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The Five Tones

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  1. Probably not. Hymn to the Fallen always moves me. The Coplandesque intervals that open and close it are perfect, and along with the choral climax it feels like some of JW's most candid writing. The "brass break" is so "JW in Boston" for the ages. Even though not a full expansion or remastering, the news of this release will at least have me giving the rest of the OST a proper second chance after 20 yrs.
  2. The Five Tones

    The Best John Williams Score of the 2010s

    TLJ (incl. FYC). It had moments of unique flavour and structure; TFA though beautiful was too classic SW. I appreciate his sci-fi/adventure work the most - imprinted in my childhood during Jaws to ToD - and I thin out on dramas, period, romances, thrillers, comedies, children's per se (with exceptions like SYiT, EotS, SL and CMIYC... and The Cowboys restored). From what I've heard of this decade, nothing has compelled me like the sequel trilogy. The Post didn't stick, but I feel like there are some subtleties in his very recent composing style that may take us years to appreciate. I really wanted to like Lincoln more than I did.
  3. I ordered direct from VS one day after the release date and it was delivered to my door 13 days later, on a stat holiday no less... not sure if they had special stock for orders to Canada or something.
  4. There is so much light, air and realism in this edition. It's intense, and I can't help but play it at a higher than customary volume. The main title has to be among my top five JW thrill rides, it's an orchestral and orchestration showpiece. At only three seconds in with that first tutti, you can tell this is the version to own. Respect to the brilliance of all those who worked to capture it and those who would give it a critical edition. Never expect any less from an MM project. I love the creepy, tritonally-harmonized Long Hair material (Long Hair and Jaws' horn theme share the same initial three notes and there is a Quint's Tale-like treatment of LH at one point - shades of things to come). It's everything, as they say, to be able to hear quiet pieces like this in clean, open sonics, including the almost minimalist reference to The Last Post in Summer's Over that is among the most brilliant cues of its kind (think "Watching the Skies" from another recent MM restoration - although the dramatic functions are different they are both ambient, almost infographically simple panels of sound). At some point this past week, the Main Title from Towering Inferno starting crawling back into my hearing... probably its fast, angular, metronomic rhythms (look Ma, no corrective plugins!) connected in some way in my mind with the ones in this Main Title, especially given the style period proximity.
  5. The same three-note hint/variation of the Mountain theme in Lost Squadron recurs in Forming the Mountain, which adds the "wind down" notes, also in variation.
  6. The military motif itself comprises two phrase halves that are each a variation on the Dies Irae motif (Obsession), suggesting the military as a further extension of the red herring / paranoia, and is presented at one point in a fugal treatment (a la Jaws, Black Sunday, etc.) that contrasts the hyperrational, "advanced" counterpoint in The Conversation. I can see that, but I have also thought of them as occupying a hazy tonal space around the fracture point the Main Title big bang provides, and setting up the paranoia subject matter. Navy Planes presents an embryonic military motif, notes flipped for the objects from an earlier era on screen. Lost Squadron is a bit Scriabinesque, i.e. referencing the real world-meets-diegetic connection to the synaesthetic colour and pitch concept. More importantly, it hints at the Mountain theme in variation at the end; notes 2 and 3 intact, but 1 substituted by another note from the chord it belongs to. I would say the narrative begins somewhere here.
  7. Even the 320 sound samples are night and day to the '94, that's a proper, spatially realistic mix without the "artifact" feel of the earlier release.
  8. I'm with Thor, in that I have ethical issues with the film, the genre and the late John Wayne. My much older dad didn't though, and had me watch a number of cowboy films when I was little, including this one. While there are often decent attempts at revisionist westerns there's nothing in me that would have me watch one now. That said, I do have more positive memories of the BP playing the overture on the PBS broadcasts. I love that piece, I own the '94 release (which despite the better cover I will happily unload), and have pre-ordered the Matessino. Hoping to rekindle my interest in cues beyond the overture. Very Coplandesque, but just some of the most kinetic and colourful early JW, subject matter aside. And I love the '78 Smallville stuff too. I suppose deep down I love this kind of Americana. even as a Canuck, kind of hard not to if you love Williams. I'm sure there's been a thread on this at some point, along the lines of "Williams scores you love but are meh to turned off by the subject matter." Not to mention why I don't do Amistad or Geisha but that's not for this forum.
  9. The Five Tones

    The Rebellion is Reborn vs. The Adventures of Han

    Yes - a bit of a variation on the B theme, what Falstaff (Lehman) in the Adventures of Han thread called a "free episode."
  10. The Five Tones

    John Williams Autograph

    That is wonderful Miguel, thanks for clearing all that up for me (us)! I had heard people say the TMC was in the film and doubted it, but never knew the whole story. The funny thing for me is that I once interviewed that singer/contractor Debbie Fleming on my old radio show in the 90s. She may have told me the story off air and I forgot it or misunderstood the anecdote. Looking at the date of the photo (93 '10) it's possible or even likely my encounter with Williams was actually in October not the summer. His signature is about the only memory I can rely on!
  11. Or Imperials/Krennic 1 for that matter, minus the tetrachord part. Fast lower neighbour tone figure followed by descending interval.
  12. The Five Tones

    John Williams Autograph

    He didn't end up using the Toronto choir, but doubtless there were connections here to the singers he did use, and fewer hurdles around immigration and unions to bring in musicians from Israel or wherever, not to mention cheaper recording rates and tax breaks for the production.
  13. The Five Tones

    John Williams Autograph

    I'd just started working in a small classical CD boutique in Toronto in summer 1993, when Williams walked in alone. He asked for the Vaughan Williams section (lol), specifically wanting a good version of The Lark Ascending. I'm not sure what he wanted to do with it, review some of the elder's composing technique or demonstrate some idea to someone on his team. He said he was in town scoping out the Toronto Mendelssohn Choir for possible work on a score he was doing with Spielberg. Someone out there might be able to confirm some of the chronology concerning the score work for Schindler's. It seems late for him to still be considering who would record the choral segments, but there you go. Obviously with the VW CD he had writing for solo violin and orchestra top of mind. My encounter with Williams wasn't at a concert but during the day, just the two of us in the store, him dressed *almost* casually, chatting while he wasn't in a rush. Getting to let him know how much I'd paid attention to his work and how CE3K was my all time fav was of course rewarding, memorable, etc. Little did I know this was the big year it would be for him. We had a small number of JW titles on hand including JP, but I chose something from the delete rack for him to sign - cheeky of me. I explained how my dad and I had shared listening to Pops on the March and watched many of the concert broadcasts, so it seemed appropriate. It also saved another piece of cutout stock, and how.
  14. Nicely played - I approve the photo!
  15. Re: Han B (Searching), I can't help but think of Jyn Erso's theme, itself also bearing a slow mordent-like figure on the minor third degree of the scale followed by the tonic then fourth (fourth then tonic in the case of Han) but without the ternary rhythmic tricks of Han. They employ similar treatments of the minor tetrachord. Obviously no real connection other than them being protagonist themes in the first two SW anthology films, with Giacchino paying homage to Williams, with Jyn vaguely resembling the Force or Across the Stars. They all connect in a low res way.