zoltan_902

It's quite funny actually; I very recently switched from SoundHound to Shazam. What SoundHound wasn't able to recognise, Shazam was able to. That's all it took. 

Another track on that same album, 'corporate Power' is a fun listen. Dave Hewson has proved a great new discovery for me.
 

Found it!!!!!
 
'A New Metropolis', by David Hewson, from the album 'Classic Fantastic'.
 
 

Thanks for your response, and the helpful lead! I can't believe it's been 6 years since I posed this question. I'll check out the rest of Tony Hymas' released music to see if I get lucky.

There is an in-house(?) CD featuring music used during NBC's broadcast of the 1992 Barcelona Summer Olympics, which includes four Williams compositions, all related to "Olympic Fanfare & Theme":
"Prime Time Tease" (beginning with Leo Arnaud's "Bugler's Dream" and then transitioning into a variation of "OF&T", anyone who's watched the NBC Olympic broadcasts will recognize this track instantly) "Contemporary Tease" (a humdinger of a piece and one of my Williams grails, sort of "Hoe Down" meets "OF&T"; I first encountered this piece in an NBC promotional video for the 2004 Athens Summer Olympics) "Dramatic Tease" (a subdued and beautiful variation of "OF&T") "Olympic Fanfare & Theme" (what I believe is a new recording of the entire piece for NBC's use though I haven't compared any of the pre-1992 recordings to confirm this) The rest of the CD is filled out with two versions of Arnaud's "Bugler's Dream", six John Tesh tracks, "Torch Theme" by Angelo Badalementi, and Yanni's "In Celebration of Man", as follows:
Prime Time Tease (Arnaud/Williams) Contemporary Tease (Williams) Dramatic Tease (Williams) Late Night Tease (Tesh) Late Night Animation (Tesh) Prime Time Reset (Tesh) Voices Of God (Tesh) Late Night Reset (Tesh) Morning Reset (Tesh) Bugler's Dream (a la Hendrix) (Arnaud, arr. by ??) Bugler's Dream (Arnaud) Olympic Fanfare & Theme (Williams) Torch Theme (Badalamenti) In Celebration Of Man (Yanni) Feel free to PM me for more information.

I have a few extraneous organs I'd trade for a day's access to his office.

In Australia and New Zealand

https://www.abc.net.au/classic/events/john-williams-at-90/13739466

The trumpet fanfare playing over the 'opening' fireworks was one note away from being the CE3K theme.

Hi All,
I've recently re-watched the making-of documentary of Jurassic Park - the one hosted by James Earl Jones. There are a bunch of cues in the program that I'm very keen to identify - which are evidently not sourced from the Jurassic Park OST.
Even after recording the segments of audio and processing them, and sampling them to SoundHound, I wasn't able to get an ID. I think it's some other source music - can someone else please lead me?
The link to the documentary on Youtube: https://www.youtube.com/watch?v=P9bKxRQfvs8. You can go to 37:05 for the one cue that I'm most keen on (during the Gallimimus sequence).
Cheers.

Happy 89th birthday John!!!!!
 
Here's my orchestral score reduction of John’s “Happy Birthday Variations” composed in 1995.
 
Allow me to promote my YouTube channel a bit guys: I’m going to post videos like this more regularly soon. Stay tuned and please subscribe if you haven’t!
 
 

1. Soundings
2. Music from Hook - The Face of Pan, The Feast, The Lost Boy's Ballet
2. Music from Jaws - Montage, Man Against Beast, End Titles
3. Parade of the Slave Children

It really saddens me that there isn't an effort to make the whole Evening at Pops series accessible on demand globally, even for a subscription (which I'd happily pay).

Besides the fact that I idolise JW as a musical hero (and adore watching him conduct), the Evening at Pops series is also incredibly well made technically, and is one of the very best examples in the world of a TV presentation of a Symphony concert. The entire technical production of the show, and the majestic Boston Symphony Hall are all perfectly combined, and I'm sure with all the new premium arts channels emerging around the world, that it could be still commercially viable. So, I don't know why BSO and PBS are so selective about the episodes they encore.

The only obstacles I can imagine are either 'rights' issues, or perhaps even more worryingly, that some episodes might not exist anymore (in the oil crisis era tapes were routinely wiped and reused).  

It really saddens me that there isn't an effort to make the whole Evening at Pops series accessible on demand globally, even for a subscription (which I'd happily pay).

Besides the fact that I idolise JW as a musical hero (and adore watching him conduct), the Evening at Pops series is also incredibly well made technically, and is one of the very best examples in the world of a TV presentation of a Symphony concert. The entire technical production of the show, and the majestic Boston Symphony Hall are all perfectly combined, and I'm sure with all the new premium arts channels emerging around the world, that it could be still commercially viable. So, I don't know why BSO and PBS are so selective about the episodes they encore.

The only obstacles I can imagine are either 'rights' issues, or perhaps even more worryingly, that some episodes might not exist anymore (in the oil crisis era tapes were routinely wiped and reused).  

It really saddens me that there isn't an effort to make the whole Evening at Pops series accessible on demand globally, even for a subscription (which I'd happily pay).

Besides the fact that I idolise JW as a musical hero (and adore watching him conduct), the Evening at Pops series is also incredibly well made technically, and is one of the very best examples in the world of a TV presentation of a Symphony concert. The entire technical production of the show, and the majestic Boston Symphony Hall are all perfectly combined, and I'm sure with all the new premium arts channels emerging around the world, that it could be still commercially viable. So, I don't know why BSO and PBS are so selective about the episodes they encore.

The only obstacles I can imagine are either 'rights' issues, or perhaps even more worryingly, that some episodes might not exist anymore (in the oil crisis era tapes were routinely wiped and reused).  

The Signature Editions are invaluable to me, first and foremost as a direct study guide of JW's prodigious orchestration skills. I have a large collection of them - over 30 titles. As mentioned above, it's very rare for film music to be published like this for a consumer market, and I'm delighted that it serves as a mean for fans to make a collection. Importantly, they're available to purchase by collectors just for the score, or (presumably for commercial performances) in full orchestral sets. I'm a collector and use them for reference and perusal. Therefore it does annoy me that some pieces are substantially re-arranged for concert, sometimes with little semblance of their original form. I'm quite indifferent to how orchestras choose to program the suites - usually I'm just glad to hear any of it performed at all.

If one day the rights holders care to commercially publish the entirely of the score for a given film, I would be absolutely delighted. I know Omni Publishing does this for certain movies, which is fantastic. I'd love to see the Harry Potter and Star Wars scores released in this format.

I skipped or condensed sentences here and there to keep my sanity, freeform not word-by-word prerehearsed, studied and memorised speech can be a bit messy anyway. Great concert at the Music Academy, 5 minute applause, fine performance. Double Trouble is indeed impeccable and sections of Quidditch Third Year were on par with the original. I loved the striped breakdown demonstrations.

Link starts at the piece's announcement.

Interesting introduction, for those who understand (like I do, somewhat) Hungarian. The conductor compares the stylistic influence on JW's music of 20th and 21st century music, particularly Russian composers like Stravinsky and Rimsky-Korsakov, and Germans like Wagner and Strauss. It's very gratifying to hear the music critiqued in such a dignified and serious manner, befitting its sophistication in its own right, rather than vulgarising it merely in the context of kitsch film music.

Further edit: As watch more of this recording (I'm barely half way through as of writing this), I come to realise, this isn't intended as a concert per se, but as a very informative and insightful musicological lecture on JW's HP music - think Leonard Bernstein's Young People's Concerts. I'm just glad I can comprehend most of it. 

Indeed, I *adored* hearing the separate winds and string in isolation for the Nimbus 2000 theme. Just shows how unfathomably layered and intricate the theme is, even when the trumpets dominate. Most contemporary film composers could only dream of writing as complex as that. 

Interesting introduction, for those who understand (like I do, somewhat) Hungarian. The conductor compares the stylistic influence on JW's music of 20th and 21st century music, particularly Russian composers like Stravinsky and Rimsky-Korsakov, and Germans like Wagner and Strauss. It's very gratifying to hear the music critiqued in such a dignified and serious manner, befitting its sophistication in its own right, rather than vulgarising it merely in the context of kitsch film music.

Further edit: As watch more of this recording (I'm barely half way through as of writing this), I come to realise, this isn't intended as a concert per se, but as a very informative and insightful musicological lecture on JW's HP music - think Leonard Bernstein's Young People's Concerts. I'm just glad I can comprehend most of it. 

Interesting introduction, for those who understand (like I do, somewhat) Hungarian. The conductor compares the stylistic influence on JW's music of 20th and 21st century music, particularly Russian composers like Stravinsky and Rimsky-Korsakov, and Germans like Wagner and Strauss. It's very gratifying to hear the music critiqued in such a dignified and serious manner, befitting its sophistication in its own right, rather than vulgarising it merely in the context of kitsch film music.

Further edit: As watch more of this recording (I'm barely half way through as of writing this), I come to realise, this isn't intended as a concert per se, but as a very informative and insightful musicological lecture on JW's HP music - think Leonard Bernstein's Young People's Concerts. I'm just glad I can comprehend most of it. 

Link starts at the piece's announcement.

Whew. I gotta stop somewhere. The rest is coming tomorrow.
 

Link starts at the piece's announcement.

Link starts at the piece's announcement.