Jump to content


  • Content count

  • Joined

  • Last visited

About Score

  • Rank
    Regular Poster

Profile Information

  • Gender

Recent Profile Visitors

8737 profile views
  1. If you are using the word "suite" in the literal sense (i.e., a collection of several pieces, more than one), then I don't know for sure, but if you include the case of only one piece being extracted (as some people do here, where they call JW's single concert pieces "suites"), then Mozart planned the ouverture to Don Giovanni to be played also as a stand-alone piece. He even wrote a different ending, specifically intended for concert performance. You can hear the concert version here: The concert ending (where it starts to differ from the opera score) starts at 5:36. This is the original one as written by Mozart, while also other composers have written other concert endings for that. This is the earliest example that I am aware of. In the 20th century, don't forget several examples by Stravinsky (Firebird, Pulcinella, Histoire du Soldat, pieces from Petrushka etc.). EDIT: I saw your edit just now! Let me add that Wagner also planned some excerpts from the Tetralogy to be played in concert (most famously, the Ride of Walkyries, which greatly impressed Tchaikovsky).
  2. Sure, the reason why I'm a bit annoyed is that I have ordered SPR together with some other stuff (I always group LLL orders to minimize shipping costs to Europe), so I've made a rather large order. Because of the SPR delay, the whole order is delayed. And as a matter of principle, I don't find it correct to sell something before you have it ready to be packed and shipped. I would accept it only if they took the money at the moment the items are shipped, but this is not the case.
  3. In general, and not just for JW titles, I don't like the concept that they take money from the customers not just before shipping the items (which would be fine), but even before receiving the items from the manufacturer. If they say that an item will start shipping on day X, as a customer I assume that they physically have all the CDs already.
  4. No, and it's September 14 everywhere in the world now. It's quite annoying, also because it's not the first time this happens.
  5. Score

    John Williams' Magnum Opus

    So, finally it has been demonstrated beyond any possible doubt that ESB is twice as great as The Lord of the Rings concert (240 great musical moments against 120). This closes a lot of long-standing debates!
  6. Score

    John Williams' Magnum Opus

    I cannot wait to read @TGP 's opinion on this definition of greatness
  7. I know. That's exactly what I meant when I said that the situation with Schindler's List is different. I was answering to the question "was there any case of JW approving choir-free versions of cues in specialty labels releases?".
  8. There are choir-free versions of some Christmas songs from Home Alone and Home Alone 2 in the LLL releases. But I think the situation with Schindler's List is different. At least in the case of "Immolation", the choir really has the lead when it enters, and the orchestra provides the accompainment. If you remove the choir, you miss a very important part of the piece.
  9. I think the cues without choir appearing in the sessions leak appear that way only because the choir was recorded later. I don't think they were ever meant to be played without choir, so there would not be any reason to include them. The most interesting additions would be the alternate performance of 10M1, the various versions of the End Credits and the alternate versions of Schindler's Workforce. EDIT: written at the same time as the posts by you and Incanus.
  10. It's just that both SPR and Schindler's List were already "almost complete" on OST, which does not apply to most of the other JW releases.
  11. ... which should include the earlier versions of some cues (Schindler's List Workforce was altered several times), some inserts and other stuff that was not on the OST. Instant-buy for me!! Wonderful news!!
  12. Yes, also because, as far as I know, no more music has been written for that score. The release should be complete.
  13. The whole track is probably my favourite cue from the score (together with the Auschwitz piece). It's a perfect match for the movie scene: the tone switches from danger to hope/nobility (the horns + violas chorale) to sadness when the list has to be stopped because the money is over, and the characters seem to realize the meaning of the list and of the whole situation. As far as I am concerned, this is perfect scoring.
  14. Although I love the score of Schindler's List, I have heard similar complaints about the main theme from several people, and I appreciate that you are making an example of a possible alternative and beautiful approach (Gorecki's 3rd). However, do you really feel the theme is so much a "tearjerker"? Considering the subject to which it is associated, I think any intelligent approach to the music would produce a similar effect to those who connect with the story (and both Williams' and Gorecki's works are intelligent settings, in their own ways). Gorecki's work sets to music some Polish texts, including one written in a Gestapo cell: of course it is very touching and appropriate, but to appreciate this added value you either need to speak Polish, or to know the story of the text. So, if the film had been scored, say, with Gorecki's third symphony, I am not sure that many people would have received the intended message while seeing the movie, a message that you get, instead, if you go to a concert or you listen to a recording and read the notes. Williams' approach relied more on the power of a beautiful melody (ok, partially borrowed from a theme by Mahler, but he made his own thing out of it) and as a result, in my opinion, he could communicate in a more universal way. Also, the violin part in John Williams' theme is not that virtuosistic, there are just a few embellishments within a rather slow and contemplative piece. Maybe the main theme has suffered from overexposure during the last 25 years, and when something is played too much, in all possible occasions, it can start to be perceived as cliché. But this does not diminish its value as a piece of music.
  15. I also generally tend to appreciate more a complex score with respect to a plain one, but Schindler's List is really a case where the apparent simplicity of some of its features (harmony and orchestration) are more than compensated by the absolute beauty and appropriateness of the themes. It's not an easy task to write melodies of that kind. In this sense, I don't find it so "conventional". Also, the details of the orchestration offer several interesting situations, despite it being largely string-based. And a cue like Auschwitz-Birkenau, with those timpani glissandos and Bartok-like atmosphere, is absolutely gripping. Book Thief, in my opinion, mostly suffers from being fragmentary. If a score is made mostly of 1/2-minute cues, the composer simply has no time to develop ideas in a completely satisfactory way, even if the ideas themselves are good. Schindler's List, of course, which is mostly made of 4/5-minute cues, did not have that problem at all.