Leaderboard

My appreciation for the piece The Rise of Skywalker, like so much JW music before it, has grown immeasurably since I first listened to it the day before the accompanying movie released. In it I hear not only two unique motifs suited to the ideas of friendship and victory in the movie, but also a meta-narrative farewell from JW to the entire SW saga that has so dominated his career and legacy. The piece opens with quiet, successive renditions of the victory theme here sounding almost as if meant to play over images of an old man slowly turning through the pages of a treasured photo album while sitting alone in his study, bathed in gentle sunlight. As the friendship theme unveils itself we hear strains of bittersweet reminiscence and familial bonds rising and falling with comfort, almost as if this theme had always been with us. In the swells of the friendship motif I hear JW reflecting back on his lifetime with Star Wars, with the characters, the stories, and the people, old and new, he worked along side over the course of 3 trilogies. The musical development that follows has a bit more tension and movement, perhaps suggesting that the journey has not always been easy or fun, but nonetheless endlessly compelling. The development continues until we are treated with the grandest, most heroic renditions of the victory theme. The motif that begins the piece with quiet intimacy now booms with a voice meant to fill theaters and halls of movie and concert goers. Finally the grand scale fades and we return to an old man sitting in his study, JW fondly looking over the pages of his SW scores as he bids them all a final farewell. I love The Rise of Skywalker concert arrangement. *Though the movie with the same title is quite bad.

The saga continues... Blame these two for setting me off, these just came to me immediately when I woke up today. I definitely could not be bothered to try and include dialogue from deep inside the 5.1 mix somewhere and have the actual music badly bleeding through half the time. Both movies are basically cartoons and one is definitely scored like one so it's a match made in heaven! Now back to looking for my lost medication...

Great work to all involved! I liked Frank's point near the end that Williams' old-fashioned style of scoring has not been derailed by the more sound-designy, athematic-type scores that have become increasingly prevalent since the 1990s. And Doug added that that's partially because Williams has found ways of including so many different styles of music in his scores rather than shelve what is considered "old-fashioned" and stick fairly exclusively to newer trends. It goes to show that one of Williams' most valuable assets is in his innovative synthesis of styles to form a distinctive voice, rather than an innovation in the raw sounds themselves as is sought more in current film and especially classical concert music. And it was great to hear that many other active composers, conductors, performers cite Williams as one of their influences today. With the work that flourishes around Williams' music, it seems assured that it will continue to live on in many ways beyond the films themselves.

And I don't understand why people insist on fast tempi in pieces that are best played slowly. The brass chorale!

I think the 2018 London performance of the Imperial March, while very bright, is way too fast. The music is too staccato and sprinting all the way to the end. This is Darth Vader's theme, and Darth Vader does not sprint! The Vienna performance is perfect to me. Very punchy, fast but not a sprint, and appropriately declamatory.

Absolutely! Yeah, maybe it has to do with the mics they used I dont know. Anyway looking forward to monday

I’m of the opinion that the more people play video games, the better. It’s a big market with room for everyone. If you value knowing you’re playing on best possible hardware, those options exist for you. If the Nintendo ethos appeals to you, the Switch exists for you. If you just wanna play Fortnite on your phone, you can do that. It’s just a leisure activity! Nothing, and I mean nothing, about the RPGs that KM plays appeals to me in any possible way, but you don’t see me popping up in the thread just to say “why do you enjoy this boring garbage?” You do you, man.

Absolutely can't understand the dislike for the Dudamel Album. It's a fantastic sounding recording and a great performance. No more, no less.

I'm not clever enough to work around the copyright issues. So here it's on vimeo

I also made a thread specific to this track when the OST came out. I liked it instantly, it didn't have to grow on me. Overall one of Williams most beautiful tracks of all time. Williams should have played it in Vienna so we'd have an additional recording of it. But recently I noticed the Victory Theme is played better in the End Credits. So I wish the performance of the End Credit was was reversed with the concert version . The strings in THIS section are much more beautiful in the End Credits (maybe someone can describe the intonation difference better than me), and also the more pronounced woodwind accents of the climax that makes it sound more like a classic JW theme Compare with concert version

Blanchard is reliable, more reliable than most, here for a Spike Lee joint (his Netflix defloration), about four African American Vietnam veterans returning to Vietnam in search of the remains of their fallen squad leader and the promise of buried treasure. Stately americana á la Copland, Saving Private Ryan (though much more aggressive) and 'Medal of Honor'. It's exquisitely orchestrated and richly thematic. The appropriation of the Fanfare for the Common Man in this context remains cheeky, for present US events lay proof.

Why not just make a doll of how he actually looks, not a shitty kooky version? I mean, that is really bad.

Not fun. I could easily lived without HA scores and films. Maybe the theme song deserved to survive Andre Previn was right. Why?

DA 5 BLOODS - TERENCE BLANCHARD First listen... very impressive so far.

Yes! Yes! Best moment of this concert, cried like a baby. 😭

Made a mockup of old version of 4M14 cue (POA) - Summoning the Patronus (1:40-end) on LLL. The first part (0:05-0:34) - it sounds very dramatic, very different from the final version. There is no WttP theme. At an early stage of production, to all scenes with a Patronus, Williams wrote music in this “style” (cut-out ending of Apparition On The Train, old version of Watching the Past). The transitional part (0:33-0:53) is similar to the final version, but sounds different. It's funny that before the next part in this version there is a slight pause. The third part (0:53-end) is an old alternative version of WttP. In the score there are only two cues in which this theme sounds - 3M10 "Remembering Mother" and this cue. The theme is played by a penny whistle (but in my mockup, a recorder sounds, sorry). The ending (1:21) has not changed much, but in the final version it is accelerated and some elements (celeste tremolo, glock, more pizzicatos) are removed. The beginning of cue is no different from the final version, so I cut it out.

Love this piece and was obsessed with both of these themes the moment I first heard them in the FYC score. My original reactions:

Anyone got any ideas on how I might be able to stream Monday’s broadcast in the U.K.? VPN the only logical way?

Can't say much yet. Amazon recommended it as a "bought also" a while back, and it was down to just €20 when I placed another order, so I picked it up. I got it yesterday and have only listened to the first two of the 11 disc so far - and so far, it's nothing essential, but really nice. Virtually unknown composer who sounds like anything from Beethoven to Dvorak to Sibelius. The performances and acoustics could be better, but are servicable.

If only JW had your phone number, so you could teach him to become a better interpreter of his own music.

Apparently JG changed the Dynamics of the theme Insurrection onward IIRC

Agreed! I also don't understand why people insist on hearing slow tempi in pieces that beg to be played quickly. Brossé understood that. Williams has this weird tendency to slow everything down and then when he really needs to (HSATP), he does the exact opposite.

I agree, I think the LA album is terrific from start to finish. (My only quibble is they play the shortened opening to the Olympic Fanfare.) Having said that, i'm fully prepared for the Vienna album to be even better!

Friendship Theme is... ok I think, a little too meandering for me, lacking a clear form. Victory Theme is very good (best new theme in the movie IMO), it hooked my ear at first listen, but I'm still thrown off each time by the long note at 3:05. As for the track The Rise of Skywalker, it's good but I'm a little disappointed it's doesn't do more with the themes than what we can hear elsewhere in the score (and sometimes in a better arrangement, as King Mark pointed out). Sort of how I feel too. It's certainly noticeable and memorable, which is not nothing, but because it's loud and simple, rather than melodically or rythmically inspired. When I first heard it it stroke me as something serviceable Giacchino* could have written in 30 seconds (thinking of the bad guys theme in his first Star Trek). (*whose music I generally like)

The whole album was a bit of a joke to me... you'd think the winning combination of Dudamel/LA Phil/Williams would produce GOLD but for some reason this weak album was a bit of a let down. From most of the recordings I've heard them do it just sounds like the brass section needs a bit more motivation.. esp for Williams' music. But of course the Vienna recordings will be absolute gold dust. JP and Imperial March have proven to be worthy interpretations so far. Can't wait for SW Main Title and Dartmoor. Thank you DG for getting it right this time round!

Maybe it'll be a half hour of Ludwig jamming on recorder in the woods!

RIP Fabulin, sorry

Yes, but that's not my point. Some of these stand out more but they never change and evolve that much. Anthem is more slithery and adaptable. That's why I like it. When I first heard Kylo Ren theme at the cinema my thought was "that's it?". The next day I got a soundtrack from The Hateful Eight, which came out on the same day, and bang this theme appears there as well. I warmed up up to it but it's not that special. Anthem, while not as instantly identifiable, is a more intriguing melodic line with interesting links to other themes. Karol

I just assumed it was the same performance. It clearly isn't! I love both new themes. My only regret is that we'll never get a full concert arrangement of the friendship theme. And I also like Anthem of Evil which used to great effect throughout the score (much better than all the other villain themes in this trilogy). Karol

"John Williams created an incredible body of work, and moving away ftom it was an interesting but hard decision, but still we hope we lived up to his legacy." Roll credits

GIRL, INTERRUPTED - MYCHAEL DANNA I've had a lot of Danna on tonight, but hadn't remembered much of this one. It's really lovely in places.

From the big sounding and substantial brass, to the surprisingly affecting lyrical string writing, to the vibrant yet not overwhelming use of ethnic and modern elements, Goransson's score impresses a good deal.

hahaha, awesome! and thanks, I feel honored. ;-) Actually I tried this version too but wasn't too fond of it. This way around works definitely better with dialogue. ok, next one. This is fun!

Yeah, East West Hollywood Choirs.

Provided your region doesn't only get shit quality warbly versions of some albums.

Leave it to the qualified designers, @Chewy Here's my enhanced version, with some subtle sharpening to increase detail:

Then you can hear it in stereo! Then it wasn't meant to be.

Well I didn't know Music Composed by Random Trailer Guy and Conducted by John Williams

There is this tidbit in an interview he did in 2011 with the San Diego Union-Tribune:

Suites or cycles consisting of more or less individual pieces (like Smetana's Ma Vlast), and song cycles (especially a-cappella choir literature) are often performed just in parts in concerts. For Ma Vlast, most of the time all you get is Vltava, and it is common for just one or two pieces from a choral cycle to be on a programme, or for one particularly complicated piece to be left off it is beyond the means (vocal or just due to limited rehearsal time) of the performers. But if a suite or cycle is performed in full, I imagine it's usual and proper to stick to the published order, since that often also has a dramatic arc (e.g. the SW suite starting with the Main Title and ending with Throne Room). If only excerpts are performed, that arc may be lost, so the published order may not be relevant and a changed order may be better suited for a particular programme (perhaps even breaking up the cycle and performing other pieces in between).

https://thelegacyofjohnwilliams.com/2020/05/25/star-wars-roundtable-podcast/ Hope you'll like this one, guys.

Alternate cover, but it's still 600x600!

Again mockup from the Prisoner of Azkaban. This is the earliest version (which was in the score) of 4M3+4 cue. The second half is no different from the final version, so I cut it out. If possible, I will continue to make mockups from POA

You may have been wondering what your buddy Jerr has been doing since that analysis of The Mandalorian score. It's no secret that I'm a huge fan of the show and its score, and given the current circumstances it stands to reason that I have a tad more time on my hands than usual. As I await the Mando docuseries and sulk over the almost-certainly delayed release of Season 2, I've decided to start a personal project born out of my love for Goransson's work. It's obviously unfortunate that Mando has not and likely never will receive a physical release. Fortunately, it's a lot of fun to design, burn and construct your own personal CD set! I have not yet burned the music to the CDs, nor have I printed out the back covers (I have designed them though), but when I finished with the front covers I couldn't wait to share what I've been working on with the community. It's still a homemade "release", so it's not perfect. For example, you may have spotted the cardboard pieces behind the front covers that are holding them in place (repurposed Cheerios box). The only editing I had to do with the front covers was with the chapters. I decided two chapters to a disc was the best way to go (each CD about 42 minutes in length) and from there I simply listed both chapters and picked whichever artwork was my favourite between each pair (1,4,6 and 8 won out). For the back covers, which I will post when I'm done, I had to do those all from scratch. They're pretty good, and are a standard black with logo at top, track list and times in two columns, and total disc time at the bottom. As for the "podcast" idea I had, I have begun to write it, so we'll see if it takes off! Thanks for the feedback, discussion and support as always!

Around Mike Matessino, a perimeter create!

Hey Guys, I just checked on good old Mike Matessino during this global pandemic crisis and inquired about his well being. He indicated that I should pass on the message that he is all well in case any one wants to know: All is perfectly fine with me. I'm doing my best to keep things moving to the extent that it's possible and taking things one day at a time. Hope you're doing okay over there too! - Mike Matessino

Crimebuster's Theme kicks ass.