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  1. 41 points
    Ricard

    HAPPY 20th ANNIVERSARY, JWFAN!

    JWFAN was born 20 years ago tonight! I will be adding some related surprises to this main post in the coming days. Let the celebration begin! 🎂🥂🎉🎊🎈
  2. 33 points
    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) 1974 - The Sugarland Express My Google Doc 1975 - Jaws My Google Doc 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 - 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) 1979 - Dracula My Google Doc Mike Matessino audio interview by Tim Burden on the Varese Deluxe Edition, October 2018 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 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 1989 - Indiana Jones and the Last Crusade A VERY OLD 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 1991 - Hook My Google Doc 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 JWFan thread discussing the complete cue list 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 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 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 1997 - Rosewood My Google Doc 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 2001 - Harry Potter and the Sorcerer's Stone My Google Doc 2002 - Attack of the Clones My Google Doc 2002 - Minority Report My Google Doc 2002 - Harry Potter and the Chamber of Secrets My Google Doc 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
  3. 33 points
    Ricard

    HAPPY BIRTHDAY, JOHN WILLIAMS!

    John Williams turns 87 today! Happy birthday, Maestro! 🎂🥂🎉🎊🎈🎁
  4. 30 points
    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
  5. 29 points
    Admin note: To prevent all discussion from being combined into one massive thread, we have some specific threads that might be the discussion you are really looking for: Harry Potter 7CD Collection MUSIC discussion Harry Potter 7CD Collection PACKAGING discussion Harry Potter 7CD Collection SAMPLES discussion https://www.facebook.com/lalalandrecords/posts/10157139497368755 UPDATE: Bonus cover art courtesy Jim Titus Also click here for "Philosopher's Stone" covers. UPDATE: Samples and Direct Order: https://lalalandrecords.com/harry-potter-the-john-williams-soundtrack-collection-limited-edition-7-cd-box-set/ Additional Order Links: https://www1.screenarchives.com/title_detail.cfm/ID/36546/ https://www.moviemusic.com/soundtrack/M11606/harry-potter-john-williams-collection/ http://store.intrada.com/s.nl/it.A/id.11748/.f https://www.musicbox-records.com/en/cd-soundtracks/6723-harry-potter-the-john-williams-soundtrack-collection.html
  6. 28 points
    I think this is the biggest gathering of JWFan ever!
  7. 26 points
    Uh...what the heck?!? Just saw this on the Entertainment Weekly site!! https://ew.com/movies/2018/11/17/john-williams-new-music-disney-star-wars-theme-parks/
  8. 26 points
  9. 25 points
    Jim Titus all along prepared BOTH Sorcerer's Stone AND Philisopher's Stone covers for the set. Mike originally wanted to use Philiosopher's for the set, but WB wanted to use Sorcerer's, so that was that. His plan was always to distribute the Philosopher's Stones covers digitally after the announcement, so here they are! Thank you Jim Titus, and thank you Mike Matessino!
  10. 23 points
    Hey guys, Just found this this little gem of John playing the Luke and Leia theme after what sounds like an interview in the 80s. Not sure if it’s been posted before but if not then I hope you enjoy
  11. 23 points
    It was really lovely. Seeing Williams speak and conduct his music was a wonderful thing. Made me feel quite emotional. He appeared at the very start of the evening to introduce the concert. It was quite obvious he's going to conduct the SW section (plus Yoda's Theme and The Imperial March encores) when David Newman mentioned there might be a "surprise" at the end. Other thoughts: Absolutely loved The Cowboys and Jane Eyre segments. Galaxy's Edge was good to hear but the piece itself doesn't convince me one bit. It was nice to see three segments conducted to film. The E.T. was the opening sequence as indicated on the programme. SPR was the opening cue followed by the shortened Hymn to the Fallen and JP had the dinosaur reveal scene with chorus followed by the fanfare. Amistad was played faster than usual. I really enjoyed it. The Williams conducted segment: The Adventures of Han was played bit slower than the soundtrack recording. It's a really fun piece. Luke and Leia was the shortened version. After that, he spoke about having completed 100 minutes of the new score and having to go back to his "other job" the next day and write another 40 minutes due to film changes. And that it is a lot of music. He said he was assured by Disney this is the "last film" and then added it will be the last one he does. Whether he was being serious is anybody's guess. Then he conducted the Main Title and the two encores. Again, it was a thrilling and emotional thing to witness. I really enjoyed Tanglewood. I'm also glad me and Marian arrived early to wander about a bit. You can understand why he keeps coming back to this place - it's very relaxing. Quite a lot of people arrived later on so it lost its peaceful vibe to the big summer concert excitement. I'm glad we decided to go, especially after what happened last year in London. While only small segment was conducted by Williams himself it was still more than worth all the money. You can tell he's quite old now especially when he walks but, oddly, that goes away as he starts to conduct. It's like doing that gives him new energy. It made me think of that Yoda duel scene in AOTC actually. 😄 Karol
  12. 23 points
    This is so fantastic. Really glad we can finally stop worrying about when this will be released and can now move on to worrying about the release itself. Here's my crack at "fixing it" as you say, bearing in mind that I am (unfortunately) no Stefan Cosman: I also tried my hand at tweaking the other 2 covers as well.
  13. 22 points
    Hello, Some of you are already aware of this, but I want to spread the news to every JWFan here: After a few months working on it on and off, I'm now ready to launch this side project of mine which I hope will encounter interest among fellow John Williams admirers. It's time for me to give back the immense amount of gratitude I have toward this great composer. It's a blog called "The Legacy of John Williams": https://thelegacyofjohnwilliams.com/ The purpose is to build a platform to collect and gather material from people around the world who were inspired by the music of John Williams--mostly musicians, composers, conductors, but also filmmakers, film professionals, historians, music critics and scholars. I want to give space also to admirers who have interesting stories and perspectives to tell and share. The goal is to celebrate the rich musical legacy John Williams is giving and leaving to our lives, for centuries to come. There is a larger and much more ambitious goal at the core of this project, but it’s too soon to speak about it. If this blog will get momentum and will become the platform I hope will be in the foreseeable future, everything will be addressed. As you can see, it's still work-in-progress, but from now on I plan to build and update it regularly, so be patient, I promise it will be worth your time. Taking a cue from the Maestro's writing process, I see this project as a living thing that can be improved and changed over the course of time. Today I published the first piece of content, an exclusive interview with pianist Gloria Cheng about the Montage recording/documentary: https://thelegacyofjohnwilliams.com/2018/09/27/conversation-with-pianist-gloria-cheng/ I've also set up Facebook and Twitter pages, so I hope you will like/follow: https://www.facebook.com/thelegacyofjohnwilliams https://twitter.com/TheLegacyofJW Of course feedback from anyone is greatly appreciated. Thank you for listening!
  14. 22 points
    https://www.linkedin.com/pulse/sandy-decrescents-impact-motion-pictures-industry-paksy-plackis-cheng
  15. 22 points
    Saw this posted on the Jedi Council Boards https://www.thetimes.co.uk/edition/times2/john-williams-the-best-film-composer-in-the-galaxy-l7jx0f8gq (the article is behind a paywall apparently)
  16. 22 points
    One thing I should point out is that this set features music you've NEVER heard before. For all three scores! Even if you're intimately familiar with the albums and the music in the films themselves, there is music here you've NEVER heard before. For all three scores! Even if you downloaded the recording session leaks, there is music here you've NEVER heard before. For all three scores! AND ALSO even if you downloaded sheet music leaks, there is music here you NEVER knew existed before. For all three scores!
  17. 22 points
  18. 21 points
    If anybody out there is planning to illegally bootleg this release instead of paying the people who worked really hard to make it happen, myself included, please keep those intentions to yourself instead of posting them in a public forum in a thread I created for this release, a release I know I worked very, very hard on to make happen. Thank you.
  19. 20 points
  20. 20 points
    According to the program for tonight's concert at the Royal Albert Hall: (photo by Chewy)
  21. 20 points
    Update from Mike Matessino: http://filmscoremonthly.com/board/posts.cfm?threadID=132079&forumID=1&archive=0
  22. 20 points
    I hope it's OK if I post Mike Mattessino's recent Facebook post here, since there were no pertinent details about the illness other than to comfort us all a little bit -- which we need right now:
  23. 19 points
    I've had this beautiful gem for a few days and I can say that the album is, as expected, phenomenal. I’ll write more in a large article that I’m going to publish before the premiere. Several pieces, like Hedwig’s Theme, Donnybrook Fair and The Duel are very vibrant and virtuoso. Hedwig’s Theme in the extended version is a revelation. Dracula sounds phenomenal and dark. Luke and Leia is beautiful, just like Across The Stars. Sabrina is quite similar to the version that appeared on Cinema Serenade, Schindler's List doesn't differ much from the original either. I am looking forward to the deluxe version, but even this one is definitely one of the record events of the year. I'm telling you, this ends with at least one Grammy Award Below are some photos.The booklet has 24 pages. Liner notes are in English and German. There is also short essay by Jon Burlingame, but I don't want to spoil everything here What can I say more... Well, it's 'Nice to be around' this CD
  24. 19 points
    Some REAL updates from Don Williams (JW’s brother and his usual timpanist) grabbed during a meeting at theAcademy of Scoring Arts lecture: Looks like the sessions began a couple of weeks ago and will continue through August and September, with a couple of weeks break because of JW’s commitments at Tanglewood. Don talks about 135 minutes of music (gasp!)
  25. 18 points
    I think we can now safely assume that the TROS recording sessions have started - because that is very clearly the March of the Resistance theme! 😁 I’m so happy that this is really happening, 9 John Williams Star Wars scores.
  26. 17 points
    Happy New Year to my fellow JWFan members! I am embarking on a new venture that I know will appeal to all of you. I am the host of the podcast “The Baton: A John Williams Musical Journey.” The podcast is devoted to John Williams’ music career, from his first film in 1959 to the present. It’s a podcast unlike any of the others out there. Each episode will be devoted to one movie in Williams’ lengthy career, 107 films and counting. Think of it as a biography of John Williams, told through his music. You can hear the first three episodes now at this link I've embedded the player for the first episode below as well. Episode 1 sets up the premise of the podcast and details John Williams’ life before he tackled his first film score. Episode 2 officially starts the journey through his career with a listen to Williams’ score for his debut film “Daddy-O.” Episode 3 analyzes the score for his second film “I Passed For White.” This podcast will examine Williams’ career in chronological order. This way, you’ll appreciate the journey toward the scores that made him famous. New episodes will be available each Wednesday. The podcast will appear on iTunes in a few days. Though I hope my podcast appeals to the general public, I’m extremely interested to know what John Williams fans think of it. You can post comments here in the forums or on the podcast’s website. You can also send me an email at jeffswim@aol.com if you don’t want to comment publicly. Thanks for listening!
  27. 17 points
    It's interesting that you talk about Williams "masking" dissonances, as if Williams was trapped into employing dissonances which he then tried to cover up by choosing the right instruments (probably not what you meant, but it sounds that way!). Of course, the opposite is really true - Williams mixes in the dissonance himself. However, rather than drawing attention on those very dissonances (as, for example, Boulez might...or "concert" JW might) he tends to treat dissonance as something like musical seasoning; to spice up what would otherwise be fairly dull, consonant music. One of the ways he does this is to do what sounds like "covering up" dissonance using the orchestra, which I guess is what you allude to. But, of course, this is just an illusion really. Every note you hear comes from the composer's pen, whether or not in the end they sound as if they are appearing out of nowhere, or as an "accident". So what is JW's favourite spice? When it comes to brass, It is undeniably the minor 2nd interval between the 7th and 8th degrees of the scale (i.e. B-C in C major). JW would sooner jump off a bridge than not use this dissonance in a fanfare. Listen to the one that plays when Yoda raises the ship in TESB, which is in E major: Now, somebody with an "untrained ear" might be surprised to know that when they are listening to the above, they are also listening to this: https://picosong.com/whnva These are the 7th and 8th degrees of the E major scale: D#-E. JW uses a lot of this sort of dissonance in the E.T. flying theme (in C major): Listening to this, one might naively think that the accompanying horns at the start are playing simple major chords (C-E-G, or 1st, 3rd and 5th degrees). But in fact, they are playing "add2" chords, i.e. chords with the 2nd degree added (D), so there is a dissonance between the C-D and the D-E. Later on, JW employs his beloved 7th-8th dissonance, at 0:20 (F#-G) and 0:25 (G-Ab). These dissonances on their own sound like they belong to a horror movie, not a feel-good family movie (though I grant that E.T. does contain some horrifying bits...). But when played by the brass in a certain range, these dissonances take on more of a "colouring" function, and you might miss these dissonances if you don't pay attention. However, take away these dissonances, and you take away an integral part of the whole. This is what I mean by JW using dissonances as "seasoning". Now for something entirely different. Listen to the prologue music of HP1, when Dumbledore does...whatever he does: Listen to that last chord at 1:15. Can you hear "it"? I made a mockup of this portion some years ago, where "it"'s clearer; listen to the high register from 0:17: https://picosong.com/whnWd Williams here is using the winds to apply a purely "colouristic" effect to the brass chord in the foreground. This is what the wind chord sounds like on the piano: https://picosong.com/whnvw This is what the brass chord sounds like on the piano: https://picosong.com/whnv3 By the way, Williams here is essentially recycling a technique he used in another film, TPM, where he used a similar wind chord. However, that time he used it in a much more dramatic manner, less as a purely colouristic effect (listen to the chord at 3:28 and pay attention to the high register): Finally, I want to go off the track a bit (though I hope it's still relevant) and close with some music from another composer who was a master at "masking" dissonances via orchestration, a composer who greatly influenced Williams and other Hollywood composers - namely, Korngold. His opera "Das Wunder der Heliane" closes with the two lovers making their way into heaven through the pearly gates, being welcomed by the sound of singing angels. But if you listen to it, there's a distinctly bittersweet tone coming from the orchestra: It's almost like the angels merely represent a "sheen" of something that is filled with sadness and sorrow. The reason is that the orchestral accompaniment is in fact full of dissonances - try playing some of those chords which fall on the downbeat. There are instances earlier in the opera where Korngold plays a major chord on top of a minor chord, though it's barely audible the way he orchestrates it.
  28. 17 points
    New audio interview with Conrad Pope, talking about the music and the legacy of John Williams, the art form of film music and his life and career in the Hollywood film music community. It’s a fun one! Hope you all enjoy! https://thelegacyofjohnwilliams.com/2019/04/26/conrad-pope-interview/
  29. 17 points
    Ricard

    HAPPY 20th ANNIVERSARY, JWFAN!

    And here's the first piece celebrating the 20th Anniversary of JWFan! A little journey through the music, films, releases, concerts and events in the life of the biggest and longest-running John Williams fan site. Thank you, Maestro! Thank you, JWFans!
  30. 17 points
    I am quite impressed with it, Marcy was too. It's pretty crazy to me that there is a $100 piece of official Harry Potter merchandise that theoretically JK Rowling looked over before approving, that has my name on it.
  31. 17 points
  32. 16 points
    This was a nice little insight into his writing process. “Oxygen is a wonderful thing” - John Williams
  33. 16 points
    If he won't score indy 5 they can already cancel he film please
  34. 16 points
    The whole thing is still surreal to me, that I would even be asked to work on something so large and important! The whole thing came together extremely quickly (especially for 7 discs / 8 hours of music!) and it all happened in March, so it's a bit of a blur, really. I mostly remember the thrill when Mike finally got access to every take recorded for COS, and he could look for some of the stuff we thought might exist on early takes based on the sheet music. When he found the earlier "Prologue: Book II" cue, and the original endings to "Petrified Colin" and "Follow the Spiders", I was ecstatic! But the most thrilling parts were probably hearing music I never even knew existed before - "Hedwig's Theme for Harp", "Hogwarts Forever (Vocal Version)", and the 3 COS television commercials. And the fact that they are all SO cool on top of simply being "new" was icing on the cake. And of course finally hearing clean Azkaban music after all these years was ecstatic. If I recall correctly, I couldn't stop myself from listening to "Rescue of Sirius" first, before listening to the entire album in order. Anyway, after all the assembly and mastering was done, and Williams approved them all, by next duties were to proof read Mike's liner notes as he wrote those. Later, once the art design was coming together, I proof-read all of that. I also did some double checking of the pictures they were purchasing from WB to include in the books to make sure every one was accounted for. For "Car Drives Off" and the original "Firebolt", we knew they existed from the sheet music, just no idea if they were recorded. For Azkaban, Mike received a huge archive of cues from Warner Brothers and a different archive from the music editor, and the earlier "Firebolt" was right there, no issues. For "Car Drives Off", once Mike got every take of every cue, he found it and we were thrilled we could include it. For "Aunt Marge's Waltz" alternate opening, I never even knew it existed, and when he told me he had an alternate opening I had no idea what to expect. When I got to that track on my first listen, I was pleasantly surprised by how it sounded; I prefer it over the original opening! Mike and I have been friends since my first trip out to LA in 2013, and he solicited my help on a title in 2016 (it hasn't come out yet). After that I helped in very small ways on CE3K and ET in 2017, and during a phone call in the spring of 2018 he asked me if I'd be willing to help him on a new project, and that turned out to be Harry Potter, and of course I said yes. Our interactions are a blend of phone calls and emails. Emails typically for quick questions or exchanging of files or organized information, and phone calls for discussing various options or just kind of catching up on the status of various projects. It should be clear that 100% of the editing, mixing, assembly, and mastering work is entirely done by Mike, and if he asks for my opinion on how anything might be sequenced I will provide it, and he will either take it or not. If he is determined that something should be presented in a certain way I wouldn't try to talk him out of it, but I certainly did feel that every opinion I gave was considered genuinely, whether he ultimately went my way or not. I had no access and did not directly hear any unmastered studio elements; Once he was happy with an assembled and mastered album, he would dropbox it to me for me to listen and give feedback. The feedback I supplied would be detailed and comprehensive, and cover everything from the order of tracks, the editing of cues withing the tracks, the mastering, and anything else I thought of. Very little changed between the first version of each album I heard and the final one that got released. I would assume so. Nothing the sound guys did is included on the set in any way. That is how the cue was recorded. I have no idea when it was "recorded", and I'm pretty sure its just music from a trailer house seguing into the Reunion of Friends recording from HPCOS. It was included in the archives WB sent over, so Mike put it at the end of the album to both be comprehensive and to give the album, and the entire set, a "big finish". First of all I deserve no credit for any cue combos, those were all 100% decided by Mike. The music at the end of "Befriending the Hippogriff" is an unused cue called "Bonding with the Hippogriff" that was intended to be used after "Buckbeak's Flight", but dropped from the final film. Yes Yes the beginning of that track is Up The Stairs, and it segues from there into Brief Snow Scene. Those are the only 2 cues in the track. You're just hearing how Williams originally scored the scene, in the final cut of the film a portion was replaced by music tracked in from "Lupin's Departure". Yes
  35. 16 points
  36. 16 points
    @Jay I made this for you so you can save the typing time.
  37. 16 points
  38. 16 points
  39. 16 points
    JWFan’s social media presence has increased this week with the addition of two new platforms. Twitter and Instagram join our Facebook page to keep connecting John Williams fans through frequent updates on the Maestro’s works, releases, concerts and more. Coinciding with this, we have improved navigation through the different sections of the site, both in the desktop and mobile versions, restructuring and simplifying the menu to make it easier and more intuitive to use. If you visit our forums on mobile, you can now access them easily via the main page menu at www.jwfan.com. To keep up with our social media updates, you can follow us on: Facebook: @jwfan Twitter: @_jwfan Instagram: @johnwilliams.music Stay tuned to JWFan for more exciting improvements as we approach our 20th anniversary!
  40. 16 points
    Thanks, Lee & Steef for organising this! We need more events like this, there were too many people and too little time. I also had no idea that Inky was there - and who knows who else I missed? Here's the full thing, including my own, horribly inarticulate, bit. Would anyone have a problem with me putting that up on the net (e.g. Facebook, Twitter)?
  41. 16 points
    In honor of the Maestro I painted this little portrait the evening before the Royal Albert Hall concert in my hotel room in London. Let's all hope for his full recovery!!
  42. 16 points
    Unlike many of you on this forum, it will be my first time listening to the music of John Williams performed live in concert. As I begin my 6 hour journey to London, I feel slightly melancholic due to the lack of the Maestro, but find comfort in the idea that I will hear his own handiwork, his own spirit and musical language in the most crystal and uplifting way; the way music was meant to be listened to. The added bonus that is the London Symphony Orchestra is a fine one, having never seen the prestigious orchestra perform before. What better introduction to them than 2 hours of wonderful, emotional music. As well as this, any excuse to visit the Royal Albert Hall is a good enough one for me, so what was going to be a historic concert in such a historic venue makes up for the fact that this is now just another concert in the historic venue. But I still dream. Time alone on public transport allows one to drift their mind to beautiful places. The dream of a surprise appearance from Williams to conduct The Imperial March seems further away than it ever did. In my head I imagine scenario after scenario: glancing up to see Williams in one of the boxes, his big trademark glasses and turtleneck, bopping his head to the adventurous rhythms of Adventures on Earth, a small, despondent smile etched across his face; Williams making a sudden appearance at the end of the concert to slowly but triumphantly wave to his fans, basking in the appreciation for his musical soul; or even Williams conducting one piece, just one: “The Imperial March”, a short but powerful and resonant piece with easy, steady 4/4 time. But as much as I dream (like I am sure many others are doing who are tenaciously travelling today with their heads held high), I must come back down to reality at some point, understanding and coming to terms with the fact that I will never see my musical hero in the flesh. But how I long to applaud him while we can still lock eyes, to show him how much emotional impact he has had on my life, and on everybody else’s there tonight. Not only because his music is so rich and delicate, but because of the humble man that he is, and my desire, among many, to show how he needn’t be so humble, and show him how far around the world the pencil etching the score in his home in Los Angeles can be heard. I still will look forward to this evening very much, a night of warmth, character and delicious music. Among others, I wish Mr Williams a speedy recovery, and as he recovers I will be reminiscing on the time I was telling my friends I was going to see John Williams - composer - conductor - hero. I encourage many others to share their travelling thoughts today, as I will listen closely to the forum to maximise my enjoyment of the concert. See you guys there.
  43. 16 points
    I hope it's OK if I post Mike Mattessino's recent Facebook post here, since there were no pertinent details about the illness other than to comfort us all a little bit -- which we need right now:
  44. 15 points
    Long-time lurker (since 2006!), first-time poster here. Keith Lockhart and the Boston Pops orchestra performed the live score to the original Star Wars on August 16, 2019 at Tanglewood in Lenox, Massachusetts. John Williams was in attendance and made an appearance on stage at the end of the performance. The Pops did a great job with the musical accompaniment. I’m a long-time fan of the score and the movie (as a kid, I saw the film more than 40 times in theaters!), and I was very impressed. Lockhart was visibly tired at the end of the first half and at the film’s conclusion. Here are some videos, shot off one of the large screens facing the lawn crowd. The picture is sometimes off-kilter (I wasn’t looking through my phone as I shot it), but it will give you an idea of how it sounded. It’s also interesting to see where the split up the film for the intermission. (As an interesting note, the Pops did not perform the music in the cantina sequence.) As a Berkshire County resident, I’ve been lucky enough to meet Williams a few times, most recently at Tanglewood. He was there walking the grounds one evening, before a concert with which he was not associated, and I got a picture with him. Clearly he enjoys just being there. He was in good spirits and seems in good health. SW1.MOV SW2.MOV SW3.MOV SW4.MOV SW5.MOV SW6.MOV
  45. 15 points
    This concert was absolutely wonderful. Flawless performance. LA Phil recorded it for commercial release I believe. The announcer said "silence the phones and don't applaud till music is finished because it is being recorded for a future release". I would expect if it was for the radio they would have said for future broadcast. Regardless, it was so good - the concert hall has excellent acoustics for this type of detailed music. It was a little distracting watching Johnny listen to his own music but the whole sold out audience seemed to envelop him with love and admiration. Dudamel would frequently bow to him during the performance and everyone enjoyed watching the nonverbal exchange of joy, passion, and musicianship. The sonorities were so refined and richly detailed, bombastic and intense when needing to be. Program: Olympic Fanfare and Theme (with the mighty organ) Close Encounters suite (excellent half diminished flat 5 to tonic, @Ludwig with glorious harp gliss'...you would approve) Shark Cage Fugue/Out to Sea from Jaws Harry Potter Suite (Hedwig's Theme, Fawkes the Phoenix, Harry's Wondrous World) Schindler's List theme Adventures on Earth from E.T. -Intermission- Flight to Neverland from Hook Jurassic Park theme (sounded amazing with five unison trumpets and a very emphatic ending) Indiana Jones (Motorcycle Scherzo, Marion's Theme, Raiders March) Suyuri's Theme from Geisha Star Wars (Imperial March (imagine hearing it with 8 horns, 5 trombones, 5 trumpets, 8 percussionists at Disney Hall...never heard it sound so good), Yoda's Theme, Throne Room and Finale from Star Wars) Encore: Williams's Adagio for Strings (<-- gorgeous this!) Superman March It was a long concert - ending around 10:30pm with several video clips. I especially enjoyed during the Throne Room, they played scenes from the 8 star wars films including scoring session photos from all of them. JW looked great, happy, energetic, and deeply moved by the performance and audience enthusiasm. Sorry the video with Dudamel talking is hard to hear, he didn't have a mic. IMG_4574.MOV IMG_4578.MOV
  46. 15 points
  47. 15 points
    What we already knew from the sheet music leak: 4M5 Map to Snow Scene is the original version of the cue for the Weasely twins showing Harry how the Marauders Map works, and then him sneaking into the Honeydukes basement. It opens with the harpsichord motif and is followed by a nice woodwind and string passage. It was completely unused in the final film, replaced by a rewritten cue that is mostly an ethereal synth backing (like the cloak music from HP1), with the harpsichord motif and some bassoon riffs. This wasn't in the sheet music leak, which could potentially mean it was written and recorded really late in the process, as most thugs not included in the leak were late rewrites. What we learned from the BMI database: The revised cue is called "Up The Stairs" Revealed via this radio show: 4M5 Map To Snow Scene was recorded, and Mike placed it right after 4M3+4 New Woods Walk and Birds Flight in the track called "Woods Walk and Birds Flight". My personal commentary, not an official statement: It works brilliantly there, as it's technically Williams' exact original intentions. Up The Stairs is not as interesting compositionally as Map To Snow Scene, and I'd guess Map To Snow Scene is the version he'd put on the OST if he wanted to put something from that section of the film there. It's also fine to have both versions in the main program, as they don't really share any musical similarities despite both scoring the same scene. As you can tell from listening, it's easy enough to carve out Map To Snow Scene and move it to a bonus track if you prefer.
  48. 15 points
  49. 15 points
    Congratulations to Jay and all others involved, and everyone who was desperately hoping for this release. These specialty labels are doing wonderful things for this art form and its fans.
  50. 15 points
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