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It took me almost two years to get this out of my head an into my computer, but I've finally managed to assemble a little concert arrangement based on Tintin's theme: http://soundcloud.com/chrisafonso/tintins-theme-arrangement It mostly consists of Williams' original theme and secondary "sneaking" theme, which I extended a bit. And to make King Mark happy, I applied a bit of a Raiders March feel to the beginning. It's relatively short, unlike the more fleshed out suites Homeboy and especially Skystalker already created, but I hope it's enjoyable nonetheless

He's not scoring Wolf of Wall Street and he's completely and utterly healthy. The schedule--and travel--simply worked better with a few tasks divvied up. The NZ performance is great and the music is entirely Shore's, don't sweat it. There's no news because people are ... you know ... working! This score is going to knock everyone's socks off; it's *phenomenal*. But don't look for details for a while yet. Work comes first, promotion after. The play's the thing. -The Horse

Ten years ago! I'm sure it was an exhausting experience then and he would not necessarily want to repeat it now.

Dear Indy4, May I ask you what you hope to achieve by doing that? It seems to me that this thread is more about your friend than it is about the music of John Williams. It's obvious that indy4's participation at this board has been little more than an elaborate scheme to achieve "victory" over his friend. I feel used, and so should everyone else here. 17176 posts -- all for something so shallow. Sad.

Here are a few female composers whose music you should already have in your collection as JW Fans: Germaine Tailleferre (one of the members of Les Six) - Her Harp Concertino is available on the CD 20th Centurty Concerti which also includes the JW Tuba Concerto performed by Marc Easener Jennifer Higdon (Pulitzer Prize winner for music in 2010) - Her composition "Blue Cathedral" is available on the CD New Music from Bowling Green, Volume 3 which also includes the JW Tuba Concerto performed by Velvet Brown I think their music is quite lovely, and certainly worth a listen.

KK. Being funny isn't easy. But good effort, I'm sure you will get there one day.

I understood what he meant immediately and am surprised at all the confusion.

Thank you, I was starting to get worried about his health! But you saying the score is phenomenal doesn't exactly make waiting easier. Dammit, let Christmas come soon!

I wonder what your real post count is minus all your primadonna sighing.

ENDURING LOVE: Jeremy Sams Be surprised that a new filmscore obviously got away with a dedicated Vaughan-Williams homage that even soars into concertant heights in PASSACAGLIA that have been long absent form filmscoredom. Fans of the sweet and delicate IRIS (Horner) or even ANGELA'S ASHES and such might find something to like in this album, though i never even have heard of Jeremy Sams (an oversight that will no be corrected). It's on Spotify.

And now happy birthday to RVW.

And you can throw a rock and hit a better composer and/or musician than Trevor Rabin.

Also, blacks aren't as good composers as whites. Not pouring oil on the fire or anything.

The concert just ran on Austrian tv, and you could actually hear the Spider-man theme (playing as Horner was called to the stage) quite well (which, as several people pointed out, was totally drowned out by the applause in the hall, so much so that I didn't even notice it). Hope to get a recording of the broadcast in the coming days.

The key point is that film music (especially Hollywood film music) is, by and large, derivative by its own nature. It leans on the shoulder of the classical repertoire more often than not because of dramatic/narrative necessities and for clarity of intentions. Film music has to be simple and direct almost by command, so it's perfectly natural that composers had (and still have) to resort to established models. But that doesn't mean that it's all hack-work, of course. What classical elitists/snobs don't seem to understand is that it requires A LOT of work, study, skill and bravura to be able to write in certain styles that are surely well-established, especially if one considers that it's usually done in a very limited amount of time and must always be subjugated to the film's needs. Add to this the incredible ability of Williams (and other fine composers as well) to come up with some of the most lasting and iconic melodies/themes of the second half of the 20th century and what we have isn't something that should be dismissed with a shrug.

Yes! I was the only one who voted for Munich