John Williams Hollywood Bowl Concert September 1st, 2012

[Marcus 390]

It's not a mistake. Williams deliberately altered it to a Cm/Eb chord, adding even more modal ambiguity. It lends less of a "Celtic" flavor, and more of an "English pastoral" fragrance to the passages. And as the piece is intended as an hommage to composers of that school (Delius, Butterworth etc.), it makes sense.

Although it does take a little getting used to!

[Miguel Andrade 1,263]

It's not a mistake. Williams deliberately altered it to a Cm/Eb chord, adding even more modal ambiguity. It lends less of a "Celtic" flavor, and more of an "English pastoral" fragrance to the passages. And as the piece is intended as an hommage to composers of that school (Delius, Butterworth etc.), it makes sense.

Although it does take a little getting used to!

I agree. To me it sounds just right, and as you so well put it, brings it closer to the english pastoral sound that Williams was looking for.

[Brónach 1,302]

Haha I love the duelling montage.

[MissPadmé 17]

It's not a mistake. Williams deliberately altered it to a Cm/Eb chord, adding even more modal ambiguity. It lends less of a "Celtic" flavor, and more of an "English pastoral" fragrance to the passages. And as the piece is intended as an hommage to composers of that school (Delius, Butterworth etc.), it makes sense.

Although it does take a little getting used to!

that's why wrote "mistake" and not mistake..

[Jay 37,351]

Thanks for all the videos threefourproductions, very cool!

[King Mark 3,631]

he already played it "wrong" before:

[media=]

Hmm, didn't Williams play other unreleased pieces at that concert? Anymore HQ videos from that concert?

[Jay 37,351]

That's a really great video! What I like about it is that the screen behind the orchestra shows Williams conducting from the front. Whenever I go and see him at the Boston Pops there's either no screen, or its just showing film clips. You stare at his back the whole time, never get to see his facial expressions

Anyway I really enjoyed hearing that flute player discuss her interaction with Williams. And when the video was over I found myself wanting to clap along with the audience!

[indy4 155]

I forgot to mention, for some reason JW played an edited version of Luke and Leia. I've heard it before, so I'm not sure if maybe it's the version from the Jedi end credits? But it was weird. There were some cool chunks missing.

[King Mark 3,631]

That's a really great video! What I like about it is that the screen behind the orchestra shows Williams conducting from the front. Whenever I go and see him at the Boston Pops there's either no screen, or its just showing film clips. You stare at his back the whole time, never get to see his facial expressions

Anyway I really enjoyed hearing that flute player discuss her interaction with Williams. And when the video was over I found myself wanting to clap along with the audience!

He really looks otherworldly in that video

[Miguel Andrade 1,263]

I forgot to mention, for some reason JW played an edited version of Luke and Leia. I've heard it before, so I'm not sure if maybe it's the version from the Jedi end credits? But it was weird. There were some cool chunks missing.

Didn't he conduct that one last year in Boston?

he already played it "wrong" before:

[media=]

Hmm, didn't Williams play other unreleased pieces at that concert? Anymore HQ videos from that concert?

I think he did some music from "The Adventures of Tintin".

[TownerFan 4,983]

I forgot to mention, for some reason JW played an edited version of Luke and Leia. I've heard it before, so I'm not sure if maybe it's the version from the Jedi end credits? But it was weird. There were some cool chunks missing.

It's the edited version prepared for the Star Wars in Concert tour.

[indy4 155]

Ah okay thanks! I don't know why he used that version...

[Thor 7,495]

Indy, you were there? Why didn't you say? We could have met.

I loved the concert (despite some difficulties earlier in the day), but I haven't slept for 29 hours now (just got back from LA), so I can't write much at the present time.

In any case, I'm totally envious that you managed what I failed miserably at -- despite all kinds of attempts beforehand -- i.e. meeting the man himself.

[Thor 7,495]

Here's my review of the concert:

http://montages.no/2012/09/musikalsk-mote-med-john-williams-i-hollywood/

It's in Norwegian, so as usual you have to use Google Translate to get the gist of it....should you be interested.

Or...if you're too lazy to do a Google Translate, here I've pasted in the English version. He, he....hilarious language at times, but it should be more or less intelligible:

"The world's largest film composer John Williams will in all probability never return to Europe. To fulfill the dream of seeing my idol in person at one stage, I was therefore forced to make the trip to Los Angeles to get me one of the concerts he keeps Hollywood Bowl each year. It's hard to put words to such a life-defining experience, but I will make an attempt.

In 1998, John Williams his very last concert in Europe (Barbican in London). At that time I was, however, in the midst of my most active film music exploration and had neither the capital or the opportunity to see him live. Since then I tapped his fingers impatiently on the table and waited for his return. In vain. The closest has been Williams concert without the main character himself. In February, he filled 80, and in recent years he has stepped down tasks considerably - now he keeps to Spielberg, an occasional concert piece and live performances exclusively in the U.S.. I realized why I had to bite the sour apple diverse and rather head over before it's too late, cost what it may.

Saturday 1 september I walked expecting full on the impressive outdoor Hollywood Bowl. Holds 18,000 people and sold out both evenings. Williams is more than just a famous composer. He is an icon and a pop cultural institution. I look at the cut folkehavteppet and notice everything from Star Wars nerds to nuclear families, tourists, celebrities and retirees. The atmosphere is informal. The tumbling with plastic glass, chips bags and plastic lightsaber. The last rays shoot over the hill behind the scenes in both large screens and colored lights puts the audience in the festive mood. Then he comes out, tripping elegantly in his usual white Bowl-dress that has gradually become a suitable match for both hair and beard. He must certainly rely a little bit extra when he climbs up on the podium, but otherwise looks to be in excellent shape. I sit approx. 50 meters from the stage as all the seats in front are pre-ordered by the LA Philharmonic subscribers with special perks, but it does not so much. The view is impeccable, any I can consult with large screens if there would be anything special.

In typical American spirit (and a bit unusual for us more conservative Norwegians) opens the concert with the American national anthem, with upright audience in full sing-along. You get just hang on. Soon, however, it is clear to Williams' own music. The first block deals with his Olympic themes, perhaps as a sort of reference to the recently concluded London Olympics - The Bugler's Dream / Olympic Fanfare followed by Song for World Peace. The latter was actually written as an Olympic theme, but that the composition Satellite Celebration in conjunction with the New Year celebrations 1994/1995 (a broadcast event that had soloists in several countries that played their part), but that naturally feed into the global community feeling in such sports events. Most exciting is still The Olympic Spirit, written for NBC's coverage of the Seoul Games in 1988, an energetic and emotionally touching Williams fanfare with famous trademarks punk tufts none in bass drum and cymbal. One of my personal favorites, this. On the big screen glimpses of great Olympic sports achievements in history, most American of course.

Finally, it is clear for a couple of movie music clips, first track Dartmoor, 1912 by War Horse (2012). The pace is a little lower than in the original recording, but it suits concert setting well - from the adventurous flute opening to the beautiful, pastoral theme of the English countryside of the best Ralph Vaughan Williams style. The cut made immediate goosebumps in the film, and makes it definitely the now well in concert. After an entertaining highlight - The Duel (The Adventure Continues) from Tintin (2012) set to humorous clips from famous fencing duels in movie history. Unfortunately, I had a variety of reasons, not a camera at the concert, but there is already some trembling, zoom-fixated amateur footage on Youtube. If you can handle the format without tearing your hair out with frustration, take a look at this clip from the Tintin / Duel sequence:

The world-renowned violinist Gil Shaham is then introduced, and we move into a block where he can display his virtuosity. First is Tango Por Una Cabeza (1935) by the Argentine composer Carlos Gardel, who were used as source music for several films, including Scent of a Woman (1992) and Schindler's List (1993). More exciting for our part, however Remembrances from the latter film, a piece of Williams' original music which in my opinion is more touching than the more famous main theme. Shaham performs not as sharp and pronounced as Itzhak Perlman in the original recording, but creates its own emotional register with significantly smoother transitions. We continue with the Jewish theme, now with a suite from Jerry Bock's Fiddler on the Roof (1971). Williams won her first (of five) Oscar for his arrangement of the music of Norman Jewison film version. Well-known tones that engages the audience in the occasional singing (especially If I Were a Rich Man). Before the break, we also get an early encore, a heartfelt performance of David Raksins haunting theme from Otto Preminger Laura (1944).

The first number after the break set the standard - the iconic march from Superman: The Movie (1978) to the delight of all. Again, it is somewhat slower performed without the deprived his joy because of it. That all is not just circulated in Williams' musical filmography is also evident as x number lightsaber ignited in public. But so are the themes from Star Wars and Superman excellent Brothers in Strauss-like style and tone, so it's not surprising. From there it slides over to Marion's Theme from Raiders of the Lost Ark (1981), a more elegant concert version in my opinion surpasses the original independent design.

After the break, I've seen members from California State University Singers seated behind the LA Philharmonic, and now they stand to perform three numbers with the orchestra. First is probably an Olympic theme - Call of the Champions of the 2002 Games in Salt Lake City, where Norway in general were the most successful nation. This is a dense and relatively massive orchestrated fanfare where the chorus constantly trumpeted "Citius! Altius! Fortius! "(Raskere! Higher! Stronger!), Which naturally is the famous Olympic motto. The track Dry Your Tears, Africa! from Amistad (1997) is a hopeful, powerful anthem, but the exotic and essential percussion from the original recording drown a bit in a clean outdoor orchestral performances. The highlight of this section therefore remains Duel of the Fates from Star Wars: The Phantom Menace (1999), not only because it is a terrifically good composition, but because it is now truly palpable Hollywood Bowl experience. Thousands of lightsaber in green, red, blue and yellow dancing over the crowd as oversized glowsticks while celebrated shouts mixed with the epic vocals in the text (Kor-ah, mah-tah, Kor-ah, Rah-tah-mah and so on) . It's probably an amateur recording that gives some sense of the situation:

Perhaps the biggest treat comes last on the official program - a live music-to-canvas-rendering of the last 15 minutes of ET - The Extra Terrestrial (1982). Now I'm basically not particularly fond of film music concerts that insists on accompanying photo (takes a bit of Lurven from the music as music), but this case is something special. Spielberg pretended known Williams compose the final quite freely, and then cut the film to Williams' synchronization points - a little unusual and reverse scenario. The track thus acts as a kind of stand-alone mini-symphony, from Elliot steals ET researchers from the spaceship takes off in the bitter-sweet, teary farewell. This was almost like watching Williams operate so he usually works in the film context. Fascinating.

Williams must perform three extra numbers to satisfy the hungry fans - Luka and Leia from Return of the Jedi (1983) Main Title from Star Wars (1977) and The Imperial March from The Empire Strikes Back (1980), probably once supplemented with steady lightsaber in public, before he put his head on the palm, it (for the initiated) familiar signal that he is grateful for the evening. And what a night. For me this is about more than just checking a point on 'bucket' list. It was more than a concert. It was like filling a crucial hole after nerds and collected and researched a musical soulmate for 25 years, every nook and cranny of his 60-year career - almost as a necessary completion of one's own cultural identity.

Yes, I would say it so strongly. It was Williams who got me to become interested in film music in the first place, which in turn has led me in different directions in life. That he stood 50 feet away and played the music that has meant so much in my life can not be described as anything other than perhaps my biggest fan moments ever.

Let go that he did not play anything from Jurassic Park. It'll be next time. For there will be a next time."

[indy4 155]

This just arrived

EDIT: I see it's not posting...the picutre I was trying to upload was a personalized signed pic of JW.

[wanner251 17]

I just got back from Germany, so I am just now reading some of the posts here since my last post. I'm always amazed at the incredible insights all the fans here provide. Everything has been a joy to read! I'm getting to relive the night all over again, and still I am in awe! Does anyone know if the broadcast of the concert on Saturday will be in a nice high quality audio? I'd love to be able to grab some snippets from it without feeling guilty that the sound quality doesn't live up to the quality of music.

Another Slave Children Crusade lover? Man, that's my favorite theme/song ever! I would love to hear that in concert, I wonder if he's every played it. I periodically search youtube, but have never seen a hollywood bowl play it. That would definitely be awesome!

I have been somewhat obsessed with the Slave Children Crusade as of late. I think that it has one of the most beautifully constructed melodies ever written! Also, upon entering K.K.'s Composer's Challenge VI recently, I found its influence making its way into the theme I chose for Spartacus. I kind of couldn't help it. However, my theme was of course in no way, shape, or form, as brilliant as SCC, but it was fun to pretend that I was creating something real and heroic.

Nice. I've always loved Marion's theme. Such a great nod to the classic, romantic film score. Reminds me of Laura, and David Raksin.

It is indeed a warm stylistic nod to the romantic scores of old and I am glad JW finally wrote a full length development of it.

John Williams always speaks of the character of Marion as seemingly one of his favorites of all for which he has written. It makes sense that he wanted to do a more complete treatment of it. The new arrangement is such a more maturely put together orchestration I think. It may even capture the character even more accurately than the original.