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My own 2 cents: https://thelegacyofjohnwilliams.com/2021/10/19/john-williams-in-berlin/

Yes, Simone knows JW and was invited in the Green Room after Thursday concert. Guitarist Pablo Villegas was there the same day (I think he posted pics on Instagram). I just want to add a few personal considerations about these fantastic Berlin concerts. For me, this has been really the ultimate consacration of JW's greatness, not just because of the prestige of the venue and the orchestra, but because it truly felt like a joyous celebration of his musical life in the city that has always been at the crossroad of history. I don't think I ever attended a concert where the electricity and the happiness was so palpable. The Saturday performance will be remembered as an historic event for decades to come and I felt so honoured to be part of it together with thousands of other people. Each one of us has a deep personal relationship with John's music that, imho, goes beyond the nature of its commitment. For most of us, it truly makes us feel like kids again and brings us back to that magical moment in our lives when we first experienced it. This is one of the reason why I think it's above most of film music. Of course this can happen with other film composers, but JW is the only one who now belongs to three different generations of listeners and filmgoers. And it's not only Star Wars nerds, thanks goodness, but people with very different backgrounds, histories and personal bond with his music. The feeling I had during the Berlin weekend was that everyone was there only because of the man and his music, and what it means deep down for each one of us. I am sorry I didn't catch with any of the other fans besides the wonderful Miguel and briefly with Thor and Marian. I attended with some other friends, plus I had a couple meetings I had to attend and of course I planned some tourist time with my wife. I hope to have more time in Milan, as for me it won't be a tourist place

Never ceases to amaze me how people can wax lyrical about Williams scoring action films into his late 80s, yet mock Ford for playing this role in his 70s. We should celebrate these people for dedicating their twilight years to work, when they could easily be enjoying retirement. The likes of Ford and Williams and Attenborough (who continues to narrate documentaries at 95!) should be applauded, not ridiculed.

Vienna, for me, was utterly magical from the moment I arrived to the moment I left. A nervous excitement in the air that I can't quite put my finger on, but certainly driven by the disbelief that it was actually happening. I also really liked the program. Although it was the Mutter arrangements (which I don't tend to prefer... other than Eastwick) I love that my first Williams concert included Cinderella Liberty and Sabrina, along with some expected favourites. The venue, the weather, the city.... all just perfect. I don't think I've ever smiled at so many strangers I was just over the moon to be there. Berlin was utterly wonderful. A fantastic few days in which my amazed self watched John conducting for the third time, having been convinced just a few years ago I would never have the opportunity at all. It was fantastic to see him in such high spirits and full of such energy. The man is a treasure. What a week. Travelling internationally again felt marvellous. I met some friends, made some new ones, and felt real joy in being part of a great film music, and Williams fan community. Vienna takes the Win for me. But that's no slight on Berlin at all. It's really an impossible question, and I feel no real need to refer to one as being "better." It's like choosing a favourite child. The more I've read of this thread though, the less I want to discuss it here any further........ beers at the Lindenbrau anyone?

Here's what's inside the OST track "Main Title and Escape" 1 Main Title And Escape (7:26) 0:00-1:25 = Opening 1:26-2:14 = 1M2A [b1-23] 2:15-2:29 = 1M3 Welcome Poe and Hux [b16(partial)-24] 2:29-2:37 = 1M3 Insert David and Goliath [b1-6] 2:38-2:45 = 1M3 Welcome Poe and Hux [b89-end] 2:46-3:18 = 1M4 He's Insane [b5-15/42-end] 3:18-4:35 = 1M5 Resistance Force 4:35-5:01 = 1M6 We Can Do This (b68-84) 5:02-5:41 = 1M7 Fighter Down [b1-5/7-11/22-end] 5:42-end = 1M8 We Lose Girl Ace [b1-17/19-end] Here's what's inside the FYC track "Escape" (which is also what is heard in the film itself) 1 Escape (7:41) 0:00-0:46 = 1M4 He's Insane [b1-38] 0:46-0:52 = 1M3 Welcome Poe and Hux [b1-20/22(partial)] 0:52-1:31= 1M5 Resistance Force [b14-23/25-26/48-53/53-62] 1:31-1:43 = 8M76 To the Target [b13-20] 1:43-1:52 = 1M6 Insert 1:52-2:07 = 8M76 (with Insert 4-6-17) To the Target [b30N-33a/35-42] 2:07-2:21 = 1M6 We Can Do This [bar 18(partial)-26] 2:21-2:29 = 1M5 Resistance Force [bar 42(partial)-47] 2:29-3:01 = 1M6 We Can Do This [bar 37-39/43-59/61/64/67] 3:01-3:13 = 1M5 Resistance Force [b1-13 with edits/27/27-39/41-45/59-60/64] 3:50-4:39 = 1M6 We Can Do This [b68-70/69/71-77/77-78/98-108/108-112/79-84] 4:39-5:30 = 1M7 Fighter Down [b1-2/7-30/32] 5:30-7:04 = 1M8 We Lose Girl Ace [b1-40/42-43] 7:04-7:30 = 9M81 Rescuing Luke [b14-24] 7:30-end = 1M9 Revisiting Snoke [b2-4] Here's what's inside this custom edit that showcases Williams' original intentions 0:00-1:27 = Opening 1:27-2:26 = 1M2 Finn Wakes Up 2:26-5:02 = 1M3 Welcome Poe and Hux 5:02-6:10 = 1M4 He's Insane 6:10-7:40 = 1M5 Resistance Force 7:40-10:28 = 1M6 We Can Do This 10:28-11:32 = 1M7 Fighter Down 11:32-end = 1M8 We Lose Girl Ace

It makes me a bit sad how unliked the Mutter arrangements seem to be here. If I could only have one of the two programs, I'd easily pick the Vienna one, for the violin stuff and War Horse. But I'm happy that Berlin was different enough to give us plenty of new highlights.

My hot take: I enjoy watching all 4 Indiana Jones moving pictures.

7. Harry Potter and the Sorcerer's Stone (2001) ("Christmas at Hogwarts") Nice photo from the Home Alone/Hook era:

Temple of Segesta: Castellammare del Golfo: Seems like they need a boat: More pics here.

"I think what he did in that movie theater - because it was a dirty movie theater - I think it was kinda like, just applause, you know what I mean?" - Norm Macdonald

Haven't been great about posting much of my soundtrack buys here, but I think this particular lot warrants posting a few days later:

https://deadline.com/2021/10/leslie-bricusse-dead-goldfinger-willy-wonka-doctor-dolittle-songwriter-was-90-1234858373/ Bricusse and Williams collaborated on : How To Steal A Million (1966) Penelope (1966) A Guide for the Married Man (1967) Goodbye, Mr. Chips (1969) Superman (1978) Home Alone (1990) Hook (1991) Home Alone 2 (1992)

The only thing Vienna had that I REALLY wish Berlin had, is Hook. Other than that, I prefer Berlin's program. (Oh, and "The Rise of Skywalker" would have been nice, too.)

I like that there might be another child sidekick for part of the film. The rapport between Indy and Shorty is lots of fun in TOD, really brought out Harrison's natural charisma. Plus, you know, Short Round's Theme!

I wouldn't want to work for any of you guys at his age.

Not really, when many fans consider it the purest Indiana Jones film of the lot. It's certainly the most enjoyable to watch, IMO.

yes, until that horn came in too late in Hook. But in all seriousness, I do believe it must have been magical for some people. I've had magical experiences too until I started comparing them to better ones.

It's fundamental economics. Each notation software excels in different areas. Sibelius is NOT great at complex scores like aleatoric music, compound meters (it still doesn't do it). It serves the common needs well that serves 95% of what users ask for but it isn't great with advanced notation. But it's a real struggle to produce a score like the attached. But that's not needed often, so it's the experts and connoisseurs who need that level of notation control. But who control's the features? It's like Microsoft Word probably does 1,000 features but 95% of its users only use a dozen features. That same sort of economics at play. Don't get me wrong, the attached image from Penderecki would be difficult to engrave regardless of what tool you use but some are better equipped for this type of advanced notation rare as it might be. For pro engravers, this is very important even though it's rarely asked for. It's sort of like how Adobe Photoshop can do anything you need for a photo but you almost never need all of that capability, it becomes the go to tool because anything you might need, it can do. But Sibelius is easier to use for most work. I haven't yet used Dorico but I hear it's a great balance between advanced notation and simplicity but the workflow (how you do common things) is unintuitive. As for me, I think Finale, Sibelius, and Dorico are professional level tools. Each excel in different ways. You also need to be proficient in whatever tools your clients use.

Thank you! I think the maestro has earned himself a lusekofte by now. I have been lurking around this forum for years with joy and fascination. I have been a fan since Kevin tried his dad's after shave but had never imagined I would see him conduct in person before the Vienna concert in 2018 opened up a series of opportunities in spite of the first cancellation. Seeing him conduct Film Night in Tanglewood was my first live experience and a very special one since many had doubts whether be would be able to physically conduct the concert since he had had health issues the previous fall. Thankfully he shows no signs of stopping and he is a great inspiration both musically and as a humble and respectful human being. John Williams and his body of work has proven to be quite addictive..

I'm sorry but this wouldn't be acceptable. Even if LLL didn't do any announcement about faulty masters (which is OK for these cases I guess), they should accept all the replacements queries. PoA has always been fine, the inferior source (to not call it lossy) hasn't all the frequencies but it sounds great. However, if a fixed, lossless, superior master exists, anyone that bought the set should have the right to get it without buying it again. The same can be said for Schindler's List, even if it's a cheaper release and that one could afford to buy it again. Especially because the issues on this one ARE noticeable by ear, in comparison to Azkaban. There's no doubt that the initial master of that release had lossy material on it. I've sent an email to LLL as well and I hope they'll be able to send replacements, especially for Schindler's List!

Hi! Some of you may know that Eddie Karam was Williams's trusty orchestrator for a long time. Karam gave a talk in 2013 for The Academy of Scoring Arts where he discussed his life in music, his work with various composers (Williams, Mandel, Horner, etc.), and gave some very funny anecdotes. I don't think a thread about this video has been made before, so here are the comments he made regarding Williams. Meeting John Williams: Orchestrating Williams's music: Dividing work between himself and Conrad Pope: "Crystal Skull" story

I'm one exciting backer.

Here is John conducting and playing the piano on two songs with singer Jessye Norman and the Boston Pops:

I mean they literally just finished recording two more wonderful Goldsmith scores that would otherwise be lost to time…though I guess it’ll be 2022 before that album’s fully ready. But sure, I’m in for another Yavar

You mean, like a sixth bang? Karol

I guess I got a taste for it Today for the second time in the Philharmonie to Daniel Barenboim (!) with Robert Schumann. And this time directly at the podium.

Antonio Banderas as Captain Haddock

Williams' spare time must all be taken up by new film scores!

In this custom edit, from the start of the Main Title to the end of We Lose Girl Ace runs 13:25 In the final film, from the start of the Main Title to the end of the tracked music that replaced the ending of We Lose Girl Ace runs 11:54 So the sequence was shortened by about a minute and a half from the version he initially scored

They could have done more.

Halloween. It truly is a remarkably effective score. Imagine.you have a limited budget of $300,000.00 dollars with nearly a fourth of it dedicated to the new panavision camera. So Carpenter and the crew took on tasks as needed. No one expected that the score would become famous on its own. I love the variations in how its played. Interesting that Carpenter's Halloween score is more memorable than any single score by Zimmer or Giacchino.

Rectifying the error and including the missing album is gonna cost an arm and a leg, they said.

The art designer knew it and signalled it to us secretly, that's why JW's missing his right arm.

Yeah, especially since Williams poured a lot of work into these new arrangements. The Berlin program by comparison was almost shockingly geared towards the march and fanfares people.

As a mid-lifer myself, I lean more towards the impressive part. I'm truly inspired by them both.

And he will be hoping to be back in Vienna and Berlin since these were only his debuts.

Like the VPO then!

No, make it Trondheim Symphony Orchestra with 2L!

Damn, specially if the difference is audible in schindlers. i may wait for the next batch in subsequent releases too. toothless rex was one thing, but faulty masters…and surreptitiously fixing it without ackownledging the original error (or saying its fine) is a little mean for customers who willingly jump as fast as they can to buy their new releases. By the least, potter should have fixed cds because it is a very expensive limited box set.

That's what movie theater employees call him

I mean, yes, the risk is low, but the it is nonetheless relatively higher for a nearly 90-year-old man. No need for him to fuck around with a disease that can have long lingering effects even in mild cases. We all want him to keep doing what he’s doing.

A young Italian sidekick? Or just an extra? Loving the hairstyles and costumes. Ford looks sensational, as if that needed repeating. Great to see Indy's outfit unkempt and "lived in" again.

Unfortunately I've come to the same conclusion after all the issues with so many recent releases.

That was when I realised that Capaldi might just be my favourite Doctor.

Does the video not work for anyone else? Man, it's frustrating; I keep seeing members posting .MOV video links, but none of them are working for me.

I am pretty sure it is delayed due to the still-lukewarm box office numbers of current releases, and Disney having a LOT of properties, including Indiana Jones, that they would rather space out to get as much money out of as possible. Why else would they also space out all of their upcoming Marvel properties after this year ends? I don't see them extending shooting schedules (apart from the common reshoots) or any other aspect of their productions at this point. Doing that costs money to reschedule people, and people may not be available again at a later date which would be a disaster if they were already in the middle of working on it. In a sort of similar fashion, this happened with Jurassic World: Dominion. The film is done, it's already scored. It is just sitting and waiting for a better release date.

One weird thing I noticed...is that with the performance of "Scherzo for Motorcycle and Orchestra", Williams unknowningly may have been the 1st composer to perform Nazi music in the open in germany since the end of WWII... (Nazi motif from Last Crusade)