lairdo

Not at all on my list of things to expect, but so very happy to see this expanded and remastered. While the film is not one of my favorite Hitchcock's, I think the score is quite nice. I'll have to watch the new 4K Blu-ray this weekend to refresh my memory and maybe I will like the film more this time. Frenzy last year and now Topaz. Amazing. Could Torn Curtain follow in 2024?
 
Ordered!

I just finished listening to the audiobook of 2010: Odyssey Two by Arthur C. Clarke. I had read this book when it came out in 1982, and I still have the hardback edition in a box somewhere (along with 2061 and 3001 as well as my paperback copy of 2001). I've watched 2001 a few times in recent years, including a great 70 mm screening, and I decided to go back to the book series. 
 
In the acknowledgments at the end of the book, Clarke thanks Maurice Jarre, Vangelis and the "incomparable John Williams for providing inspiration whenever it was needed." 
 
Richard Strauss and Johann Strauss don't even get a mention. I wonder if JW was ever asked to score 2010, a job that ultimately went to David Shire (with help from Craig Huxley)? Probably not, but maybe nobody asked Clarke.
 
 
 
 

I just finished listening to the audiobook of 2010: Odyssey Two by Arthur C. Clarke. I had read this book when it came out in 1982, and I still have the hardback edition in a box somewhere (along with 2061 and 3001 as well as my paperback copy of 2001). I've watched 2001 a few times in recent years, including a great 70 mm screening, and I decided to go back to the book series. 
 
In the acknowledgments at the end of the book, Clarke thanks Maurice Jarre, Vangelis and the "incomparable John Williams for providing inspiration whenever it was needed." 
 
Richard Strauss and Johann Strauss don't even get a mention. I wonder if JW was ever asked to score 2010, a job that ultimately went to David Shire (with help from Craig Huxley)? Probably not, but maybe nobody asked Clarke.
 
 
 
 

I just finished listening to the audiobook of 2010: Odyssey Two by Arthur C. Clarke. I had read this book when it came out in 1982, and I still have the hardback edition in a box somewhere (along with 2061 and 3001 as well as my paperback copy of 2001). I've watched 2001 a few times in recent years, including a great 70 mm screening, and I decided to go back to the book series. 
 
In the acknowledgments at the end of the book, Clarke thanks Maurice Jarre, Vangelis and the "incomparable John Williams for providing inspiration whenever it was needed." 
 
Richard Strauss and Johann Strauss don't even get a mention. I wonder if JW was ever asked to score 2010, a job that ultimately went to David Shire (with help from Craig Huxley)? Probably not, but maybe nobody asked Clarke.
 
 
 
 

I just finished listening to the audiobook of 2010: Odyssey Two by Arthur C. Clarke. I had read this book when it came out in 1982, and I still have the hardback edition in a box somewhere (along with 2061 and 3001 as well as my paperback copy of 2001). I've watched 2001 a few times in recent years, including a great 70 mm screening, and I decided to go back to the book series. 
 
In the acknowledgments at the end of the book, Clarke thanks Maurice Jarre, Vangelis and the "incomparable John Williams for providing inspiration whenever it was needed." 
 
Richard Strauss and Johann Strauss don't even get a mention. I wonder if JW was ever asked to score 2010, a job that ultimately went to David Shire (with help from Craig Huxley)? Probably not, but maybe nobody asked Clarke.
 
 
 
 

I just finished listening to the audiobook of 2010: Odyssey Two by Arthur C. Clarke. I had read this book when it came out in 1982, and I still have the hardback edition in a box somewhere (along with 2061 and 3001 as well as my paperback copy of 2001). I've watched 2001 a few times in recent years, including a great 70 mm screening, and I decided to go back to the book series. 
 
In the acknowledgments at the end of the book, Clarke thanks Maurice Jarre, Vangelis and the "incomparable John Williams for providing inspiration whenever it was needed." 
 
Richard Strauss and Johann Strauss don't even get a mention. I wonder if JW was ever asked to score 2010, a job that ultimately went to David Shire (with help from Craig Huxley)? Probably not, but maybe nobody asked Clarke.
 
 
 
 

Williams told him the same thing when he heard about it. Clarke's response: "I know, but they're all dead."

The question is -- what John Williams score did he listen to? My bet is on JOHN GOLDFARB PLEASE COME HOME.

Or maybe nobody asked Williams.
 
I remember smiling while reading that acknowledgement. I remember thinking, great choice by a great writer.

I remember that acknowledgement from the first time I read the book, back in the early 80's. (The book was released in 1982, but I likely read it in 1984, the probable release date of the book in Portugal.)

I just finished listening to the audiobook of 2010: Odyssey Two by Arthur C. Clarke. I had read this book when it came out in 1982, and I still have the hardback edition in a box somewhere (along with 2061 and 3001 as well as my paperback copy of 2001). I've watched 2001 a few times in recent years, including a great 70 mm screening, and I decided to go back to the book series. 
 
In the acknowledgments at the end of the book, Clarke thanks Maurice Jarre, Vangelis and the "incomparable John Williams for providing inspiration whenever it was needed." 
 
Richard Strauss and Johann Strauss don't even get a mention. I wonder if JW was ever asked to score 2010, a job that ultimately went to David Shire (with help from Craig Huxley)? Probably not, but maybe nobody asked Clarke.
 
 
 
 

I just finished listening to the audiobook of 2010: Odyssey Two by Arthur C. Clarke. I had read this book when it came out in 1982, and I still have the hardback edition in a box somewhere (along with 2061 and 3001 as well as my paperback copy of 2001). I've watched 2001 a few times in recent years, including a great 70 mm screening, and I decided to go back to the book series. 
 
In the acknowledgments at the end of the book, Clarke thanks Maurice Jarre, Vangelis and the "incomparable John Williams for providing inspiration whenever it was needed." 
 
Richard Strauss and Johann Strauss don't even get a mention. I wonder if JW was ever asked to score 2010, a job that ultimately went to David Shire (with help from Craig Huxley)? Probably not, but maybe nobody asked Clarke.
 
 
 
 

Gosh, the wording on the US box is super confusing. It's listed under Blu-ray special features, and there is limited likelihood that the Making of is on the UHD. Still, if we are getting Atmos 7.1.4 sound, I don't think Blu-ray supports that data rate so it must be the UHD disc. Hopefully, the film is on a 100GB disc so we get max data rates from the video portion (as Mission Impossible UHD has and with its 5.1 isolated score track on both discs).
 
 
I would not pick on Criterion too much in this arena. I believe they often can only get US distribution rights for some of the films as the local owners already have a physical media distribution division (such as Canal+ in France). I'm fairly sure the UHD discs in Criterion sets are region-free as per the note above that this is a requirement for UHD. The accompanying Blu-rays (which are often region locked) also contain content that may not be easy to license for a worldwide release (such as excerpts with filmmakers on things like the Dick Cavett show). Given Criterion's commitment to world films but with its small size, niche market and shaky financial standing, I think they are doing the best they can.
 
(Full disclosure, they offered me a job out of grad school in 1991 so I do have a soft spot. I turned it down to go to Lucasfilm instead.)
 
Anyway, for those computer savvy or relatively tech savvy, there are UHD blu-ray drives for the computer and software that is fairly stable for dealing with region encoded discs.  That's how I tackle any Region B and C Blu-rays I acquired, and then I stream from a network drive to my TV.

Gosh, the wording on the US box is super confusing. It's listed under Blu-ray special features, and there is limited likelihood that the Making of is on the UHD. Still, if we are getting Atmos 7.1.4 sound, I don't think Blu-ray supports that data rate so it must be the UHD disc. Hopefully, the film is on a 100GB disc so we get max data rates from the video portion (as Mission Impossible UHD has and with its 5.1 isolated score track on both discs).
 
 
I would not pick on Criterion too much in this arena. I believe they often can only get US distribution rights for some of the films as the local owners already have a physical media distribution division (such as Canal+ in France). I'm fairly sure the UHD discs in Criterion sets are region-free as per the note above that this is a requirement for UHD. The accompanying Blu-rays (which are often region locked) also contain content that may not be easy to license for a worldwide release (such as excerpts with filmmakers on things like the Dick Cavett show). Given Criterion's commitment to world films but with its small size, niche market and shaky financial standing, I think they are doing the best they can.
 
(Full disclosure, they offered me a job out of grad school in 1991 so I do have a soft spot. I turned it down to go to Lucasfilm instead.)
 
Anyway, for those computer savvy or relatively tech savvy, there are UHD blu-ray drives for the computer and software that is fairly stable for dealing with region encoded discs.  That's how I tackle any Region B and C Blu-rays I acquired, and then I stream from a network drive to my TV.

Nice to see both Previn and Williams featured. 

Yeah, it's everywhere
 
 

Just finished watching the third broadcast, and my wife joined in. She is a fan too, and we both very much enjoyed the concert. 
 
I agree with the comment that JW looks older than in Vienna or Berlin (but of course he is older!). Still, for 91 years of age to travel internationally to do 2 concerts and be out there for an hour each time, it's just amazing. My dad is 80, and he does not move as well as JW.
 
Across the board, I felt the orchestra really gelled with the music. Deneve was quite good (he is a super fan in my opinion) and his energy was great with the orchestra. He was clearly having fun. (I saw on his website that he is again performing violin concert no. 1 with James Ehnes for a few concerts in Florida in 2024. He is also performing Just Down West Street, the Tanglewood piece.)
 
The energy went up to 11 when JW came on stage. I loved his welcome words and then hearing the lovely Japanese translation. Everything flowed very nicely.
 
I did not see or hear La Scala, but I did feel that the Saito Kinen Orchestra had an evenness across all the instrument groups. There really wasn't any weak area to my ears. And despite having the brass mic'd way too loudly for the start of The Raiders March, the balance and tone was good throughout. Tempi seemed very close to what I would expect from these pieces. 
 
This would have been amazing to see live, but I am glad to have this artifact and great that it will be available on the Stage+ platform in the archive (which was posted after the concert ended). 
 

Just finished watching the third broadcast, and my wife joined in. She is a fan too, and we both very much enjoyed the concert. 
 
I agree with the comment that JW looks older than in Vienna or Berlin (but of course he is older!). Still, for 91 years of age to travel internationally to do 2 concerts and be out there for an hour each time, it's just amazing. My dad is 80, and he does not move as well as JW.
 
Across the board, I felt the orchestra really gelled with the music. Deneve was quite good (he is a super fan in my opinion) and his energy was great with the orchestra. He was clearly having fun. (I saw on his website that he is again performing violin concert no. 1 with James Ehnes for a few concerts in Florida in 2024. He is also performing Just Down West Street, the Tanglewood piece.)
 
The energy went up to 11 when JW came on stage. I loved his welcome words and then hearing the lovely Japanese translation. Everything flowed very nicely.
 
I did not see or hear La Scala, but I did feel that the Saito Kinen Orchestra had an evenness across all the instrument groups. There really wasn't any weak area to my ears. And despite having the brass mic'd way too loudly for the start of The Raiders March, the balance and tone was good throughout. Tempi seemed very close to what I would expect from these pieces. 
 
This would have been amazing to see live, but I am glad to have this artifact and great that it will be available on the Stage+ platform in the archive (which was posted after the concert ended). 
 

Just finished watching the third broadcast, and my wife joined in. She is a fan too, and we both very much enjoyed the concert. 
 
I agree with the comment that JW looks older than in Vienna or Berlin (but of course he is older!). Still, for 91 years of age to travel internationally to do 2 concerts and be out there for an hour each time, it's just amazing. My dad is 80, and he does not move as well as JW.
 
Across the board, I felt the orchestra really gelled with the music. Deneve was quite good (he is a super fan in my opinion) and his energy was great with the orchestra. He was clearly having fun. (I saw on his website that he is again performing violin concert no. 1 with James Ehnes for a few concerts in Florida in 2024. He is also performing Just Down West Street, the Tanglewood piece.)
 
The energy went up to 11 when JW came on stage. I loved his welcome words and then hearing the lovely Japanese translation. Everything flowed very nicely.
 
I did not see or hear La Scala, but I did feel that the Saito Kinen Orchestra had an evenness across all the instrument groups. There really wasn't any weak area to my ears. And despite having the brass mic'd way too loudly for the start of The Raiders March, the balance and tone was good throughout. Tempi seemed very close to what I would expect from these pieces. 
 
This would have been amazing to see live, but I am glad to have this artifact and great that it will be available on the Stage+ platform in the archive (which was posted after the concert ended). 
 

Just finished watching the third broadcast, and my wife joined in. She is a fan too, and we both very much enjoyed the concert. 
 
I agree with the comment that JW looks older than in Vienna or Berlin (but of course he is older!). Still, for 91 years of age to travel internationally to do 2 concerts and be out there for an hour each time, it's just amazing. My dad is 80, and he does not move as well as JW.
 
Across the board, I felt the orchestra really gelled with the music. Deneve was quite good (he is a super fan in my opinion) and his energy was great with the orchestra. He was clearly having fun. (I saw on his website that he is again performing violin concert no. 1 with James Ehnes for a few concerts in Florida in 2024. He is also performing Just Down West Street, the Tanglewood piece.)
 
The energy went up to 11 when JW came on stage. I loved his welcome words and then hearing the lovely Japanese translation. Everything flowed very nicely.
 
I did not see or hear La Scala, but I did feel that the Saito Kinen Orchestra had an evenness across all the instrument groups. There really wasn't any weak area to my ears. And despite having the brass mic'd way too loudly for the start of The Raiders March, the balance and tone was good throughout. Tempi seemed very close to what I would expect from these pieces. 
 
This would have been amazing to see live, but I am glad to have this artifact and great that it will be available on the Stage+ platform in the archive (which was posted after the concert ended). 
 

Just finished watching the third broadcast, and my wife joined in. She is a fan too, and we both very much enjoyed the concert. 
 
I agree with the comment that JW looks older than in Vienna or Berlin (but of course he is older!). Still, for 91 years of age to travel internationally to do 2 concerts and be out there for an hour each time, it's just amazing. My dad is 80, and he does not move as well as JW.
 
Across the board, I felt the orchestra really gelled with the music. Deneve was quite good (he is a super fan in my opinion) and his energy was great with the orchestra. He was clearly having fun. (I saw on his website that he is again performing violin concert no. 1 with James Ehnes for a few concerts in Florida in 2024. He is also performing Just Down West Street, the Tanglewood piece.)
 
The energy went up to 11 when JW came on stage. I loved his welcome words and then hearing the lovely Japanese translation. Everything flowed very nicely.
 
I did not see or hear La Scala, but I did feel that the Saito Kinen Orchestra had an evenness across all the instrument groups. There really wasn't any weak area to my ears. And despite having the brass mic'd way too loudly for the start of The Raiders March, the balance and tone was good throughout. Tempi seemed very close to what I would expect from these pieces. 
 
This would have been amazing to see live, but I am glad to have this artifact and great that it will be available on the Stage+ platform in the archive (which was posted after the concert ended). 
 

When DG launched their online platform (then called DG Premium), they did have PPV. In fact, I watched Tanglewood's violin 2 concerto concert in 2021 that way as I recall. Earlier this year, DG switched to this Stage+ subscription model. Presumably the PPV was not working financially and they went the route of other streaming options in the classical and opera world. 
 
Interestingly, they also provide audio only albums on the platform (typically in Atmos), especially with their new releases. I suspect they either see this as a way to get some of the Apple Music/Qobuz/Tidal/Presto business directly or perhaps even as a marketing tool for new releases. The difference is that premium content such as this upcoming Tokyo concert are not on demand. I suspect that after the album makes it to Blu-ray (and maybe even Great Performances) that the concert will quietly go back on Stage+ a few months later and then be up there. That is the case with Vienna 1, Berlin, the aforementioned Tanglewood concert and Tanglewood 75th. Also recommended is Waldbühne 2015 with the Rattle conducting the Berlin Phil in a film music concert. 
 
One other oddity - the Tokyo concert listing does not show the encores in the track list. Just the published program. 
 
Anyway, I have a sub to Stege+ but I have to say I don't watch it enough and will probably start to go monthly only when I want to watch something (such as this weekend). 
 
My guess on any Tokyo physical releases is that we will see them around February for JW's 92nd birthday. 
 
When DG launched their online platform (then called DG Premium), they did have PPV. In fact, I watched Tanglewood's violin 2 concerto concert in 2021 that way as I recall. Earlier this year, DG switched to this Stage+ subscription model. Presumably the PPV was not working financially and they went the route of other streaming options in the classical and opera world. 
 
Interestingly, they also provide audio only albums on the platform (typically in Atmos), especially with their new releases. I suspect they either see this as a way to get some of the Apple Music/Qobuz/Tidal/Presto business directly or perhaps even as a marketing tool for new releases. The difference is that premium content such as this upcoming Tokyo concert are not on demand. I suspect that after this concert makes it to Blu-ray (and maybe even Great Performances) that the concert will quietly go back on Stage+ a few months later and then be up there. That is the case with Vienna 1, Berlin, the aforementioned Tanglewood concert and Tanglewood 75th. Also recommended is Waldbühne 2015 with the Rattle conducting the Berlin Phil in a film music concert. 
 
One other oddity - the Tokyo concert listing does not show the encores in the track list. Just the published program. 
 
Anyway, I have a sub to Stege+ but I have to say I don't watch it enough and will probably start to go monthly only when I want to watch something (such as this weekend). 
 
My guess on any Tokyo physical releases is that we will see them around February for JW's 92nd birthday. 

When DG launched their online platform (then called DG Premium), they did have PPV. In fact, I watched Tanglewood's violin 2 concerto concert in 2021 that way as I recall. Earlier this year, DG switched to this Stage+ subscription model. Presumably the PPV was not working financially and they went the route of other streaming options in the classical and opera world. 
 
Interestingly, they also provide audio only albums on the platform (typically in Atmos), especially with their new releases. I suspect they either see this as a way to get some of the Apple Music/Qobuz/Tidal/Presto business directly or perhaps even as a marketing tool for new releases. The difference is that premium content such as this upcoming Tokyo concert are not on demand. I suspect that after the album makes it to Blu-ray (and maybe even Great Performances) that the concert will quietly go back on Stage+ a few months later and then be up there. That is the case with Vienna 1, Berlin, the aforementioned Tanglewood concert and Tanglewood 75th. Also recommended is Waldbühne 2015 with the Rattle conducting the Berlin Phil in a film music concert. 
 
One other oddity - the Tokyo concert listing does not show the encores in the track list. Just the published program. 
 
Anyway, I have a sub to Stege+ but I have to say I don't watch it enough and will probably start to go monthly only when I want to watch something (such as this weekend). 
 
My guess on any Tokyo physical releases is that we will see them around February for JW's 92nd birthday. 
 
When DG launched their online platform (then called DG Premium), they did have PPV. In fact, I watched Tanglewood's violin 2 concerto concert in 2021 that way as I recall. Earlier this year, DG switched to this Stage+ subscription model. Presumably the PPV was not working financially and they went the route of other streaming options in the classical and opera world. 
 
Interestingly, they also provide audio only albums on the platform (typically in Atmos), especially with their new releases. I suspect they either see this as a way to get some of the Apple Music/Qobuz/Tidal/Presto business directly or perhaps even as a marketing tool for new releases. The difference is that premium content such as this upcoming Tokyo concert are not on demand. I suspect that after this concert makes it to Blu-ray (and maybe even Great Performances) that the concert will quietly go back on Stage+ a few months later and then be up there. That is the case with Vienna 1, Berlin, the aforementioned Tanglewood concert and Tanglewood 75th. Also recommended is Waldbühne 2015 with the Rattle conducting the Berlin Phil in a film music concert. 
 
One other oddity - the Tokyo concert listing does not show the encores in the track list. Just the published program. 
 
Anyway, I have a sub to Stege+ but I have to say I don't watch it enough and will probably start to go monthly only when I want to watch something (such as this weekend). 
 
My guess on any Tokyo physical releases is that we will see them around February for JW's 92nd birthday. 

And Milan is a huge missed opportunity...

I think there is a good chance we'll get this on CD (and SACD for Japan for that matter). I think Berlin and Vienna did well for DG - beyond their expectations - and while Vienna 2 was probably too much of a repeat and would eat into their sales of the various current releases from Vienna, adding the Japan venue and orchestra would be complimentary. It would also have greater appeal in Asia.