Muad'Dib

Also worth noting that ‘Don’t Bee That Weigh’ is actually crossed out and ‘The Catina Band Pt. II’ is written in with red ink.
 

 
This is typically what they did with cues selected for album tracks. See for example how ‘The Last Battle Part I’ is written in for 8M2 More Rescue here, which would only make sense in the context of the album track:
 

 
So, it would appear Cantina Band 2 may have originally been intended to feature on the OST, combined in a track with the other Cantina Band tune.

#maythe4thbewithyou 💫
 
We are excited to announce that John Williams, together with Thomas Adès, returns to our podium for two concerts on Saturday, December 7, 2024, and Sunday, December 8, 2024, at the Musikverein Wien!

https://bit.ly/johnwilliams2024
 
#savethedate
 
The start of the ticket sale as well as the exact program will be announced at a later date – stay tuned!
 
Happy International Star Wars Day!
 
📸: Dieter Nagl
 
https://www.facebook.com/share/p/PXcuCFP3mV8DbhDi/
 
 
 
https://www.wienerphilharmoniker.at/en/konzerte/the-music-of-john-williams/10598/

https://filmmusicreporter.com/2024/05/02/alan-silvestri-scoring-anthony-joe-russos-the-electric-state/
 
This is intriguing. I love Simon Stålenhag's work, but I never expected there to be a film adaptation of this (and certainly not from Hollywood A listers such as the Russos and Silvestri). But I guess TALES FROM THE LOOP opened some doors.
 
If you're not familiar with Stålenhag's work, I recommend taking a look at his gorgeous artworks, which insert sci fi elements into very mundane, Scandinavian surroundings. Stålenhag is also a good composer, and did this SUPERB concept album based on his own THE ELECTRIC STATE work. If you like moody Vangelis, this is right up your alley:
 

 
I doubt Silvestri will take a similar approach, but nothing would please me more than if he reawakened some of his 80s synth roots for this.

Another trailer
 
 

The album thread reminded me of this and nobody ever made it so I had to 
 

Here's some screencaps
 

 

 

 

 

 

 

 

David Lynch finally gave a few quotes about taking the role
 
 

From the print edition of the 2024/2025 Berlin Philharmoniker season book
 

 
Found on: https://www.facebook.com/groups/904229429654872/posts/7527258017351947/
 
I'll add links to the official website here when it gets added there.

I think the reason Spielberg keeps returning to Koepp is that he's an efficient and quick writer -and they seem to get along quite well. I'm not sure Spielberg's had any other long-term relationship with a writer... Tony Kushner comes to mind, but that's been more sporadic and started in the mid-2000's or so.
 
I don't think Spielberg's looking for a presitigous writer with Koepp. Of course he's very prolific, so he could be considered prestigious in some other way; but I'm guessing that he's easy to work with, he writes fast and is someone Spielberg knows how he works.
 
All that said, the project sounds intriguing and potentially could be a lot of fun. Here's hoping Steven tries something in that scary vibe it was quoted above.

https://www.kkl-luzern.ch/en/20-04-2024-19-30-williams-spielberg.html
 
https://www.citylightconcerts.ch/wp-content/uploads/2024/04/CLC_E-Book_A_Tribute_to_Williams_and_Spielberg.pdf
 

 
 
I've heard "Revisiting Normany" performed live, and it's fanTAStic!
 
It's so cool they are doing "Incident At Isla Nublar", "Jewish Town", and the end credits from Last Crusade and Munich too!

A 5 minute track was recorded to play throughout the scene, the walk through Diagon Alley was meant to be scored by the woodwinds and witchy fiddle. Then a "Reveal insert" was recorded to change the start of the reveal into an orchestral swell because it wasn't magical and awe-inspiring enough. Williams liked the music he wrote and expanded it into a longer, slower tempo concert piece in his Harry Potter Children's Suite for Orchestra, "Diagon Alley". For the original 1 disc soundtrack album release, Williams replaced the opening portion of his full recorded track with part of the Diagon Alley concert piece, this is "Diagon Alley and the Gringotts Vault" as you know it. For the movie, the filmmakers decided the reveal needed more of a warm happy reveal and excitement than a weird new world, so they replaced that same opening section with a latter track that Williams wrote for entering the Great Hall. (Confusingly, the track on the 1 disc soundtrack album called "Entry into the Great Hall and the Banquet" does NOT contain this entry music, only the banquet music.) The film also appends part of "Hermione's Feather" to the start of the track for the bricks moving out of the way. The LLL expanded release linked above has the original recorded track combined with the Reveal Insert in Disc 1 track 7, "Diagon Alley and The Gringotts Vault [Extended Version]", the Great Hall entrance in Disc 1 track 13, "Through the Doors", and the concert piece in Disc 3 track 8, "Diagon Alley". The original recorded opening of the track for Diagon Alley, the Reveal Insert, the full unedited concert piece and Through the Doors all premiered on the set, they were never before released, they were only available in a recording sessions leak with the exception of the Reveal Insert. I've done two videos about how the original opening and the reveal insert opening would've worked in the film:
 
 
 
 

Yes, there is a systematic thought beyond that. I'll explain with an example.
 
Suppose you have a melodic theme in (say) 4/4, with a clear and regular harmonic and melodic rhythm. The procedure of "suspended strings" consists in letting the 4 upper parts of the strings (violins I, violins II, violas, and cellos) be made of sequences of held notes, each one having the duration of 5/8, and in letting the 4 sequences corresponding to the 4 parts start in different eighths of the first measure. For example: in bar 1, violins I start playing sequences of 5/8 notes starting on the first eighth of the measure; violins II start a different sequence of 5/8 notes on the fourth eighth; violas start another sequence on the third eighth, and cellos start another sequence on the second eighth. In this way, no two parts are ever going to attack any note simultaneously, therefore chords become kind of "blurry" and, indeed, harmonies are "suspended". This generates sequences of very short chords that are extremely strange but preserve a reminiscence of the original harmony, and a sense of motion due to the fact that, basically, at every eighth the harmony changes in one voice. 
 
If you can read music, you may want to see it written down, for example in this publicly visible perusal score: 
 
https://www.wisemusicclassical.com/work/63469/The-Legend-of-1900-Suite--Ennio-Morricone/
 
You will find two examples of this kind of writing, starting at page 5 and at page 22. The one starting at page 5 is probably the first version of "The Crisis", which I was mentioning in an earlier post. There are also plenty of examples of this technique in Morricone's commercially available concert pieces.
 
 
 

Ennio's "suspended strings" effect is one of my absolute favourite techniques of his. It appears in so many of his scores, and it's always a standout moment when he applies it.

Really surprised that no one posted this but here's the Raiders March performance
 
 

I don't see this in DG's "news" tab for Joe, but it does appear on the artist main page.

I am sorry for the delay…here are my shots of the wonderful gala concert @ Carnegie Hall…if they add something.





 
 

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!

More animated Jurassic stuff coming to Netflix
 
 

I love this show so fucking much and I think what I love the most is the music -the songs are great but the orchestral score is so unnecessarily dramatic, I can't help but adore it!
 
This is straight out of a suspense film:
 
 

I've been watching this show and I really enjoyed the first season, and the soundtrack album was just released!
Some beautiful stuff in there, especially the main theme by Satoru Kosaki, that plays in many of his cues. Kevin Penkin's contributions are also nice, but my favorite tracks are definitely in the first part of the album. I absolutely recommend both the show and the soundtrack. Lyrical, cute and emotional, and one of the biggest surprises of the year so far!
 
Also, Hiroyuki Sawano's score for Solo Leveling was released, but I found it a bit underwhelming, relying on the same techniques he perfected in Attack on Titan, but without the emotional impact they had in there. The OP song is awesome as is DARK ARIA, and some cues are nice (big fan of part 8 of the symphonic suite), but overall is a bit of a disappointment.

Oops, yes.
 
Love this bit:
 
 

https://filmmusicreporter.com/2024/03/22/john-williams-reimagined-album-to-be-released/
 

 
 
Warner Classics will release John Williams Reimagined, a new album featuring music by the Academy Award-winning composer arranged for chamber trio of flute, cello, and piano. The 2-CD set is produced by Robert Townson and the music is performed by flutist Sara Andon, cellist Cécilia Tsan, and pianist Simone Pedroni. The album covers Williams’ career from his early Emmy Award-winning score for the 1970 television film Jane Eyre to the main theme of 2022’s The Fabelmans, and includes such titles as Star Wars, Schindler’s List, Harry Potter and the Prisoner of Azkaban, Jurassic Park, A.I. Artificial Intelligence, Hook, The Accidental Tourist, The Witches of Eastwick, Dracula, The Sugarland Express, The Patriot and War Horse. A first track (Over the Moon from E.T. The Extra-Terrestrial) has just been released today and is now available to stream/download now on all major digital music services and can also be checked out after the jump.
 
Here’s the album track list (per Slovenia’s NIKA):
 
Disc 1:
1. Star Wars: Princess Leia’s Theme
2. Jane Eyre: To Thornfield
3. Jane Eyre: Reunion
4. Memoirs of a Geisha: Sayuri’s Theme
5. Memoirs of a Geisha: A Dream Discarded
6. Memoirs of a Geisha: Going to School
7. Images: In Search of Unicorns
8. The River: Growing Up
9. The River: The Pony Ride
10. The River: Love Theme
11. The River: Young Friend’s Farewell
12. The Sugarland Express: Theme
13. The Sugarland Express: Elegy
14. A.I.: The Reunion
15. The Empire Strikes Back: Han Solo and the Princess
16. Far and Away: County Galway, Joseph and Shannon, Blowing Off Steam, Finale
 
Disc 2:
1. The Fabelmans
2. Seven Years in Tibet
3. Jurassic Park: A Tree for My Bed
4. Hook: The Face of Pan
5. The Accidental Tourist
6. Schindler’s List: Theme
7. Harry Potter and the Prisoner of Azkaban: Double Trouble
8. Harry Potter and the Prisoner of Azkaban: A Window to the Past
9. Harry Potter and the Prisoner of Azkaban: Hagrid the Professor
10. Harry Potter and the Prisoner of Azkaban: Chasing Scabbers/Hagrid’s Friendly Bird and The Snowball Fight
11. Dracula: End Credits
12. War Horse: Dartmoor 1912, Bringing Joey Home and Bonding, The Death of Topthorn, Finale and The Homecoming
13. The Patriot
14. Sabrina: How Can I Remember?
15. The Witches of Eastwick: The Tennis Game
16. The Witches of Eastwick: The Seduction of Suki and The Ballroom Sequence
17. The Witches of Eastwick: Devil’s Dance
18. E.T.: Over the Moon