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Couldn't have said it better myself; you raise a point which I've been trying to find the words to express lately. It feels like in the 20th century classical music hit a fork in the road (Mahler was one of the key figures to introduce said fork) and went two separate ways: the people who wholly embraced atonality as the ONLY next step for music to go in, and the people who wanted to continue the Romantic tradition (while still dabbling in newer techniques and using atonality like a light seasoning to be employed for great effect/affect). Some examples of the former would be the Mahler pupils and acolytes (Berg, Webern, Schoenberg etc.), and the latter would be figures such as Richard Strauss (post-Mahler's death), Korngold, heck even Sibelius in Finland. It seems like some people were so fascinated by the 12-tone-system that they thought tonality must be done away with entirely, whereas others thought it was an interesting concept and yet still saw value in making music that "sounds good". But in addition to his well-timed use of atonality in otherwise tonal music, Williams is also an interesting figure to me because, like Rachmaninoff in his later years (Piano Concerto No. 4 for instance), he was influenced by jazz in addition to his traditional classical upbringing. The thing that really makes Williams stand out from a lot of other composers, imo, and which makes him feel like this logical "next step" you speak of, is his perfect synthesis of the jazz and classical harmonies and styles. Atonality went away from tonality, but jazz delved further into tonality, venturing into uncharted areas and introducing new ideas of harmonization. It'd be like if Beethoven or Brahms discovered a bunch of new chords, and continued to write melodic, tonally logical music—but now harmonized with a bunch of major 7th chords underneath. Basically what it boils down to is, there was still a wealth of stuff to be explored and accomplished within the tonal system at the time that the 12-tone fanatics jumped ship—which is why someone like Williams feels like a logical "next step"...

I know about Superman 2: Composer John Williams was originally slated to score Superman II in which he was given a screening with Ilya Salkind and Richard Lester. When Salkind left the projection room, Williams and Lester fell into an argument, and when Salkind returned, Williams told him that he "could not get along with this man". To take his place, Richard Lester's frequent composer Ken Thorne was selected to score the sequel. (Wikipedia) I want to see someone argue with him or how Williams yell at someone

Bonding with the Hippogriff is a cue JW wrote for the scene with Harry and Buckbeak after their flight; it went unused in the final cut so isn't on the BMI cue list, the sheet music for it didn't leak either for whatever reason. It is, however, included in the LLL set at the end of the track "Befriending the Hippogriff" JW never wrote a cue called Sir Cadogan Again. What happened was, he wrote a cue called Sir Cadogan meant to go with the Sir Cadogan scene, the scene that ended up getting cut completely from the final film. Later, when the cue got tracked into the end of the film in between Lupin's Departure and A New Broomstick, they put "Sir Cadogan" on the cue list there, cause that's what the music that plays there is called. But then it ALSO go tracked into the scene where the ghosts bust through the stained glass in between the aforementioned unscored bonding scene and Kids Inspect newspaper, so they put "Sir Cadogan Again" on the cue sheet since "Sir Cadogan" had already been used. So, it seems when preparing the Live to Projection concerts, they had to give some name to the little tambourine ditty that plays at the end of the bonding scene, so went with Bonding with the Hippogriff since that's the name of the William score cue that was intended to play there. I hope that clears everything up for you

I'm sure some of y'all have seen this before, but here's John being interviewed by the late Andre Previn in 1988. https://www.youtube.com/watch?v=Yj4sRhY-feY

“Now there’s a Woman I can say no to!”

I've heard Williams gloats about having Story of a Woman to himself all the time at galas!

Here is the love theme for Geralt and Yennefer, 2 of the 3 main characters - OST 25. And here is a song rendition of the theme - Her Sweet Kiss (OST 7) It is quite a catchy theme.

I, of course, thought Discovery's theme was ass, but then so is the show. I also thought Giacchino's scores were ass and nothing like Star Trek, but then again, look at the movies. All the romanticism stripped away, a lame attempt to make Trek seem more epic and badass. Yeah. That's one thing about this show that works for me. The slow pace. Patrick Stewart acting and being emotional. Talky scenes. Little action. A mystery. It was like...Star Trek. Now we can forget that the last 10 shitty years happened and move on with our Trek lives. Hopefully they don't screw it up.

https://cnmsarchive.wordpress.com/2014/03/17/david-arnold-on-zoolander-and-the-musketeer/ Here is the story... Arnold's answer is confusing. He says both that he wrote the whole score AND that he wrote demos. "Yeah, I’d written the whole score. It was very unusual, because the way that film was developing, Dean phoned me when they got the script, a long time ago, and he was screaming on the phone, saying “This is it! This is the one! This is the one we’ve been waiting for! You’re on!” They were quite a ways into shooting and I think they were getting to the point where they were getting into over-budget difficulties, and I started getting phone calls from Dean and Roland where they were saying “do you still want to do this film?” And I was going, yeah, of course I do! And then another phone call a few weeks later, “Well, we’re going to have to hear some demos first…” I’d done three movies with them and I’ve never done that before! So I said, okay… I’d also heard, before I’d even written anything, that the studio had put out inquiries to John Williams and James Horner, independently of Dean and Roland. One of the producers had worked with John on SAVING PRIVATE RYAN, so he’s going, “look, we can get John Williams – why do you want to stay with Arnold when you can get John Williams?” I think they were under a lot of budgetary pressure. I think the studio was very keen on getting someone with obviously such a huge marquee value as John, ho tends not to put his name to things that aren’t first rate, and as far as I’m concerned very rarely ails to deliver something quite astonishing. So I felt, I’ve got nothing to lose, so I might as well send them his demo that I did. I think it was one of the best thing’s I’d ever written. And virtually immediately I hat a phone call from Dean, saying “look, we haven’t really connected with it, so we’re going to go with John Williams.” I mean, you don’t get a demo and on the same day call up John Williams and have him agree to do the film at the drop of a hat. Obviously, some other things had been going on, and I wasn’t particularly surprised. I was a little disappointed, perhaps, in the way that it was handled, but to be passed up for him certainly isn’t an insult!"

John Williams' Harry Potter and Deathly Hallows Part 2. https://www.harrypotterfanzone.com/david-heyman-david-yates-on-alexandre-desplats-deathly-hallows-music-john-williams-returning/ Though I do like Alexander Desplat's score.

I think there's a lot of over analyzing in this thread.

I remember seeing Ashoka for the first time (the film) and disliked her...but as the series progressed and her story continued in rebels, she is really one of the best things that sprouted from the clone wars.

Maul looks cool so therefore he must be the most badass. also, Ahsoka is a girl so that probably rankles with his fragile masculinity.

I'm not casting doubt, but most composers would say that if an interviewer asked them about collaborating again.

Here's a featurette about the music in the game (in this case embedded in a longer documentary, but it looks like it's from a stand-alone clip):

Simple: he is old and doesn't want to put the time into it. Look at the number of concert works he has composed in the last 25 years and the number in the 25 years before that. Clearly those and conducting across the US has been his greater interest.

Spotify was in shuffle mode, and this came up. I always assumed the score was mostly unlistenable away from context, but was pleasantly surprised by this:

Agreed. Russo is one of these new composers that are getting a lot of projects, but I simply can't get into his music.

Trevorrow's idea of Finn leading a rebellion of defected stormtroopers to fight against the First Order and the opulent greed of the higher-ups in a battle at Coruscant seems like such a logical next step for his character. Not all of his ideas for Episode IX sit right with me, but that's a great one. I mean, there's that one line about Jannah being a former stormtrooper in Episode IX, sure, fine. Does the film even remember that fact past the one scene she mentions it in? No.

My father bought this album back on the day. It was probably what introduced me to the music of John Williams.

In any case - this will be a quality memento of this incredible event we were part of. <3 Still proud that we managed to let the Maestro know in no uncertain terms how welcome he was! :-D

He doesn't have as many fart trombones in his scores as Hans Zimmer.

Some breaking news about the recording from Anne-Sophie Mutters website: https://www.anne-sophie-mutter.de/en/news/john-williams-und-anne-sophie-mutter-in-wien/ The essentials: It‘s going to be on ServusTV (Austrian TV) in the spring, DG is going to release a CD later in 2020. A film recording will also be distributed by DG. A conversation between ASM and JW will also be shown in the TV broadcast.

Just finished the interview, it's really great. Because of their personal history, Previn feels freer to really push Williams, to try and break through the shield of modesty, so he gets more novel reactions/answers than most interviewers.

@Yavar Moradi I was already familiar with Wintory's excellent demo for Discovery. Obviously, they did not go in that direction, tonally, unfortunately. If I'm honest, I despise Russo's music for Discovery so much, it kinda sours me on him as a composer overall. The main title is really obviously modeled on Game of Thrones and it annoys me so much that they did that in a franchise with such a rich musical history. My problem with Kurtzman-era Trek generally is that he's reduced Star Trek to trend chasing, to just aping the style and tone of modern "prestige" television instead of letting Trek be its own thing. I will say, having just heard his Picard theme for the first time (thanks @Gruesome Son of a Bitch!) that it's definitely not immediately offensive like the Discovery theme. It actually reminds me a bit of Silvestri!

Damn some of those images are pretty incredible. As cheesy as it is there’s something moving about Leia sending one last hologram to the galaxy to ask for their aid. It certainly packs more or a punch than Lando showing up out of nowhere with an entire fleet for some reason

Ah yes, Stinky the Hutt. My kid and I just watched that movie this weekend! Was just reminded of one of my favorite George Lucas stories, from the time of The Force Unleashed.

I just want a LEGO minifig.

In the LTP and presumably that cue list (that might be a final film assembly or something), it's probably just the tambourine plus the slower Cadogan with overlay.

There is, yes. But I can't fault Edmilson's dedication. I kinda love his "genre" of queries, although I think it was a little bit overblown in this case.

Yeah, one of my gripes with any Obi-Wan spinoff is just how exactly do you do something with a character who's meant to be keeping his head down and embracing the hermit life in order to protect Luke. Then... Introducing Kid LukeTM everybody!

Ahsoka is good as hell. Saw this video on Twitter yesterday. Maul got sliced in half in his first battle with a Jedi padawan, and at the end of his road he gets killed before he even swings his saber. Why would him losing 1 to 1 versus a different padawan (trained and war-tested as displayed in 6 previous seasons) be controversial to this loudmouth?

Holy cow, that release is 3 hours long! That's astonishing for a new series with unknown composers.

I am glad the most striking moment (to me) is on here: the whole 9minute Strigga fight juxtaposed with Yennefer's transformation.

If they did all that for the scene, they could have let it last a little bit longer than 3 seconds. But then again, that's a general problem with the film.

Nope. All Star Trek shows are CBS All Access exclusives from here on out, unfortunately...

Well, time to get writing, then.

She also has been known under the screen name Princess Layer, now she's Layer only; and in her "8-Bit youth" with me, she was Crudla. (from an olympic games parody on the Commodore 64 set in the stone age, haha) Sorry for not introducing her to you properly, especially since you are only 4 years apart - I was out of my mind, literally and understandably I hope. I am still waiting for a picture to pop up in which you can see Williams at the stage entrace waving back to the Golden Hall and her standing right next to him; that would be a marvellous memento, that's what it was like for her, he nearly shook her hands! In the only picture I found in one of the reviews, she's hidden by her neighbour sitting/standing in front of her in Parterre-Loge. (one reason I am looking forward to the official video, there she should be visible for all posterity ) <joke>See you on February 8 in Vienna!</joke> ;-D Martin

First JW album I bought <3 Oh, the memories! Used almost every track for my home made movies back in the early 2000s

Cool, that's what I thought. So again, unless I am mistaken it would seem that this is the first "live" John Williams CD recording.

There’s a Masterclass episode that I’d love to get my hands on that aired in 1998 (on ITV) featuring John Barry coaching a young film scoring student. I’m still surprised it hasn’t ended up on YouTube. The rights holder said it can never be aired again or uploaded online because the license was locked to one broadcast only. Apparently there’s one Barry fan who has it but they’re a bit of a recluse and have no interest in uploading it. Shame, really. This stuff really does deserve to be out there. https://www.thenorthernecho.co.uk/news/17283431.the-day-i-met-bond-composer-john-barry/

That was no accident. The person in charge of the Vienna Phil social media is very aware that we're not an official account. However, due to its popularity, number of followers and account name, JWFan's has quickly become the "de facto" John Williams account for most Instagram users (something to be proud of!).

They are fun together, Previn clearly loves John in his gruff way and it's amusing to see him frustrated by Williams' extreme humility about his gifts.

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@heidl I called JJ Baby. Problem solved!

I think The Hunt (The Round-Up) from The Lost World is still my answer. One of my favorite JW cues of all time!

My current collection of Williams FYC CDs (only one missing, AFAIK)...