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They might have wanted to hear the finished product first. If Disney ended up rejecting it and going a different route, they would have looked bad had they officially announced her.

Gotta say I prefer the new one

You know what... fucking good on her. She's having a break-out budding media composers can only dream about and this will only boost that. I literally didn't know who she was a few weeks ago and now she's scoring the biggest TV show of the year. I'm looking forward to hearing it.

It sounds like she's been approaching scoring the show very thoughtfully. I'm excited to hear what she's done!

As long as it's as good as the Star Wars Visions score I'll be happy

He walked pass me; as he walked by, I just said, “Good evening, Maestro.” He gave me a gentle nod, smiled and said, “Good evening; thank you for coming.” Just a brief moment, but worth every penny. I’ll never forget it. He really is a gentlemen. His humble attitude really shows.

The fans.

This is not a DH update, but we were able to meet the maestro himself yesterday! He came to Juilliard for a conducting session where we played Superman March, theme from Jurassic Park, and Adventures on Earth. I was lucky enough to play piano/celesta, and Molly (who was in town to see his Carnegie concert the night before) was turning pages for me. So the short version is: both of us were in the room with JW and it was thrilling! And yes we did give him a flash drive with GOF, OOTP, and HBP on it. Basically we wrote him a thank-you letter for everything his music means to us, and presented highlights from the project as a fan gift (along with the knit JW). The project content was in an envelope so we don't know what he thinks or if he's heard it but we're just happy to have expressed our appreciation in some way! -BP

Overall, I'm very happy with this purchase. The album art is fantastic; it's so nice to see something other than just a re-hash of the original art. The notes are good, but not really detailed -- more like a love letter to the score. While I like having the extra music from the expanded release, the generous original soundtrack presentation has always been a favorite of mine, so this is perfect. The sound "seems" to be good, too. There are a lot of variables that go into how "good" the vinyl sound really is (turntable, pre-amp, stylus, speakers...). On my system, it generally sounds fantastic, save one rather large issue: The overall level seems lower than many other albums I own (classical, soundtrack or otherwise), meaning I have to turn it up a bit louder than usual. This makes the noise floor of the vinyl more apparent than some other LPs. Still, I like the sound of it, especially the low end, that really rumbles in all the right spots!

The On Demand Audio is now live! 2:36 minutes which is exactly what I captured live. So, I think it is basically the entire concert unedited. https://www.wqxr.org/story/john-williams-conducts-the-philadelphia-orchestra/

Two more Menken Disney ending cues

Amazing first half! He started to do his usual speech about not remembering which of the nine Star Wars films Across the Stars is from, but I held up two fingers right in front of him and he gleefully reacted and announced that it was from the second film “with Natalie Portman”. What a neat moment! Gonna remember that forever.

Yes, I've known about this since forever. I wish the chamber recital that was given at the time was recorded.

Begs the question what 'traditional orchestral' is. If you apply this label to any occurence of an instrumental group within an orchestra, fair enough. If you hope for musical development in a compositional sense, which means not just having the score react to movie cuts just because, but by having an overarching sense of musical architecture...well, i hope for it but the last 10-15 years let me doubt it very much. Also, using instruments from around the world is not a 'technique'. If it were, and there would be standards to it, film music would be better than it is.

There's always room to combine JW's classic sound and modern scoring approaches IMO. I for one was glad to see Holt talk about using instruments from around the world, it's a technique that adds so much flavour especially when supported by a traditional orchestral. Her comments saying that the sound is more in line with the classic approach than The Mandalorian is interesting, I wonder how much more?

For me, that moment is when Luke reaches out to Leia through the Force and the Falcon turns around in the clouds. Amazing rendition.

I still remember when 'Four Feathers' came out, the reaction in film music circles was - as expected - racist and ignorant: what's that awful ethnic stuff with the wailing fakir and why isn't there more of the syrupy love theme? It was truly a schizophrenic effort by Horner, in that respect, kind of like Goldenthal's motto of 'composition as collision'. Particularly two pieces 'The Mahdi' and 'Escape' are marvelous examples how to wed eastern/western.

The thing is that it wasn't artificially pitch-shifted. The original file they used was in 48kHz, and some dumbass, instead of clipping the frequency to 44.1kHz, accidentally changed the speed to 44.1kHz (which is a thing btw). If you change the speed back to 48kHz, what you end up with is the original, unaltered recording session file, without any artificial speed/pitch changing whatsoever, and it's true 48kHz as a plus. From then if you can convert it properly to 44.1kHz if desirable. I'm surprised more people didn't realize that.

Watch the video: it is very charming watching the three of them together. Plus, the arrangement is stunning. I have listened 10 times by now. This is already my favorite chamber piece by Williams-just the perfect theme to be given this treatment, and a masterstroke to have the guitar as the pairing.

I know I make this complaint a lot, but it really rubs me the wrong way that these reviewers (philly also) have positive things to say. However, when addressing his film music, they are constitutionally incapable of refraining from mentioning other composers who have come before. Such influences are part of every damn composers output since at least the time of Bach, yet they always do it to Williams and seemingly mostly just to Williams. Just shut the hell up; it is like they were beat up on the playground by bullies who were blasting SW at the time.

Any great score nowadays is an anomaly.

https://www.vanityfair.com/hollywood/2022/04/obi-wan-kenobi-composer-natalie-holt-john-williams/

And now it's official.

Now that is a nice review.

Why does no one like the ritardando? I like it. It gives the ending so much more power! The Berlin recording is now my standard recording for Harry's Wondrous World.

Im not thrilled about this news, but ill give her the benefit of the doubt as her comments look good enough

Both are fantastic Marc! Beautiful work

An American Tail (James Horner) - What better way to celebrate the 131st birthday of Prokofiev than with some James Horner ;-) Although AAT is more Smetana than Prokofiev (ironic given that Smetana was Czech rather than Russian. Then again, Prokofiev was technically Ukrainian… anyway). Still one of JH’s most charming, memorable and gorgeous scores even if the songs are a touch twee, although Somewhere Out There is a deserved classic.

Love the Doctor's tetchiness in this - 'And do you find you get punched in the face a lot when you do that?' 'No' 'It's as well I'm here then, isn't it?' Also the lovely little nod to Pat Troughton in the alien ship's database of depictions of Robin Hood in Earth's popular culture. And a pleasing 'message' about our need for heroes, be they mythical or otherwise.

Army of Darkness - Joseph Lo Duca (1992) Source: sabam.be* 01. ARMY OF DARKNESS PROLOGUE 02. ASH IN CHAINS 03. ARTHUR S FANFARE 04. OPEN PIT 05. HAPLESS SHEMPS 06. INTO THE PIT 07. THE PIT 08. THE PROMISED ONE 09. NIGHT COURT 10. POSSESSION 11. WHAT IS IT YO SHE BITCH 12. GIVE ME SOME SUGAR 13. BONE ANZA 14. SUNDOWN 15. HARP GLISSANDO 16. LITTLE ASHES PT 1 17. LONDON BRIDGE IS FALLING DOWN 18. CIRCUS DIVE 19. ASH SPLITS 1 20. ASH SPLITS PT 3 21. FOREST OF THE DEAD 22. THE GRAVEYARD 23. GOD SAVE US 24. LIVE AGAIN 25. SO LONG 26. WINGED DEADITE 27. STRANGE BIRDS 28. FOUL THING 29. STAND BY THEE 30. SAY HELLO 31. BUILDING THE DEATH COASTER 32. WHITES OF THEIR BONES 33. DEATHCOASTER 34. EVIL SHEILA 35. ON THE PARAPET 36. ASH BUCKLERS 37. SKELETOR 38. HENRY RETURNS 39. REUNITING 40. MANLY MEN 41. TIME TRAVELER 42. ARMY OF DARKNESS END TITLES * this isn't the original source, I found theses names while poking around one of the repertoires about a month ago, but cannot for the life of me find which one it was now, but sabam.be has most of them.

Yeah, I agree about this being beautiful. I hope he goes that road (chamber) for the Fabelmans score.

2 hours of pornographic violence is not for everyone.

Thomas Newman - American Beauty (1999) Source: bootleg 01. Opening OST01: Dead Already 02. 1st Videotape 03. House Cleaning OST09: Bloodless Freak 04. Cheerleader Fantasy OST13: Spartanette 05. Rose Petal Fantasy OST02: Arose 06. Post Shower Videotape 07. Root Beer Fantasy OST07: Root Beer 08. Weirdest Home Videos OST11 09. Bathtub Fantasy OST10: Choking The Bishop 10. Jogging 11. Lunch With The King OST04 12. Walk Home Funeral OST16: Walk Home 13. Paper Bag OST08: American Beauty 14. Jane Undresses 15. Fitts Fight OST05A 16. Couch Seduction OST06: Mr. Smarty-Man 17. Conspiracy Videotape OST12: Structure & Discipline 18. Drive To School / Colonel Sees Video OST15: Marine 19. Colonel Sees 'Blowjob' OST03: Power Of Denial 20. Ricky 'Confesses' / Colonel Visits 21. Colonel Leaves / Carolyn In Car 22. Undress Angela OST05B: Mental Boy 23. How's Jane OST14: Angela Undress 24. Shooting OST17 Blood Red 25. Aftermath OST18: Any Other Name 26. Crawl OST19: Still Dead

Because it's magnificently awful on a scale not even old Hammer cavemen flicks manage to be. Poor Sharon Stone has to deliver about two dozen of *bon mots* involving the word 'cum' that would make a drunk 14-year old run for the hills.

Awesome, so if I've done this right the Mondo version should sound like this 598174237_01.Prologue(CorrectSpeed).flac

This is the first I've heard of it. I imagine it is one of his many awards and recognitions he is particularly fond of.

I know that some people will want to know the exact contents, so here is the full cue list from the book. These can be used to follow along with either the movie or the expanded 3CD release from Intrada.

Will she make inappropriate love themes for siblings? If so, I'm good.

She said it will be reminiscent of the Star Wars tradition of music. I'm curious hear what that sounds like.

looks for other thread fails to find other thread

...stands for everyone of us. He'll save, with a mighty hand, every man, every woman, every child - he's a mighty Flash.

I think the thread should titled 'Natalie Holt's Benny (2022)'

Wow, it's almost like the JWFan forum is a reliable source!

Revenge of the Fifth

© STEVEN M. FALK/The Philadelphia Inquirer/TNS Fulll review at The Philadelphia Inquirer

That's the best description of JwFan I've ever seen

As the second most number of recordings of a single work (Mahler 5 being the top) I feel I should have a more informed opinion on The Rite of Spring but I don’t have one that is my absolute go to performance. Having said that I highly recommend the LA Philharmonic version conducted by Esa-Pekka Salonen. It’s live but the sound is great and the performance thrilling. I have Stravinsky’s own on the extensive boxed set and from what I recall it’s a fine performance and the sound is perfectly good. I still hold the Dorati/Detroit recording in high esteem as the first recording I bought. Great performance of the Firebird too. The performances of Stravinsky’s music conducted by Robert Craft are worth hearing although I think he’s better in the later neoclassical stuff than ROS. On the flip side I’m pretty sure I thought the Karajan version was terrible. If you want a different interpretation the rock version by The Bad Plus is worth checking out. Must given Petrouchka another airing. One of my favourites. By coincidence, currently listening to Prokofiev’s Scythian Suite which some people consider Prokofiev’s answer to ROS. I guess it’s pretty brutal and elemental and was originally written for Diaghilev. I’ve always loved it, particularly the Abbado recording coupled with the best version of Alexander Nevsky (suite) and Lt Kijé. However I’m on the BIS recording conducted by Andrew Litton coupled with a fine rendition of the 5th symphony. The whole Litton cycle of Prokofiev’s symphonies, on first listen, very good indeed. Looking forward to checking out Romeo & Juliet (even if it’s a weird disc that puts the selections from the three suites into ballet order. My go to for the full ballet is the Maazel version although my go to is the highlights conducted by Michael Tilson-Thomas which has all the best bits. I’m sure Thor would approve ;-) I think there is a set of Boulez conducting Stravinsky but I don’t think I have it. Probably worth a listen though if nothing else as Boulez usually lets you hear every detail which is a bonus in such a complex score.

I love the Patriot. I don't think it's his best in the past 5 years, but definitely up there (for me). Ray Barnsbury