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On May 29, 1913, the world of arts was forever changed when the audience who gathered at the Théâtre des Champs-Elysées in Paris was about to witness the first ever performance of a ballet composed by Igor Stravinsky called Le sacre du printemps (The Rite of Spring). The rest, as they say, is history. This seminal piece of music really turned the music world upside down and went on to become one of the most important pieces of music ever written in the 20th century. Nothing was the same after it. After 100 years, Stravinsky's Sacre is still a powerful composition, capable of infusing a great deal of excitement and awe to anyone who listen to it. Film composers also took their share of great influence from this piece. So, let's celebrate one of the most amazing pieces of music ever conceived by a human being! NPR Classical made some great articles to celebrate the anniversary, go read them here. Watch this wonderful visualization made by composer and videoartist Stephen Malinowski:

This is cool:

I could do with John Williams scoring freaking Gravity.

Now, see? THAT'S a mature, intelligent response. Obviously there's no such thing as an "official" declaration of what I'm talking about. And of course these subjects are open to general discussion. (I'm not looking to put a gag order on anything, fercryinoutloud.) It's a choice each person can make to be aware of the things they say, understanding that—with a touch of caution—they won't be the one who ruins an ending for someone else. That's why folks use the spoiler boxes and warning banners. It's why this entire thread has been separated from the others. You and Blume may not be bothered at all when you learn about the surprise early . . . but some people are. It's the same as anything else: you show respect and courtesy to others and extend them a friendly hand when you give consideration to their perspective when expressing yourself. You can choose to be the better person by avoiding giving things away . . . talking around them . . . using the spoiler box . . . or even by utilizing a clever hidden message (one that had me laughing out loud!!!) to keep the wizard behind the curtain for those who want to preserve the magic in Oz. - Uni

Happy 60th Birthday Mr. Elfman.

I love this series. Karol

Wow, a century! Truly remarkable. Happy birthday, Le Sacre! If anybody's interested, here Bernstein goes into excellent detail about the piece (and other Stravinsky greats) and even plays some bits:

Got my CD a couple of days back, and... What a score! Any JW fan who didn't order this is missing out! The score is melodical and easy going without being any less complex than other scores that handles more "heavy" themes. As a fan of John's more lyrical pieces (as the 'Journey To The Island'-theme from 'JP' (well, the beginning at least - 'Heidi' is not quite as bombastic) or the subtle magic from 'The Flying Sequence' from 'Superman') this score immediately found a place in my heart. In my mind it seems the origin for that "Williams-sound" and you can definitely hear it's the same man who wrote this who would go on to write 'Close Encounters' (again, I'm talking about the more "sweet" parts - for example the sweeping strings from 'End Titles'. The brooding parts - not so much), and 'Empire Of The Sun'. There are traces of scores he has yet to write all over this album. It's fantastic. 'Heidi' - like 'E.T.' or even 'Star Wars' - is worth listening to again and again!

Past 10 years? Yes. Past 20 years? No.

That opening paragraph alone includes so many moments that I didn't bother to read on. When did Hans Zimmer "start"? I don't know, but I bet film music was in a better state then than it is now. It's better to have great music that is not as highly regarded, than having empty music in every score that is talked about by the composer and the mainstream like it's a mixture between high mathematics and the second coming of Mozart. And what's the matter with the term "scorer"? Did Clint Eastwood write that article? Occasionally, I think it's either my sanity or Zimmer's that is deteriorating at a mindboggling speed.

Bump... because coinciding with the Blu-ray release of The Muppet Movie this fall, Paul Williams has confirmed that the soundtrack will be rereleased too. Hopefully, that means on CD. Would be great if it came from Intrada.

Three generations, indeed Even more incredible. I am remembering, as I sit here typing this, being eleven years old and buying the original audiocassette (!) release of the Return of the Jedi soundtrack in the summer of 1983 and listening to it thereafter...endlessly... all summer long. A sweet memory. JC

Heidi by John Williams A very nice, sweet little score. Lush and pastoral, almost like Mahler on a cheerful day (Williams himself apparently sees the connection). Something that is a nice companion to Jane Eyre (directed by the same guy, by the way). For only 40 minutes of running time, it's a pretty rich and varied music, beautifully crafted with great attention to detail. I particularly love the woodwind writing in the finale track which soon morphs into an almost orgasmic string section katharsis. I also like the song, the arrangement is great. Overall, a very warm and relaxing work, even though, the main theme reminds me of Poltergeist, of all things (or the other way around, actually). Really ironic, given the fact Goldsmith was supposed to score it originally. I enjoyed reading detailed notes by John Takis as well. Good buy, definitely, and something that I see myself revisiting. Passion by Pino Donaggio Can't say I'm really familiar with Donaggio's output, so can't comment on how does it compare to his other works. It's a very European music, not completely unlike Ennio Morricone's drama works. I rather like it, it's definitely a very strong score - elegant and suspensful. Not necessarily original or new, but I like it. The Debussy piece flows well with the rest of the music. Karol

Every movie I have seen in which John Williams did the music, I always air conduct to his phenomenal music. You know he is the greatest composer alive today when his music is that blessed.

As posted on hte main page: " "We've certainly talked about that, and I'm happy and willing to do it," he confirms. "J.J. Abrams, who will be the director, seems excited about the idea. I have to say that J.J. is a much younger man than I, but I will try to keep up with him as much as I can!"http://blog.zap2it.com/pop2it/2013/05/man-of-steel-will-be-hard-for-me-to-see-says-superman-composer-john-williams.html

It really annoys me but the reality is people always say such and such sounds like such and such. I think stylistically JW is very similar to Wagner and Holst at times. But then again I think this is an intention on his part. Has anyone noticed the signature edition of War Horse says something about an homage to Pery Grainger, Vaugn Williams, Holst etc? Anyway 4 seconds of this piece sound like Schindlers list. That is such a stretch it is not funny!! The whole feel and tone is different as well it sounds like the Bach St John Passion or something.

I don't think this should be here, but member Laserschwert (he's JanBing over here) posted this on the Telltale forums. I think it's actually quite brilliant. It takes a little bit to get used at first, but once you do, if feels great! https://soundcloud.com/laserschwert/foxney