New Williams Work: "Just Down West Street… on the left" - Tanglewood Music Center 75th Anniversary commission

[Hlao-roo 389]

Disappointing to hear he's sold out to the academic community again with an inaccessible non-fanfare.

Agreed. When Williams sets out to compose music that is inaccessible, he does violence to the medium's essential universality and betrays an unhealthy preoccupation with his legacy among cultural elites.

[Tom 4,640]

Film Night is not scheduled to broadcast on WCRB. And it's unlikely that a more "demanding" (as in less accessible) work as "Just down west street... to the left" to be included in Film Night... though it's an amazing piece all the same

Were you at the Tanglewood on Parade Concert? How was it? Did Williams offer any program notes or a video message?

[Ricard 2,242]

Did Williams offer any program notes or a video message?

No video message as far as we know:

As a master of versatility, the music director [Andris Nelsons] stepped in for John Williams to make his Boston Pops debut.

Leading the Throne Room and finale segments of the "Star Wars" score, Nelsons delivered grand, sweeping cinematic style. Williams, sidelined while recovering from a back ailment and unable to make his annual appearance at TOP, surely would have been well-pleased.

---

The immensely talented and personable guest conductor Stéphane Denève led the TMC Orchestra in more Williams — "Sound the Bells!" written for the 1993 Boston Pops tour of Japan and the rarely heard slow movement of his 1976 Violin Concerto, an elegiac tribute to his first wife, Barbara Ruick, who had just died. Tamara Smirnova, the BSO's Associate Concertmaster and the Pops' Concertmaster, performed with delicacy and deep feeling.

The segment wrapped up with an exuberant performance of Williams' latest gift to Tanglewood, honoring the TMC's 75th anniversary — "Just Down West Street on the left," easy-to-remember directions for first-time visitors.

http://www.berkshireeagle.com/entertainment/ci_28590028/warmth-and-love-at-tanglewood-parade

Denève appeared on the stage and launched into the first of three pieces paying tribute to one of the conductor's musical heroes, iconic composer John Williams. After pleasing the crowed by applying his dynamic, impressively flamboyant technique to a virtuoso performance of Williams' buoyant Sound the Bells!, Denève spoke charmingly of Williams and the importance of the American composer in Denève's musical journey. "I adore John Williams!" he declared. He further demonstrated his affection in the slow movement of Williams's Violin Concerto, a lush, evocative piece expertly played by the BSO's Associate Concertmaster Tamara Smirnova. Denève completed the sequence with JUST DOWN WEST STREET... on the left, a new composition written and offered as a gift for TMC 75, which the conductor described as a paean to Williams's fondness for Tanglewood. Those who share the composer's fervor for Tanglewood surely related to this energy-filled, highly descriptive work. All in all, Denève made his mentor's captivating music soar up and out into the perfect Berkshire night.

---

Lockhart then introduced a "young guy making his debut conducting the Pops" as Nelsons returned to conduct Williams's "Throne Room and Finale" from Star Wars. Nelsons, a native Latvian, showed astonishing insight into the composer's unique American style, drawing yet another dazzling performance from the orchestra. The conductor's remarkable versatility continues to impress.

http://www.broadwayworld.com/boston/article/BWW-Reviews-Tanglewood-Celebrates-75-Years-of-Koussevitzkys-Dream-20150806

“Tanglewood on Parade,” a very full evening, begins with fanfares (mostly for brass, this year featuring Aaron Copland’s Fanfare for the Common Man), and showcases three full orchestras. The main program comprised four selections from the Boston Symphony, the Fellows of the TMC Orchestra under frequent guest conductor Stéphane Denève playing three non-film-score contributions from John Williams (the composer was absent from the podium during his recovery from a back ailment), and the Boston Pops, conducted (mainly) by Keith Lockhart. All three ensembles were also conducted by Andris Nelsons

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The first half concluded with an almost-premiere of a flashy work written this year specifically for the TMC. Just Down West Street … on the left, is a gift from the composer, called by Denève “a “triple espresso [coffee] symbolizing the exuberance and youth of the great, talented musicians” who had premiered the work in July at Tanglewood. The title refers to the location of the festival, and the work has a great future ahead of it as either an overture-style curtain-raiser with plenty of contrast and variation, or as a demanding (but cheerful) five-minute encore-showpiece for orchestra.

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After Andris Nelsons returned to the podium to make his Boston Pops Debut (with a moody, Wagnerian interpretation of Throne Room and Finale from John Williams’ score for Star Wars), the concert began its third hour, with a quick transition back to the combined BSO and TMC Fellows, now led by Nelsons in the event’s traditional “closer:” Tchaikovsky’s 1812 Overture, complete with pyro-technics in place of cannons. The Pops has been concluding festive concerts with this work since July 4, 1974, under conductor Arthur Fiedler.

http://www.classical-scene.com/2015/08/05/tanglewood-parade-75/

[Tom 4,640]

It would be cool if the new Williams piece becomes the signature piece of the TMC.

[Miguel Andrade 1,262]

Disappointing to hear he's sold out to the academic community again with an inaccessible non-fanfare.

Agreed. When Williams sets out to compose music that is inaccessible, he does violence to the medium's essential universality and betrays an unhealthy preoccupation with his legacy among cultural elites.

Have any of you heard the new work? Are you basing your comments on just my superficial description?

And you really find Williams concert works all that inaccessible?

When I said this was less accessible, it was in the sense that much of is most well known, popular work is more listener friendly, mass wise, if you like. I can't believe any regular listener of classical music to teally find this inaccessible.

[Ricard 2,242]

They're joking Miguel

[Dixon Hill 4,233]

Yes, parodying some who express those sentiments genuinely, which is indeed unbelievable.

[Tom 4,640]

It looks like the LA philharmonic will perform the piece in April: http://www.laphil.com/tickets/sounds-about-town-colburn-orchestra/2016-04-24

[EdwardHall 30]

This will be a very short concert.. The Williams, Liszt and Ravel pieces should not be more than one hour combined.

[EdwardHall 30]

Does anyone know where to find a legal recording of this piece yet?

[King Mark 3,626]

That should be next century

[Thor 7,475]

Another bump for news in regard to recordings etc. Someone said this was performed in April? Is there any footage of this?

[Will 2,215]

Well folks I was looking around to see if tonight's Tanglewood on Parade concert would be broadcast (it doesn't look like it, although you never know what could pop up online). But guess what I found? Last year's Parade concert -- including Just Down West Street. Here's the direct link to the broadcast (this is completely legal, as I found the recording at https://www.bso.org/mediacenter#):

 

http://bso.http.internapcdn.net/bso/podcasts/images/mp3/podcast/20150804Concert.mp3

 

Discussion about Just Down West Street begins at 1:02:35, and the actual piece at 1:04:15. Enjoy! 

 

 

[Will 2,215]

I think this piece will be a grower. On my first listen I wasn't a huge fan, but I'm going to listen more because there were some bits that I just had a feeling I'm really going to like at some point. 

 

Some parts remind me of The BFG, although I'm not too familiar with Williams's concert output so I wouldn't be surprised if many of his concert works sound like that.

 

Time for listen #2.

 

EDIT: The climax, which reminds me of the BFG Dream Country climax, is my favorite part. 

 

This is not a typical Williams celebratory fanfare -- it's much less accessible.

[Tom 4,640]

A nice piece.  A bit too similar to the (far superior) last movement of Soundings to really stand on its own, but good for what it is. 

[Jay 37,306]

Wow, I can't believe an official recording is finally here!  Thanks @Will!

 

OK, just finished listening.  Wow, what a corker of a piece that gets a bit weird before ending!  Huh.  Must listen to again!

[Cerebral Cortex 3,357]

Thanks a lot for finding and sharing, Will! 

[pete 906]

I love it when I pop in and can listen to a new piece! Thanks Will.  

 

I was also reminded of the end of Soundings.... No complaints^

[Thor 7,475]

Great find, Will. I've been able to hear this piece (in a less desirable sound quality) for some weeks now, but this one blows it out of the water! Now all I need to do is to import the file to Audacity and rip just the "West Street" bit.

 

One down, several more to go!

[Cerebral Cortex 3,357]

Do you enjoy this piece, @Thor? 

[Thor 7,475]

44 minutes ago, Cerebral Cortex said:

Do you enjoy this piece, @Thor? 

 

Yes, I do!

[Will 2,215]

Any time stamps referenced in this post are taken from the attached file, which is an excerpt from last year's Tanglewood on Parade radio broadcast. 

 

I can't get enough of this piece. I have the feeling that it may have been dismissed after one listen or even not noticed by some but I'd urge everyone to give it a listen (although if you didn't like The BFG then maybe this won't be your thing). This was definitely a grower; on first listen I wasn't a huge fan but I just had a feeling that I'd grow to like it so I gave it more chances. 

 

I'd thought I'd talk about some cool moments. My most favorite parts are in bold:

 

----------

 

At :13 we hear a melody that will return in the climax. (It returns sooner at :35, however.)

 

The little figure at :40 foreshadows the climax. 

 

At :57 those little brass "echoes" are cool. 

 

At 1:55 we reach a section that is very similar to part of the climax but has less "punch."

 

The chord at 2:48 that ends the build up is cool, and then the the marvelous climax of the piece begins.

 

At 3:13 the terrific youthful and playful melody we first heard earlier (1:55) returns, with an awesome percussion bit to launch it off (which almost sounds as if JW is signifying that now the fun really begins). Nearly everything from here to the end is pure Williams gold. You have to marvel at his orchestrational prowess. 

 

At 3:28 we hear some "controlled chaos" from Williams. Superficially it seems to be almost total chaos but Williams is doing some really cool things and the overall effect is almost as if you are floating amid the various sounds of the orchestra that surround you. Really cool.

 

Specifically, a woodwind instrument (I'm not musically knowledgable enough to identify it specifically) playing, at around 3:34, the melody first heard at :13. The brass and woodwinds go wild as the strings continue playing beneath them. We hear that melody from :13 a couple more times in the midst of this. The most prominent line is that of the brass instruments playing some version of a melody heard first at 3:37. This melody has a feeling of resolution and epic-ness to it. 

 

The brass bit at 3:59 is super fun. 

 

Then after some more classic JW false endings, the piece ends. 

 

Just_Down_West_Street_..._On_the_Left.wav

[Miguel Andrade 1,262]

I was a fan of "Just Down West Street... on the left" right from the first time I heard it.

[Jilal 569]

Controlled chaos. Great wording. I love how Williams tonicizes atonal material.

 

11 hours ago, Will said:

Specifically, a woodwind instrument (I'm not musically knowledgEable enough to identify it specifically) playing, at around 3:34

 

Sounds to me like oboes and clarinets playing unisono.

[Jurassic Shark 12,031]

On 3/19/2014 at 7:55 PM, filmmusic said:

I wish he could write a symphony or a symphonic poem or a ballet or something.

I'm not so enthusiastic about random pieces about various social events and organizations.

 

That would be a great album title:

 

John Williams & The Boston Pops: Random Pieces About Various Social Events and Organizations.

 

On 3/19/2014 at 9:08 PM, Thor said:

Well, we're still waiting for "Conversations" to get a recording somehow (and of course the 1951 sonata, but that will never see the light of day). That's a start. But yeah...like you, I'd love to see him explore his main instrument more now towards the end of his career.

I'm looking forward to this new piece, whatever it is.

 

I think he's got too much respect for his own instrument to write a concerto for it.

[Thor 7,475]

Could be, but with "Conversations" and "Scherzo for Piano & Orchestra", he seems to have thawed up a bit in terms of writing for his main instrument. None of those pieces sound like I had expected (or desired), but I hope they're not the last.

[Jurassic Shark 12,031]

What he should do is to write a concerto based on some of his great film themes, like Korngold. Is this what Mutter was asking him to do in the first place, when he refused?

[Miguel Andrade 1,262]

I believe Mutter always asked for an original composition, like what she eventually got, not a set of arrangements for violin of his film themes.

[Jurassic Shark 12,031]

Reading those old interviews with Mutter and Previn regarding Mutter wanting a work from Williams, I've always had the impression she was asking for something more or less specific which JW wouldn't do. A concerto based on his film themes would qualify for that.

[Tom 4,640]

6 hours ago, Jurassic Shark said:

What he should do is to write a concerto based on some of his great film themes, like Korngold. 

While it does not have the word "concerto" in its title, the Memoirs suite for cello and orchestra is exactly what you are wishing for (unless you don't care for the themes of Memoirs, I suppose).  

[Jurassic Shark 12,031]

I'm not asking for a suite, but a proper concerto treatment of some of his great themes. That means playing around with the themes and making new music out of them.

[Tom 4,640]

1 hour ago, Jurassic Shark said:

I'm not asking for a suite, but a proper concerto treatment of some of his great themes. That means playing around with the themes and making new music out of them.

Have you listened to the Memoirs cello suite?  

[Faleel 5,340]

4 hours ago, Jurassic Shark said:

I'm not asking for a suite, but a proper concerto treatment of some of his great themes. That means playing around with the themes and making new music out of them.

Like the Memoirs suite  

[King Mark 3,626]

Isn't that why he writes concert versions and suites already?

[Jurassic Shark 12,031]

4 hours ago, Fal said:

Like the Memoirs suite  

 

Although very good, it's not like a concerto. Have a listen to Korngold's violin concerto to see what mean.

[BSOinsider 42]

Reviving this topic just to mention that "Just Down West Street... on the left" was moderately revised (about 30 various changes to harmony, rhythm, orchestration, and dynamics) by JW before the Tanglewood on Parade performance on 8/2/22 (JW Conducting the TMC Orchestra). That revised version was repeated on 8/20/22 by the BSO, and again on 9/27/22 by the LA Phil. JW stated in general terms when revising the piece that he never fully finished it to begin with, and was happy to have the chance to work on it again. 

[Tom 4,640]

33 minutes ago, BSOinsider said:

JW stated in general terms when revising the piece that he never fully finished it to begin with, and was happy to have the chance to work on it again. 

That would explain the ellipses in the original title.  Just kidding.

 

Cool info--keep such nuggets coming!

[Jurassic Shark 12,031]

Any plans for a recording?

[Mr. Hooper 1,749]

On 19/3/2014 at 3:48 PM, Not Mr. Big said:

I hope he expands upon Treesong by writing a piece about grass.

I nearly choked on a chicken McNugget when I read this.

[Jurassic Shark 12,031]

On 19/03/2014 at 8:48 PM, Not Mr. Big said:

I hope he expands upon Treesong by writing a piece about grass.

 

On Weeds and Grass

[Mr. Hooper 1,749]

O, How Grows the Grass!

[BB-8 3,461]

Just Down West Street...on the left (2015)

 

Molly Turner, conductor

Season Finale: Denève and Ehnes | New World Symphony (nws.edu)

[Will 2,215]

No videos taken at the concerts at which this new version was performed?