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lairdo

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About lairdo

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  • Birthday 07/12/1967

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  1. I had forgotten about that comment! I had the same thought - poor Julia Ormond. But it is also interesting to imagine that Williams always had Hepburn in mind even when scoring the remake with picture in front of him.
  2. There were a few built in cameras that they seem to have at Tanglewood (I saw one to the left of the orchestra, and other at the back of the Shed behind the percussion). I think (but did not see it) that they were showing a live video on the big screens that are behind the Shed so that people on the lawn could see what was going on. Thus, I would guess there was video made - but I doubt it will be released - there were not cameras on the platforms in the audience area where I think those go for produced shows. Someone who has been there before can probably comment on that. This recording would be more serviceable than something actually directed (such as the Bernstein concert last year, for example). I was hoping - wrongly - that they would replay the concert on Live from Tanglewood last night on Classical WCRB radio so we would get audio. However, they aired a concert from last year instead. I suspect rights issues and wanting to keep these performances for the CD release kept that from happening. As a counter example, Saturday night's BSO show was broadcast live. But maybe after the CD comes out, WCRB will air this concert at some point in the future. The usher in my aisle kept shooing my wife and I (and others) from even taking photos - and that was just during the bows! So, someone told the ushers to be vigilant I guess. I thought about trying to clandestinely record some of the show, but I really wanted to focus on the experience and not technology. So, alas, only have echoes in my head, but happy I was so engaged with the show. Others may have been more adventurous. I saw that person too. I suspect b-roll footage to support the album launch and maybe also promote the German concert in September.
  3. My understanding is that he made this decision after the 5 days he worked with Ms. Mutter in LA. They apparently just clicked, and he wanted to do it. Perhaps, he was already going to be present for the concert in any case as an audience member, especially with the Koussevtizky sculpture dedication a few days before? (I made it a point to see all 3 busts JW has donated - see images.) As I wrote earlier, you could definitely feel the chemistry between Anne-Sophie and John. My wife and I were just on the aisle about 10 rows back on the left with a great view of both of them. The concert was long - 2.5 hours or just over depending on if you count that they started the normal 5 mins late (at 2:35 instead of 2:30 pm). Williams was out there for 100 minutes, Newman just for 55. (25 min interval.) Anne-Sophie was probably on stage over an hour in total. Must have been more with applause etc. I loved after The Duel from Tintin that she and Williams sort of shadow sword fought - baton vs. bow. I also loved that JW got a standing ovation just for showing up to start the 2nd half. (I think I might have been the first on my feet in our section!) JW seemed energetic and with it. He had some issues with the step to the podium, but once atop, his energy and attention to everything the Pops were doing was intense. You get the sense of his skill as a conductor watching from up close and also seeing how rapt the players are in following his lead, Ms. Mutter included. It's hard to say what was my favorite part. First, JW told some nice stories which is always great. Second, Leia's theme was lovely as written about by others on this thread, and as Falstaff mentioned (sorry to miss your talk - did not know about it!), Hedwig's Theme was longer than the release so far, and I liked it more as this longer version. Ending on Raiders is always special for me as an Indy fan. But really, it was this sense that something amazing was on stage. These new pieces have a chance to enter the general concert repertoire in a way that only Schindler's List and Geisha have in terms of "serious" pieces of hard to play music that can show up in concert programming. And more over that aspiring musicians may try to master and learn from. I love most of Williams' concerti, but they are just played that often. I think these may become more likely to be heard, and I expect Anne-Sophie will use them as encores and parts of her program for years to come. Most are not just orchestrations - they are truly arrangements of themes we love. Let's never forget that JW spent many an hour arranging for the likes Shelly Mann and Henry Mancini. These may not be jazz like his pieces for them, but there is still fundamental quality to how to treat and develop material. Plus, he had to work in cadenza challenges for Ms. Mutter in a way that might parallel a jazz solo. Concert attendance was a bit sparser than I would have thought - although certainly well attended. Lots of empty seats around, but with the lovely weather, the picnic grounds were packed. (My wife and I attended the Saturday night BSO concert which included the Previn concerto written for and played by Anne-Sophie, and it was raining, so only people under the Shed were in attendance.) At dinner Sunday night, we overhead two couples discussing Sunday's concert, and one of the four said he was happy to sleep through it! I wanted to have a word with him, if you know what I mean. Happily his wife, who clearly is the smart one in that family, came to the rescue and told him she enjoyed hearing these themes on violin and the artistry of the playing. What else to say? As a first weekend ever at Tanglewood, my wife and I were blown away by the beauty and fun. She's wearing her Tanglewood t-shirt today as we fly home. We have spent many nights at the Hollywood Bowl, and this beats it. We actually stayed after the concert just to walk the grounds for an hour and soak in the views and ambience. And who knows when we will get to see JW conduct again? So, if this is the final time, it was one for the ages - amazing music, great atmosphere, world premiers, a glorious soloist and a magical summer afternoon. (And to let the Williams fun continue, we are seeing live performances by the Seattle Symphony of E.T. Wednesday and Prisoner of Azkaban Friday - which is also my birthday!)
  4. I completely agree - that was amazing, and in fact, I really enjoyed all the pieces, as did my wife. All this material will be released somehow or in some fashion. No way they would have recorded it and left it in the can. I also have to say that Ms. Mutter seemed much happier and comfortable with JW than with David Newman, but I suspect that will change once she and David have time to practice for the September concert in Munich.
  5. I was wondering today if this would be played today, and I am not surprised to hear that it was. Thanks for sharing the video. Even in German, it was cool to see (and of course bits were in English from the speeches). I suspect JW is too humble to have thought that this piece would become part of memorials the world over (we heard it during President Bush's funeral last December too), but I bet Spielberg figured this would happen the first time he heard it.
  6. I definitely do. I felt that way too with the Dudamel album. It's not JW's first time on DG (I think Tree Song with the BSO might be the first DG (non-Decca) one), but this feels the most prominent.
  7. I just found the CD in Japan for $15.50 (only 1 copy). I asked one of my co-workers in our Tokyo office to get it for me (it was not allowed to be shipped to the US). She happened to have a trip planned to HQ, so she dropped it off with another co-worker who brought it to me in Seattle! I also have the LP which I bought on eBay in the fall for $10 in very good condition. I actually think my rip and click/denoise of the LP sounds brighter than the CD for some reason. I am not sure why that is given the LP is capped at 12 kHz or so and the CD shows signal up to 20 kHz as would be expected. In any case, I actually like all the pieces on the album.
  8. For a Star Wars super clear "out in the open" working of the theme, Giacchino uses it in The Master Switch starting at 29 seconds (with a bit of a beat between the falling notes that make up the two syllables in each word - Di-es – I-rae). (At least that is what I hear he is doing. Please correct me for those who disagree.) As the wiki page states, Dies Irae means Day of Wrath, although sometimes it can be Day of Judgement. So, composers tend to use it when signifying something tragic or really bad is happening. It appears in a lot more than just film music. It pops up in all sorts of music (a nice list is on the wiki page referenced above). Once you hear it and know it, when it pops again somewhere else, you cannot miss it.
  9. Excellent. Thanks. I tried to find a reference in the threads, but I did not search hard enough I guess. Update - and apologies if this has been found already. I went to the US Copyright Office database. Evening at Pops: T.V. Theme is listed as being created in 1981. So, it seems that is the date we should probably use to list it. https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=18&ti=1,18&Search_Arg=evening at pops&Search_Code=TALL&CNT=25&PID=9k6ZLAWqd8b9h7OZyMDJ9X4SAL&SEQ=20190324201814&SID=1 Thanks. Let's see if that resonates. Makes sense.
  10. Sorry - I meant small as in length. Have editing my post to short instead. (I noted it proceeds We're Looking Good." But, more importantly, you are confirming that this is indeed a JW piece Evening at Pops theme? I would love to add it to the wiki as another composition.
  11. Hi - I would love input on how to handle the medley piece "John Williams Evening at Pops." This piece is comprised of a short intro followed by the concert track "We're Looking Good", The Cowboys overture, the Witches Dance from The Witches of Eastwick and then the Olympic Fanfare. That short opening fanfare that opens the piece - I think this is JW's theme for the Evening at Pops PBS show of the same name. I have this on two albums (so far): The Band of The Life Guards From the Big Screen and The Band of the Royal Corps of Engineers Quality Plus. There are other recordings on YouTube. John Higgins did the arrangement in 1987 from what I could tell (but the sheet music is out of print). Higgins did a number of arrangements of Williams music. Here's the Quality Plus recording: So, the question is how to list this in the discography. Both @Bespin's listing and the Wiki Discography have the Quality Plus album and noted as containing "We're Looking Good" (with no mention of the Olympic Fanfare). Neither has the From the Big Screen album from what I could find (but I will fix that later today). I think there are four options: 1. Consider the entire suite its own concert work and list it as such (referencing what it includes). However, it's not arranged by Williams although presumably he okayed it. 2. List this for both We're Looking Good and The Olympic Fanfare (with notes that those pieces are in the suite) and maybe Evening at Pops theme (see question below). 3. Only list this for We're Looking Good which matches the current plan and is really the more useful aspect since that has so few commercially available recordings and the Olympic Theme is in many places by itself. Also do the same for Evening at Pops (see blow). 4. List it both ways - it's own concert piece and note that the specific concert works exist in it. (This more impacts the Wiki because Bespin's pages list the albums in the order of release regardless of content.) Thoughts? I think I lean to 1 or 4. But wanted to solicit ideas and feedback. And on the question: Is that opening the Evening at Pops theme? If so, I want to add that to the wiki and other places since I am not even sure it's listed under him at all. But as I cannot get 100% confirmation that this is the case, I want to be careful. Anyone know? I've tried to find the openings to the PBS shows on youtube, but the few I found only seem to start with clips of music from that evening's show. (Yes, I know this is getting down to nitpickiness here. But it's what we do on this thread!)
  12. Excellent. Thanks for finding! I've added it to the Wiki, and I've sent Bespin the updated page for his website. Here's a YouTube link to the full album if people want to listen. (music from Rota, Broughton, Morricone and Williams)
  13. I should note that this album has been released on CD and some parts on SACD over the years, so the LA Phil collection is not new. Actually though, think it's great that the collection does include these John Williams tracks.
  14. Is this what is on this album? (Image attached.) If so, I believe all of those tracks (Side A was SW and Side B CE3K) are coming out on the the Deutsche Grammophon LA Phil 100 30+ disc set. Side A/SW is paired with Also Sprach Zarathustra on CD 2 and Side B/CE3K is paired with Holst The Planets on disc 3. https://www.deutschegrammophon.com/us/cat/4836100 I think it comes out tomorrow although Amazon shows it as unavailable to order. Barnes & Noble has it, and I think iTunes will too (but possibly only 100 tracks from the full set). ----- Separately, got a notice from Amazon that my physical copy of Celebrating John Williams CD set is confirmed for release date delivery on March 29. "We have good news! One of your pre-ordered items is now eligible for release date delivery and has been upgraded at no additional charge. Your new delivery estimate is: Gustavo Dudamel/Los Angeles Philharmonic "Celebrating John Williams [2 CD]" Estimated arrival date: March 29, 2019"
  15. The term sweetener comes from adding sugar to coffee or tea. I recall using the term not only for music but sound effects as well. It’s just something to enhance the flavor and call out some detail or moment. If it was in the original orchestration, then it is not a sweetener even if recorded separately. That would be just an overlay. However, the result is the same - the filmmakers wanted the sound to pop out for a story telling or emotional reason. Being recorded separately of course could be because someone wanted an addition later or just that the player was not available at the same time.
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