Miguel Andrade

Thanks dude.  Jim's good like that.  He mailed me a CD interview of Williams from back in 2005(?) that I had missed at the time.

 

Any chance of charing that one? I recall trying to catch one from around that time, but the connection to the stream kept falling down

One of my favorite Williams scores for film. The suite for cello and orchestra is a must.

Concerto for Cello and Orchestra

I'm not rectangular... so I guess I'll be there

Just for the sake of variety, I'll mention As The Water, from Memoirs of a Geisha

Wonderful choice

I would say another piece for cello and orchestra, that one being the final movement, "Song", from his Cello Concerto.

Thanks for the correction, Miguel.  Lockhart must have do a lot of travelling now that he is also the BBC Concert Orchestra's principal conductor (maybe he couldn't get his baton through customs?).

Wow!  How was Merry Christmas, Merry Christmas live?

I thought all three Home Alone pieces were great.  The orchestra really seemed to enjoy playing this one and the choir singing it; I noticed that right at the very end of Merry Christmas, Merry Christmas the choir shouted an extra "Yes!", Macaulay Culkin-stylee, as the last chord was played.  Ken Bruce announced beforehand that the programme would be broadcast close to Christmas, so it did not sound at all incongruous.  Believe it or not this was the fourth all John Williams concert I had attended this year, but all four had something different to enjoy and included Williams pieces that I had never heard played live in concert before.  I was very pleasantly surprised at the inclusion of Call of the Champions, for example, which I really wasn't expecting - I had to stop myself from singing "citius!  altius!  fortius!" along with the London Voices.

Can you guys outside the UK listen to BBC Radio broadcasts on the internet, either live or on the BBC iPlayer?

I think that Lockhart sometimes conducts sans baton. No idea why.

As for the "extra" yes on "Merry Christmas, Merry Christmas", that's how the concert version ends.

This is being recorded for an upcoming release on the Naxos label.

I still consider it the greatest TV show I have ever seen. Before the grand finale, there are 6 or 7 filler episodes that I could do without, but all the rest is pure gold. And Fire Wal with Me elevates the whole thing even more

What Merkel said

Good ones Maurizio. The ones I would ask were basically put by this fellow David Kay... But some very good ones overall. Though some of them, the more well informed fan would already know the answer

The full piece is performed.
It is a wonderful work. I just felt like the time stopped and all there was in the world was the sound of the guitar. Really a terrific piece.
Can't wait to have it published, as I have someone who will have the time of his life performing it

http://www.diarioden...82354_1034.html

Apparently the soloist and dedicate plans on recording the piece.

I think this was just conjecture on Miguel's part based on his personal feelings towards the interviewer (Didier Lepretre).  That doesn't discredit the interview. There might be slight change of wording in the original translation but that wouldn't change the contents of the interview that much. The questions are pretty straighforward

First of all, I think we must be gratefull that Mark was kind in making this available to everyone, despite the fact that this is unlike to be a faithful representation of the actual interview.

For the record, while I did mede some conjectures based on things that we know to be facts, and things that only came up in this interview, that to the least sound weird, I did some serious investigation on the interviewer. I should say for starters, I have no feeling toward him whatsoever: never met him, never talked to him, nothing.
But I do know people who know him, and none of them had a nice word about him. What I was able to get from at the time, he is just a weird fan, who claims to be able to get interviews with everyone in the business (funny, FSM, a major thing on the film music scene waited years to be able to interview Williams), and when he publish this interviews, composers and musicians always make the most unexpected revelations. Furthermore, several of the people I talked about this, say to be sure that he does change the actual replies on some of this interviews (the ones to be known to have happened, and never with big names... aparently, the Williams and Horners only are interviewed by him alone...)

  
He might have caught Williams on a day where he was less diplomatic and since this was a French magazine maybe William didn't care as much .Anyways this is  not a random internet interview ,it's from a fancy printed magazine about sci-fi movies ( the kind of magazines that cost more than normal ones)

That would be the only time anyone would have found Williams on a less diplomatic manner... at least on interview. Back in 1984, during the time he quited from his Pops job, he had all reason to be pissed, and never had a bad word torward the orchestra. At the time, all the info leaked throught orchestra musicians and personel, not Williams.
Also, other funny things... March of the Villains was originally done for the Jawas... Williams always claimed he don't pick on material from previous projects. Complaining on McNeely work, when he was one of the people who reportedly helped the younger composer on his early years in Hollywood... All sound totally unlike Williams. But yes, those are conjectures on my part. And Regarding the comments on Episode I, it said what many fans wanted to hear, not necessarily what Williams thinks.

As for being printed on a fancy magazine, that doesn't makes anything true. This interview ran originally on the interviewers fanzine, and was later added to Starfix, or so I found out through my investigation.

Just my two cents. Believe on what you will, but I don't trust one word of this one.

Concerto for Violoncello and Orchestra.