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Mike Matessino just confirmed on the latest episode of Maurizio's podcast that this was in fact John Williams himself whistling the villain theme!

Although I get busy and sidetracked a lot. I'm so glad this community exists. I don't know a single person in my personal life who appreciates film scores. I keep it as sort of a hidden personal secret. You all are so way much more knowledgeable than I am. This is a great place to come and just learn. I used to be underwhelmed with Anakins theme. But listening now, years later, I truly appreciate it for being the childlike yet richly emotional theme that it is. I'm not very good at describing what a piece of music feels like to me but I have grown to love this theme.

Maurizio's new podcast is up! https://thelegacyofjohnwilliams.com/2021/08/10/the-eiger-sanction-podcast/

I think so too. I suppose the program will be very different - hopefully! - not only because there'll be no Anne-Sophie Mutter. There would be no point in repeating program from Vienna, except for the biggest hits - Main Title from Star Wars, The Imperial March, The Raider's March, maybe two more. Williams is aware that the concert is being recorded. We'll probably hear Schindler's List again, but this time Theme.

Yep. I would suggest that they send their new assemblies to a group of the most sharp eared, meticulous and picky film score fans for proofing but there would be a considerable danger that they would just use this music to barter for the sessions of their favourite obscure film score on the internet.

This is not the first time they have to reprint, they really should do a lot better job with double checking for problems before printing and shipping.

As a friendly, unsolicited reminder, do not let your expectations for a program (ideal or otherwise) lead to disappointment with the actual one--life is too short for such things.

My dream program is JW conducting the Berliner Philharmoniker. If that happens, I'm happy with either title.

Classic JWFan! But it is a little sloppy not to take into consideration that some of the tracks on the OST were meant to play gaplessly. Although most of us are primarily going to listen to this stuff in digital form and can certainly fix some of these pesky little things, the point is that we should not have to and that these kind of things should be taken into consideration when they are producing these sets.

Why? This one wasn't mastered by the usual Intrada guys. It was assembled, mastered (and maybe even mixed) by Mike Matessino.

Hi everyone. I thought it might be useful to put together a listening guide of sorts for Williams's second violin concerto. This struck me as appropriate given how it's going to be heard in performance again fairly soon. Also, the piece, particularly its first movement, is fairly difficult to grasp on first listen! I've only put together a guide to the first movement (by far the most challenging), but if this is indeed helpful I'll consider doing the other three--or maybe someone else would like to. It's quite difficult to do this without a score, to put it mildly, so take everything here as provisional. I'm surely missing quite a lot of important details... Listening Guide for John Williams, Violin Concerto 2 MOVEMENT 1: "PROLOGUE" Overall, the most formally loose and spontaneous-seeming movement, fitting given Williams's striving for a "quasi-improvisatory" character. Not a truly non-repetitive piece, however: there are both aspects of inner-movement unity and some subtle prefiguring of material to come, particularly the concerto's principle "leitmotif" introduced in the 2nd Movement. The unpredictability of the music on a measure-to-measure level is compensated by an extremely clear division of 6 large-scale sections, summarized below. More in-depth account: SECTION 1 – INTRODUCTION 0:00 Quiet, slow introduction showcasing harp, supported by bed of strings. Shape of opening harp melody (D3-E3, D3-E3-C3-A3-D3) vaguely anticipates some later motivic details. First harp-based subphrase tonally centered on B♭-lydian, with contrasting Gm6(♭13) in middle. Second, string-based subphrase more dissonant, melodically disjunct. The third, once again harp-based subphrase coalesces on Dmaj6/min chord. 1:11 Introduction of soloist. Violin begins with repetition of note F4, giving bluesy quality to faint D-major tonality maintained by strings/harp. Melodic D tonic flanked by tritones A♭4 & G♯3 above and below. Progressively expands range upward, with what will become a quasi-motivic repeated note figure, here on B♭4 and E♭5. Thinner texture and new harmonies (F♯m and A-dim) and octatonic scale-fragment in violin at 1:50, followed by downwards chromatic cascades and melodic peak of E♭6. Unaccompanied violin sags glumly back downwards. SECTION 2 – FAST AND TURBULENT 2:24 Pulsing, agitated pattern in orchestra midrange on dissonant harmony (A3+B♭3+C4+ D♭4), supported at unpredictable intervals by rising bass-figure starting on low D. Violin gathers energy with repetition of Eb4, proceeds to a flowing, unpredictable musical thought, up to the first of several big orchestral swells marked by dissonant chord and percussive punctuation that swallows up soloist. 2:46 Violin reasserts itself over motivic rising bass-figure. Pace of textural and melodic change speeds up considerably, and music becomes increasingly key-less, violin and orchestra exchanging frenzied, short-lived ideas. Particular prominence to harp, timpani, clarinet. Low-strings trace downwards arpeggio of important Gm9 chord, echoed by violin (3:09), and Em9♭5, F♯dim7. 3:16 Lighter but more dissonant texture. Spiky, progressively accelerating violin writing against unpredictable staccato wind and pizzicato bursts. 3:33 Arpeggiating eighth-note figures in low strings resume, now upwards (D2-B♭2-D3-G2-C3-E♭3, etc.), quickly losing tonal focus as another dissonant tutti swell overtakes violin, followed by brief timpani solo (3:44). 3:46 Purely orchestral climax. Dissonant pitch pyramid assembled over B pedal. Similarly vaulting bass figures under now unified upper strings in octaves on urgent melody, arching upwards in successive swells. Pulsing/sustained brass and string melody help refocus tonality onto D, and downwards chord progression (D--C--B), while dissonant, can be referred to D-center. Ends on a shrieking tutti cluster, similar to opening sonority of section but greatly intensified. SECTION 3 – SLOW AND TRANSPARENT 4:23 Dreamy extended-tertian sonorities, starting with and centered on Gm13 (chord anticipated at 3:11, arpeggiated texture anticipated at 3:33). Violin enters with comparatively lyrical theme with pronounced downwards-moving trajectory. Tonality shifts to Dm, moving stepwise to Fm. Melodic shape heard in passing at 5:00 (F5-E5-G♯5-C5) seems to anticipate the recurring “leitmotif” of movements 2 & 4 -- you know, the one that sounds a bit like "Moonlight" from Sabrina. 5:10 Clear sense of tonality dissolves, violin becomes more agitated, emphasis on dotted rhythms, brief mini-solo of dissonant stops (5:18-5:22). Followed by dense, highly dissonant wind-ensemble writing, drawn from immediately preceding violin solo and segueing back into it. 5:39 Deep, dark minor chords (C♯m--Caug) prepare a catchy but ominous melody for solo violin built on double-stops (parallel minor 6ths), again with contour (A♭4-A♭4-G4-B4-C4) that anticipates shape of recurring leitmotif from mvts 2 & 4. 5:50 Busily spinning passagework for violin and glittering accompaniment, foreshadowing movement 2, recedes to background to allow brief flute solo (B♭4-A4-E5-G5-F♯5-F♯4) in E-minor, suggestive but as far as I can tell not motivically derived from anything else. Violin follows-through with flute melody, seamlessly moving to a… 6:20 Pre-cadenza for violin and harp, again with elements of flute melody (G6-F♯6-A5…B♭5-D♭6-C6-C5) SECTION 4 – CADENZA 6:50 Succession of contrasting technical and expressive ideas, not a huge degree of thematic connectivity with preceding sections though fairly consistent within its own scope. (Substructure: Downwards Em/B♭ chords—leaping octave pairs—compound melody (E6-D♯6-B5-A♯5, D♭6-C6-A5-G♯5)—trills—resigned droop—gathering energy—ascending melody over pedal—arpeggios—trills—melody reminiscent of VC1—ascending passagework maxing out at A6—descending, harsh stops, ending with repeated D4.) SECTION 5 – BROAD AND CLIMACTIC 8:38 Rather spooky melody for violin (F♯4-D5-B♭6-F♯5) over brief suggestion of B-minor. Quickly yields to new material for orchestra, with massed brass, strings in octaves, and thick, repeating wind quasi-fanfares, all grounded over low C-pedal (C-A♭-D♭-G chord?). Classic JW concert music stuff (c.f. For Seiji, Soundings, Heartwood, etc.). Much of this seems to respond vaguely to material introduced in the Cadenza. 9:00 Almost aleatoric sounding passage for harp, solo high winds, pizz strings. 9:09 Emphasis on low winds and strings. Recollection of ascending bass figure from 3:33 (now E2-B2-D3, F♯2-B2-E3) 9:14 Climax building really starts in earnest. Wind chords seem to outline violin’s spooky melody from start of section, against aggressive massed-string section counterpoint, ending on bright, dissonant wind chord. 9:25 Violin solo reasserts self, now more actively interacting with rest of orchestra. Strong sense of rhythmic and harmonic acceleration, climax building pauses after timpani interjection (9:40). 9:48 Final, rapidly attained climax, fastest solo violin writing; impression of huge sweeping motions from whole orchestra, culminating on a huge tutti chord of characteristically JW-dissonant flavor (A-C-E- F-A♭-C♭) SECTION 6 – AFTERMATH AND CODA 10:11 Instantly quiet, clear duet for harp and violin. Clear reminiscence of beginning of Section 3, via repeated harp arpeggio of extended triadic sonority, this time F♯m11(b♭13) instead of Gm11(nat13). Meditative violin solo above, not clearly connected to previous themes. 10:40 Quiet upwards scurrying from violin, reaching high B6, followed by abrupt, staccato motif (second phrase accompanied by four dissonant pizzicato chords from rest of string section). 11:03 Violin settles on sustained low A♭3, against resonant F2-A1 bass support on harp. Full fade-out by 11:16.

Here is my newest compostion, for the Spitfire Audio Stargirl Scoring Competition: This is my first time really composing action music to picture, and I am proud both that I was able to stretch out of my comfort zone, and of what I was able to come up with, even if its not perfect. I tried to combine elements of some of my influences (Film composers like Williams, Shore etc., Prog/Pop/Rock bands like Genesis etc.) while still sounding like me. Sounds used: Spitfire Labs Harmonic Violin + Cello BBCSO Discover Strings ProjectSAM's Free Orchestra (for various orchestral and percussive effects, and basses and brass for the action section) ARIA Player with Garritan (Timpani KS and Tremelo + Trills strings) Addictive Keys Electric Piano REDtron Mellotron VST ARP Odyssey VST @Loert @Ludwig @karelm @Datameister

Really, most of the marketing thus far leaves me quite cold, which isn't a problem except that it makes me fear for the movie's stand at the box office.

The Jane Eyre Suite would be just perfect.

Meybe intrada will accidentally send out an earlier assembly Thats why I just download directly through my browser.

I love those scores!

Yes, let's hope there won't be too many redundances with Vienna ! Maybe Star Wars Main Title swapped with Throne Room. I'd like to hear Rey's Theme too.

Yes, maybe something like the Vienna 2018 programme with Geisha? Seven Years in Tibet is basically already on the list. Hoping for Rise of Skywalker and BFG suites and also Harry's Wonderous World. Yoda's Theme, Han and/or [Princess Leia], Superman and an Indy Scherzo would also make sense (with regard to a possible DG platinum release to compliment the golden Vienna programme). Do we need another Flight to Neverland version? What could be an alternative Overture? Superman?

Here is Mike's explanation of how 3-track split mono works, from his Jaws liner notes: Eiger's film recordings are the same way: 3 track split mono. Earthquake was the same as well. So Mike created a brand new stereo mix from that just like he did for the Jaws and Earthquake film recordings. The album recordings are a completely different can of worms - that was recorded onto 16-track 2" tape, and he made a new true stereo mix from that for this release, rebuilding the entire OST album from scratch since he had every take of every cue. Jaws's album was not rebuilt from scratch because the album recording session elements have never turned up (and are presumed to have been burned up in the Universal fire)

I'm very much in a similar boat. I specifically remember my mother telling me I wasted my money after I had bought my first score CD (the Rhino release of Superman). Even within some of the online communities I'm in, it's very difficult to foster much interest in the subject, given everyone would come from very different musical tastes and media backgrounds. Hell, I sort of lost touch with some of my older film score buddies, given things tended to be in a limited wheelhouse more often. So while I'm still relatively unfamiliar with a lot of stuff out there (hence my more modern palette currently), I'm quite happy to be around people who have heard a lot and can happily point to favorite works of theirs. Even if I don't get to them immediately or enjoy it on the first listen, it feels very nice being around like minded people.

I've recently come to appreciate Jar Jar's theme. There, I said it.

Winter Games Fanfare (1989) Rather obscure short occasional overture composed not for the Olympics, but for the 1989 Alpine Ski Championships in Vail, Colorado. Has a pretty memorable theme, very JW structure and direction. The Denver Brass gives it a go here in what appears to be the original arrangement.

First few posts of a new release: omg now the listening experience lasts six hours and you can hear coughing, FINALLY Later: There two milliseconds where they accidentally spliced in the sound of tasmanian devil screeching, intrada is so dumb and lazy I want new disc and I want it now anyway when are they going to expand this other score

Oh believe me, they leaked immediately when people started receiving the set.

Last night I went through the Blu Ray and jotted down when each bit of Williams' score starts and stops. @Omen II wasn't kidding - it's incredibly hard to hear the beginning and/or ending of some of the cues at times! Not really a surprise considering it's a mono mix, but still annoying. Here's what I came up with: Start End Length Intrada 0:00:17 0:03:27 3:10 01 Main Title 3:23 0:05:03 0:06:35 1:32 02 The Microfilm Killing (Film Version) 1:47 0:11:13 0:12:09 0:56 03 To The Dragon 1:30 0:19:27 0:22:27 3:00 05 Up The Drainpipe (Film Version) 3:38 0:26:14 0:27:24 1:10 06 Love Scene 4:05 0:28:17 0:29:00 0:43 09 The Unlocked Safe 1:37 0:29:40 0:30:11 0:31 09 The Unlocked Safe 0:40 0:35:25 0:36:55 1:30 10 Friends And Enemies (Film Version) 1:32 0:39:55 0:41:25 1:30 10 Friends And Enemies (Film Version) 1:51 0:46:32 0:48:11 1:39 11 Montage - Running With George 1:40 0:49:55 0:50:45 0:50 11 Montage - Running With George 0:56 0:50:49 0:52:16 1:27 11 Montage - Running With George 2:12 1:02:04 1:04:49 2:45 12 The Top Of The World (Film Version) 3:02 1:05:44 1:06:16 0:32 12 The Top Of The World (Film Version) 0:35 1:07:12 1:08:20 1:08 13 George Reveals Herself 1:17 1:16:07 1:17:29 1:22 16 The Eiger (Film Version) 1:53 1:34:36 1:36:39 2:03 19 Leading The Climb 2:46 1:37:37 1:39:07 1:30 20 The First Sunset 1:37 1:40:08 1:40:39 0:31 21 Sunrise 0:44 1:41:47 1:45:03 3:16 22 Falling And Swinging 3:16 1:46:19 1:47:14 0:55 22 Falling And Swinging 1:26 1:47:57 1:52:02 4:05 23 The Icy Ascent (Film Version) 4:13 1:54:18 1:55:51 1:33 24 Down The Ice Face 2:15 1:56:09 1:58:33 2:24 25 Freytag Onto Ice 2:24 1:59:15 1:59:43 0:28 26 Hanging By A Thread 3:47 2:02:09 2:02:48 0:39 2:06:41 2:08:47 2:06 27 End Title 2:16 That's only 43:15 of score in a film that runs 2:08:54! Talk about a very sparsely spotted film! Since the Intrada disc 1 is 75:16, that's 32:01 of music John Williams wrote for the film that Eastwood didn't use in the final cut, or a little over 2/5ths of the score! Damn! It was interesting to hear how many cues got shortened in the film. Most of the edits aren't noticeable when just watching the film. But many are obvious on examination. The worst one is in "The Sunrise", a very sloppy edit there! The start of the second "Running with George" cues had an awkward start in the film too. "Hanging By A Thread" is the only cue that Eastwood broke into two pieces, only using the beginning and ending bits of the cue, and dialing out the entire middle The more you watch/listen to the film, the more blatantly obvious it becomes where Eastwood removed whole scenes or parts of scenes - awkward audio edits and some hasty ADR at times, etc. We're so lucky the scoring masters were (nicely!) preserved, and we didn't get an "OST album followed by additional cues from the mono film stem" style release! EDIT: Just realized I could do this: Start End Length Intrada Unused 0:00:17 0:03:27 3:10 1 Main Title 3:23 0:13 0:05:03 0:06:35 1:32 2 The Microfilm Killing (Film Version) 1:47 0:15 0:11:13 0:12:09 0:56 3 To The Dragon 1:30 0:34 4 Felicity 1:26 1:26 4 Felicity 1:37 1:37 0:19:27 0:22:27 3:00 5 Up The Drainpipe (Film Version) 3:38 0:38 0:26:14 0:27:24 1:10 6 Love Scene 4:05 2:55 7 Art Masterpieces 0:56 0:56 7 Art Masterpieces 0:42 0:42 8 Hemlock And Jemima 3:17 3:17 0:28:17 0:29:00 0:43 9 The Unlocked Safe 1:37 0:54 0:29:40 0:30:11 0:31 9 The Unlocked Safe 0:40 0:09 0:35:25 0:36:55 1:30 10 Friends And Enemies (Film Version) 1:32 0:02 0:39:55 0:41:25 1:30 10 Friends And Enemies (Film Version) 1:51 0:21 0:46:32 0:48:11 1:39 11 Montage - Running With George 1:40 0:01 0:49:55 0:50:45 0:50 11 Montage - Running With George 0:56 0:06 0:50:49 0:52:16 1:27 11 Montage - Running With George 2:12 0:45 1:02:04 1:04:49 2:45 12 The Top Of The World (Film Version) 3:02 0:17 1:05:44 1:06:16 0:32 12 The Top Of The World (Film Version) 0:35 0:03 1:07:12 1:08:20 1:08 13 George Reveals Herself 1:17 0:09 14 The Car Chase (Fifty Miles Of Desert) 3:21 3:21 15 Hemlock’s Bonus 2:10 2:10 1:16:07 1:17:29 1:22 16 The Eiger (Film Version) 1:53 0:31 17 Hotel Bellevue 3:00 3:00 18 Anna On The Stairs 0:50 0:50 18 Anna On The Stairs 0:54 0:54 1:34:36 1:36:39 2:03 19 Leading The Climb 2:46 0:43 1:37:37 1:39:07 1:30 20 The First Sunset 1:37 0:07 1:40:08 1:40:39 0:31 21 Sunrise 0:44 0:13 1:41:47 1:45:03 3:16 22 Falling And Swinging 3:16 0:00 1:46:19 1:47:14 0:55 22 Falling And Swinging 1:26 0:31 1:47:57 1:52:02 4:05 23 The Icy Ascent (Film Version) 4:13 0:08 1:54:18 1:55:51 1:33 24 Down The Ice Face 2:15 0:42 1:56:09 1:58:33 2:24 25 Freytag Onto Ice 2:24 0:00 1:59:15 1:59:43 0:28 26 Hanging By A Thread 3:47 2:40 2:02:09 2:02:48 0:39 2:06:41 2:08:47 2:06 27 End Title 2:16 0:10 Totals: 43:15 1:15:16 32:01

Glad to see such a positive response! I can't promise it'll be quick, but I will try put together a similar listening guide to the other three movements. Until that point, here's something that ought to be quite useful: my attempt at a transcription of the main theme of the whole concerto, the one that occurs prominently in the second and fourth movement, and which some reviewers missed (?!). This particular iteration comes from Mvt. 4, and goes up until its little internal modulation from C to Eb. My rhythmic transcription is a little iffy in places, but the pitches are right, I believe. Top part is solo violin, bottom accompanying harp & strings. Putting this down on paper, I'm struck not only by its affinities with "Moonlight" but also JW's Elegy for Cello and, oddly, Always, with those turn figures in measure 5. Gorgeous music.

Dinosaur, though the highlights of Peter Pan gives it a run for its money

Balance in the Force:

Did anyone else here write something for this? @superultramegaa? Here is my attempt:

Have to begin with SW main theme surely? End with Raiders March, and an Imperial March encore would be nice. Apart from that: Adventure's on Earth, Jurassic Park, Window to the Past and Buckbeak's Flight (Azkaban has always been a favourite), Dartmoor/1912, The Cowboys (something pre Jaws would be cool!), Jaws suite, Images!! (saw the movie only recently, has he ever performed that live?) Princess Leia's theme, Marion's theme, and Rey's theme + Rise of Skywalker near the end. Don't have a stopwatch but that must be near enough 2 hours. It's going to be my first time seeing him in October, so he could literally do 4'33" by John Cage and leave, and I would be say its the greatest concert I've ever been to.

Potential minor mastering differences aside, 13 tracks on the misprinted disc 3 are the same as 13 of the 14 tracks on the correct disc 3, while the remaining 4 tracks are brand new and are not on the correct pressing / the 2015 pressing misprint 1 For Always (4:45) Performed by Lara Fabian = correct 1 For Always (4:45) Performed by Lara Fabian misprint 2 Cybertronics (Alternate) (3:08) = correct 2 Cybertronics (Alternate) (3:08) misprint 3 David's Arrival (Alternate) (3:10) = correct 3 David's Arrival (Alternate) (3:10) misprint 4 Canoeing With Pinocchio (Alternate) (1:57) = correct 4 Canoeing With Pinocchio (Alternate) (1:57) misprint 5 Abandoned in the Woods (Alternate) (3:34) = correct 5 Abandoned in the Woods (Alternate) (3:34) misprint 6 Rouge City (3:35) = Joseph Williams' "Rouge City Jazz" misprint 7 Inside Dr. Know's (4:30) = correct 7 Inside Dr. Know's (4:30) misprint 8 Inside Dr. Know's (alternate) (2:05) = a new darker and less comical alternate for a portion of previous track that we never knew existed before misprint 9 Helicopter (2:01) = Joseph Williams' "Joe's Helicopter Cue" misprint 10 Replicas (Alternate) (4:02) = correct 8 Replicas (Alternate) (4:02) misprint 11 Finding the Blue Fairy (Alternate) (6:00) = correct 9 Finding the Blue Fairy (Alternate) (6:00) misprint 12 Finding the Blue Fairy (Orchestral Excerpt) (3:43) = correct 10 Finding the Blue Fairy (Orchestral Excerpt) (3:43) misprint 13 What Is Your Wish (Alternate) (4:07) = correct 11 What Is Your Wish (Alternate) (4:07) misprint 14 The Reunion (Alternate) (7:01) = correct 12 The Reunion (Alternate) (7:01) misprint 15 For Always (Duet) (4:45) Performed by Lara Fabian and Josh Groban = correct 14 For Always (Duet) (4:45) Performed by Lara Fabian and Josh Groban misprint 16 Abandoned in the Woods (album version) (3:10) = correct 13 Abandoned in the Woods (album version) (3:10) misprint 17 = A.I. Theme (Vocal Version Alternate) (4:16) = different orchestral performance and vocal takes of the "A.I. Theme (Vocal Version)" (4:02) track from disc 2 that we never knew existed before

Contrast the two posts. There appears to be wrong info. on your part. Ask @thx99.

Although the program can obviously change, right now it says: "Film music from Indiana Jones, E. T., Superman, Harry Potter, Star Wars and other movies". So Raiders March, Adventures on Earth, Superman Main Theme, hopefully Hedwigs Theme ( this time the proper orchestral version, would be really looking forward to that) and the obligatory Star Wars pieces (Main Title, Imperial March?) I really hope it is somewhat different to Vienna though. Don't know how likely it is that some rarely performed pieces like Seven Years in Tibet will be played... was there a performance of this piece in the near past? Don't know the OST but heard a snippet of this of the upcoming City Light Symphonies "Spotlight on Adventure" and liked that a lot! I personally wouldn't need another Flight to Neverland recording How long is the Elegy? Will this be a 2 hour concert like Vienna?

Fanfare for Michael Dukakis (1988) Today, two John Williams fanfare/occasional pieces, both relatively obscure and minor works in his concert oeuvre. First, the Fanfare for Michael Dukakis, written it appears in a span of three weeks for the 1988 Democratic National Convention, with Williams being connected to Presidential hopeful Dukakis through the candidate's father-in-law Harry Ellis Dickson, a Boston Pops associate conductor. It seems the live premiere is the only recording we have of the piece. -------------------------------------------------------------------------- I always liked this cover...

I think I'll get the 30 day pass, that way I can revisit the concert afterwards if I want to. While I will definitely catch the live stream, as I would not miss this for the world, I believe that, like the concert with the Vienna Philharmonic, this concert will be released on home media eventually.

Track Six of Disc Three is indeed Rouge City Jazz. Track Seven of Disc Three is NOT an alternate of Inside Dr. Know's, but rather the actual film version, which is included in the original pressing from 2015. Track Eight is actually the alternate version of Inside Dr. Know's. Track Nine of Disc Three is indeed Helicopter. Track 17 of Disc Three is indeed the alternate version of A.I Theme (Vocal Version).

That being said, I will not be able to attend, though I will be deeply envious of those who do.

Already up for sale at Intrada! Aaaaaaaand.... Ordered!

That's nothing compared to this guy:

Works for me but then again, I was the uploader! Try this...

Contributed... I'd add on $100 if they did this as a bonus track ;-) (but I'm guessing the licensing would be a nightmare).

Jaws 2 http://www.forcecast.net/story/indycast/IndyCast_Special_58_The_Magic_of_John_Williams_Jaws_2_189014.asp

Nothing sound as bad as a 90s CD!

Horner. Acknowledging his often problematic musical ethics i will say that Zimmer isn't as far behind him as he should be, speaking from a craftmanship perspective.

I feel honoured to be quoted.

One of the two previous post is very good, but not the last one.

Ah. Yeah could be. I confess I’ve never listened to the original Tron score by Wendy Carlos.

They are back! https://www.instagram.com/p/CRbN12ThuiK/?utm_medium=copy_link

LLL waking up this morning: John Williams waking up this morning: Us waking up this morning: https://drive.google.com/file/d/1d7YdbGzdhSrh6IL_bNL_f4iZjRBHeEoV