the film. The score presentation is followed on Disc Two by 50 minutes of bonus tracks including source music, concert arrangements, and alternates - some of which offer completely different approaches than the film versions. The exclusive, in-depth liner notes are by writer Jeff Bond, with the packaging’s elegant design by Jim Titus. This is a limited edition release of 5000 units. TRACK LISTING: SCORE PRESENTATION 1:45:04 1 Introduction And Retribution 4:40 2 July 4, 1839 4:04 3 Steering East 1:27 4 The Capture 5:00 5 Introducing John Quincy Adams 5:15 6 Meeting Of The Minds 3:58 7 Counsel Meets Client 1:36 8 The Ship Remembers 5:32 9 Visiting Adams 1:32 10 What Is Their Story? 3:44 11 Learning To Count 1:57 12 Tale Of The Lion’s Tooth 5:48 13 The Capture Of Cinqué 4:03 14 The Crossing 4:41 15 Tales Of Horror 7:40 16 Discovering The Bible 5:05 17 Prisoners’ Song 1:33 18 The Letter To Massachusetts 2:09 19 Cinqué’s Legal Mind 2:26 20 African Violet 5:33 Disc One Time: 78:10 DISC 2 SCORE PRESENTATION CONT’D 1 Adams’ Address To The Court 7:21 2 Adams’ Summation (Film Version) 3:01 3 The Verdict 5:10 4 Liberation Of Lomboko: Dry Your Tears, Afrika 2:17 5 Going Home 2:05 6 Dry Your Tears, Afrika (Reprise) 3:37 7 The Long Road To Justice 3:19 ADDITIONAL MUSIC 49:53 8 Cinqué’s Theme 4:13 9 Introduction (Alternate) 1:12 10 The Capture (Alternate) 5:02 11 Harbor Tavern 3:05 12 Cinqué’s Theme (Solo Flute) 2:07 13 Meeting Of The Minds (Instrumental Version) 3:45 14 The Ship Remembers (Alternate) 5:26 15 What Is Their Story? (Alternate) 3:33 16 The Crossing (Alternate) 4:23 17 Tales Of Horror (Alternate Excerpt) 3:19 18 Discovering The Bible (Alternate) 5:11 19 Cinqué’s Memories Of Home 2:39 20 Going Home (Alternate) 2:06 21 Dry Your Tears, Afrika (Alternate) 3:35 Disc Two Time: 76:50 Total 2-Disc Time: 2:35:00 This is a CD format release. https://www.facebook.com/lalalandrecords/posts/pfbid02C5KU3xb3nP4WCT7WxYTaESVxuT8ft2jsQpkeBUvMYQbwm9BhcWkYhFUiDFJKFUn4l
    31 points
  30. https://variety.com/2022/artisans/news/john-williams-obi-wan-kenobi-theme-star-wars-series-1235185228/
    31 points
  31. There you go: https://variety.com/2022/artisans/news/john-williams-turns-90-celebrating-1235172996/
    31 points
  32. An anonymous tipster has sent JWFan some information that I can share with you now! The information is a list of cues that appeared in a cut of the film dated November 11th, 2019. Remember, the final day of recording sessions didn't happen until November 21st, and even by this cut some of the cues JW had written had already been dropped or replaced, so consider this a PARTIAL cue list: 1M01 Main Title 1M022 The Ninth Beginning 1M05 Rey Trains 1M06 Ren's Entrance 1M08 Approaching The Nursery 1M09 Rey Wakes Up 1M13 Tell Me What They Are 1M15 Vader's Castle 1M20 Rey Training 1M24 Meditation 1M26 Spy's Message 1M26 Lightspeed Skipping 2M01 Cockpit Dialog 2M02 Fixing The Helmet 2M03 The Wisdom of Maz 2M04 The Emperor Lives 2M06 The Medal 2M07 Ship Trip 2M20 The Forge 2M30 Rey's Mission 2M32 Quicksand 0M01 Children's School 3M00 Lando 3M01 Before The Chase 3M03 No Title 3M06 Knights of Ren 3M07 Ochi and the Dagger 4M01 Rey Senses Ren's Approach 4M02 Rey's Incredible Hand 4M04 Zucini? 4M05 To The End 4M05B Good Ship, Bad Ship 4M06 He Won't Remember 4M07 Rey's Grief 4M10 Red Eyes 4M11 Poe and Girlfriend 4M12 Ship Walk and Talk 5M01 Meddling and Poe's Crush 5M03 Hallway Shooting 5M05 Rey Sees Mother 5M06 Hard To Get Rid Of 5M07 I'm The Spy 5M08 Geneology 5M10 Landing At ? 5M12 Off The Waterfront 5M30 Under a Blanket 6M02 Rey Climbs Pipes 6M02A Climbing 6M04 Daisy In A Veil 6M05 Leia Lies Down 6M07 Stop and Start 6M08 Healing Wounds 6M12 Six Twelve 6M13 Rey's Trip To P 6M20 Sabre Toss 7M01 Seven One 7M02 Rey Meets Luke 7M03 Luke's Advice 7M04 The Meeting 7M05 March Of The Resistance 7M08 Father Knows Best 7M10 Leia's Sabre 7M12 Seven Twelve 7M12A Horses #2 7M20 Approaching The Throne 7M21 Parents 7M30 More Action 7M32 Make The Sacrifice 7M36 Dunkirk 7M38 I Am All The Sith 8M04 Psalm of the Sith 8M05 Jumping The Chain 8M07 Big Ship Blows Up 8M08 On Their Knees 8M10 Success and Sliding 8M11A Dropping The Sabre 8M14 Ben to Rey 8M15 Horn Solo 8M16 End Credits 9M03 Bows 9M05ALT Return to Tattooine The list also contains the two source pieces not composed by Williams: 2S35 JJ Festival Music 3S35 JJ Bar Source As well as the cue names from prior scores that were tracked into this cut: 13M2 from Ep.6 Vader's Death 7M03 from Ep.3 The Birth of the Twins 7M05 from Ep.3 Plans for the Twins 3M26R from Ep.7 You're Han Solo? 4M36R from Ep.7 I Ran Into You 5M46R from Ep.7 Kylo Stalks Rey 6M50R from Ep.7 Han and Leia Reunion 6M55R from Ep.7 Council Meeting 6M56E from Ep.7 Ren In Cockpit 8M77 from Ep.7 March Of The Resistance 4M36 from Ep.8 Luke and Rey UPDATE: Additional cue titles found in GEMA Repertoire: Chewie's Interrogation Emperor's Attack Emperor's Theme V3 Falcon's Last Trip Filial Fencing Hero Fight It Fits! Kylo's Theme Lido Hey [JJ Abrams/Lin-Manuel Miranda] More Maz Name That Tune Poe's Theme Ready to Be a Jedi Rey and Ren Rey's Training The Crowd Joins In The Dunkirk Shot The Feeling The Last Fight The Millennium Falcon Theme The Resistance Theme Through the Jungle Tunnel Monster Uncharted Territory Wayfinder Insert
    30 points
  33. This has taken me a whole year to prepare and produce, decades if you count the research and accumulation of material. But I thought it was the appropriate time to create now, as a tribute to my favourite film composer in his 90th birthday year. A complete walkthrough of all of his television music (with the available material and data that we currently have), presented as a podcast series over multiple parts. I hope you tune in and follow it. I will start working on Part 2 soon. http://celluloidtunes.no/celluloid-tunes-73-the-complete-john-williams-television-music-walkthrough-part-1-24th-international-edition/
    30 points
  34. Some fact snippets I gathered from people who talked to people (in the orchestra etc.): - The Philharmoniker were big fans of Williams as a conductor and specifically pointed out his sensible and no-nonsense style as opposed to exaggerated theatrics by many of their regular famous big name conductors. They also supposedly said that such an enormous audience reaction and general atmosphere is unprecedented, even considering the New Year's Concerts. - Originally, three encores (i.e. a "usual" number) were planned: The Duel, Remembrances, and Raiders' March. It was the Philharmoniker who had their go between ask Williams if they couldn't do the Imperial March as well. When he heard the request, Williams was worried that it would be too hard on the horns after such a long and difficult concert - until they told him that it was in fact the special wish of the horn section. My own guess is that ASM requested to also add Nice to Be Around, based on her often citing it as one of her favourites in interviews. - I spotted Austrian ex-president Heinz Fischer and his wife, as well as ex-chancellor Wolfgang Schüssel, at the Saturday concert. Fischer left before the final encore (Imperial March). - The Imperial March was a fitting encore, give that Williams was staying at the Hotel Imperial (right next to the Musikverein).
    30 points
  35. I was a Project Consultant on this release. It's my first real credit, and first paying gig in the field, actually. If anyone was wondering why I stopped posting as frequently this spring, this is why. Mike and I worked our butts off to make this set as good as it could possibly be. And yes, one thing I did was proof-read the (many!) liner notes
    30 points
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