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JW looked spry and anticipating the orchestra and music rather than following. (I last saw him in Chicago and Boston about 3 years ago and he looked fatigued/distracted.) Typical recent concert fare. Three encores. The highlight of the evening was the ‘84 (?) Olympic theme set to recent highlights of winter and summer games. This was truly phenomenal video editing and synchronization. The audience loved it. I would love to see it released.

Going thru entry, I’ve not seen any programs or merch (shirts, posters) for sale. 😢 Have usually passed a couple of spots by now in previous years.

Nice to see Adventures of Han getting another run!

That is very incomplete, it's just 1 hour of highlights. The LLL main program is 85 minutes, and after that there's a wealth of alternates that are actually interesting to listen to, which is not always the case with expansions. https://lalalandrecords.com/star-trek-the-motion-picture-limited-edition-3-cd-set/

Jay is now recognized as an official retailer for the Fiddler on the Roof 30th anniversary CD, please ask him in private for an order. All profits will be given to the poor guy trying to keep the discography up to date on the main page!

Click on CONFIRM

I was pretty ignorant of Herrmann in general save for a few general pieces of pop culture absorption, and remedying that was in the back of my mind for a while. This Decca Phase 4 set came at a perfect time, and, though it's "just" a reissue of all 7 albums of his released under this label, it happens to be the perfect overview and thus entry point into his works. Represented here are rerecordings/rearrangements of pieces and suites from his Hitchcock and Harryhausen collaboration strings, genres ranging from thriller to fantasy, sci-fi, romantic or adventure, rerecordings of others' works, as well as a proper OST of one of his last scores. The set is very well presented, a nice sturdy cardboard box housing a booklet with detailed album and track information and a small essay about the composer's career and more important works, and of course the discs themselves in cardboard sleeves that are CD-sized facsimiles of the original LP art, front and back - meaning original liner notes with context and track-by track descriptions are also included instead of being lost to time, forgotten or ignored, which I'm always very happy about. I enjoyed reading along, though the font obviously becomes very small and tough to read - bring a magnifier glass or take a photo and zoom in! The sound is what it is, less busy sections mostly sound pretty good, but in grander parts the brass and percussion can suffer. The performances are all very good of course. Overall the set paints the picture of an artist in his last decade not only caring about preserving and commercially presenting his own legacy (not unlike Williams revisiting his own works in concert, for new albums, and of course the remastered expanded reissues), but that of his other fellow film composers as well. I barely skimmed the tracklist and bought this set mostly blind, but I come away with a much more pleasant mental image of Herrmann than what I had before (based on throwaway remarks and anecdotes), and some killer albums to replay!

It's not composed as a joke. It is of course written to overwhelm the singer unless she is very strong, but it's still well written. The Gerhardt recording with Te Kanawa is stunning.

Did anyone else attend the BBC Prom concert of British film music on Thursday? It was wonderful. Here is the programme: For The Belles of St. Trinian’s, the seven percussionists (all men) donned St. Trinian’s boaters, badges and pigtails. The encore was another Malcolm Arnold classic, The Bridge on the River Kwai, in which the audience joined in whistling the Colonel Bogey March.

Finally saw this in its entirety. Great conversation overall, and even Horner was a big fan of Hook!

https://thedigitalbits.com/item/star-trek-original-4-movie-4k-uhd-2021 Review of the new release of films #1-4. TMP has isolated score!

I have to say the performance of the Olympic Fanfare and Theme was really excellent -- it is also one of my all-time favorite JW pieces and I am always happy when it shows up on a program.

Either that or no one bought a single copy this year

I'm doing a series on the canon [Officially Released] Star Wars soundtracks, and I figure I'd start at the beginning with Gordy Haab's Star Wars Battlefront. I'm no @Falstaft, so I won't go as deep as he could go on a work like this. The layout of the soundtrack itself makes its themes easily identifiable and listenable, but for those who only have a surface idea of this soundtrack's potential, this topic is for you. For Haab's first canon soundtrack release, we don't have to go too in-depth with our analysis, anyways. The thematic material presented on this album is pretty straightforward, and due to the format Haab doesn't get too much of a chance here to weave in subtle motifs here and there. Let's start with our first track, Walker Assault. Contrary to the title, the thematic material on this track permeates both of Gordy's Battlefront soundtrack and can be considered the series' main theme. WALKER ASSAULT The track's main melodic idea is as follows: Battlefront Series Main Theme (0:39-0:52) Walker Assault is this theme's main showcase track, and the track weaves this theme throughout accompanied by some bombastic Williams-esque action music, but we also hear it on this soundtrack in the tracks The Battle in the Clouds (2:31), Jundland Wastes (6:16), Rebel Resistance (2:57, 4:01, 4:48) The Graveyard of Giants (8:17, 8:31) and Jedi on the Battlefront (0:17). To me, it almost reminds me in it's use for how the Force Theme is used in the films, especially when it pops up in tertiary tracks. SOROSUUB SKIRMISH Next, we move onto Sorosuub Skirmish, the next track that features all original music by Gordy Haab (we'll cover the Original Trilogy B-Sides later). Right here is where we can hear the first instance of the overall theme for this planet. It's a three/four figure motif that moves from a D# down to a G, then jumps back up to a F# (roughly). When we first hear the theme, it's quiet, oozing in a sense. At around 3:25 we transition into what I like to call the ROTS part, mostly because it reminds me of the steady war march that happens at the beginning of the track of the same name. The main musical idea shows up again here in a much more bombastic context to make for some nice action music. At around 5:05 in the track we transition into a nice little dirge, where we hear a much more subtle variation of the track's main idea at 5:37. At 7:16 we transition back into some action-y music and we hear a nice big variation of the theme at 7:43 and then a doomy boomy variation at 7:51. There is also a B-Theme of sorts, but ironically it's the first part of the track you hear in the song. Here right at the opening you hear an eight note melody that you hear two other times in the course of the track, at 1:48 and 7:06. Sorosuub Skirmish is a solid track, although it can get a little too prequel-y in it's orchestrations in a game that is set in the time frame of the original trilogy. THE IMPERIAL ADVANCE Next up is The Imperial Advance, our overall theme for the Galactic Empire in BOTH Battlefront and Battlefront II. You can hear the main musical idea for this track right off the bat played by some roaring brass. Oddly enough, I always think this melody reminds me of a corrupted version of Anakin and Padme's theme music from Attack of the Clones. At 1:12 in this piece you can hear another little stinger that is almost a riff off of the Death Star motif from the original Star Wars. This appears twice in the song, with the second appearance coming in at 2:50. I call it Imperial Victory, and I believe it is used in game as the stinger for the Imperials winning a match if I'm not mistaken, so the name is totally appropriate. My favorite statement of the track's overall theme comes in at 3:07. Haab turns his strong, if a bit busy melody for the Imperials and makes it slimy and conniving here, and I can almost imagine a smug, flop-sweated Imperial officers gloating to a captured Rebel. BATTLE IN THE CLOUDS And now to my favorite track on the OST, Battle in the Clouds. Made up from the music Haab composed as a B-Side to various bits of music from Empire Strikes Back, Haab nevertheless puts some Big **** energy into the melody of this track's theme. The melody first appears at 0:21 in high woodwinds, then we get to hear a nice, regal sounding statement in brass just after that is absolutely beautiful. Eventually we transition out of the calm, peaceful part of the theme and into a more action heavy portion, where we get to hear a nice heroic statement of the melody at around 2:10. Afterward, we get into the second half of the track which boasts a more somber, darker feel complete with another musical idea that carries the rest of the track through, heard here in it's calm mode: Darker theme. At 4:16, this more mysterious theme begins to return in a big way before we get a nice grand statement of it at 4:33. The track finishes with a darker, slow and suspenseful string chorus, before a variation of the first theme comes in on horns to signal the end of the track. APPROACH TO LANDING PAD 13 Next up is Approach to Landing Pad 13. This is an interesting track to listen to, as Gordy morphs the main idea you hear near the beginning of the track as the rest of the track goes along, and that main idea mutates into much more subtle forms of itself as the track goes on. At around 0:55 we hear the first statement of this little theme. The little run up you hear at around 1:02 will come back throughout the rest of the song in various forms. The March that appears at 4:23 that is an obvious riff on the Arena Marchis one such permutation, note the note run up at 4:30. We then go into a Torn Apart-esque piece that features several of the same sort of figure, like at 7:08. Also fun to note, the part that comes in at 8:33 is a take off of Follow Me and The Falcon from The Force Awakens. I think he was absorbing himself in that soundtrack at the time because some of the DLC tracks have a TFA-flavor to them. REBEL RESISTANCE Now onto another great piece, Rebel Resistance, where we get to hear all the instances of Gordy's Rebellion theme altogether. The theme is heard here at 0:22 seconds. The first thing to note is how similar this theme is to the main Battlefront theme, which sure seems to not be a coincidence. A nice heroic statement appears at 0:45 shortly after. The main Battlefront theme comes in at 2:56, and when you hear them after you're more familiar with them you can clearly hear the differences. One is in minor key, with a different melodic tail that follows the 11 note main statement. The Rebels theme begins with a 9 note long melodic statement that has a bit more triumphant of a tail end. The Battlefront main theme appears again at 3:59. At 5:16, my favorite statement of the Rebels theme appears nice and bouncy and heroic. FULLY ARMED AND OPERATIONAL Fully Armed and Operational is another more consistently thematic piece. The main musical idea appears at 0:20 before launching into a very Kylo Ren inspired statement shortly after. This melody appears very plainly throughout the rest of the track, with a nice menacing statement of it at 0:55. At 1:30 there's another Kylo Ren-esque moment (Gordy absorbing TFA energy). At 2:22 we get a nice march variation which then empties out into a Resistance March-inspired bit at 2:50, which finishes with another big statement of Gordy's Death Star Theme at 3:12. At 4:30 we get another statement of the theme that leads into a stretch of music reminiscent of The Droid Battle from TPM. The song finishes off with a very doom-y little bit of music, complete with apocalyptic bell strikes before the song ends with a very quiet variant of the piece's theme on high strings and celeste or glockenspiel. JEDI ON THE BATTLEFRONT Next up, Jedi on the Battlefront, our last of Gordy's tracks with strong thematic writing. We begin the track with some quiet ambience before we get another statement of the Battlefront main theme at 0:18, then at 0:40 we hear Jedi on the Battlefront's main thematic idea. In game this track appears very wildly in completely different places, so it's very hard for me to understand what I'm supposed to associate with this theme, if anything. The title, Jedi on the Battlefront, suggests ties to the heroes, but I'm not sure that's a strong tie considering I don't remember the theme being associated with the appearance of the heroes in the game or the Heroes and Villains mode. Still, it's one of my favorites on the album. Past a souped up action-y variant and into a quiet variant, we really get to hear a nice full statement of this theme on low brass at 3:23. A nice March version comes in at 4:38 and continues through to the end. That's mostly it for Gordy's true blue thematic material on the album. Of course, there are about four tracks that we didn't cover: Pale Blue Orb, Survivors of Endor, Jundland Wastes, and The Graveyard of Giants. Those tracks are musically as strong as the rest of the tracks on this album, but there is not much if any thematic material to uncover in any of them that I can discern. If someone who is as well versed or moreso in this soundtrack has any insight on these particular tracks they can give, I would welcome the correction. I hope this was enlightening to those who are a little more uninitiated on this soundtrack. I was hoping to target people who have enjoyed the soundtrack but haven't let it's thematic material really sink it. This will make it easier for you to pick those ideas out of Gordy's sometimes overwhelming action music writing. I'll be covering Battlefront II next time, whenever that is. Hope you look forward to it.

That was a good part of the appeal of Anne-Sophie Mutter's presence in Vienna: it meant that lesser-known pieces were played (Sabrina, Cinderella Liberty, Donnybrook Fair), and a few of the better-known had a fresh spin put on them (Hedwig's Theme, Devil's Dance). Though I'm selfishly content she won't play in Berlin, otherwise the concert would feel too much like Vienna bis. I did, and it didn't, sadly.

I'm happy Mutter isn't there. Loved her with the 2. concerto but the encore was awful in TW. I agree with eitam about Yoda's theme, wonderful in the film but in concert of this caliber, meh. Great arrangement with ASM doesn't help. I loved Vienna concert but it was too much ASM.

10:30.

Only two types of creature get fun in the desert: Bedouins and gods. Dune has both. I don't think @Chen G. loves the desert and desolate places the way us Englishmen do.

Yep it went flying and he finished without it! And then joked around a bit. I didn’t catch how or when it returned to his stand, but he turned around and there it was. Kobe was mentioned prior to the piece in a brief, loving statement from JW and that’s when the audience went wild. They definitely reacted during the clip of him, but it was less celebratory if I recall correctly.

It will very soon run out, never to reappear, so you better buy several copies while still available.

Nice! Good to see Golden Age titles in a concert programme that aren't just the standard Hollywood/US fare.

The movies would kill him at the beginning of the story. The books would kill him at the end. Most permanently at the end of From Russia With Love. Going from memory: Left Universal Exports at the end of Casino Royale, comes back when Vesper kills herself. Killed at the end of From Russia With Love. Dr. No: Only mostly dead but gets his Walther. Leaves at the end of On Her Majesty's Secret Service, comes back... Well, you know. Leaves the 00 division at the beginning of You Only Live Twice (becomes 777?), presumed killed at the end but actually has amnesia and heads to the Soviet Union. Man with the Golden Gun: comes back brainwashed and tries to kill M, sent on a suicide mission. At this point Fleming doesn't survive.

I wasn't a big fan of Arrival either.

Simone was the biggest. But a lot of them got significant applause/cheering, actually. Bolt. Phelps. The Williams sisters. You could also tell the audience really connected when the music got intense towards the final build up when the athletes were showing their preparation and nervousness before starting. Awesome stuff. Being from Wisconsin, I whooped when they showed the gold medal winning curling team. Probably startled/confused the locals.

Lol Thanks for the warning, I already fixed my post.

Perils of gaming with small children: Wii U gamepad stylus is missing Switch game cards for Mario Kart 8 and Captain Toad are missing Game card for Animal Crossing was left at beach house earlier this summer

You mean Christopher Tenet?

“Limpy’s got cancer, Limpy’s got cancer…”

True, although it us funny when he talks about the necessity of creating something brand new with each score and being uncomfortable about copying concert music. 😂 Karol

Apparently they didn't secure all necessary rights and released an illegal product, as far as I recall. https://theseconddisc.com/2011/04/28/keeping-score-on-a-soundtrack-label-controversy/

Er, pretty sure he's never died (unless you're counting his faked death in YOLT and the 'missing presumed dead' in Skyfall). Oh, and the brief bit of audience wrong-footing at the start of FRWL.

Don't you EVER say his name!!!!!

Nothing.

Yes, it's brilliant. It has a very Adams/Harmonielehre vibe about it at times, but through Goldenthal's unique lens.

I'd never heard this story before. So I asked a few of my English friends if they thought the Harry Potter theme sounded Russian. They either said something like "yes" or "I can see that". And having lived in Russia for a few years, I have several Russian friends, and I asked a few of them if they thought the Harry Potter themed sounded "Russian". Every one of them said no. One laughed. Well, not actually laughed, this was a text, so to quote her it was . Another thought Williams sounded more like Holst. Mentioning Tchaikovsky's influence on JW didn't move the needle. So there it is. As for me, I think it sounds vaguely Russian the way non-Russians imagine Russian music to sound. Or more specifically, I find vaguely suggestive of old Russia. But then again, I'm not Russian.

That has more to do with my personal response to the film than with the quality itself. I started to lose interest after a while (and even looked at the clock too many times) so I can't give it more than 5/10.

Funny that the director hired to oversee that whole thing was not English but an American named after an Italian. I think she had bigger problems than with a guy named "Williams."

Stop this now!

October: The Terminal (2-CD), Seven Years in Tibet (2-CD), The Williams at Universal Collection: Vol I (The Sugarland Express & The Rare Breed) November: Catch Me If You Can (2-CD), Angela's Ashes (2-CD), The Time Tunnel Vol 3 (contains 1 alternate John Williams stinger) Black Friday: Amistad (2-CD), Fiddler on the Roof 50th Anniversary, The Williams at Universal Collection: Vol II (Story of a Woman & The Screaming Woman) Special December Releases: Seven Years in Tibet (2-CD), The Williams at Universal Collection: Volume III (The Plainsman & Sergeant Ryker) January 1st, 2022: Hook (6x Double LPs)

I don't really subscribe to the "Harry Potter shouldn't sound Russian" belief. Having a variety of cultural influences makes the world feel more fleshed out and intriguing (as opposed to it just feeling like a British boarding school movie)

I predict, October, November, December, January 2022, February, March, April, May, June, July, or August will have something interesting

Then I would say that your major issue is David Yates. I've never understand how he did succeed to stay here for so long especially after the last Fantastic Beasts

.

Yea probably

I think the date change was good. It gives Lorne Balfe more time to study the Dark Knight Rises/Inception scores so he can emulate them properly in his new M: I.

It's like with Star Wars episodes and authors of childrens' books...Charly and the Chocolat Factory, etc.

Dartmoor 1912 Jay 😂

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.