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Roger says "we are announcing next week's release this Friday. this has been a grail release for some time, especially to get that Daedalus cue released. Similar to Monsignor, different mixes existed. So as with that release, one disc features the complete score from Armin Steiner's spectacular film mix, with a second disc featuring Len Engel's album mix we've all come to know and love. Finally it's all here produced under the love and care of Mike Matessino." http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8910

I was there in that room and definitely cried. I’ve seen the maestro live many times mere feet away, but being caught off guard with a sudden performance by him, and with the debut of a major new theme no less, was quite something. When I last saw him in Pittsburgh last month, I thought DC next month would be the next performance of his I’d be at. Just wow.

None, its all about context, techniques, and recording mixing.

Man, seeing (on the internet) 90-year-old John Williams completely healthy and making a surprise appearance to conduct a new piece, was the highlight of my week, specially after years of Covid. He surely spent very well the pandemic by writing new music. John Williams is my hero!

Presumed Innocent: The Deluxe Edition (CD) JOHN WILLIAMS UPC: 888072419094 Release Date: 5/20/2022 Regular price$ 19.99 Presumed Innocent, the debut novel of Scott Turow, was a bestseller upon publication in 1987: a twisty, ultra-smart account of a prosecutor investigating the murder of a brilliant colleague with whom he was having an affair—and all clues point to himself as the perpetrator. The book was made into an equally riveting, first-class film in 1990, directed by Alan J. Pakula (Klute, All the President’s Men) and starring Harrison Ford, Brian Dennehy, Raul Julia, Bonnie Bedelia, Paul Winfield, Greta Scacchi and John Spencer. By 1990, John Williams was a worldwide icon for his soundtracks to blockbusters—but he was a master of every possible genre, including the unique combination of crime thriller and courtroom drama that was Presumed Innocent. Williams created a haunting, beguiling score of subtle piano, noble yet melancholy French horn, churning strings and even a wisp of synthesizer to express the film’s exploration of guilt and innocence, virtue and obsession. It is an exquisitely subtle score, but melodic and stimulating—and dramatically pitch-perfect. Presumed Innocent was released by Varèse Sarabande at the time of the film, and has now been expanded and remastered by Mike Matessino in a new program of the complete score, followed by unique album versions and alternates. New liner notes are by Jeff Bond. Limited edition of 2,500 copies. SCORE PRESENTATION 1. Main Title (From The Motion Picture Presumed Innocent)** 1:37 2. Family Morning 1:11 3. Carolyn’s Office (Film Version) ** 1:13 4. Burning The Note * 1:18 5. The B File (Film Version) 1:16 6. Juvenile Pictures * :46 7. Remembering Carolyn 2:20 8. Reacting To Carolyn * 1:08 9. Love Scene 4:08 10. Off The Case / You’re Always Right * 2:37 11. The Bedroom Scene (Film Version) ** 4:22 12. On The Advice Of Counsel 1:26 13. In The Patio 2:24 14. Carolyn’s Apartment ** :51 15. Family Theme * :57 16. Physical Evidence * :45 17. Outside The Courthouse * :45 18. Leon Talks 2:01 19. Fingerprints * 1:06 20. Barbara And Rusty 1:12 21. Case Dismissed (Film Version) :49 22. The Boat Scene 2:16 23. Return To Normal ** 1:00 24. The Basement Scene (Film Version) ** 2:56 25. Barbara’s Confession 5:19 26. End Credits (From The Motion Picture Presumed Innocent) ** 4:03 ALBUM VERSIONS 27. Presumed Innocent 4:14 28. Family Life 1:32 29. The B File 3:30 30. The Bedroom Scene 4:22 31. Carolyn’s Office 3:26 32. Rusty Accused 2:08 33. Case Dismissed 1:55 34. The Basement Scene 2:57 35. End Credits 4:06 * Previously unreleased ** Contains previously unreleased material https://www.varesesarabande.com/products/john-williams-presumed-innocent-the-deluxe-edition-cd

From the SW Facebook page

Of all the arrangements this is my favorite...

I would never have thought that Star Wars makers would give Williams an opportunity to write a concert piece on a topic of tragedy and focus on the psychology of a traumatized character. This is the kind of unconditional dramatic seriousness that Williams's blockbuster scores has often been accused of lacking in contrast to operas or, say, Herrmann's scores. But even with that being the case in this assignment, the choice of Wagnerian/Brucknerian tonality and rhythm is not something I expected from Williams, certainly not to that extent. Always a step ahead of us he is.

https://thelegacyofjohnwilliams.com/2022/05/14/spacecamp-expanded-preview Enjoy and listen until the end

It's funny how modern audiences and filmmakers misunderstand the very concept of music in Star Wars. It's not meant to keep up with modern trends, it's supposed to offer counterpoint to all the technical advancements. It was old fashioned 45 years ago! Karol

The latest episode of Maurizio's great podcast is a fascinating talk about the behind the scenes work involved in adapting Williams' score to the Live To Projection concert format, and is a great listen from start to end. https://thelegacyofjohnwilliams.com/2022/04/28/superman-in-concert-podcast-special-pt2/ Speaking of the end, Mike drops the information in the thread title as they are signing off. Speculate away!

Per Mike Matessino, 1:14:20 into this podcast https://thelegacyofjohnwilliams.com/2022/05/20/spacecamp-presumed-innocent-podcast/

I can count on one hand how many times I've received two separate JW releases delivered to me on the same day, plus it's our 22nd wedding anniversary today!

We just want Williams' complete works being looked after and preserved for posterity so that anyone in the future can have access to enjoy and/or study them in as much depth as they desire. Karol

He's in the trailer: He's also on the poster:

Here's the whole theme (first minute or so of the piece), with chord symbols. Love the Abma7/Eb to D7 progression, sounds like something out of Last Crusade. Will get cracking on other aspects of the piece once I catch my breath.

I usually don't start new threads for my covers but I feel this one is quite special ! Theme from Sabrina has always been one of favorite JW pieces and I recently felt like playing it on my French Horn I ended up doing a mix of the original piece and the violin version, to which I also added little woodwind lines here and there. The backing track I used is the CD version of the theme, and to make things more interesting visually I synchronized the great video of JW performing it with the Boston Pops conducted by Seiji Ozawa ! (a video originally posted and recently upscaled by my good friend @Martyprod Thanks man !!) And so there it is, hope you'll enjoy it

The Force Awakens. This time the deleted scene. Among the many deleted scenes in the film is one for which JW wrote a total of three versions. It is the first appearance of Leia, who is informed in a scene that Jakku's village has been destroyed. The second half of the scene is a comic scene with C3PO trying to talk to a "sleeping" R2. The first half of the scene was officially released (for some reason as two separate scenes). And the second one we can apparently only judge from Foster's novelization. Of course, the C3PO lines can't be that extended in the real script, but the sync hint "Genius" at the end of 3M29 cue matches the last line of the droid ("R2, you're a genius!"). View Spoiler for novelization fragment: 1. 3M29 Leia, C3PO and R2 (written no later than March 3, 2015) The scene was originally located right before Snoke's first appearance. The cue doesn't begin with the beginning of the scene, but with the officer's address to Leia. Cue underscores the scene in its fullest version. I also tried very conventionally to "reconstruct" the scene with C3PO . 2. 3M29R Leia, C3PO and R2 (no later than June 12) The "revised" version is shorter than the original. The first half of the scene has been truncated (Leia's order to C3PO has been cut out), and the last dialogue has been shortened. But Leia's theme sounds in the fuller version. Interestingly, this part of the cue appears in the film during one of Han and Leia's dialogues. The second half of the cue is almost unchanged, except for the addition of a bass clarinet at 0:58-1:07, and changes to the last bars for a smoother transition to the next cue (apparently, the last "silent" shot was cut). 3. 1M4A Introductions (no later than July 28) The scene has been moved to a very different place, right after the First Order departs from the Jakku planet at the beginning of the movie. Nevertheless, this served as an excuse for JW to revisit the cue again. The Resistance theme (both A and B!) is now prominent in the first half of the scene, while Leia's theme gets a new "polyrhythmic" rendition. The second half of the cue is based on the old, but heavily "revised" material. A faster tempo prompted JW to "embellish" bassoon solo with many other instruments. Bonus: there is a fragment in the 1M4A cue sketch that Williams crossed out before the cue was even submitted (which is very rare). It's a fragment from the second half of the cue, but it's different in texture from the rest of the cue. I made a separate mockup of it for fun. ragoz350 · 1M4A - Old fragment

Fantastic, I love SpaceCamp! But I'll wait with ordering until the repressing is done which corrects the faulty first pressing...

Quickest I've ever felt compelled to transcribe something. This is the french horn solo that opens the piece. Probably the antecedent phrase of a longer melody. Will update as more becomes available!

Thank you everyone for your nice words of appreciation, it’s really sweet. I am glad that you like the show. And it’s very fun seeing some of you combing through every word out of Mike’s mouth when he’s on the show 🙂 But I agree that he’s always a joy to listen to, knowledgeable, insightful and fun. Since you love guessing games, let me tell you that we’re going to have a couple of really terrific musician episodes and also a very special video feature that will “complete the trilogy” after London and Los Angeles…

Yes, it just went live on YouTube. .... ..... ......

I am suddenly excited that in 9 days or less we will get to hear a new John Williams Star Wars theme

Here you go

With SpaceCamp, we now have 55 Williams scores fully expanded out of 108 feature films he scored. That's more than half, we just walked past the 50% mark!

The question of the poll wasn't "do you want star wars expansions"

I will again say that I don’t think Williams writes scores like that. He does not watch these films thinking about what is going to happen, he writes for what is happening in the moment. He did not hide anything in Rey’s theme. He simply used a melodic and harmonic vocabulary that is consistent with all of his Star Wars scores. Any resemblance to other leitmotifs is purely a result of that vocabulary, nothing more.

I think this is a short term question and we should be so lucky to still be here in 5 years annoyed that John Williams is going "This Jabba the Hutt show really afforded me the great good fortune of writing the old slug his first theme. I just want to write a theme for Jabby!"

I hope he means "at least 5 more"… John Williams and the Boston Pops Orchestra - Complete Recordings The Berlin Concert A Gathering of Friends Violin Concerto The Fabelmans

I love how the melody is basically all in C minor but when we finally get some tonic chords in the 2nd statement of the theme, they're C major chords. I hear it as a new take on the Force theme's major chord at the end of its first phrase, the "hope" that shines through the minor-key darkness.

The CD is coming !

Never.

Sometimes dreams and Twitter petitions do come true… John Williams and me at the Kenobi premiere

I think you're right that you can't measure in degrees of conflictedness. But I prefer to think in terms of what's compelling to watch. Luke searching for answers for how to fix the past and inadvertently abandoning his friends doesn't hit me as hard as Luke deliberately abandoning his friends because of the guilt he feels for a fleeting moment of primal and war-like violence. The shame he displays - not only as a result of the moment, but also in how he selfishly justifies the abandonment - is compelling to watch. It's a commentary about how when we (as individuals and as a society) mature our binary ideas about right and wrong become only more muddled and difficult to navigate. The greatest triumph of Luke was removing the burden of shame and redeeming himself with a final, powerful act of nonviolence to counter his earlier struggle, and stand for what is right in the face of the oppressive forces of war and hatred. That, to me, is a story worth telling, especially now. Again, I get why people didn't like it. But it worked very well for me, and helped to push the boundaries for legacy franchises beyond hammering the nostalgia button.

They could have use mine lol

Hans Zimmer, if you're here, please don't ever score a Star Wars film. Ever. In fact, please just retire. Or at least shut down RCP. Or both. Both is good. Regards, The entire film score community

I certainly remember parts of it, but I'm not sure if we've seen the full video before? (And apparently it's one of several more to come)

«SUPERMAN» – IN CONCERT REVIEW The Legacy of John Williams reports on the exhilarating world premiere of John Williams’ majestic score performed live to picture by City Light Symphony Orchestra conducted by Anthony Gabriele at the KKL Luzern on April 29, 2022. Rarely the 1978 film by Richard Donner starring Christopher Reeve looked and sounded more soaring that it did during this performance and the choice of presenting the Academy Award-nominated, Grammy Award-winning score by John Williams live to picture is really an inspired one. Read the full review and watch an exclusive video featuring exceprts of the dress rehearsal produced by The Legacy of John Williams. https://thelegacyofjohnwilliams.com/2022/05/03/superman-in-concert-review/

So JW also conducted the Raiders' March and Imperial March after the Obi theme:

Hey we need a picture for the album. Can I put my stuff down first? No, let's go, let's go.

8 more minutes, including one particular highlight cue. Would you prefer the complete score never get released because there's so little to add? (Also, the film mixes are all totally unreleased and different from the Len Engel album mixes.) Yavar

The natural consequence of interrupting Williams's "they're all dead" story.

Raimi on why he wanted Elfman to score. Doctor Strange in the Multiverse of Madness Director Sam Raimi Explains Why Danny Elfman Returned (comicbook.com) "I loved Michael Giacchino's Doctor Strange music and I'm sorry we didn't get a chance to work together but I need Danny Elfman by my side," Raimi tells us. "He's like my long-lost brother and he's really a storyteller. He helps me tell the story with his music, but it was wonderful. He loved the Doctor Strange theme and incorporated it into his musical score which was so funny for me because that composer incorporated some of Danny's pieces into [Spider-Man] No Way Home."

I agree. He's writing some of the best music of his career right now, even if they are new arrangements of existing works. Just imagine what his (potentially) final film score for Steven Spielberg, and his final film score in general, might yield. It's that much more exciting thinking what he could do with the Raiders March, seeing how inspired his revisitations of other works have been.

As I recently commented about Back to the Future on the "older scores" thread might bear in mind that prior to BTTF, Alan Silvestri hadn't really written anything that would suggest he'd write a classic, orchestral score. Most of his prior work was kinda pop/disco sounding TV scoring and then out came BTTF almost out of nowhere. People can surprise you.