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Here’s your damn full article ya cheapskates!

Love the tidbit at the end about how he enjoys reading Beethoven scores. He rarely talks about (or isn’t often asked about) how he enjoys music for the pleasure of it.

We, the Three Azkabaneers (@Chewy, @crumbs, @Holko) decided to take the matter into our own hands and deliver the Ultimate of the Spreadsheets, utilising the available cue list (posted by @gamelanwhisper) and music editor's assembly list (found by @Once) to their full advantage, with additional help from @bollemanneke and @Datameister regarding the contents of unreleased "limbo" alternates only found in the sheet music leaks. Here it is: https://docs.google.com/spreadsheets/d/1drD6d4RfNRVIkEMVPyNRqgVJPGWYKVfzDEQS_ur-E2A/

0:00 - 6:04 is probably what Williams would have sounded like if he were writing action music 150 years ago (especially from 3:19).

The two Cinema Serenade albums were similar in conception. In those cases though, it was more oriented to make Perlman's characteristic cantabile (i.e. "singable") tone shine through. All the pieces chosen for the arrangements were purposefully lyrical and very tuneful. The Mutter project seems instead focused more on the virtuosic side, as JW repurposed various pieces as sort of capriccios and impromptus for soloist and orchestra (keep also in mind that this project is a result of Mutter asking JW for many years to write a Korngold-styled concerto for her). In my humble opinion, with these kind of projects there is always that air of wanting to "dignify" film music to an audience not keen on the repertoire, something amplified by the fact that we have a major international classical soloist and the biggest classical music label involved. However, the risk is to widen the so-called "inferiority complex" of film music/film composers toward the classical elitists instead of bring them closer to each other. However, I don't worry too much anymore about these very 20th-century-like arguments--Williams is openly and peacefully accepted in the pantheon of the great composers of our times by and large from everyone.

He forgot to mention he's completely retiring at the end of the year.

It's official: https://deadline.com/2019/05/the-orville-renewed-season-3-fox-1202612705/ Fuckin' yes! 😬😬😬😬 Join the subreddit: https://www.reddit.com/r/TheOrville

Saw this posted on the Jedi Council Boards https://www.thetimes.co.uk/edition/times2/john-williams-the-best-film-composer-in-the-galaxy-l7jx0f8gq (the article is behind a paywall apparently)

He made a similiar comment years ago about reading the Beethoven piano sonatas or string quartets and pieces by Handel ... or was it Haydn? Something along the lines of "the read like novels", and I recall he said he has the scores on a nightstand by his bed. One of the Richard Dyer articles.

My reaction to getting season 3. PRAISE AVIS!!!!!!! ALL HAIL KELLY!!!!!!! HAPPY ARBOR DAY!!!!! AHHH BOOM BITCH!!! THAT'S WHAT I'M TALKIN BOUT RIGHT THERE, I'M LIKE BOOM!!

This was a nice little insight into his writing process. “Oxygen is a wonderful thing” - John Williams

I know most of the members hate me because I can act like a total asshole but still I would love to share my incredible two years fulfilled with the amazing music of the greatest musician of all time. I saw JW live for the first time in Chicago, April 18 and was in RAH in October, JW got ill but it was an amazing night nevertheless. I performed(french horn) SW live in fall of 2018 And performed(or still coming this spring) these pieces by JW -Across the Stars 8 times😍 -E.T. Adventures on Earth 4 times -Raiders march -Adventures of Mutt -Scherzo for the X-wings -Rebellion Reborn -Escapades for the Saxophone -Goodbye Mr. Chips -Superman march -Victor'sTale -CE3K excerpts😍😍😍 -Flight to Neverland -Princess Leia -Imperial March 8 times -SW main title 8 times -Throne room -Jaws theme -Schindler's list -Jurassic Park -Hedwig's Theme -Fanfare for Fenway(might have been in 2017) And I met Stefancos

It's one of Williams' manliest most testosterone-fueled tracks. It's too masculine for even strings.

And leaving off the sweetening cymbal crash fom the end of the new intro that was on the OST in Mischief Managed! As for Cadogan: I whipped up this quick approximation - had to take the opening from the later phase for the down and up shape instead of three same notes, and slowed it down to match the film tempo reasonably close (complete with gorgeous Audacity tempo changing artifacts): https://picosong.com/w8mKh/ Laying it on top of the film audio, they sound pretty similar as far as I can tell from the dialogue and sound effects - all it's missing is that delicious additional tambourine.

It probably would've sounded more like this: https://picosong.com/w8meg

Well, the other thing to consider is that the sheet music doesn't call for the repeat. It just plays through once, and it's the version with the extra ornamentation. (Personally, I prefer the simpler version, though.)

You make a good point. I am not a regular watcher of the show, but from what I have seen it seems like a depraved, unedifying series, and cruelly violent to the point of excess.

Hey @Jay, just wondering if you ever got a chance to ask Mike about that little segment? It was in reference to the Double Trouble March section of Trouble Takes Many Forms sounding like two slightly different takes of the same cue back to back (as the film itself only uses half the cue as it appears on the LLL, and doesn't appear to have room for anything more -- unless something was deleted after Williams scored it). Cheers!

It has to be the best thing or the worst thing ever. There’s no middle ground.

And really, in general, part of the reason I love to read/watch interviews with Williams isn't that they are particularly informative (about the music or the composer himself) but because - in talking about his work, he's always so enthusiastic, and not an egotistical way. His almost giddy demeanor is downright infectious.

RotJ had a full suite, while Rots only had one piece. I could see Williams going either way with this one. Pure speculation: one new big theme and associated concert piece, and an end credits piece similar to TFA but encompassing the whole saga.

I’m watching Amistad #DiscoStu #OnBrand

Right but the fact that an 87 year old John Williams has music inspired by a third Star Wars finale currently rolling around on his piano is crazy.

I’ve never seen Xanadu but I like the ELO songs on the soundtrack

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The Double Trouble March was recorded like that, two similar versions back to back. I have no idea why, nor if it was timed to screen footage that later changed, or not.

It's great! One of my favorite cues from the Last Crusade OST. Very tasteful use of synth, I might add.

Have you heard Bruckner's Te Deum? IMO it's among his best works. Here's the great recording of Eugene Jochum conducting the Berliner Philharmoniker, with the wonderful soprano Maria Stader.

They're alright. I like the March in D minor.

There are concert extensions. Setting The Type is only a one minute cue in the score proper. But for the album he did an extended version more than doubling its length. You could call that a concert presentation.

According to people here, my hearing's not well.

It's taking "gritty realism" to a point where its not longer realistic, and the sex, gore and generally immoral and cynical approach start acting as a buffer rather than a conduit between the story and the audience. Still fun, though.

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I don’t think it’s not that he doesn’t like movies, it’s just not a hobby for him. He’s not a film buff who goes to the cinema every weekend, has a bunch of Criterion Blurays etc.

I lost my faith with the previous series.. Season 6 was the last consistently enjoyable one and even that already started to show certain "convenient" Hollywood tropes. For all its large budgets and epic scope the show was always at its best with characters talking in rooms. Political scheming, careful world building and complex characterisation --- those things actually made it seem like a real place. It's not really horrible to watch, even now. That would have been an overstatement. It's "fine". It's just not what it used to be. Karol

Actually, it is pretty impressive to get so much wrong in one line. You usually see only one or two in such newspaper articles.

Information - yes (although press agencies, which usually provide information, don't work for free), but this is not information or news, it's a press interview that appears in a newspaper that's not an online service or web portal – The Sunday Times draws a large part of its profits from sales. Therefore, it is perfectly understandable that most of their exclusive content is available online for additional payment. Why would it be different? If we want the press to survive, let's keep paying the journalists and publishers for the content they prepare for us. By the way, it's great that Williams has already started writing music for TROS! TFA and TLJ are fantastic and I have no doubt that the last episode will also be at the highest level.

Its the sound of blood pouring out of your ears.

Ant Man's suit can grow instead of just shrink. We saw that in Civil War, and very likely both of Ant Man's solo movies. (I didn't see either.)

I hadn't seen this thread before. I voted trumpet for both. It has great personal meaning for me. It's one of my favorite pieces of music, period.

Fingers crossed for a whizz-bang of a Rey's Theme variation when she hops over Kylo's ship!

Actually, Nice to be Around is one of the most often recorded Williams songs. Just not by classical oriented musicians.

Kinda...yeah. Tyrion was never the same character after, which is kinda logical I guess, but he's dull.

I miss Tywin! Charles Dance was a fucking presence!

The POA end credits just continue to get more and more amazing with time. Having the opening insert (and not having to worry about sitting through repeats of numerous cues from the film) makes the listening experience all the better.

Agreed. Someone, possibly Rian, clearly pushed to have the score far more prominent in the mix. That's worth remembering (especially after 4 consecutive films where the score was treated like trash in the sound mix). And yeah, he's the first director in the series to campaign to the studio asking for an isolated score, so there's that. And Rian has sounded nothing but giddy with excitement when discussing his collaboration with Williams. He also regularly tweets about him, lavishing praise upon him and complimenting his genius. Hardly the behaviour of a man who doesn't care about music/JW.

Seven Years in Tibet. It's in my personal top 10. Some moments in it are just sublime. Anyway, what a great and diverse year