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Do us all a favor and don't fill this thread up with these stale as fuck TLJ opinions. Can't speak for crumbs but I'd doubt he'd want his topic and hardwork sidetracked like this. Take it to that dumpster fire of a star wars thread.

What stunning playing that was -- and to think he's so young! Made me an instant fan. At the end of the piece, I noticed Williams stood down and gestured Bruno to stand on the podium, but he refused (presumably out of modesty, or not wanting to place himself above the Maestro). The future is in safe hands.

Berlin, October 16 2021 Berlin, October 15 2021 Berlin, October 15 2021 Berlin, October 14 2021

In Europe, these orchestras are state-financed and treated as a common good and long-serving custodians of cultural heritage. They are subsidised well-enough to attract top professionals, many of whom are doubly active as scholars and educators. The Vienna and Berlin philharmonics are flagships of their kind recognized not only in their specific countries, but in the whole of Europe, and even beyond. There are some amongst the public who care about preserving what is worthwhile in the surrounding culture, and since John Williams is to not so few of them the last titanic representative of pencil-and-paper era orchestral composers, there is obviously some commotion, beginning with civil discussions, to fix the aforementioned institutions so that they do not ignore such state of matters. Myself, I work for one of the world's most acclaimed classical music institutions (can't say more because of my contract), and I am a fan of countless recordings made by other great orchestras of Europe over the past century, so I do not feel like giving up on whether the orchestra I support with my work plays some of the best music composed in living memory in front of a jubilant public, or whether it behaves like a mixture of a dusty museum and a loony political rally. There is nothing more optimistic to me than a happy applause at the beginning of a piece of classical music. Such attitudes cumulated over the past two decades, including people voting with their wallets accordingly, until we have all been gifted Williams conducting two sets of extremely succesful "tribute" concerts at the litmus halls of European cultural conservatism. It's nice to see such a healthy and positive generational shift at play. La Scala under Williams and the Concertgebouw under Denève next!

I don’t listen to LP’s because I can’t hear the difference. I can hear how bad Schindler’s List sounds. It’s not mental illness, and it’s insulting to suggest otherwise.

It's not even that we're demanding a fix, they already recognised and fixed it, those who didn't support them quickly are already getting a better product than those who did.

That issue should really be taken care of. I know, MV has a lot of stess, no doubt. However, there are people who bought this set, only because of the second disc (such as I). As a complete rework of that disc's master was necessary to fix several issues, it would really be appropriate to send replacement copies to those who request it.

I’ll be in my bunk.

By the way, if anyone is wondering what Williams is so delighted about in the audience between Marion's Theme and the Raiders' March: There was a very small (and very well behaved) child sitting three seats next to me who Williams obviously spotted at that point. Perhaps the Wiener authorities weren't too eager to show too many scenes of sloppily dressed fanboys with smartphones.

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

It's hard to compare from recordings. And obviously the emotional live experience is also hard to judge. But my impression was that most of the ovations were actually more ecstatic in Vienna. But hall acoustics are also a factor, and applause often sounds much more subdued on a live recording (where the mics are of course not placed in the audience, which is where you get your live experience). Overall I would say that the excitement and respect by both the audience and the orchestra were on the same level in Vienna and Berlin.

I don't think anyone listens to LPs only. Indeed.

I couldn't make it to Berlin this year. In the end I'm glad I didn't because one of my very best friends passed away just before the weekend and there's lots to do. I would have hated to be at the concert. Would feel wrong. But I will do my best to be there. I've only seen a bit of Italy. ❤️ Karol

So thought this might help poor sods like myself that don't have the time to read each post every time a new Williams title is released by a speciality label and then gets a revised repressing due to some issues picked up after the fact. Feel free to post any other titles, issues, corrections or more detail. This is not the place to post "this score release is incomplete because cue ABC was missed" or "the later release by label XYZ includes more music because they found the missing tapes" Goodbye, Mr. Chips (FSM): Issues with playback and ripping on the last few tracks on CD1 and CD3 - corrected on later pressings SpaceCamp (Intrada) 1st release Special collection - not the re-issue with different artwork: One track has a small glitch and there was an issue with the numbering of the release on the back inlay paper insert - corrected on later pressings Jurassic Park (LLL): Booklet front art missing teeth on T-rex skeleton profile due to hidden layers - corrected on later printings Harry Potter and the Prisoner of Azkaban (LLL): Some tracks have tailed off high frequencies due to master issues - corrected on later pressings Schindler's List (LLL): Some tracks have tailed off high frequencies due to master issues - corrected on later pressings A.I. Artificial Intelligence - 20th Anniversary (LLL): Some alternate tracks and source music tracks that did not appear on the original expansion were included on early pressings of the 20th Anniversay edition - corrected on later pressings The Eiger Sanction (Intrada): Due to an incorrect index placement on disc two, one cues starts a few seconds into the end of a track on the CD, playback on players is unaffected but when direct skipping to playback of the track the first few seconds are cut off, also ripping is affected - corrected on later pressings

Nothing at home beats going to the cinema. Even these days. (I don't generally go to theaters with crappy sound and picture.) Someone pointed out on a podcast that there are certain stars that you just don't "get" why they are stars on a TV. But when they're 50 feet tall? Magic. I used to divide my movies into "Gotta see that on the big screen" (your Jurassic Parks, your Top Guns, your Star War) and I can see that at home (your rom coms, your two or three character dramas). But getting to see Anthony Hopkins act at 50 feet tall is pretty amazing. I enjoy watching movies at home, sure. But movies are a community experience. One of my most treasured experiences was seeing The Sixth Sense. When she drops the ring. Different people "got it" at different moments and you heard the oohs and ahhs and gasps ripple through the audience. Another was seeing Return of the Jedi on opening day. The 20th Century Fox logos came up and the crowd went nuts. Then "A long time ago" came up and everyone went totally still. Then it said Star Wars and everyone went crazy again. Seeing Endgame with an eager crowd all enjoying the heck out of it together. "On your left!" There's a reason that when they advertised Black Widow they showed clips of people seeing that scene all together. I'll be as misanthropic as anyone, but other people are good to see movies with. (Except the ones who talk. Screw those people.) And finally. When I see a movie at the cinema I'm going to SEE the whole movie from start to finish. During the pandemic (and since having kids) there are too many movies that I've see 30 minutes at a time. (Justice League is certainly a special case.) THREE MORE DAYS!

In Schindler's List, the defects have red tone color so they stand out better.

Where my head goes every time I see this thread's title:

I don't like eating popcorn in the Theatre. Too messy on my hands. Then I'm yelling at the projector room to pause it while I wash my hands. I used to lick them clean, but there are 19 good reasons not to.

Yeah someone said they were having difficulty over at FSM. My discs ripped ok though.

For most of the presentation, Mike used a 192k high resolution master containing the 5.1 mixes of every cue, with all the performance edits done in 2004 by the music editor. This master was not complete, and to present the full score, Mike had to fill the gaps with the 2004 original album, for which he had two sources: a 44.1kHz master (which would be the OST CD master) and a 48kHz DAT tape. Mike used those two OST sources this way: for tracks where he could partially use the 192k high resolution master, the 48kHz master was used example: the track Time Past/Saving Buckbeak for which Mike used the OST master for the first two and a half minutes before switching to the 192k master for tracks where he had to fully rely on the OST master, the 44.1kHz master was used examples: Double Trouble and Window to the Past The problem comes from the 48kHz DAT source that was in fact made in 2004 for streaming services. The explanation Mike gave was that they applied a frequency curve back then to reduce streaming artifacts. So basically Mike legitimately considered that using the 48kHz source would be better if it needed to be combined with the 192k source but it was discovered too late that this source is actually inferior to the 44.1k master.

You're a secret agent at a top music university?

Ah, Serenity (and the preceding Firefly) ... Gina Torres, Jewel Staite, Summer Glau, Morena Baccarin and a recurring role for Christina Hendricks. It's enough to have a chap needing a lie-down in a darkened room .

It probably helped that you weren't old and disillusioned back then.

"The recording studio phase of the work is not a place for improvisation. But Williams delights in spontaneous impulse. This time he’s concerned about a brief scene in which three ghosts sing a Christmas carol. This has been set up to “Deck the Halls,” but Williams is not happy with this choice, even though it is a secular carol chosen to avoid giving offense to any religious group. “Why should there be anything from the Muggles world at Hogwarts?” he asked. So at night, he wrote a little tune for a new carol, and then he amused himself by producing the lyrics too. Merry Christmas, Merry Christmas, ring the Hogwart bell, Merry Christmas, Merry Christmas, cast a Christmas spell . . . Find a broomstick in your stocking, see the magic on display. Join the owls’ joyous flocking on this merry Christmas day. Later he was delighted to learn that his lines would need to be translated into six languages." Source!

"Williams Shakespeare"

Very sorry about this. He was a fine gentleman by all accounts, and a very fine music man. He was one of JW's longest time friends. They met back in the mid-1960s when they were both working under the 20th Century Fox roof together with an impressive pool of talent under the supervision of Lionel Newman which included Jerry Goldsmith, Alex North, Sandy Courage, Herb Spencer, Arthur Morton, Ian Fraser, Kenny Wannberg, Kenny Hall, Bob Hathaway among others. Those were the days. I was in touch with Mike Matessino to get Leslie for an interview for the Legacy of JW podcast, but alas that didn't happen. May he rest in peace.

Volume 1 of the two album soundtrack release of Pyschonauts 2 was just released!

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.

I agree, the very best Moment of the evening was the Elegy with Bruno Delepelaire.

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

Everybody seems to have forgotten how awesome Vienna was, in terms of the musicians (instrument signing session, asking to play the Imperial March, all those happy strings players, the mighty horns..., Anne-Sophie Mutter joining for Raiders, commissioning of a new Ball processional...), the perfection of CE3K, Dartmoor, Devil's Dance, and the now legendary rendition of the Imperial March at the end. The audience was just about the same as in Berlin, standing up after every other piece, hollering, thumping and so on. It was the proper continental debut that generated nearly 4000 comments in its thread, and had an awesome feel of a second chance after the 2018 health fiasco. I am not saying one concert is better than the other, but looking at this poll, it seems strangely lopsided. It will make more sense to compare albums released once we get the Berlin one.

Fixed tracks sound great.

This is the kind of wild conspiratorial thinking I like to see on JWFan

Nah, Vienna was plenty exuberant too. Especially compared to the first half of the Thursday concert in Berlin (no standing ovation except at the beginning and at the end, if I remember correctly). Conversely I thought there were too many standing ovations on Saturday in Berlin: basically for every piece. Made it less special. But obviously those are details.

In general, I dislike secrecy from media companies if it's just a marketing strategy (especially the annoying norm in the video game industry), like I like that we know movie release schedules way out in advance. But of course the specialty soundtrack business is its own ball of wax what with the layers of approvals and manufacturing issues that I'm more understanding of not wanting to pre-announce releases. So I think I'd vote B in this case. Announce what you can be sure of.

Horn & Trumpet Cover of 7m46

I had the same feeling. Vienna's video wasn't bad I think, but rather static with a small number of camera angles. Berlin, though live, was more dynamic, with changing angles (e.g. more than one closeup angle on Williams) and good coverage of the orchestra groups. A nice side effect is that you also get to see more of the audience, which is nice (though irrelevant) because I'm in it (I was at both of the Vienna concerts, but there's only one very brief shot of my part of the audience (from Saturday) on the Blu).

Same thing in the Spanish site: https://www.amazon.es/dp/B09DDWK2JM/ What will be the estimated price tag for this? EDIT: WOW WOW WOW, the box set photo is also sporting "21CD" written on it! Lets hope it is not interviews or screen savers....

Has anybody ever staged a recreation of that concert? I'd go for sure (as long as the heat works!)

Some info about the longest standing ovations: The Longest Applause Ever 6 Longest Standing Ovations Ever: Remarkable Moments

Huh. 4 days ago the official Lucasfilm website added a page about SCUMM https://www.lucasfilm.com/news/lucasfilm-originals-scumm/

RJ shortens probably the best sequence in the movie (resulting in a hack of JW's musical intentions) but elects to include: booby green milk alien monster cow nonsense animal rights virtue signalling male lead falls out of bacta tank and spouts liquid while wondering around spaceship purple haired ball gown wearing feminist belittles and emasculates latino male co-lead iconic iris out takes place after random broom boy non-character irrelevant coda ?

His debut conducting the New York Phil was February 10, 2004 And the program:

Surely his relaxed and talkative demeanour was due to him wearing one of his beloved black turtlenecks? Being in a shirt and tie for Vienna clearly did him no favours. All hail the power of the black turtleneck. Every JWFan attending Milan should, here and now, vow to attend wearing a black turtleneck. Just think how energised that will make him… Mark

Indeed!! There were also many other musicians of Orchestra hanging there in the street bar outside of the Philharmonie and they all praised John as a musician and also as a human beeing, they had a wonderful week together!!

I think the movie looks great. But then again, I am huge fan of the Nolan films. I think The Dark Knight is a masterpiece and the best superhero film ever made.

Still waiting for the epic version of The Terminal