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The tracks from Superman which cover the Kansas part of the story, which Donner filmed in a very Norman Rockwell style was matched perfectly by JW channeling Copland wonderfully. Leaving Home would be my top recommendation, but Death of Jonathan Kent and Growing Up are pretty good examples too. Mark

So I watched the film for the first time yesterday, and while I felt that the first half was a little bit uneven and I didn't fully "get" the tone it was going for, the last half completely redeemed it. And my goodness, while he stays in the shadows for most of the film, Johnny comes out in peak form for that emotional finale: beautifully subtle and restrained, but deeply moving. The scene where David speaks to the Blue Fairy and "What Is Your Wish?" plays with those beautiful low register chords and choir, definitely caused me to well up a bit. Undoubtedly the highlight for me.

I just received this email from Craft. Note the expiration date of the discount coupon😒

With difficulty - haha! The term has been used so much it’s grown far beyond Copland and it’s a collection of different sounds/styles - hymnal, pastoral, heroic, patriotic, stark - rather than one consistent thing. Nor are any of these sounds purely attributable to Copland either, Williams has done much for their popularity alongside other composers of westerns + Hugo Friedhofer, Jerome Morros, Elmer Bernstein, Virgil Thompson etc. But I think JW’s Coplandesque scores - the really good ones: like The Cowboys, Lincoln, SPR - go beyond just co-opting a Copland sound, but rather blend together all of these influences/traditions. It’s just that Copland has become the de facto frame (that’s not to say an inappropriate one!) through which we discuss this sound that it’s hard to address any musical Americana without citing him (see title of this thread as proof 😂) @Trope & @Jurassic Shark btw, great (& short) video essay on Williams and Copland (& Horner) here: It also speaks to some of the distinctions/separations of AC sound which @Thor alluded to.

And this one, which is brilliant. The focus this part of the film, Unfinished Journey, is American entertainment. Obviously, Williams is scoring it, so it is going to be his music, but he does the whole thing as an homage to Hoe Down--two for one.

I just stumbled on this wonderful interview with Chris Malone about the Empire Strikes Back soundtrack. He goes over a lot of what he talks about in his old pdf document and also corrects some mistakes he made. I'm only like 40 minutes into it but I've learned a ton about the exact formats that the OT scores were recorded onto, I'd highly recommend giving this a listen

Well, he did write the score to Jurassic Park, So I guess so

It was basically all about JW’s American sound, looking at many of the scores mentioned in the thread, particularly anything martial, pastoral, hymnal. I was trying to assess how Williams channels his American predecessors: what musical traits does he borrow, which are his own etc. And I also explored how his Americana might encourage a viewer/listener to look at the US from a particular perspective - for example, the hymnal character of Lincoln essentially deifies the president throughout. The conclusions were basically that Williams has assimilated numerous American voices into his own, and might now even be a reference point for modern audiences’ understanding of what the US “sounds” like. I also tried to question/critique whether or not his role as a patriotic composer might occasionally supersede his filmic duties (I think that’s glaringly obvious at the end of Midway and in his approach to Lincoln), and address that the sound of America only represent an ideal of America. It was called Composing America: Patriotism, Mythology, and Piety in the Film Scores of John Williams. Currently doing some small scale corrections following my defence! Nearly finished with it! Thanks for the expression of interest @Jurassic Shark! You actually really helped me out at a pivotal stage when selling me the Lincoln piano folio, that was really helpful for some of my analysis.

This was always at the forefront of my mind when digging into the JW & AC connections for my PhD (which I passed 3 week backs 🥳!). Never found anything to prove it though, but I’m sure they must have crossed paths at Tanglewood or through Bernstein in the 70s or early 80s, or even through Herrmann earlier on, he studied with AC for a time. Most of the go-to examples have been named, but I’d add: The final tracks of The Post, which become very earnest and Coplanesque. Lots of the fanfares - Liberty Fanfare, Olympic Fanfare and Theme - obviously owe a large debt to Copand’s Fanfare for the Common Man, but they obviously suggest starkly different feelings to Lincoln, SPR etc. Then there’s the more rustic Rodeo-inflected sound evident in parts of Lincoln; and stuff like “Follow Me” from Always and “Isabelle’s Horse and Buggy” in Stepmom. In a similar vein, @Thor pointed me toward a vibrant insert Williams added to The Mission, which is also in that same spirit. Can’t recall where to find it though!

Howard Shore is scoring David Cronenberg's The Shrouds. Michael Giacchino may be concentrating on pre-production of Them! Alexandre Desplat scored the first three episodes HBO's The Regime (with Alex Heffes scoring the final three).

I'm so confident he's gonna win I think the real question is what theme will be played as he walks to the stage.....Indy's or Helena's?

"Writing's on the Wall" is a fantastic song in and of itself, with great lyrics and a beautiful orchestral backing. Sam Smith's cringey vocal is what ruined it for me. Shirley Basset was allowed 3 Bond songs, why couldn't they have gotten Adele back for this one?

*pffff*

I would say that the score should Whirl through Academ(e)y. Sometimes my writing is as clumsy as it is stupid.

Oh I know what Crumhorns sound like:

I don't get the hate for Görannson's Oppenheimer. I think it's a good score, and good music - for a modern score for a dialogue-heavy, action-light drama, there's refreshingly more to the music than just wallpaper sound design. One may dislike the approach Nolan and Göransson took (I don't), but at least it's a deliberate creative choice, and certainly not just Göransson's own. And therefore I'd say, yes, it's surely the more original of the two scores. Because wherever you may rank DoD among Williams's output - musically, even his lesser scores these days are miles ahead of almost everyone else working in this field these days. But original isn't an attribute I'd use to describe it.

Boot

I fully understand and agree with that logic and I've moved a few tracks around on personal playlists in order to have a score start and end in a nice way. But by now surely Elfman understands that these albums are meant to be complete, with listenability as a secondary aim. If a track doesn't work in C&C order he should just put it somewhere else!

Do I spy "Crumhorn"!?

Marty knows better than that

I myself like it a lot.

I used to purchase several copies when I found particularly good sheet music deals on Amazon, as an "insurance" considering their lousy packaging for international orders. So thanks for buying my spare copy, and let me know if there's anything else you're looking for.

The second movement of Williams' Trumpet Concerto has clearly been influenced by Copland's Quiet City.

Well sure, but I didn't know any of that when I wrote that post on January 7th!

I wonder when this album is finally coming out?

Oh, I’ve just remembered there being some pretty neat Copland-esque material in Far and Away.

One of the few Morricone scores I own! The movie is one of the funniest Star Wars ripoffs out there. The score is quite cosmic in a lovely way

Backdraft - squabbling brothers, a serial arsonist and political skullduggery are all in the mix in this Ron Howard number set in the Chicago Fire Department. Kurt Russell, William Baldwin, Scott Glenn, Robert De Niro and Donald Sutherland all do fine but the real stars of the show are the pre-CGI pyrotechnic effects which are spectacular, terrifying and utterly convincing.

No chance, unless Copland put on a brunette wig and a very convincing British accent. And baked him some cookies.

Other examples: JFK BORN ON THE 4TH OF JULY THE COWBOYS THE PATRIOT THE BFG (weirdly, for such a quintessentially British story) Personally, I always make a distinction between the more classical Americana in Copland's idiom - big, open intervals, soulful trumpets, fullbodied orchestral sound etc. - and the more gritty, earthy Americana of things like THE REIVERS, ROSEWOOD, THE MISSOURI BREAKS etc., which is NOT so Coplandesque, IMO. I wonder if Williams ever MET Copland, though.

Hilarious how twice in a row, CAA agent Michael Ovitz claims something about his involvement -- that he bartered an elaborate deal between Spielberg and Scorsese to trade Cape Fear and Schindler's List, and that he helped convince Universal to greenlight the film -- and Spielberg's just like "Uhh no" Agents! Also bizarre how the article presents George Lucas supervising the mix on Jurassic Park as an exclusive scoop. That's been known forever.

The other two concert pieces need to be released as "Nazuite" and "Archisuitees" respectively.

What's worse is that, as the screengrabs you posted suggest, their int'l arrangement isn't quite all glued together. There is https://intl.varesesarabande.com/ which is the branded front door, but it's run by https://intlstore.concord.com/ and the fulfilment is done by some company called Sandbag whose support page is just some generic ticketing system. It's also very unclear how you go about creating an account from the Varese front door - I think you have to go to Concord's site to do that. The old int'l store worked fine from a technical perspective. This is just bad design across the board. I've raised a ticket to cancel my current order and I've reordered from the US site. I was originally going to just wait for it but the whole sellotaping together of this process has irritated me. The price difference could maybe be explained by the cost of shipping over a load of units to the UK? (perhaps from mainland Europe) They're charging nearly £5 for only 2nd class delivery though, which itself is extravagant. No risk of customs of course but I can barely remember the last time they took any interest in a CD.

https://www.broadwayworld.com/cabaret/article/Review-Carnegie-Hall-Brings-Audience-to-Its-Feet-with-AN-EVENING-WITH-JOHN-WILLIAMS-AND-YO-YO-MA-20240224

Yup. Elfman on autopilot isn’t for me. When he’s good, he’s brilliant. But I don’t recall that being the case here. Thanks for the feedback. I’m sure it’s a good score, but I’m not an Elfman completist, and I don’t need to spend money to add average music to my shelf. I remember absolutely loving the film though, more than the first one. So maybe I do owe it a listen at least.

https://intl.varesesarabande.com/products/john-williams-presumed-innocent-the-deluxe-edition-cd/

Hi all. Presenting the complete score cue list breakdown of Disney's Beauty and the Beast. Again, done from my usual research on various sources. Using accurate durations, the excluded tracks with custom titles, etc. As always, corrections are welcome. Enjoy! * not actual cue title SONGS AND SCORE 1) Prologue (2:33) 2) Belle (5:07) 3) Gaston Accosts Belle (:58) 4) Intro Maurice (1:55) 5) To the Faire (2:01) 6) Wolf Chase (:47) 7) Intro Objects (2:16) 8) Intro Beast (:47) 9) Belle’s Cottage (:12) 10) Band Tuning (:07) 11) Bridal Chorus 1 (:06) 12) Gaston Proposes to Belle* (1:16) 13) Bridal Chorus 2 (:14) 14) Gaston Rejected (:20) 15) Belle (Reprise) (1:04) 16) Where’s Papa?* (:43) 17) Belle Arrives at the Castle (:53) 18) Belle Finds Maurice (2:34) 19) Belle's New Home* (1:23) 20) Dinner Invitation* (:36) 21) Gaston (3:37) 22) Gaston (Reprise) (2:01) 23) Belle and the Wardrobe (1:28) 24) Beast Waits (1:13) 25) Clock Explains (:20) 26) At Belle’s Door (1:07) 27) Magic Mirror* (:58) 28) Sneak to Kitchen (1:56) 29) Be Our Guest (3:42) 30) Be Our Guest (Playoff) (:56) 31) Tour of the Castle* (1:23) 32) West Wing (2:19) 33) Wolf Attack (2:06) 34) Belle Rescues Beast (:25) 35) Belle Bandages Beast (:26) 36) Gaston and Monsieur D'Arque* (:57) 37) Maurice Goes For Belle* (:46) 38) Belle’s Gift* (2:06) 39) Breakfast* (:43) 40) Something There (2:16) 41) Tonight’s the Night (1:04) 42) Beauty and the Beast (2:44) 4£) Beast Lets Belle Go (2:19) 44) Belle Leaves* (:35) 45) Belle Returns Home* (1:12) 46) Gaston’s Plan* (1:52) 47) The Mob Song (3:28) 48) Battle in the Castle (2:27) 49) Battle on the Tower (3:03) 50) Death of the Beast (1:38) 51) Transformation (3:13) 52) Beauty and the Beast (Reprise) (1:01) 53) Beauty and the Beast (Duet) (4:03) BONUS TRACKS 1) Be Our Guest (Alternate Version) (3:42) 2) Human Again (Outtake) (4:53) 3) Prologue (Without Narration) (2:33) 4) The Rose 1* (:16) 5) Intro Maurice (Alternate) (1:55) 6) To the Faire (Alternate) (1:56) 7) Bridal Chorus 2 (Alternate) (:14) 8) Clock Explains (Film Version) (:20) 9) At Belle’s Door (Film Version) (1:07) 10) Magic Mirror (Film Version)* (:58) 11) Tour of the Castle (Film Version)* (1:23) 13) West Wing (Alternate) (2:19) 14) Insert* (:04) 15) The Rose 2* (:26) 16) Wolf Attack (Alternate) (2:06) 17) Council Meeting (Unused)* (:40) 18) Beast Lets Belle Go (Alternate) (2:19) 19) The Rose 3* (:29) 20) Battle in the Castle (Alternate) (2:27) 21) Battle on the Tower (Alternate 1) (3:04) 22) Battle on the Tower (Alternate 2) (3:03) 23) Death of the Beast (Alternate) (1:37) 24) The Rose 4* (:07) 25) Lumière (Sting)* (:03) 26) Cogsworth (Sting)* (:03) 27) Mrs. Potts (Sting)* (:03) 28) Belle – For Linda Worthington (Demo) (4:45) 29) Belle (Demo) (4:50) 30) Belle Reprise (Demo) (:58) 31) Gaston (Demo) (3:39) 32) Gaston Reprise (Demo) (2:28) 33) Be Our Guest (Demo) (3:27) 34) Human Again (Demo) (9:10) 35) Beauty and the Beast (Work Tape/Demo) (3:56) 36) Death of the Beast (Early Version 1) (1:35) 37) Death of the Beast (Early Version 2) (1:29) SONG INSTRUMENTALS 1) Belle (Instrumental) (5:07) 2) Belle (Reprise) (Instrumental) (1:04) 3) Gaston (Instrumental) (3:37) 4) Gaston (Reprise) (Instrumental) (2:01) 5) Be Our Guest (Instrumental/Vocal Accomp't) (3:42) 6) Be Our Guest (Instrumental) (3:42) 7) Be Our Guest (Alternate Instrumental Mix) (3:42) 8) Something There (Instrumental) (2:16) 9) Beauty and the Beast (Instrumental) (2:44) 10) The Mob Song (Instrumental) (3:28) 11) Human Again (Instrumental) (4:40) 12) Beauty and the Beast (Reprise) (Instrumental/Vocal Accomp't) (1:01) 13) Beauty and the Beast (Reprise) (Instrumental) (1:01) 14) Beauty and the Beast (Duet) (Instrumental) (4:03)

You may think that, I couldn't possibly comment .

Oh wow, that's quite tasteful and also a great track. Bodes well for his ability to adopt other's musical styles This track is really nice, I've been checking out a bunch of random stuff from his repertoire and I've pretty much liked all of them. Very excited to see what he does with Star Wars Oh this is quite John Williams-y (or more accurately his influences!

https://www.qobuz.com/us-en/album/rock-a-doodle-original-motion-picture-soundtrack-robert-folk-tj-kuenster/r34fkkpjwqx1a Will be buying later in the evening. Samples sound so great after suffering through the german promo, lol. Don't see the CD on quartet yet :/ Edit: Don't know about the technical side but the score itself is pretty great. I didn't remember it being this zany.

I might complain about a Williams loss in a generic Oscar thread. I would not crash a celebratory Goransson thread to air any complaints.

Excellent news. It is nice to see Williams get such honors from people who actually focus on the craft itself.

I just learned that the OST of the movie includes some dialogues from the film. Whaaaattt??? Including dialogue on a soundtrack is an unforgivable lapse of taste. It may have been a trend in the last century when, after a film's theatrical release, one only had the chance to watch it again when it aired on television. However, this practice should be abolished. Now, if people want to watch the film, it is available on any platform, and if they want to listen to the music, they should be able to do so without the clutter of dialogue.

...that will contain the rest of the Vienna II "songs".

I've seen him in the role a couple of times. He's old now and not in his prime, but one thing he could easily do still are those low notes and Ochs's mannerisms. This is one of the most highly regarded recordings: (This one starts with the 2nd act, couldn't find a full version) I like it not only because it's very good musically, but because this Otto Schenk staging from Munich is almost exactly the same he did for Vienna in the early 70s, and which is still being shown today (with updated props, partly I suppose because some of the doors wouldn't always stay closed after decades of use). I think he also re-made the same version for the Met. Curiously, the "Wiener Stadtpalais" in the 2nd act looks very different from how it does here, but the scenery for the other two acts is nearly identical. I've seen it numerous times with Garanča as Octavian, and I can only hope there's a video recording of some of those evenings and one will be released at some point. She's not only one of the best mezzos, but also one of the best actors on the opera stage.

I think it's a very strong film about a marriage and all the different ups and downs that belong with these two people. Cooper & Mulligan are fantastic. Especially Mulligan. She is the heart of the film and she made a huge impact. As a biopic of Bernstein it's a lesser film. It doesn't teach you anything about why Bernstein was so big and highly regarded in what he does. Or how he came to that place. Personally, I think it's a good film, but I don't think it's the film a lot of people expected when they heard a Leonard Bernstein biopic was being made.

Back in stock! I was finally able to order.

What piece does he play from 00:40? Or is it just impro?

I'm only familiar with the prequel, "Presumed".

Actually, that's not true! Adding the songs caused 2 tracks of Williams score to be cut!! We actually know exactly what the OST album was originally like before the songs came to be, thanks to early press release / articles, such as this one that still exists on the internet. From that article: 01. The Mecha World 02. Cybertronics 03. Hide and Seek 04. Stored Memories/Monica's Theme 05. Abandoned in the Woods/The Journey to Rouge City 06. Under the Ice 07. The Search for the Blue Fairy 08. Almost Human 09. The Replicas 10. The Moon Rising 11. The Reunion 12. End Credit 13. Vocalise (Monica's Theme) I've bolded the two tracks that got cut when the songs got added. The addition of the songs also caused all the tracks to end up in a different order than they did here, and by the final OST most tracks had been edited down further, too We know the full lengths of the original OST album as well as the contents, because when the 2CD Oscar Promo leaked, all of CD1 and the first two tracks of CD2 actually ARE this original OST album (the remainder of CD2 was all the cues that didn't appear on the original OST in chrono order). So with that in mind the OST would have looked like this: 01 The Mecha World (7:05) 02 Cybertronics (3:29) 03 Hide And Seek (3:26) 04 Stored Memories / Monica's Theme (11:44) 05 Abandoned In The Woods / The Journey To Rouge City (5:33) 06 Under The Ice (5:03) 07 The Search For The Blue Fairy (6:15) 08 Almost Human (4:12) 09 The Replicas (5:59) 10 The Moon Rising (5:54) 11 The Reunion (7:09) 12 End Credit (3:05) 13 Vocalise (Monica's Theme) (4:22) As for what each track contained, here you go 01 The Mecha World (7:05) Same as the final OST track of the same name - except it wasn't edited down! 02 Cybertronics (3:29) Same as the final OST track of the same name - except it wasn't edited down! 03 Hide And Seek (3:26) Same as the final OST track of the same name - except it wasn't edited down! 04 Stored Memories / Monica's Theme (11:44) Same as the final OST track of the same name - except it wasn't edited down! 05 Abandoned In The Woods / The Journey To Rouge City (5:33) Same as the final OST track "Rouge City", except the Strauss quote wasn't edited out and awkwardly replaced with a tracked section of "The Mecha World" 06 Under The Ice (5:03) 7M3 Journey Through The Ice, which isn't on the final OST at all 07 The Search For The Blue Fairy (6:15) Same as the final OST track of the same name 08 Almost Human (4:12) 2M3 Wearing Perfume, which isn't on the final OST at all 09 The Replicas (5:59) Same as the final OST track of the same name 10 The Moon Rising (5:54) Same as the final OST track of the same name, except the music wasn't edited and swapped around, it's in the right order here 11 The Reunion (7:09) Same as the final OST track of the same name, except the final OST version is actually longer 12 End Credit (3:05) Same as the final OST track 2 "Abandoned In The Woods" 13 Vocalise (Monica's Theme) (4:22) Same as the final OST track 9 "Where Dreams Are Born (Monica's Theme)" In short, the original OST album JW originally conceived is lightyears better than the final OST album we got.