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On the heels of the Milan events... Tune in today at 7pm CET / 1pm EST / 10am PST (available at any moment immediately afterwards)

Concert programme. I hope there will be an English version sold at the venue. https://assets-global.website-files.com/60ae054b30328f0c5ad249fd/638e2dc3680eb6cc722ffe66_PROGRAMMA_WILLIAMS_12DIC_web_doppie.pdf Poster: https://assets-global.website-files.com/60ae054b30328f0c5ad249fd/638e2dd3a625838dea439783_AOFS_locandina_12 dicembre 2022_WEB.pdf

Finished my first full listen (and currently in the beginning of my second). I’ll need to revisit it more to have some comments of substance. Perhaps watch the film again as well. Just a few things that jumped out at me this time: Introduction and Retribution: The increasing rhythmic scrapping that starts about 2:25 as the violence amps up. Really sets me on edge. I can see how it would pair perfectly with the captives finding the barrel of cane knives during their attempted escape. Hope we can get some “score restore” videos for these! The Meeting of the Minds(Memories of Home) theme is so beautiful. I love it in all its iterations. So glad this release lets this theme shine more. Which brings me to the heart rending Prisoner’s Song. Jay you mentioned one of the best moments of this score is a “non-thematic” one. Was this the one you refer too? It’s brief. But it cuts me to the core. I don’t know what it is about it. There’s something in it that makes me feel like it’s an evolution of the Meeting of the Minds/Memories of home theme (Anyone want to try and transcribe the two?) Where “Meetings” evokes their old homeland, “Prisoner’s Song” seems to elude to their new home and the African culture that will develop in North America. Religious Spirituals having evolved from traditional songs of their homeland. Wish it became a reoccurring theme. Damn is it moving. Comparing the two versions of Tales of Horror, it’s interesting to see the two approaches. The film version seems to score the first half of the cue with a more paranoid vibe. It helps you feel Cinque’s perspective a bit more as he sits uncomfortably on the stand. Then it explodes into the “Dry Your Tears” theme backed by the choir as he summons the courage to speak. The alternate is flipped in it’s choral usage. The first half has the momentous choral building of Cinque’s theme. Heavy with sorrow. But then a more subdued version of the “Dry Your Tears” theme plays sans-choir as Cinque stands and declares “Give Us Free!” Id be very curious to see a score restore with this version. The brutal Spanish Guitar strums that clash with the African instruments about 3:08 into The Crossing is just a master stroke of genius! That’s all I got so far. I’m sure more will pop out as I revisit it again. Now. Back to Tomorrow Never Dies! 😃

Nothing is planned at the moment, sorry to disappoint! We hope to discuss it in the first quarter of the year on a future episode

I suspect it’s not the artists themselves but their record companies and their multi-million dollar contracts. Adele was a Columbia artist during Skyfall and the OST was released by Sony Classical. The two labels probably couldn’t come to terms with each other regarding profit share from the album, and as a result the album was only Sony Classical and the single was released by XL/Columbia. Similarly, “You Know My Name” was released by Interscope as was “No Time To Die” with not a penny to Sony. Ditto Sam Smith on Capitol Records. On the other side, Jack White was releasing music on his own label at the time and Alicia Keys was already a Sony artist on J Records, so I’m sure the negotiations were fairly easy for Quantum of Solace.

Oh, @Pellaeon... Like others here, it must have slipped your mind that I was vindicated after my grand predictions for Episode IX were proven accurate... this, after so many here vocalized their skepticism and dismissal of my thoughts on Star Wars. To support my theories regarding the narrative of the Saga and its pre-planned trajectory, I provided an abundance of substantive canon evidence and logical reasoning, starting long before the first trailer and continuing after I had processed the film. On this topic, it should be obvious by now that I am the most intelligent member of this forum. Over time, I have only become more certain that my assessment of Star Wars is correct. I won't mince words: The Star Wars audience has no idea how wrong they are about this IP. When confronted by the reality of all this, the sheer scope of their collective misinterpretation will be staggering. I enjoy debating and sharing Star Wars info and ideas. But all things considered, perhaps those who continue to adamantly doubt me - and Lucasfilm - should be considering if they are the foolish ones. If (when) this is eventually - and conclusively - proven to have been the case, will these individuals really be that surprised? They shouldn't be. At least your insult was Star Warsy.

I don't need photos. I just want a raw recording of this event. Nothing that bothers JW, just a recording/broadcast.

I've listened to this wonderful set all the way through 2 times since I got it on Saturday, which is admittedly less than I would have if I wasn't listening to a lot of Christmas music at the moment (and hey, I'll have all year to absorb this release properly whereas the Xmas music goes back in the vault [i.e., off my phone] by January). My initial takeaway is just how gratifying it is to have cues like "Steering East" and "African Violet", cues I fell in love with in the film, finally finally to listen to properly on their own.

He can retire from composing so that he can work full time on approving all the remaining expansions and premieres of his scores - including Indy and Star Wars 🙂

I just wish Mattris would also give us stock market predictions too.

Got my package from Craft Recordings today - a pretty nice little set. Approximately EP-size and shape (see smashed up penny for scale). The whole thing is bound together as a book, with ~50 pages of liners (doesn’t look to be a long read - big font and lots of pictures), and then five pages of stars that serve as sleeves for the CDs and Blu Ray.

@TownerFan has astutely pointed out that most if not all of the restaurants in the area of the concert won't even start dinner service until 7 or 730, and with the concert starting at 8, it doesn't really make sense to try to all have a dinner together. Instead, he will share a bar here which we can all go to after the concert, and hopefully someone will remember to get a group picture!

Either Mattris is the architect of the most long-game, sustained & diabolical troll job in JWFan history, or he's one hydrospanner short of a full toolbox, and in serious need of a restraining bolt. It's really sort of a beautiful thing. If it is a troll job, you have to admire his persistence & dedication to his craft. Maybe he really is the most intelligent member of this forum?

To be fair, I think this might say more about your music tastes than his relative fame. Between Soundgarden and Audioslave, Cornell was very very popular and well-known by the mid 2000s. (this doesn't mean I don't agree it was dumb to keep the song off the OST, which it was)

Season 2 premiers January 4th. Excited for this

Molto bello! Mi piacciono i diversi tipi di carattere.

Ooh. Intriguing! Ironically the one I work for isn’t lol.

Mine arrived. Listening now. Incredible release!

If critics reacting on Twitter were a thing in 2009, this would've been what'd they tweeted after the first movie

Is anybody seriously expecting any more than that? I'm not. And I'm still quite looking forward to seeing in the cinema.

It's scary how well Powell has nurtured his assistants over the years to sound like him. I'm sure they are talented in their own rights (who knows, they might even have their own 'sound') but Willis and Batu Sener do very good imitation jobs. Stunning. One of the defining scores of the early 2000s.

Made it home safe after a perilous snowy drive home. Now to dig in!

Well yeah, in that case, anything goes.

He's confirmed it again today.

2:38 to 2:50 in “Boarding the Stealth”. A small but effectively badass moment in TND. I love how the lower strings attack the famous guitar riff. Arnold does this quite a bit throughout the score. Instead of a cool confidant rendition, things are tense and dire. Love it. Also “Helicopter Ride” (now “Vietnam” on the LLL release) has been a standout highlight for me ever since I saw the film as a youngster. It’s got those cool Arnold strings he uses in Bjorks’ “Play Dead” song.

Pretty sure he did say he was working on another animated film not too long ago.

He's not that bad. I actually sort of like this song. Speaking of Bond songs and Chris Cornell, I absolutely love this orchestral arrangement of You Know My Name: Karol

It’s really terrific!

I’ll temper this by saying that I agree that the songs SHOULD be on the albums. However, businesswise, in the Daniel Craig era of Bond where people can buy music track by track (instead of having to buy a whole album), it’s very savvy for individual labels to release the track themselves and get 100% of the money instead of splitting it with Sony on a score album that will sell far fewer copies overall than the individual song track will.

I bought the boxset, and it looks like it’s finally coming today! Hopefully this and the new Great Pumpkin sold really well so that they’ll release more Guaraldi music from whatever tape archive they found! Im continuing my fairly alphabetical journey, so today I’m listening to the scores from Christmas Break-In and A Christmas Story, as well as A Christmas Together (John Denver and the Muppets).

With a Stempel, ja, ja.

Omg Nimbus 2000 replaced with Fawkes the Phoenix. I'm so happy as I never heard it live. I'm very curious about encores. I'm betting Imperial March and Jurassic

beautiful booklet!!!!!

Bond sounded more authentic with Barry, surely, but he never sounded cooler than when he was with David Arnold.

This was the second expanded score I ever purchased and I still love listening to it! Certainly one of the best 90s Horner scores, and the launch cue might be the single most epic piece of music he wrote! Has there been any discussion about the opening 45 seconds of "Into the L.E.M. (Film Version)" and why that section sounds like there is some strange phasing/microphone overlap going on? I didn't notice it until I listened with headphones and compared it to the regular album version of the same cue.

Seems like I’m the only person in the world who likes the film song much better than Surrender. It fits much more with the tradition of the Bassey songs before it, but not with the modern style of the Brosnan Bonds. Sounds like a throwback track.

I rather dig the Simon Greenaway source pieces.

The average idiot makes the exact same mistake though. Every time a new John Williams movie comes out, tons of casuals get disappointed when the trailer music isn't on the album.

"It's an Avatar movie" Another one of those eyeroll inducing attempts to make it sound like a whole Avatar universe and legacy exists because of one singular movie, and had always been planned to exist. This is reason number umpteen why Hollywood is just intolerable these days, the shilling and bootlicking of so-called journalists that requires certain areas of the brain to be permanently shut down, and just function as an echo chamber for the loudest celeb dumbass in the room, in this case James Cameron.

I don’t know, 112 sounds nice. So does 113 and 114 and 115…

This is almost the inverse of this thread, but we were watching the musical Anything Goes (a filmed recent live stage production) on BBC4 at the weekend. While this version of the famous title track is clearly closer to what Cole Porter originally wrote, it’s nothing compared to the brilliance of the Temple of Doom version which makes all others seem really quite disappointing somehow!

Perfection.

@Jay Thanks for the detailed notes on the bonus tracks! I hope this will become a regular feature of these expansions.

So my friend is doing the music for the second trailer coming out next month, and it's going to be about the Nazis from the first trailer, so they used the Nazi motif from TLC. He sent me a short preview of it: indiana_jones_dial_of_destiny_trailer#2.mp3

+++Concert will be broadcast live on Radio 3, Monday 12 December at 8 pm++++[Edit: TBC] Rai Radio 3 Classica | Canale | RaiPlay Sound Rai Radio 3 | Palinsesto | Canale | RaiPlay Sound +++Italian program notes by Audissino+++ Imperia-Hollywood: il musicologo imperiese Emilio Audissino autore del "libretto" per il concerto di John Williams alla Scala - Riviera24 di Stefania Orengo, 06 Dicembre 2022 ___________________________________________________________________________________________________________________ Automatic translation! INTERNATIONAL Imperia-Hollywood: the musicologist from Imperia Emilio Audissino, author of the "libretto" for John Williams' concert at La Scala Williams has won 5 Oscars for the soundtracks of the most famous films, including Indiana Jones, Star Wars and Harry Potter Imperia-Hollywood. Imperia meets Oscar-winning music and flies to La Scala in Milan thanks to Emilio Audissino, from Imperia, film historian, musicologist and associate professor at Linnaeus University in Sweden is currently the world's greatest expert on composer John Williams. Who is John Williams? The composer, 5 times Oscar winner is the "father" of the soundtracks of all StevenSpielberg's films, including Indiana Jones, of the Star Wars saga of the "Edwige Theme" of Harry Potter. At the age of 90, the American composer will make his debut in Italy and for the first time will perform in Milan next Monday, December 12th. Emilio Audissino was commissioned to write the program or the "libretto" that will be distributed at the theater with the explanation of all the pieces that Williams will propose in his first Italian performance. «It is a great satisfaction for me to participate in this epochal event for music and even more so that I have been asked to write the Italian libretto, since usually my works are almost exclusively in English» comments the musicologist. Audissino has written two books about Williams, who is in effect one of the most famous composers in the world and who is currently taking care of the soundtrack of the latest episode of Indiana Jones, out next June 2023 in theaters. An exceptional concert in Milan, where tickets were sold out after just five minutes and where Imperia will also be there not only thanks to the work of Professor Audissino but also to his presence, requested, the day before Williams' performance. Audissino will introduce the open rehearsal to be held at the Teatro alla Scala on Sunday 11 December for the public under 30. The concert will be broadcast live on Radio 3 on Monday 12 December at 8 pm In the picture Maestro Williams and Emilio Audissino in their debut in Vienna. The musicologist and professor from Imperia is the author of the books "Film/Music Analysis: A Film Studies Approach" and "The Film Music of John Williams: Reviving Hollywood's Classical Style" (2014, republished in 2021). Automatic translation!

Unfortunately because I accidentally leaked my friend's music for the upcoming Trailer #2, he was forced to rewrite it using the Raiders Nazi march instead. indy_v_trailer_music_new.mp3