Matt S.

The happy news I cryptically alluded to last week is now something I can make official: I just signed a book contract with OUP for 𝘛𝘩𝘦 𝘚𝘬𝘺𝘸𝘢𝘭𝘬𝘦𝘳 𝘚𝘺𝘮𝘱𝘩𝘰𝘯𝘪𝘦𝘴: 𝘔𝘶𝘴𝘪𝘤𝘢𝘭 𝘚𝘵𝘰𝘳𝘺𝘵𝘦𝘭𝘭𝘪𝘯𝘨 𝘪𝘯 𝘚𝘵𝘢𝘳 𝘞𝘢𝘳𝘴!   It's a book it feels like I've been writing in my head for a long, long time -- since middle school, kinda? And unless Williams somehow returns to write another entry in the series, I'm treating it a chance to provide a properly 𝘴𝘺𝘯𝘵𝘩𝘦𝘵𝘪𝘤 investigation into these scores, all nine of them.   Even Rise of Skywalker?? 𝘌𝘴𝘱𝘦𝘤𝘪𝘢𝘭𝘭𝘺 Rise of Skywalker!   My hope is this book does some justice to the complexity, challenge, and sheer magic of this music.   Now, back to the grindstone!   https://www.facebook.com/Falstaft/posts/pfbid0L6wUjeDDxj6AmhwHh1f9obrVMJfYbPx4GJM8YaEWiZtqxwp37A88monPFVDxBQ26l  
Congratulations, @Falstaft!

DG can only release what the orchestras perform.  I mean, I assume Williams decides the concert programs, not the record label.  The way it looks to me, DG has been very conscious of what has already been released and has done their best to satisfy everybody.  As far as Vienna II is concerned, they digitally released the 3 tracks that were unique to that concert.  And the first Vienna concert single CD contained the one Mutter track that didn’t make it onto Across the Stars (Devil’s Dance).  I agree that a greater variety would be great, but I don’t think it’s going to happen beyond the one lesser-known piece he usually throws into each show.

DG can only release what the orchestras perform.  I mean, I assume Williams decides the concert programs, not the record label.  The way it looks to me, DG has been very conscious of what has already been released and has done their best to satisfy everybody.  As far as Vienna II is concerned, they digitally released the 3 tracks that were unique to that concert.  And the first Vienna concert single CD contained the one Mutter track that didn’t make it onto Across the Stars (Devil’s Dance).  I agree that a greater variety would be great, but I don’t think it’s going to happen beyond the one lesser-known piece he usually throws into each show.

DG can only release what the orchestras perform.  I mean, I assume Williams decides the concert programs, not the record label.  The way it looks to me, DG has been very conscious of what has already been released and has done their best to satisfy everybody.  As far as Vienna II is concerned, they digitally released the 3 tracks that were unique to that concert.  And the first Vienna concert single CD contained the one Mutter track that didn’t make it onto Across the Stars (Devil’s Dance).  I agree that a greater variety would be great, but I don’t think it’s going to happen beyond the one lesser-known piece he usually throws into each show.

Adventure on Earth

Adventure on Earth

Adventure on Earth

Adventure on Earth

Adventure on Earth

Adventure on Earth

All of Williams' OSTs around that time were like that. Amistad, Seven Years in Tibet, Saving Private Ryan, Angela's Ashes, The Patriot.....they all opened and closed with identical (or nearly so) reprises of the concert tracks.  

Somewhere in My Memory and Star of Bethlehem are the same as the versions on the Home Alone 2 album, as mentioned without children’s voices, which are the standard Hal Leonard Signature Editions.  Holiday Flight is a bit unique in that it uses the slightly reworked melody from HA2.
 
FWIW, the Boston Pops also later recorded Merry Christmas, Merry Christmas from HA2 under Keith Lockhart (the Holiday Pops album).

I hope this means they’re aiming for a Tanglewood summer 2024 premiere!  Even better would be if they repeat what they did with ASM’s concerto; replay it that fall in Boston and record it there as well.

I went to the Friday night concert; the violinist Mone Hattori also played an encore with the orchestra after her two programmed selections; it was piece written by her father who is a television and film composer in Japan.  I don’t know if they played any encores at the Saturday concert, but it doesn’t look like The Fabelmans was performed.
 
The one encore after the end of the full concert on Friday was The Cantina Band.
 

I went to the Friday night concert; the violinist Mone Hattori also played an encore with the orchestra after her two programmed selections; it was piece written by her father who is a television and film composer in Japan.  I don’t know if they played any encores at the Saturday concert, but it doesn’t look like The Fabelmans was performed.
 
The one encore after the end of the full concert on Friday was The Cantina Band.
 

Spared no expense!

Throne Room & Finale to bring the concert to a proper close?

Any encore guesses?! :-)
 
Have to give huge thanks to Jamie R. Mike M and Nikiforos C for making this programme work. The RPO (the original Star Wars in Concert Tour orchestra!) is a superb band! 
 

It is indeed!

“Carbon Freeze & The Imperial March”? Is that the same as the version on the Gerhardt TESB recording?  If so, cool!!

“Carbon Freeze & The Imperial March”? Is that the same as the version on the Gerhardt TESB recording?  If so, cool!!

I had to look up the name, but yeah, I remember him from MASH. He does bear a resemblance to Williams.
 
Coincidentally, he was a conductor too, and as Wikipedia notes: "During his days at Juilliard, he would skip his acting classes to sit in on master classes led by such notables as John Williams"!
 

That’s all I needed to know: Order #279130
 
I just missed it before so I wanted to make sure I grabbed it right away this time. I also made sure I got Jurassic Park and I threw in Saving Private Ryan. I don’t own it yet and I want to support the label.
 
 
 

Spared no expense!

You squeezed the dinorama into a jewel case? Well done!

Poor dinos!