Miguel Andrade

Please, explane me this, just if I were 10-year old: Is every single Williams related bit of stuff, that comes with the U.S. gift box, available on the zone two, 2-disc release? And does it includes the original film? I don't know if I'm able to wait until January or february for a zone 2 gift box...

Every single one! Only miss the new HP, but not for long

I belive Mr. Morrison was second chair with the Symphony, and first with the Pops, at least on his last years in Boston.

I wonder if the first 5 tracks were put on these order to reflect the sequence order used on the five-movement concert suite.

Afterall, this album was the only way to have more music from ESB for a long time -- in fact I even had this one before the regular, 40-minute-long cd, released by Polydor.

Agreed. Neil Same feelings here!

If I remember the story right... Morrison began working in Boston in the late 70's or early 80's. He then left for some work as frelance trumpeteer, and played with a brass ensemble, as guest performer, while on tour -- I don't remember what was the ensemble, I believe he even recorded with them on Telarc. He later returned again to Boston to be principal trumpet with the Pops, in the late 80's, when he made this projects with Williams. Around 1998, he left again and went to LA to work on studio orchestras.

Does the 3 dvd set was released in UK? As a zone 2 dvd, that is...

To me, filmmusic was introduced by Williams and Gerhardt. Gerhardt recordings are essential in any film music colector collection! As for the Final Battle, this is taken from Willimas arranged five movment suite. Gerhardt performance is just taken slower than Williams own, on the soundtrack.

Dan Akroid in 1941! Next question.

I think not.

They were written around the same time, so it's natural they have similar style. This was around the time Williams sty~le begun to change into his more recent one.

Talk about this re-release has been going on since late last year. Now, the release date is new for me!

I really didn't find this funny... This lack of knowledge is very sad. I've found that to be very anoying, since around here, people enjoy talking about things they don't really know about. Take me for example... I really dfon't like Vangelis work. There are a few music of his that I even admire (like Blade Runner), but generally I don't care about it, and I don't know about Vangelis career to criticize him. Clearly the guy who wrote that stupid remark lacks the knowledge on Williams career! I mean, this man was a pianist, both jazz and classical, before he was a composer. He is an acomplished conductor, and admired as an arranger and orchestrator. Sure, you can find similarities beteween both scores (BR & MR), and so what! From what i know of Vangelis work, I've always found BR a tottaly diferent work... More close to orchestral sensibilities. But's just me... I won't blame him of anything... This sort of mindless criticism is very sad to me. Nixon: Growing Up in Whittier

No coments! This is to idiotic to get our atention!

I love the film, I love the score. You should have and option for those who really find this film good. And those who don't have the Varese release (Alhambra in Europe) go after it! It sure is worth it!

The story I was told was that Spielberg originally wanted Louis Prima/Benny Goodman classic "Sing, Sing, Sing" for the dance scene. Nevertheless due to tempo issues, it was agreed that Williams would write a pastiche on that to wich the dance/battle would be choreographed to. That's the main reason for the resemblance between both pieces. So the answer is, Williams composed "Swing Swing Swing" and used it on the film!

I can't really vote on this one... Williams wrote so many jazzy, swing sounding music in his early years that to name only this two is not being fare to the rest of his output... even so, of this both pieces, I would go for the Cantina Band pieces.

You know, most of Broadway scores use a small orchestra, while in Hollywood were used large orchestras. If you listen to some classical musical on there original versions and on there film versions you'll understand that. But in Fiddler, the way Williams orchestrates does makes a difference. Williams is a masterful orchestrator, even for those who have doughts about his capabilities

...and the orchestrating job here is way superior than the original Broadway orchestrations!

This was already explained above....

Merkel, "Always" is a lovely score... theme... Well the score is basically based on one single theme. And yes, i had an hard time to find it. I think I looked for it for some three year until I was able to get it, around '93. And I do love "Can You Read My Mind". If you think of it as a song, then it help if you listen to Maureen McGovern cover version. And there's a marvelous a capela version of it, "Can You Read Our Mind", with altered lyrics by Leslie Bricusse, wich was presented as a tribute to John Williams in his farwell concert with teh Boston Pops, by the Tanglewood festival Chorus. To me this is so lovelly because i was a kid when I first saw Superman, and even if this was never one of my favorites, I could fall in love when I first heard the music from the flying sequence. I never forgot the muisc or the lyrics until the late 80's when I begun collecting.

Remenbrances from Schindler's List... Does this qualifies?

"American Classics" is a compilation taken from various albuns. The Williams piece was origibally released on the 1984 album "America The Dream Goes On". I can find "Williams on Williams" and "The Green Album" easely around here...

Johnny Williams also arranged and recorded an album of Christmas charols with Mahalia Jackson, called "Songs for Christmas: Silent Night" (Columbia CK 38304). I think this is still available in cd format. "We Wish You a Merry Christmas" was recorded in 1980, and release in the following Christmas, and at the time was a change in the Pops Christmas reportoire, including a charol by Charles Ives, and a medley by Alfred Burt. Sadly I think that this is currently hard to find.