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Let us not waste our emotions on a bunch of clowns pissing against the wind of history. Less and less will be left of such toxic sediment with each passing decade. Long live bringing joy to millions through music!

The orchestra is indeed having its FIRST rehearsal today.

When was the last time Williams conducted a choir at a concert? It would be wonderful if, in a place like the Teatro alla Scala, the temple of the world's opera, he would use it in several pieces. Imagine hearing Duel of the Fates, Hym to the Fallen or Call of the Champions there...

Looks like Omni is about to release Poltergeist in full orchestral score, they just changed their FB photo.

Together with Wenzel Fuchs...Come on, let's have "Victor's Tale" as encore!

Just seen that Paddy Maloney, founder of The Chieftans, has passed away. Williams’s inclusion of Far and Away in the programme will ring a little differently now. I do hope he’ll discuss his collaboration with Moloney a little, in tribute to the great musician who elevated a wonderful score.

Bridge of Spies Thomas Newman

Sarah Willis spoiled the encore https://m.facebook.com/story.php?story_fbid=417347586427462&id=100044566721973&m_entstream_source=feed_mobile So today was the first rehearsal? Quite optimistic from the orchestra 😄

Can imagine JW agonising before the trip which black turtle neck to pack

I'm clearly less bothered by any perceptions that the show is being preachy or woke as it's often done stuff like that, just with varying degrees of subtlety, but it's certainly just less interesting somehow than it used to be. I can never quite put my finger on it. Having started re-watching the Peter Capaldi years, I'm really enjoying it; even if the premise of each episode isn't any more interesting than many of the Whittaker episodes, the writing is so much better so it's less about the premise and more about the characters. Rewatching it also reminds me how much I miss Murray Gold's music. I really do hope RTD brings him back... given he's score RTD's other recent shows, this seems like a fairly solid bet. Then they can start doing Dr Who Proms again (let's face it, who's gonna stump up to watch a concert of Segun Akinola's music?!)

The Chicago Symphony Orchestra has just announced "an evening with John Williams conducting the CSO in his legendary scores" on their spring 2022 concert schedule.

Somehow Marv has returned

The McCallister Awakens The Last McCallister Rise of McCallister

Perhaps at La Scala.

I jokingly showed this to my wife, thinking she'd scoff at going to another one of these concerts I kept telling her were our last chance to see the man. Instead, she went "well, I still want to see Milan one day. Might as well go next year." John Williams might become the reason we get to see half of Europe at one point.

Harrison looks so happy! And I like the sentiment of this post:

No clue! It has something to do with the Weeping Angels, the Sontarans and the Ravagers (Big Finish alien). Very eclectic mix of creatures, not sure what their central link to the phenomenon is. This might be the first time an alien that was introduced in Expanded Material first has appeared in the actual show which is kind of neat. In preparation for RTD's return I've watched his most recent drama series 'It's A Sin' which was just brilliant. I adore the way he writes characters and even exposition is delivered with such style and class, you can tell this is a topic that RTD practically lived through so it comes across as incredibly genuine and honest. It's given me a completely newfound appreciation for the gay community, and that's a testament to the power of media that I was able to even have the opportunity to see things from that perspective. In addition to that I've also been reading RTD's 'The Writer's Tale' which is a candid look at the creative writing process behind Doctor Who during Russel's era with lots of gems about how RTD approaches writing and how unlike other writing self-help books, doesn't lay down any hard guidelines. It's a wonderful exploration into how creativity works, it's not a rigid set of rules, it's a constantly evolving and permanent back and forth with your brain and your experiences of the world. One particular gem is how RTD says that he never chooses a theme first before coming up with a story, instead he says it's an inevitability that whatever he writes will have his voice and perspective. I get the feeling for a lot of the Chibnall episodes the theme was chosen first which is perhaps why it feels so inorganic. RTD is an immensely fascinating person and a rather wonderful writer, I can't wait to see his return to the show.

In alphabetical order by the title on the sheet music, the 4 concert arrangements on the Lincoln OST are: Hymn (Piano) = OST 17 With Malice Toward None (Piano Solo) 1:32 Hymn (Strings) = OST 6 With Malice Toward None 1:51 Prayer (Orchestra) = OST 13 Elegy 2:35 Prayer (Strings) = it's inside the track OST 8 The Southern Delegation and the Dream from [3:05-end] (1:38) Two things to note about these. One is that the "Hymm" theme or "With Malice Towards None" theme if you will, was probably not intended to be a recurring theme in the score. The only score cue it actually appears in is the final cue of the movie (7M58 Rev Now He Belongs To The Ages), and its revised ending (7M58 Rev String Ending). In either case, it was only meant to play under the footage of Lincoln reciting his second inaugural address, and that's it. As originally intended by Williams it was a one-off melody to play under this historic speech without any prior setup. Later the theme played on trumpet became the 6th version of the "Lincoln's Battlefield Visit" cue (7M52v6 Trumpet Version) as well, but as that is the sixth revision of a cue (and Spielberg ultimately played a cue recorded for reel 1 over the battlefield visit scene in the final cut) it's clearly a last minute thing. Spielberg tracking this trumpet rendition into the scene of Lincoln leaving for Ford's Theater instead of the cue Williams wrote for that scene (7M54 To Ford's Theatre) does end up having a nice effect of setting up the melody before you hear it a few moments later under the speech. Man, I love this trumpet version and I so wish Williams had included it on the OST album Anyway, other than the speech footage and that one late cue revision, all of this theme's appearances are in concert arrangements / end credits (the two Hymm tracks above and both 7M60 versions below) The next note is that the "Prayer" theme doesn't actually appear in any film cues at all. So it does not appear in the film at all, and only appears on the OST in these two concert arrangements listed above. My pure speculation is that Williams demoed it for Spielberg, and Spielberg didn't think it was right for the film, but Williams wanted it on the OST album anyway. Williams must have really liked this theme because there's also a THIRD concert arrangement of it found in the sheets - Prayer (Brass) - but we have no idea if that was recorded or not. Moving on, there's 3 pieces that I believe were all recorded as end credits contenders; The latter 2 DEFINITELY were, the first is debatable and it very well could been originally been recorded only for the album, but Spielberg happened to stick it in the end credits later - who knows The People's House heard in its entirety as OST 1 The People's House 4:34 Appears again, but only bars 9-53, inside OST 16 The Peterson House and Finale from [3:14-5:43] 7M60 Hymn Ver bars 1-96 appears in OST 12 Freedom's Call from [0:00-4:46] bars 97-111 have never been released anywhere 7M60 With Malice Toward None Ver. almost the entire composition appears in OST 16 The Peterson House and Finale from [5:43-9:29], but this is actually only bars 1-68[from [5:43-9:25] and then a quick jump to the final bar (bar 78) from [9:25-9:29]. In other words bars 69-77 are sliced out of this appearance Luckily, this cue is on the OST in a second place, in OST 4 The American Process from [2:10-end]. This appearance begins in the middle of bar 49 and run through to the end, so you can take from [3:10-end] of this track and edit it into the [9:25] point of track 16 and end up with a complete performance of this concert arrangement Additionally, it's very clear that they recorded an alternate piano performance to use when opening the cue with bar 49; If you listen carefully you will hear that [2:10-2:24] of track 4 is different than [8:25-8:37] of track 16; The track 16 recording is from the recording of the whole concert arrangement and the piano there comes nicely out of the brass section just before it, while the track 4 version is a more gentle performance of that piano bit, which creates a nice clean opening for the piano section of the cue. I believe this new clean opening was recorded for the film, because the scene about 23 minutes into the film where it plays (the end of Lincoln's talk with Preston Blair and then him getting in his carriage to leave for his task) opens with the new piano opening. I'd speculate Williams either never scored this scene or Spielberg didn't like what Williams wrote, so tracked this cue into it and liked that, but there was no way to get the piano opening clean due it it overlapping the brass section before it in the full recording, so they did a quick pick-up take with a more gentle piano opening for the scene - and then Williams put this pick-up opening on the album in track 4. One final note is that luckily this film edit appears on the FYC in track 3 with a fully clean opening of that new piano intro recording, so if you want to create a track called like "7M60 With Malice Towards None Ver (Short Edit)" or something, you can start with the opening of FYC 3 and then segue into the unedited rest of the concert arrangement as describe above (mostly from OST 16 with the ending from OST 4) Phew! The reason I think "The People's House" might have always been intended to be the start of the end credits is that the final cue of the movie is 7M58 and the two other End Credits arrangements are 7M60, so The People's House could be what 7M59 is, but it just didn't have that number yet when the sheet music was written. Anyways, everything else on the OST album, other than the 7 compositions laid out above, are film cues written for specific scenes.

I'm old enough to remember the European classical institutions treating John Williams and film music in general as something too commercial and unworthy of their places. The seismic shift started to happen several years ago and I think the unquestionable success of the Vienna concerts certainly helped a lot of these classical establishment to stand up and take notice. Certainly Williams' age and reputation also helped, but I don't think this can be explained only because Williams is now an old venerable maestro. There is at least now an entire generation of people playing and working in these orchestras who grew up with his music and consider it absolutely valuable and worthy of the great classical repertoire, not just because they're Star Wars nerds, but because they listened to it and recognized it purely for what it is, i.e. great music.

I still can’t believe this. It’s beyond anything I could have ever dreamed of. John Williams conducting his music in the city where I’m born and where I live, in one of the temples of classical music. Utterly amazing.

https://www.filarmonica.it/eventi/concerti-straordinari-concerto-per-milano-19-giugno-2022-ore-20-00 Google Translate of the above text: SEASON 2022 EXTRAORDINARY CONCERTS John Williams DIRECTOR 19.6.22 hours: 8:00 pm MILAN - LA SCALA THEATER The Concert for Milan finally returns to its usual appointment in June after being moved to September in 2020 and 2021 due to the health emergency. The great concert under the stars for the city of Milan and for Italy has never stopped and in 2022 it returns with a legendary interpreter. As one of the best known composers in US history it is not difficult to remember John Williams like John Philip Sousa, Aaron Copland or Leonard Bernstein. The career of success and recognition includes a conspicuous list of awards including five Academy Awards, numerous gold and platinum records. With two Emmy wins, three Golden Globe wins, twenty-five Grammys, Williams is arguably one of the most respected film composers, author of iconic scores that have become famous thanks to titles such as Star Wars, Harry Potter, Indiana Jones, Jurassic Park and many more.

So it's been a while that I'm thinking about rescoring the Mandalorian with John Williams music after having really been disappointed by Göransson treatment. I've started a youtube chanel featurring the new edits of the score that I manage to do so far. It is far from being perfect but I hope you'll enjoy it as much as I enjoyed making those videos.

I imagine once he "pops out" to Chicago from LA, he'll fly directly to Italy from there to prepare for the Milan concert that's only 10 days after this one I hope to make it to Chicago, but it doesn't seem likely. We'll see!

I'm too expensive.

I refuse! My kids already love the original and I haven't even shown them Lost in New York. They wanna watch shitty Home Alone sequels, they can do it when they're older and more in control of their own viewing habits.

Kimmy Schmidt is definitely the best thing she's been a part of.

It saddens me a great deal that all Debney chooses to work on are z-movies like this one here.

Reporting here a cue list I've found. Bob DiMucci at FSM made this cue list after watching the Youtube version of the film (I have added the first cues which where cuted on the Youtube version.) : 1 - Score Cues (From the bluray) 0:16 - Universal Logo (The theme is played by Bells) 0:50 - Overture / Over Rome (Orchestra) 3:30 - Uno di qua, l'altra di la (vocal by Ornella Vanoni) 2- Follows the Score Cues from the Youtube Version 2:47 – Main Title 2:36 – Bruno Implores Karin 2:37 – Karin’s Reverie 1:03 – Karin In Sweden – Winter 1:15 – Karin In Sweden – Summer 2:23 – Karin Meets David 0:24 – Karin / Bruno Flashback I 0:12 – Karin / Bruno Flashback II 0:40 – Karin and David Go Boating 1:17 – Karin and David Talk 0:39 – In Washington DC 0:40 – Arriving In Rome 0:45 – Karin Goes to the Music Conservatory 1:02 – Karin Tells David of Bruno’s Visit 0:37 – Karin Dreams of Bruno 0:31 – Uno di qua, l'altra di la (vocal) 0:37 – Bruno Arrives at Monte Carlo 3:03 – Karin Comforts Her Daughter / Karin Talks With Bruno 2:57 – Bruno Walks Karin Home 0:20 – Morning 0:58 – Bruno Is Hurt 0:42 – Sunset Walk On Beach 1:23 – Bruno Recounts Car Accident 0:46 – Bruno Confronts Karin 6:15 – Karin and Bruno at Cortina 1:20 – Karin and David Reunited / End Title Total Time - 37:49 (26 tracks) - - - - - - - - - - - - - - - - - - - - Source Music 1:03 – Karin Plays Piano I 0:39 – Accordion and Guitar Dance 0:50 – Accordion, Guitar, and Piano Trio 1:03 – Guitar Solo and Vocal 1:02 - Uno di qua, l'altra di la (vocal by Ornella Vanoni) - Reprise 0:31 – Karin and David Marry 2:30 – Rome Party 0:25 – Piano Practice 0:34 – Karin Plays Piano II Total Time – 8:37 (9 tracks) Finally, I can't really tell if this Bluray edition has a Stereo track. If it does, the stereo image is really not wide.

It might just be me, but Groban's voice really doesn't work for me for that song - it only needs Fabian. But I guess needs must when someone at WB decides Groban is going on the soundtrack.

Oh my dear god this film looks absolutely terrible From that trailer, it basically passes as a parody of the original - I'd rather watch that (but done well).

Has this program already been posted here? https://www.berliner-philharmoniker.de/fileadmin/Dateien/Programmhefte/2021_22/BPH_Programmheft_2021_10_14.pdf

That brass statement of the theme that opens the end credits is pretty great

Indeed. Not that I'm that familiar with Wharfedale but I know they are known for being warm sounding speakers. Luckily there's a solution for people that don't like boosted treble. Searching the internet, not many Denton owners seem to be aware of that.

I gotta admit I stopped watching Chibnall's show before the end of his first series because it was boring the hell out of me. I'm the rare person whose favorite era is the Moffat-Capaldi and my favorite series of the entire revived era is series 9, which holds up so well to rewatches.

a "fan to fan" (without any gain) ticket resale portal administered by them or by those who manage the presale for them, would not have been an unwelcome thing...

Cunning of the Berlin Phil to sell all those tickets and then have circumstances seat everyone in a checkered pattern anyway

Shut up.

Fliiiiiiipendo!

I believe that list only contains cues used for the OST and isn’t actually complete. And unfortunately, the repertoire databases don’t seem to have any cue information for this score.

Really felt like Arnold was reinventing his Bond sound in QOS. Such a shame his journey ended there, had lots of potential to go interesting new places.

I'm eagerly waiting for the third soundtrack. I like both listens. I haven't seen the film yet so I can't vote until later this month.

Well, I’m watching the Musikverein concert blu-ray right now and the joy on the faces of Mutter, the orchestra, YOU, and Williams himself is quite something! (Plus one or two other JWFanners I can spot). We must all focus on that. It’s the old Woody Allen “Annie Hall” joke - if there’s a club in which those people reside, I don’t want to be a member. Keep your spirits high, brother, this weekend is coming fast!

Ah. I think I know the part you refer to (about 2:55ish) in “Time to Get Out. The cool beat that starts and then the suave flute begins growing into a hip statement of the “No Good About Goodbye” melody. And that dulcimer(?) plays the Bond guitar riff. Very classy bit. I always dug that moment as well.

With the release of the bonus track Safin (which certainly sounds like it's the prologue music), here's my attempt at No Time To Die (bar the vinyl bonus tracks which are the only ones I can't place) with the songs used in the film included 1. Gun Barrel 2. Dans la ville endormie (by Dalida) 3. Safin 4. Matera 5. Message From An Old Friend 6. Square Escape 7. No Time To Die (by Billie Eilish) 8. Someone Was Here 9. Not What I Expected 10. What Have You Done 11. Shouldn't We Get To Know Each Other First 12. Cuba Chase 13. Back To MI6 14. Good To Have You Back 15. Lovely To See You Again 16. Home 17. Norway Chase 18. Gearing Up 19. Poison Garden 20. The Factory 21. I'll Be Right Back 22. Opening The Doors 23. Final Ascent 24. We Have All The Time In The World (by Louis Armstrong) 25. Q1 26. Q2 27. Q3 28. Q4

I'm currently at intermission in a concert randomly called Zimmer vs Williams. And they were introducing Batman, and the conductor said, "Christopher Nolan had to choose a composer for the job, and the only man for the job was Hans Zimmer. As a JNH fanboy to the ultimate heights, things like that make me explode internally lol. I was sat there saying to myself, "well he LITERALLY WASN'T the only man for the job, because fu**ing JNH did it too!" Haha. And then to rub it in even more, they played a piece from Batman Begins that was clearly by JNH lol. I love nothing more than Film score concerts, but damn they test my patience sometimes when my know-it-all side comes out and I can't help but judge anyone with inaccurate information or lack of knowledge.

Alas, THE JUNGLE BOOK didn't do much for me. Felt too bombastic and/or directionless. But I remember that a lot of people liked it, including my own colleagues in the IFMCA. I'll take the Rozsa or Poledouris instead. Or even the original Disney.

How old are you? Are you from America? All due respect but perhaps if you're a younger person who was geographically removed from it it's hard to understand. I'm pretty far from a flag waving God bless the USA type who will get indignant at the suggestion that it's not a "big deal" but I was blocks away from what was happening in Manhattan, I knew people who died, and you'll have to forgive me if it continues to loom in my life as a "big deal." Fuck's sake.