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Falstaft last won the day on August 20 2018

Falstaft had the most liked content!


About Falstaft

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    Tufts University

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  1. 95% sure this is the cello part of the concert arrangement of Leia's theme. You can check the parts here (in this admittedly amateur engraving -- but it's accurate):
  2. Love that statement at 1:20 in double basses and bass clarinets (?).
  3. My sense with this 3rd Kylo Ren motif is that Williams did originally conceive of it as a kind of intro or supplemental idea, but that over time it's grown legs of its own so to speak. Especially in TLJ, there are a few instances where it really does sound detachable. And there are some moments with material strongly evocative of that I'm not sure are derived from it, but belong in the same motivic family. Example: Alternatively, I think you could make a fair case that this rising string motif is actually a variant of the First Order motif in TFA which, besides the unused Parade Grounds cue, is really undeveloped in that score. Both are based on a C-D-F-Eb melodic cell.
  4. Just strange you're making a value judgement about the Finale version, which is essentially copy and pasted from the Concert Arrangement. It's not a materially different arrangement.
  5. Err... The version of her theme in that appears at the start of the Finale is essentially identical to the opening & closing statements of her theme in the Concert Arrangement. The differences are *The first statement of the theme in the Finale uses the alternative concluding phrase (as in "The Scavenger" and 1:55 of Concert Arrangement) *The second statement of the theme in the Finale is transposed relative to the former (Dbm in finale, Ebm in Concert Arrangement), and at slightly more sprightly tempo. Other than that, same orchestration, same transitions, same everything.
  6. Falstaft

    GALAXY's EDGE - New John Williams composition (2018)

    Fabulous to hear it in its entirety, makes much more sense as a whole than the little fragments and incompete versions we've been hearing. Now just need a high quality recording!
  7. Falstaft

    GALAXY's EDGE - New John Williams composition (2018)

    For the curious, transcriptions of four themes from the GE Suite. Also, you can hear some of the new Cantina music here (which I'm not 100% sure is confirmed Williams but is a great imitation of Fingrin Dan's originals)
  8. @bollemanneke, I can point you to a few sources. Emilio Audissino's monograph has a good index of the Williams concert arrangements up to the point of its publication. The edited volume he put together last year includes a nice if somewhat cursory chapter on Williams's film music for concert performance by Sebastian Stoppe. Get it if you can afford it (or, better, have your local library get a copy!). I wrote an academic article on this subject that considers a number of the questions you're asking. I also compiled a more informal catalogue that includes the SW concert arrangements , though admittedly it's little more than a simple list at this stage, and that still has a few question marks.... Personally, I think the minimum criterion for your own compilation should be that Williams himself arranged the piece, and did so specifically with a live concert performance in mind. So Banquet Scene, Christmas Star, Jabba the Hutt should all qualify, though maybe not his 1970s-80s style soundtracks where every album track is a rearrangement in some way.
  9. Falstaft

    Star Wars Disenchantment

    It's one thing to draw connections between leitmotifs. Part of the joy of listening to these scores is finding rich, personally meaningful ways in which the musical materials resonate with each other. And it's totally fair to let those hearings affect your interpretation of the larger text/narrative. Maybe you truly do hear the Emperor's Theme in Rey's leitmotif, and maybe Williams did cook it in there as a little easter egg (though everything we know about him and his creative process indicates this is almost certainly not the case). At the end of the day, drawing these connections is fine; it's an interpretive affordance intrinsic to the leitmotif technique, and one Williams, fully aware of how musical mythopoeitics works, very much exploits. It's especially true of Rey's Theme, which is unusually multivalent, ambiguous, open to interpretation, more so than the average Star Wars theme. It's another thing entirely to arrogantly assert that you and you alone possess special insight into the composer's intentions, especially when your reading of Williams's intentions is so obviously colored by a) a laughably prejudiced, confirmation-bias driven expectation of a certain "right" musical narrative; and b) a deeply flawed technical analysis cloaked in misleadingly authoritative language. No amount of bold text , no categorical dismissal of the reservations some of JWfan's most thoughtful members, is going to convince anyone anymore. Anyone, perhaps, besides yourself.
  10. Falstaft

    Star Wars Disenchantment

    Forget Rey's theme, the real revelation here seems to be that Darth Vader's theme, thought for so long to be the quintessential minor-mode melody, was in a major key all along!
  11. Falstaft

    Star Wars Disenchantment

    Text description of musical structure can be misleading or incomplete. Sometime's it's best to let the notation speak for itself. So here's a rough and ready transcription of two passages being claimed are unambiguous, un-coincidental variations of the "Vader motif" as the above poster labels it. (The meter is tricky here, so this is a bit of a rhythmic approximation) [I'm not sure exactly what material you're referring to in "Follow Me," Mattris. The section that begins at 1:32 doesn't have a strong melodic profile -- kind of a series of step motions in and around D-minor (F-E, A-Bb, E-F), all in different octaves and instrumental choirs.]
  12. Falstaft

    Star Wars Disenchantment

    Other leitmotifs which begin by outlining a minor thirds...: Imperial Motif (ANH) Jawa Motif (ANH) Death Star Motif (ANH, ROTJ) Jabba's Theme (ROTJ, ANH-SE) Qui Gon's Theme (TMP) Shmi's Theme (TMP, AOTC) General Grievous (ROTS)
  13. Thor, I know your intentions are pure and your credentials impeccable, but statements like this (and your above comment that @Trumpeteer is "not the right person for it") are not constructive and frankly more than little insulting. As one 'hardcore' JW researcher to another, it just comes across like aggressive gate-keeping. From what I've heard, the point of Jeff's podcast is not to be the final scholarly word on any of JW's scores, but to serve as a more casual, still very thoughtful and well-produced introduction for the curious. Let's build each other up, not tear each other down.
  14. Just wanted to chime in to say I'm really enjoying this podcast so far, @Trumpeteer! Can't wait for Fitzwilly, which I think is a real gem in JW's early output.
  15. Falstaft

    Poll: Favorite JW Concerto and Concerto Movement

    Indeed! I'd wager the Clarinet Concerto his most underrated concerto, if for no other reason than the fact its one release leaves so much to be desired in terms of recording quality (though Zukovsky's performance is fabulous). It's one I also need to get to know better. As far as I know, there's no easily available sheet music for it to study either. Something for Hal Leonard to get cracking on? Of course, this is the most "John Williamsy" clarinet showcase! https://www.youtube.com/watch?v=WG8IdcqBXfA