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This forum has a "report post" feature and this is now the most reported post we've ever had in the entire history of this forum. This post is a reply to one short sentence: "Seems like 2015 is when the BF slate started having really high profile releases" I am shock and dismayed that a label representative, let alone a label owner, would choose to sign in to our forum to post a reply like this to what is a very innocuous post. The post never read to me as "Boy, LLL sure sucked in the past, 2015 was the year they FINALLY got good!", it read as "Boy, 2015 is

According to the feature in this month's BBC Music Magazine:

In a BBC Radio 4 interview from this morning, John Williams mentions that he "[hopes] to be in Berlin in October conducting the orchestra". Is this the first we have heard of a potential concert with what sounds like the Berlin Philharmonic Orchestra?? What do you make of this? Interview starts at 7:40am (1h40min in) but JW mentions Berlin at 7:44am, (1h44min in)? https://www.bbc.co.uk/programmes/m000ph3t If this is to be true and the vaccines are here to enable us to see concerts again, it is amazing to hear JW is still able and willing to work!!

Hello, it's not the professor here this time. Just me I will try my best though, because this track is awesome! My Hello, what have we here? / You are imagining things section: 0:00-0:26 violins of quiet tension, to my ears slowly whispering the Anthem of Evil, with little counterpoint, but close to the end the counterpoint imitates the closing notes of the theme 0:26-0:27 a moment of music "taking notice" that something is not right, with a TROS-signature pronounced harp. Now the middle strings add some pedal tension. 0:27-0:44

I received my copy almost a week ago but didn't get to share my thoughts on it. It has been one of my holy grails. I really dislike the OST which makes the score seem meandering and aimless. It wasn’t even about the missing material as much as the presentation and sequencing. I never understood why you'd have the militaristic climactic cue before the basket sequence. The music culminates by track 12 and never really recovers after that and just falls flat as a listening experience. It's clear right off the bat the score is better in chronological form. Yes, there are s

He now sits alongside Rachmaninoff, Stravinsky, Bernstein, Sibelius and more... There's an intro by Spielberg and we get to see Williams, impeccably classy as ever. https://royalphilharmonicsociety.org.uk/awards/gold-medal/john-williams 1 Hour 6min mark:

https://www.classical-music.com/magazine/issues/christmas-2020/ In the Christmas 2020 issue of BBC Music Magazine, we meet the iconic film composer John Williams to reflect on his illustrious career in Hollywood, his concert works and the thrills of conducting the Vienna Philharmonic Merry Christmas! In this month’s issue, we meet the iconic film composer John Williams to reflect on his long and prosperous career in Hollywood, some of his greatest scores and concert music and his thrilling forays into conducting.

Having to use a theme written by JW and not having any choice about it beside doing the movie or not could be very intimidating, it's easy to imagine some composer treating it as an immutable sacred artifact, only copypasting the same renditions all over and making it the only highlight, some other composer resenting the obligation and treating it contemptuously, burying it or making it sound bad - but Powell's better than that, and also as evidenced by some JW-written variants, these two spry lads were absolutely on the same wavelength. JW wrote lovely but very moldable themes, and Powell rea

'78 Superman - I can't believe he elected to omit the Helicopter cue! '81 Raiders - I can't believe he edited out 2 tiny sections from The Desert Chase, it sounds so awkward now! I can't believe he elected not to include to glorious rendition of the Raiders March when he's on top of the sub, yet the end credits arrangement is on here twice! '82 ET - Huh, the only music I remember from the film that's on here is the opening and the ending. Everything else is different! '83 Return of the Jedi - Where's Luke's fight with the Rancor? The death of Yoda? The fanfares for the sta

Yeah, I don't notice anything either.

An owner of a specialty label whom we all spend money at calling one of their customers a dumbass on a public forum is the quality content I come here for. Never change, JWFan!

I understand you're rightfully proud of the work your company has done, but why did you think it was necessary or appropriate to respond to his comment in such a disproportionately extreme way?

So that section of music (Parting Ways) that we always assumed was Williams, is Williams. Aren't we clever...

Beat me to it @Edmilson Great news indeed, I think? Even if purchases/downloads were only 1% that amount, it'd still be 5,000 sales ($100,000 USD revenue, based on the HDTracks price). And I agree with this guy:

Frankly, if a specialty label owner can’t follow the rules of the forum and basic rules of decency then I’d rather them not post if it’s all the same. I don’t mean to be flippant but someone in that position should be able to be more professionalism in an environment like this. Richard’s post was perfectly innocuous and he’s a fine upstanding member of this community.

Well not with you, no! You’ve got insider information obviously so that’d be really dumb on my part 😂

I was finally able to play this through today. I had either forgotten--or never realized--how unforgiving this score is. I can't think of much more music in Williams' output that is so relentlessly oppressive and unnerving. Even the lighter material has a shadow over it. It's very much a companion to AI and Minority Report in that loose sci-fi trilogy Spielberg made in the early 2000s. I really appreciate the action music for its unrelenting rhythmic drive and reliance on mid- and low-range colors--the antiphonal timpani (!) and massed horns and trombones with low strings that mark The Inters

What's amazing about this score is that many of its best moments (revealed even more clearly in this expansion) are instances of Powell doing something interesting with some element of Williams' Solo theme. It's like the entire composition was Matrix-uploaded into Powell's brain, as second-nature to his thinking as anything he'd written for the film himself. Almost every cue has an example of this somewhere. Heck, even the transformation of the Imperial March for "Mimban" is a great example. I really really hope we get another John Powell Star Wars score―preferably with another Williams co

Stolen from the Soundtrack Memes Twitter page

The Sugarland Express: Unreleased OST Edition (1 CD - 1000 UNITS) The Sugarland Express: 46th Anniversary Edition (Film Score + Source Music) (2 CD SET - 2000 UNITS) The Sugarland Express: The Source Music Collection (1 CD - 2000 UNITS) The Sugarland Express: The Remastered Bootleg Edition (A brand-new transfer of the bootleged cassette tape) - 1 CD - 2000 UNITS The Sugarland Express: Deluxe Archival Edition (Film Score + Source Music + Bonus Screensaver) (2 CD SET - 3000 UNITS) The Sugarland Express: The Complete Recordings (Every Take + Collectible Poster) (4 C

Wow, I can't believe JW finally approved not one, not two, but six albums for The Sugarland Express! Oh boy

https://thelegacyofjohnwilliams.com/2020/11/27/tim-morrison-podcast/ I don't have much to add other than it was a real honour and privilege to talk with such an iconic musician who we JW fans all admire so much. I hope you will enjoy, gents!

This blew up a bit, over such a brief observation I made, so I'll just say a few further points on top of Jay's: - MV's post was in response to an interpretation which wasn't intended, but was still read as such, and to someone working hard to release scores for years, I can understand how it caused offence, and remain apologetic for that. I was somewhat taken aback by the tone of the reply, but I understand it in context. - I hope I've clarified (and I've edited my original post as such) what I was trying to say, and Jay nailed it above. I have a personal ignorance of

Re: Hook The original OST album use all the same takes as the film did, but the editing was performed separately from the film editing so the edit points may be slightly different at times. In other words: each cue was performed by the orchestra multiple times until they got everything they needed, Williams and co decided on what portions of which takes to use to make the final edit, and then the team putting things into the movie performed those cuts on analog tape and the cut version was sent to the team assembling the film. Later, any cue that was going to go on the OST, they

Finished first listen (interrupted many times by life and work stuff). It is really great and manages to sustain interest throughout. In a way it is better than the OST because there's more breathing room in between loud setpiecesand it is not as aggressively mastered (sort of like the recent HTTYD). It is actually some of those other in-between bits that I enjoy the most (tracks 17, 24 or 32, for example). Williams' contributions are much subtler than expected which is surprising. I was genuinely thinking some of the bigger statements of Han's theme were his. The score in its entirety is very

Deserves its own thread. Thanks to @Pawel P. for the news https://www.berliner-philharmoniker.de/en/concerts/calendar/details/53181/ First the award, then the word about the Berlin concert, then the gala, now this... Johnny has a sense for timings!

jesus christ not another one

Close tie between War Horse and TROS for me. Chose TROS because it's fresher and, well, you know, it's me. But they're all great in their own ways. Only The Post I'd consider an inessential or minor Williams score. Why not offer superlatives for all of them? Tintin: Best opening sequence ("Tinker Tin") War Horse: Best overall listening experience Lincoln: Best concert suite Book Thief: Best theme (Main Theme) Force Awakens: Best themes BFG: Best orchestration TLJ: Best big musical set-piece (Holdo's Resolve for me, but quite a few options) Post: Best tens

Jeez. Albus and Bayesian wtf is wrong with you? And Bruce you know politics isn’t allowed on this forum so knock it off Everyone else please be kinder to new members. Sheesh what a depressing thread to find. @klee251 the small amount of people who replied don't reflect the majority of the people here.

Last night, I watched the film again on Amazon Prime - first time seeing it since the year it came out. Holy hell. THIS IS A GREAT MOVIE! I loved it! The pacing, the characters, the voice acting, the story, all aspects of the visual design (the characters, the creatures, the gorgeous scenery) - I was really continuously wowwed by the whole affair. What an enjoyable movie! I almost forgot to mention the music! I think this is a great example of a film score just fitting its film LIKE A FREAKING GLOVE. This is a case like Star Wars where the music and fil

There's no clipping on this release. You can't really expect precision from a consumer level, free product like Audacity...at least not compared to professional grade tools like ProTools. As is evident to the people who say they can't hear any clipping -- that's because there isn't. You can't believe your eyes! On the horn issue, it appears that Horner did chose an insert from an earlier take that was never documented. Since this is obviously what Horner preferred and what folks are saying they prefer, we have no issue making the change. Stay tuned.

He took the Rogue One criticism hard.

0:53 1:44 7:54 9:56 and 10:34

My opinion on John Williams Star Wars Sequel Trilogy scores? They're hella good.

Just watched the latest episode. That March of the Resistance iteration at the end of the episode was >chef's kiss<. Incredible!!! And then I come into this thread to post that, and see the Volume 1 OST for Season 2 is out after all? What a day!

Here's the 5-minute interview on YouTube (Berlin snippet at 4:48)

The best way to hear Holst's Planets is to perform Holst's Planets. Observations: 1. Wow, what an incredible work! 2. What I thought would be difficult wasn't that hard and what I thought would be easy was much more difficult! 3. Mars is very, very loud! Very hard for endurance reasons. Not technically difficult but physically difficult. Lips hurt after it. Thankfully, low brass doesn't play in Venus. 4. This was one of the very rare times I've ever heard the conductor look directly at the trombones and say, "you need to be louder" when we were playing as l

Listened to Azkaban yesterday and noticed the descending figure that the harpsichord plays early in the unreleased film take of Befriending the Hippogriff not only returns on strings later in the same cue, but in Great Hall Ceiling and Page 394 too! Can anyone spot it anywhere else? The entire score's so sonically interesting too with all these different key instruments and lots of chances for them to shine. I'm so happy that eventually they did come up with Window to the Past! Its main beautiful setting of yearning and nostalgia is a great contrast to the two instances where it's

Unlikely, I think. After the "traditional", theme based suite of film music adaptations for ASM, I expect his next work the for the instrument to be something more "serious" (in the worst meaning of that term, but you know what I mean). These things are hard to discuss with you, because you deny film music any musical validity in its original settings as film music. Others (so-called classical purists) do the opposite and deny it any musical validity when separated from the film. I consider both dogmas to be extremely short-sighted and limiting. I listen to fil

Kathy, clearly your intentions were good and an honest attempt to shed positive light on John Williams. Don’t be turned off by the absurd reactions you got from some members. Welcome to the board.

I love them and am very sad to hear the Solo DE won't be getting them, especially since HTTYD DE did That shows the huge difference between our specialty label heroes and a huge label like Disney Records, right there

Jaws at 45: https://thelegacyofjohnwilliams.com/2020/11/06/jaws-at-45 This year, Steven Spielberg's timeless classic turned 45. The Legacy of John Williams presents a new analysis focusing on the element of trust and kinship between director and composer and how they fulfilled a shared artistic vision.

https://www.facebook.com/1689850014571627/posts/2730727530483865/

Anyone else wish this album was coming out at the end of this week?

Probably we will be able to see and hear Anne-Sophie play the violin concerto.