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Omen II

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  1. Michel Legrand wrote that. Were you thinking of Love Story or A Man and a Woman?
  2. Tracks 6 to 16 on disc 2 are the source cues from Superman: The Movie. While the liner notes do not explicitly state that John Williams conducted the pieces, no other conductor is mentioned and they do state: "John Williams recorded several pieces intended to emanate from car radios or stereos. All the John Williams source music was recorded at Anvil Studios."
  3. I received this in the mail today, which was very quick from the United States. With no disrespect intended to Ken Thorne or Giorgio Moroder, I headed straight for the John Williams source cues on disc 2. Lovely stuff!
  4. If I was pushed to choose my favourite score by Ennio Morricone, it would have to be his music for the 2005 Italian TV movie Cefalonia, starring Luca Zingaretti and Luisa Ranieri. The main theme Dammi La Mano has an almost hymnal quality, building and building from a simple and quiet opening. There are no skippable tracks at all on the album, with a great mix of beautiful romantic cues (including some magnificent trumpet playing, for example in Nell'isola, Soli), fine choral writing, references to the Italian national anthem and tense but very listenable action music for the battle scenes.
  5. It's really quite touching to read those messages in English, German, French and Spanish from his disappointed fans from all over Europe. I really hope that John Williams gets to see them.
  6. Yes, it does seem to me very unlikely that they would have been unable to secure a replacement conductor familiar with John Williams's music at, what, ten days' notice? There are numerous conductors just in the UK alone who are excellent interpreters of his music who would have cleared their diaries and absolutely bitten the VPO's hands off at the prospect of conducting the orchestra at the Musikverein. Major orchestras find replacement conductors and performers all the time when the billed musicians are incapacitated, often with very little notice. Far more likely to my mind is that either John Williams did not want anyone else 'stealing his thunder' (which is perfectly understandable, I am sure I would be the same) by getting in on his special gig and / or that the Vienna Philharmonic did not want to give just any random conductor the honour of being the first person to conduct a whole programme of John Williams at a venue as prestigious as the Musikverein. Just my two pennyworth.
  7. Although the LSO's longest serving musician Colin Renwick was listed in the programme, I am not sure if he was actually in the orchestra on the night. I did not spot him during the concert and cannot see him in any of the photos. I think he joined the LSO in 1978!
  8. Ginette Decuyper, the first violinist who introduced Yoda's Theme, joined the LSO in 1994.
  9. Could the release of the two later Airport movie scores be a precursor to a magnificent George Kennedy / Jennings Lang disaster tetralogy? Airport '75 could be next (another John Cacavas beauty) then - leaving the best till last - John Williams's Earthquake deluxe corinthian edition. You heard it here first!
  10. These are honestly two of my soundtrack holy grails. Only Lalo Schifrin could score gendarmes in a brace of Renault 12s driving in formation onto a greensward with such aplomb. And Cacacacacacacacacacacacacacacacacacacacacavas!
  11. Airport '77 and Airport '79 on a 2CD thing. A Cacavas and Schifrin twofer! Take my money now you shits! ✈️
  12. Not from the live to picture concerts, but here is a nice spooky performance of Double Trouble from Harry Potter and the Prisoner of Azkaban performed by the Danish Radio Symphony Orchestra and Chorus.
  13. Jason, I think the youngish bloke sitting next to me on the second row from the back was recording the talk on his phone but I'm afraid I did not catch his name. He was definitely English and was talking to another Englishman next to him who I think might have been Michael Beek. That's probably not much use to anybody, but maybe you can identify him from those scant details? My recollection is the same as yours, i.e. that the tapes for Sugarland Express and Story of a Woman survive but that John Williams does not want them released currently. Mike Matessino said that he had a card up his sleeve that he could use to try to persuade John Williams to change his mind on Sugarland.
  14. I wasn't sure where else to post this as it is not interesting enough to merit its own thread, but I spotted Varese Sarabande's chief cook and bottle washer Robert Townson at the Harry Potter and the Prisoner of Azkaban in concert at the Royal Albert Hall on Wednesday evening and again the following evening at Brian Tyler's concert at the Royal Festival Hall. I should have asked him if / when he would be bankrolling expanded editions of Earthquake and The Eiger Sanction, but he probably would have thought I was stalking him so I thought better of it.
  15. I've been listening back to the Classic FM broadcast and was amused to hear presenter Catherine Bott praising celeste player Philip Moore for his performance of Hedwig's theme. She must not have been watching the orchestra, otherwise she would have seen that it was the pianist Catherine Edwards who was playing the celeste during that piece. Does anyone know who the bass clarinet player was? I could not see him properly (the harp was in the way) but it was definitely not Katy Ayling as listed in the programme. I wondered if it might have been one of the clarinet players from the LPO or the Philharmonia.
  16. With all the talk in one of the other threads about misprints in the programme, did anyone else spot the mistake in the article Ten Things You Probably Didn't Know About John Williams on pages 12 and 13? The article claims incorrectly that John Williams recorded the score for Jurassic Park with the LSO. The article itself is apparently courtesy of the film journal 'Little White Lies' and they do have previous for getting their facts about John Williams wrong in the Royal Albert Hall's programmes. In the programme for Jurassic Park In Concert at the same venue last month, another article taken from the same journal claimed that the first score that John Williams recorded with the LSO was The Towering Inferno. Stop getting John Williams wrong! However I loved Mike Matessino's article about John Williams's long association with London and more specifically with the London Symphony Orchestra. It contained a lot of fascinating information I did not know, for example that he attended the scoring sessions for Battle of Britain and met William Walton (he also mentioned this at the talk earlier in the day). One minor omission from Mike's article was that John Williams also conducted some of the Filmharmonic '85 concert given by the London Symphony Orchestra at the Royal Albert Hall in November 1985 (the article moves straight from Return of the Jedi to the 1996 Barbican concerts). Also I understand that Williams conducted two concerts in the Barbican Centre's Sculpture Court as part of its Summer Pops series in August 1982 (the article mentions a concert), although perhaps it was two performances of the same concert.
  17. Katy Woolley's horn solo at the beginning of Jurassic Park was magnificent! Here are some of my photos from this wonderful concert:
  18. Yes, a brilliant score wonderfully performed by the Royal Philharmonic Concert Orchestra and the English Chamber Choir. It was great to hear the round of applause erupt when the name of John Williams appeared in the end credits.
  19. I am so sorry to read this news and wish John Williams all the best for a speedy recovery. The LSO will play their hearts out for him on Friday, make no mistake. 😢
  20. The screen is there for the live to picture performances of Harry Potter and the Prisoner of Azkaban today and tomorrow. I would not assume it will still be there for the John Williams concert.
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