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WilliamsStarShip2282 last won the day on May 24 2013

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About WilliamsStarShip2282

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  1. WilliamsStarShip2282

    Williams Star Spangled for Brass

    Does anyone remember the arrangement Williams made of the Star Spangled Banner I believe in 2006 when the Red Sox made it to the world series? I was looking on the Hal Leonard site for the score, and I had sworn that was released previously, but it isn't there. Am I dreaming, or did they take it down? Thanks!
  2. WilliamsStarShip2282

    John Williams' Inspirations

    It depends what you listen to. Korngold of course (you can hear a bit of the starwars theme in the opening titles of a Korngold film, I can't remember which, a Shakespeare one I think), and there's another piece he wrote which sounds like like Herrman. Bartok (his Essay for Strings, but generally speaking I think the 3rd movement of Bartok's "Music for Strings, Perc. & Cel., generally influenced every composer since written- maybe easiest to hear that influence in Close Encounters) and Stravinsky (in same cases the way he harmonizes and on several occasions there are nods to the Rite of Springs, on purpose in the first Star Wars, but then again when the aliens first arrive in War of the Worlds). I think he draws a lot on composers of his own age group. I hear a lot of Pendereki in his music, as well as Dutilleux (his Tree Song sounds like Dutilleux's "L'Arbre des Songes - in english the tree of dreams), and I know he was quite friendly with Takemitsu (who's similarly in the style of Dutilleux). His first violin concert is reminiscent of Berg's (but in my opinion John's is much better). Certainly hear a lot of Elgar in his more pastoral music, but I know also he's a big fan of Gershwin, which maybe generally contributes to his wonderful melodies (he and Korngold). A lot of his wonderful harmonies has Jazz influences, he's said before he's a big fan of Claude Thornhill (and a lot of others which can be seen in Conversations). I think many times though he's influenced by a piece he heard someplace or some idea that came into his head. His "Duo Concertante"was inspired by the "Three Madrigals"by Martinu which he heard at Tanglewood, and the Concerto for Oboe, for example the last movement he wrote in the preface that it's "Haydn meets Rachmaninov". Also a movie like "Images"was probable influenced by Boulez (Eclat) and Stockhausen (Gruppen, and Kontakte), but not sure he doesn't usually go that far in that direction. He also seems to be really interested in Japanese music, specifically shakuhachi which can be heard all over the place (maybe a general interest or something that came from Takemitsu)
  3. WilliamsStarShip2282

    How good is John Williams as a conductor?

    I think he's basically asking for a heavy piece, like Mahler or Wagner, which doesn't exist and I already explained why. I guess my explanation is Fake News
  4. WilliamsStarShip2282

    How good is John Williams as a conductor?

    JoinAR- this is unrelated, but the signature for your account is perfect👍👍 👍
  5. WilliamsStarShip2282

    How good is John Williams as a conductor?

    I didn't say conduct rings around them, it would totally depend on the conductor your putting him up against and the repertoire. And who lists who, what, where and how? I will re-state the point about Bernstein's recording of the Rite of Spring, which is considered by most as the definitive, even though Stravinsky hated it and was a contributing factor to him recording all of his music himself with Columbia. So in terms of original contemporary music by living people during the lifetime of acceptable recording, a definitive record, if considered so by the composer, is the one done by the composer (even if the performance may be sloppy and have mistakes, like when Stravinsky or Copland conducted). Additionally, Boston pops recordings usually don't get considered because they are a mixed basket of pieces and also certain movements rarely and entire work, and most specifically American classical purist look down on anything that is considered popular. So the "Boston Pops"who is the exact same orchestra as the Boston Symphony with the first chairs removed, suddenly a Pops recording of Strauss and Ravel is garbage compared to the Boston Symphony. Aside from Pops compilation albums, Williams other recordings are mostly of original music or arrangements, his own or others. What is so common as well as that people will just say this or that was great, just in order to not sound ignorant. Which happens ALL THE TIME. Lang Lang is a great example also. Many people think is a piano got, but he completely isn't. True, he can move his fingers very fast, however quite often he's very very slop, completely plays on his own and ignores the orchestra and generally speaking is unpredictable. However, he plays the classical repertoire wonderfully, and he did do a wonderful recording with Simon Rattle and the Berlin Phil of Bartok and Prokofiev. I would like to also mention Seiji Ozawa, who is now considered a living legend. Almost his entire tenure with the Boston Symphony was a nightmare, with the orchestra pretty much belittling him, there's even a book called "In Concert" about his recording of Mahler Symphony 2 with the BSO and Jesse Norman, written by a Boston Globe music critic who basically spends an entire book ripping Ozawa a new asshole and making it seem like he is an incompetent buffoon. But then he left and suddenly was beloved, and the recording is well respected. So just because Williams doesn't have his name on some list of "Greatest recordings"of a certain work, doesn't make him not worth his salt as a conductor. So the wide gulf I would describe as salesmanship, ignorance, jealousy, and this snobby purist, elitist attitude which is a combination of all those things. And that's really a shame, because just about every other genre of music doesn't have this problem, nor pretty much any other realm of art or creative areas. You don't see people knocking Frank Gehry for his buildings not being in a traditional vain, or that his buildings are not acceptable because he had never designed something like the Roman Colosseum. Again, not that he's the greatest on earth in terms as a conductor, there are many and realistically once you reach a certain level it becomes a matter of taste rather than competence. There are a lot of great conductors, there are a lot more crappy ones, and there the most who do a certain type of repertoire well and others not. As one last note, I think what gives him merit is all the very classical musicians who do hold the mark for the greatest recordings (Yo-Yo Ma, Jessye Norman, Emmanuel Ax, Itzhak Perlman, Anne-Sophie Mutter, Joshua Bell, Gil Shaham, and the list goes on) have all said that he's an excellent conductor, and sometimes even give supporting evidence. Although, I think the JW archivists would know where to find all that.
  6. WilliamsStarShip2282

    Vienna Instruments Program

    Hi all, I'm not sure if this is a relevant topic, however I know there are a lot of people on here who compose/ arrange and whatever else, so I am wondering if anyone here has experience using the Vienna Instruments. I'm basically writing something in Finale or Sibelius but the sounds are not too hot, and I wanted to try Vienna but I really have no idea how that works. Can you just import and XML file into that program and it syncs it up, or you assign the instruments? Thanks!
  7. WilliamsStarShip2282

    How good is John Williams as a conductor?

    ---sorry auto correct. It's not that I have anything against him, it's just my experience in listening. His recording of Schonberg's Gurre-lieder is absolutely hideous, by far the worst (although there are several bad recordings by famous conductors) but it's pretty unpleasant. Also his recording of Le Sacre with the London Symphony has some issue. (His recording of Gruppen is excellent but thats with three conductors and really contemporary, I don't know if thats a good example) Actually, one of my good friends is a a huge fan of Karajan. So many conductors said he was the greatest, but a lot of his recordings are not so great as well, like both the Rite of Spring recordings are really weird, and his Debussy and Ravel are off. But of course there are a great many that are pure gold. Also which was not mentioned is that just because a conductor does some genres better than others (I consider different periods of music almost like different genres) does not make them a bad conductor. The difference between Debussy and Bach is enormous, and Mozart is very different to perform than Brahms (although there are many bad conductors that perform everything the same way, which is boring as hell). So to respond to publicist, to call someone a "pops" conductor is a huge compliment to be able to handle a bunch of random repertoire all in one evening with minimal rehearsal (since a lot of orchestras just use these concert to make a quick buck). Additionally, I remember a quote from Seiji Ozawa saying he could never conduct to a film like Williams does, it was too difficult for him. I think the same can be said about Arthur Feidler, who did endless concerts outside the Boston Pops, and they were mostly of the classical repertoire, and he was labeled "kind of pops"or something like that. Don't forget also all these people are trained at conservatories just as "the greats"but are not necessarily repeating or playing the same music over again (like the Mahler symphonies for example, I think conductors were considered incompetent for a while if they didn't record the whole Mahler cycle). I think Alexandre Desplat is probably the best example of this (although he doesn't really concertize outside his own music). He graduated as a flute major from the conservatoire Nationale de Lyon, which has extremely high standards, especially in composition. Now his music is very simple, but by choice and style. If you ask him to write a fugue in the style of Bach, I can guarantee he can do it because he would have had to in order to graduate, and additionally I believe he performed "Explosante-Fixe"by Pierre Boulez, which is for three flutes and is extremely difficult contemporary music. So just because they do not perform Mahler or Wagner, does not mean they could not. PS- In all honest reality, without any bias, musicians who claim to work on things for decades either exaggerate wildly or they are honestly not the brightest person around. I know it's pretty difficult for classical people to understand because it's very high-brow and elitist, but there are a great many classical artists who are dumb as rocks, and I can tell you from experience. Certainly not all of them, but I've noticed that sometimes they take forever to learn a score because they're just not too swift (or from their training also, which lacked any sort of training in analysis). Also they are people who fundamental perform and put on a show, and they love to exaggerate and dress things up. I love Andre Previn and he's pretty intelligent for sure and a very find musician, but sometimes he repeated stories in interviews and every time the story is very different from the other versions, but always dramatized sounding. Also, does " I studied it on the airplane before arriving for the first rehearsal" sound particularly attractive? More often than not that's what conductors do when they've performed the piece a lot or it's something that does require special attention ALSO for example John Williams has written some rock tunes, funk and a lot of jazz (and performed a lot of jazz too) as well as Haydn and some other piano concerti at Tanglewood. He can swing and groove just as well as play classical. HOWEVER most classical trained people cannot do anything besides make modest interpretations, but for most part play the music very literally. See here, Anne-Sophie tries to play some kind of Tango and it's all over the place.
  8. WilliamsStarShip2282

    How good is John Williams as a conductor?

    Most people who don't think he's a good conductor are ignorant and would never know the difference in their life. For every good conductor, there's a great many more who are posers. A good conductor, in whatever way, get's the orchestra to play well, corrects mistakes, balances, and adds their interpretation to the music (which is always the hardest part as orchestras sometimes fight the conductor). John Williams is an excellent conductor, with a meticulous ear for just about everything, especially for knowing what to attack in a rehearsal when and how and even perhaps more important when to leave things alone (such as James Levine who would pick over the same details forever or tediously rehearse the last three mozart symphonies, stopping and starting constantly and never really playing through any of it 100%, which really just accomplishes nothing more than irritate the orchestra). A great many conductors live on this mythic reputation, which when asked for evidence to support such a reputation, there's usually nill to go on. Especially true in the case of his recordings of "The Rite of Spring"which Stravinsky absolutely hated and said it was the antithesis of what he envisioned (If you don't believe me, mainly because it's widely reported Stravinsky loved the recording, just look up his autobiography he goes off on a big rant about it. Ligeti, Boulez and Stockhausen were also displeased with his recordings of their pieces saying he ignored their wishes and did whatever he wanted). Bernstein was a legend but he could be all over the place, inconsistent. Claudio Abaddo has more hideous recordings ( meaning just terrible sounding and full of mistakes) than any other conductor, Andris Nelsons I think is also difficult to follow as it seems he conducts some pieces differently from each rehearsal to concert (from what I have observed, I could be wrong) although his interpretations can be pretty nice, Leonard Slatkin (also in my opinion) was never anything special and has in the last ten years gotten so lazy and uninspired that that kind of sound is 100% reflected in the orchestra (having heard him conduct several orchestras within the same few years in the US and Europe), Gergiev's performances always sound terrible because he's extremely spontaneous and doesn't even rehearse the orchestras most of the time he has other people do it. Daniel Barenboim mostly screams at the orchestra (usually calling them stupid), throws things, and in any case every time i've heard him conduct live and even on many recordings it sounds very half assed and sloppy and comes across as very lazy (although the times I've heard him perform as a pianist have been wonderful). Copland, Stravinsky, and Pendereki were (are) absolutely terrible conductors. I could keep going but that's really boring. Basically what makes a good conductor, at least one who is respected by all, is a person who's a good go between who acts like they are one of the ensemble, respects their wishes, but also can be commanding when needed. Deals with balancing, mistakes, and gives their interpretation when they can, or at the very least, what they believe the composers wishes were. Most importantly are excellent communicators. I think a lot of names are usually left out; Simon Rattle, Pierre Boulez, Bernard Haitink, Andre Previn, John Elliot Gardiner and John Williams certainly fall into a category of the finest conductors who embody all the above, but could conduct various types of music well ranging from the avante-garde to the contemporary. PS- judging a conductor who only conducts classics is silly because for example, the last three mozart symponies, the orchestra will usually play them the way they usually play them and will sometimes completely ignore the conductor, which I have seen time and again, however a great recording of the vienna phil, all teh credit goes to the conductor who may have little to do with the performance besides stand there and look nice.
  9. WilliamsStarShip2282

    Across the Stars for Anne-Sophie Mutter

    Found this on instagram, looks like Across the Stars was arranged for her. This is especially interesting since the Yo-Yo Schindler's list one was more of a transcription probably.
  10. WilliamsStarShip2282

    How big is John Williams in Japan?

    What is the piece he composed for the fan club? you mean this?
  11. Got an email from the BSO about Tanglewood Music Center auditions, and it's listed in the repertoire the premiere of a new piece for yo-yo and orchestra. Perhaps the Schindler arrangement?
  12. WilliamsStarShip2282

    Upcoming Andre Previn concert

    A pity though, his engagement has already been canceled with a replacement conductor stepping in. Pity he has to cancel a lot of his events due to his arthritis, but at least he's still composing a lot!
  13. WilliamsStarShip2282

    Meet Howard Shore

    They told meeting him after is open for everyone, no special ticket or anything! (sometimes you see you have to pay like $1000 or something to meet them)
  14. WilliamsStarShip2282

    Meet Howard Shore

    Hi Everyone, Not sure if anybody has seen this yet, but for those of you who live in the New England area, Howard Shore will be at the Newport Contemporary Music Series in Rhode Island for the us premiere of his piano concerto and six pieces, and looks like he's going to have a Q&A and sign autographs after the concert! Found the concert details here http://ncmsri.org/2017-season/
  15. WilliamsStarShip2282

    A Tribute To JW: Newport, Rhode Island

    Hi all, Just thought I would post about the upcoming Newport Contemporary Music Series, which will be in Newport, Rhode Island this coming summer. The season will finish with a special tribute to John Williams, including performances of his cello and flute concerto along with some other great works. Additionally for you film score fans, Howard Shore will be present for a special performance of his "Six Pieces", followed by a Q&A after the performance, as well as two special performances by Philip Glass. The season will open on July 1 with the world premiere of "Almost an Overture", composed by Andre Previn for the newly formed, Newport Contemporary Arts Orchestra, created especially for the series. So if you are in the New England area this summer, be sure to check out these performances! Tickets are currently on sale, and be sure to check out the Facebook page as well for updates. http://ncmsri.org/2017-season/ https://www.facebook.com/Newport-Contemporary-Music-Series