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  1. https://filmmusicreporter.com/2024/03/22/john-williams-reimagined-album-to-be-released/ Warner Classics will release John Williams Reimagined, a new album featuring music by the Academy Award-winning composer arranged for chamber trio of flute, cello, and piano. The 2-CD set is produced by Robert Townson and the music is performed by flutist Sara Andon, cellist Cécilia Tsan, and pianist Simone Pedroni. The album covers Williams’ career from his early Emmy Award-winning score for the 1970 television film Jane Eyre to the main theme of 2022’s The Fabelmans, and includes such titles as Star Wars, Schindler’s List, Harry Potter and the Prisoner of Azkaban, Jurassic Park, A.I. Artificial Intelligence, Hook, The Accidental Tourist, The Witches of Eastwick, Dracula, The Sugarland Express, The Patriot and War Horse. A first track (Over the Moon from E.T. The Extra-Terrestrial) has just been released today and is now available to stream/download now on all major digital music services and can also be checked out after the jump. Here’s the album track list (per Slovenia’s NIKA): Disc 1: 1. Star Wars: Princess Leia’s Theme 2. Jane Eyre: To Thornfield 3. Jane Eyre: Reunion 4. Memoirs of a Geisha: Sayuri’s Theme 5. Memoirs of a Geisha: A Dream Discarded 6. Memoirs of a Geisha: Going to School 7. Images: In Search of Unicorns 8. The River: Growing Up 9. The River: The Pony Ride 10. The River: Love Theme 11. The River: Young Friend’s Farewell 12. The Sugarland Express: Theme 13. The Sugarland Express: Elegy 14. A.I.: The Reunion 15. The Empire Strikes Back: Han Solo and the Princess 16. Far and Away: County Galway, Joseph and Shannon, Blowing Off Steam, Finale Disc 2: 1. The Fabelmans 2. Seven Years in Tibet 3. Jurassic Park: A Tree for My Bed 4. Hook: The Face of Pan 5. The Accidental Tourist 6. Schindler’s List: Theme 7. Harry Potter and the Prisoner of Azkaban: Double Trouble 8. Harry Potter and the Prisoner of Azkaban: A Window to the Past 9. Harry Potter and the Prisoner of Azkaban: Hagrid the Professor 10. Harry Potter and the Prisoner of Azkaban: Chasing Scabbers/Hagrid’s Friendly Bird and The Snowball Fight 11. Dracula: End Credits 12. War Horse: Dartmoor 1912, Bringing Joey Home and Bonding, The Death of Topthorn, Finale and The Homecoming 13. The Patriot 14. Sabrina: How Can I Remember? 15. The Witches of Eastwick: The Tennis Game 16. The Witches of Eastwick: The Seduction of Suki and The Ballroom Sequence 17. The Witches of Eastwick: Devil’s Dance 18. E.T.: Over the Moon
    13 points
  2. Decided to start a thread to list all of these since I've started documenting them. There are a surprising number of these available to the public. From ANH, everyone knows about takes 16-20 of 1m2 Star Wars on the 1997 set, and the alternate takes throughout the 1993 album are pretty well known as well (though not necessarily documented). But I was surprised to find that the 1997 and 2018 albums actually have alternate takes too! Here's a few that I've found already: 1M3 The War has an alternate take on the 1993 set from 2:15-2:58, the 1997/2018 sets have the correct one. 2M3 The Little People has an alternate take in a couple spots. The 1993 and 1997 sets both have the wrong take from 3:12-3:16, where the 2018 has the right one. However, the 1993 and 2018 sets have the wrong take for the ending Imperial statement, where the 1997 set has the correct one. 2M5 More Little People has an alternate mix for 1:25-end on the 1993 and 1997 sets, where the 2018 has the correct mix. I thought this was a different take originally but @Manakin Skywalker noticed that the 1997 and 2018 versions do indeed phase, so it must be a different mix and not a different take. I'll keep updating this thread as I find more. Feel free to include ones from other Star Wars scores, they don't have to just be ANH
    10 points
  3. Chen G.

    Villeneuve's DUNE

    That, had they cast MENA actors, the same people would make the opposite criticism: "Look at how they hired MENA people only to put them in roles that ridicule Muslim religious fervour (Stilgar), demonise it (pretty much all the others), fetishize them and put a white saviour at their head."
    7 points
  4. I listened to the full score again after a few months and the music is just too good. There isn’t a single dull or uninteresting moment, and the way he weaves the themes together so seamlessly makes it feel like you’re listening to a concert work rather than something written to picture. This may be Williams’ most complex score, and definitely remains one of my favourites.
    7 points
  5. Evanus

    The Bear McCreary Thread

    Meanwhile I'm still waiting for more complete versions of the Hobbit scores..
    6 points
  6. John Williams - Minority Report (LLL) This listen convinced me that this is one of Johnny's masterpieces. The blend of brooding introspection, unreachable memories of happier times, thrilling action and chase music, and vocals crying for justice is unparalleled in any other scores I've heard. I love how you can tell from listening that this fits right in between his prequel and Harry Potter scores, and is very post-AI pre-War of the Worlds, yet doesn't feel like it steals from any of those, its its own thing. And its fantastic from start to finish, especially the main program of the LLL edition. I forgot how much I like the alternate openings to The Crime and Freezing Water, so I'll probably swap those with their main program counterparts next time around. What a score!
    6 points
  7. Glad to report that Heidi and Jane made it home safe. Although they did pick up some sketchy company along the way.
    5 points
  8. Frank Lehman has uploaded this to Youtube. Nothing new, but nice to have a direct link:
    5 points
  9. https://www.facebook.com/share/xzPXyC4MpBjqgWfS/ After a long wait, the expanded edition arrives next Tuesday. In the meantime, there's this:
    5 points
  10. Not to me! The OST version is much choppier. What I find kinda weird is that this is a huge, complex score with lots of themes, I've only watched the movie 3 times and heard the whole thing 4-6 times, all of those listens being in the last 4 months, and I already feel like I know it very well and largely grasp the structure. JW made it easily graspable despite its scale!
    5 points
  11. I had a JW dream last night. I was tasked, together with a friend, to return something (I can't remember what) to JW's house. When we got there in the morning, he was still asleep, so I decided to browse through his CD collection. I found an album with something by Mendelssohn and also a suite from The Reivers on it and decided to borrow it. My friend had to leave, but I was still there when Williams got up at 9:30 and had breakfast. I think he offered me some. We talked a bit (I forget about what) and he told me come back next day. I was going to next morning, but something (can't remember) came up and I didn't get around to it until the afternoon. JW was still there, but I mostly talked a bit with my uncle, who was also living there (at that point, JW's house had a vague resemblance to my grandparents'). I think the dream was a bit more substantial, but that's all I could remember when I wrote it down this morning.
    5 points
  12. The Lord of the Rings: The Rings of Power - Season One - 10CD Box Set https://mondoshop.com/products/lotr-rop-10cd-box-set
    5 points
  13. I haven't listened to all Jerry Goldsmith, though a while ago I did go through a bunch of 15 minute suites of his scores on Youtube. But I'm still not that familiar with his Star Trek work, for example (in fact I'm listening to it now ) That said, my favourite so far is Total Recall. Someone who doesn't know anything about music might dismiss it as a silly action score, and in a way it is silly, but on closer inspection it reveals amazing artistry. And it's an enjoyable listen from start to finish. It's so hard to choose with Goldsmith, though, because all of his works are so diverse. With Williams, even though he has also written in different genres, I feel that you can always pick out a single internal language in his soundtrack work. With Goldsmith it's not so obvious, and he's better at being more chameleon-like. But then I've listened to far more Williams than Goldsmith, so that might just be a bias of mine. EDIT: Just finished listening to The Enterprise for the first time. As if I needed any more confirmation that Goldsmith is a genius! Brilliant track, almost a perfect encapsulation of epic/heroic musical tropes of that time (not in a bad way). Lots of Debussy influences.
    5 points
  14. My favorite Goldsmith score! The full short documentary film The Artist Who Did Not Want to Paint, produced to precede roadshow presentations of The Agony and the Ecstasy (because otherwise it was considered too short of a film to qualify for "roadshow"), is available for viewing online through Vimeo, so you can appreciate its beauty in context: I'm pretty sure it's also included as a bonus feature on home video releases of The Agony and the Ecstasy. It has its own IMDb page though: https://www.imdb.com/title/tt0191376/?ref_=nv_sr_srsg_2_tt_8_nm_0_q_artist%20who%20did%20not%20want Huh? It's like 12.5 minutes long! And it's got a good amount of material developed throughout, with each cue having a very different feel for the most part, even though there's a grand reprise. I posted it "twice" because there are two different recordings on album. My favorite is the 1989 London Symphony Orchestra recording produced by Intrada, but the original Hollywood recording is very good too, with a more intimate feel. Since it's my favorite Goldsmith score and very short, I simply shared both. (There's also a third version available unofficially, taken from a live concert performance... also good!) Yavar
    5 points
  15. James really knocked it out of the park with this one. It’s my second favorite PP score after Hook.
    5 points
  16. No you'd just replace it with looping in the Wampa caves and obvious terrible tracking for Vader's return to the Executor
    5 points
  17. What I would give to be in that room now...
    5 points
  18. I've used AI very sparingly on my YouTube edits. However I prefer not to use it for the most part because it adds a shit load of distortion, and in some cases removes instruments. It's important not to overdo it.
    5 points
  19. The liner notes should be included digitally for every digital release on every platform, why the fuck is that not a common basic given thing
    4 points
  20. Tom

    John Williams Fan Club Theme

    Well that and the restraining order he has against us.
    4 points
  21. Just for clarification, that's the actual trumpet section that was meant to be there. The 1999 OST section is tracked from later in the cue, for some reason. EDIT: I see Crumbs already mentioned it. 👍
    4 points
  22. crocodile

    Villeneuve's DUNE

    That is probably very true. It reminds me a bit of the situation with Ancient One in Doctor Strange in which director tried to avoid Asian stereotypes/charicatures by casting a white female in the role and ended up being accused of whitewashing. Whether his approached was right, it's a fair debate. But it proves that there's no avoiding criticism one way or another. Karol
    4 points
  23. Aliens. This a music from a man who is at the brink of murdering his director. Karol
    4 points
  24. And it didn't turn out to be a masterpiece? Weird.
    4 points
  25. There is a widespread belief among the public that film and television media are monolithic entities, and their individual elements cannot be appreciated independently. I've come across some harsh criticism online. It's perplexing to see someone comment that they "would rather have blood in their stool." While the show's critique can be somewhat justified, the disdain for the music puzzles me. It's likely as lavish and well-crafted as any music produced today. Preferring Howard Shore's style is completely acceptable, but to dismiss this work as subpar is unfair. I enjoy both regularly and see no need to pit them against each other. Karol
    4 points
  26. Yes. For a soundtrack collector there are many reasons to get this box apart from wanting to listen to every minute of the music. This score was one of the best of the year and this box represents in so many ways what soundtrack fans would like to have from their favourite francise score. The only thing which makes me wonder, I would expect that this is something especially popular under soundtrack fans who loved the show. But I just remember comments from Tolkien hardcore fans complaining about the terrible show. For those people I would expect the OST being more than enough. Question for me: Can I love the complete score and hate the show at the same time? By the way, I really liked the show. And the music.
    4 points
  27. Oh yeah, it's internet people's opinions about James f'ing Bond which make humanity irredeemable and deserving of meteor destruction. But wait, what about the "7 billion other normal people" who would also perish from your meteor, TolkienSS? Do they deserve death too, just like the heathens who want to wokify Bond? Yavar
    4 points
  28. I agree. Except that Pick 'em Up is just no main program material.
    4 points
  29. I can't get enough of this release. There's so much to digest and such a definitive presentation. Hook has jumped right to near the top of my all time favourite Williams scores.
    4 points
  30. All big long busy scores... this'll be a tiring week!
    4 points
  31. The Indiana Jones Piano Solo Collection is finally available... and 5 of the 10 pieces are new arrangements! The highlight is not from Dial of Destiny but from Temple of Doom, with "Short Round's Theme" more than twice as long as the original arrangement to match the entire album track. And it's very well written for piano (advanced). "Parade of the Slave Children" is a new, slightly longer arrangement. It's nice to also have "The Keeper of the Grail" although it's the simplest arrangement in the collection (it's a good piece to practice tone and phrasing however). As for Dial of Destiny, "Helena's Theme" matches the entire album track, as expected, but "Archimedes' Tomb" includes a different ending than the album track. Is this arranged from a different track/cue, or is it just the arranger's choice to add an extra section? Overall, this collection is unlike the previous ones that have been published for Star Wars and Harry Potter. It's much smaller, but well worth having for the new material.
    4 points
  32. Yes, along with Elgar's Cello Concerto one of the best of the genre. Also very satisfying to perform. I played in the orchestra on this piece in a concert and was struck how well it feels and how exciting the ending bars were. I've noticed that with all Dvorak I've performed, it's very well executed even if you don't play much, each note has purpose. In contrast, Robert Schumann, I played throughout it but felt much of that served no purpose and wasn't exactly clear what I was needed for.
    4 points
  33. Roger says: Coming to CD and digitally 4/16. https://www.facebook.com/groups/95015405220/posts/10168854230530221/ Christopher Young says: Dear friends, I'm elated to finally share with you the news that my score from The Piper is coming on 4/16 (CD & digital) from my life long friends at Intrada Records. This release has been a long time coming. So many of you have reached out asking, when can we hear this, well your wait is coming to an end next month. Thank you to my dear friend and the director of The Piper Erlingur Óttar Thoroddsen. Doug & Roger from Intrada, my reps Alexander Vangelos (First Artists Management) & Peter Hackman (Different Direction Mgmt). Your friend, Chris https://www.instagram.com/p/C44Sq6gxmaR/
    4 points
  34. The STAR WARS Anthology Soundtrack OUTCAST: A New Beginning
    4 points
  35. I think it's very interesting that he has books on Prokofiev, Stravinsky, Brahms (multiple books), two copies of Britten's War Requiem, multiple books about Cole Porter, even Stockhausen, a looming head of Copland, etc. This really does reflect on his sound world, but I don't see Vaughan Williams.
    4 points
  36. It had some problems, for sure, but it also had some spectacular elements that saved it for me -- the production design, the make-up, the performances of Tim Roth and Helena Bonham-Carter (in particular) and an amazing Elfman score. That's enough for me to give it a thumbs up.
    4 points
  37. To whomever hasn't bought it yet: I think that I am familiar with the fact that you are going to ignore this particular release until the fact that it's sold out for good swims up and bites you on the ass!
    4 points
  38. The Target Practice - A Tall Ship - Plot Course triplet is one of my favourite chunks out of all Goldsmith scores. And among the best sounding ones, too.
    4 points
  39. If you're talking about The Cloud, V'Ger Flyover, and The Forcefield, that's my favourite part of the score, along with Spock Walk - maybe even before The Enterprise.
    4 points
  40. You don’t want to scroll past another person saying Star Trek TMP, so … Explorers is probably my favorite, start to finish. Breezy, wistful, soulful, quirky, brave, silly, sentimental. So much heart in the music for Explorers. I just adore it.
    4 points
  41. 4 points
  42. THE MUMMY.
    4 points
  43. The trap I fell into when I listened to Afterlife the one time is that the call backs were so meticulous in their faithfulness that they basically prevented me from really paying attention to a lot of the new material, which resulted in a bit of an uneven listen. Part of the reason might be my continued lack of familiarity with the period the score is blatantly calling back to, so anything else pretty much went over my head. Frozen Empire, on the other hand, definitely has more of the Gia/Tyler approach, wherein you can recognize the general thematic material, but the orchestration more matches the sensibilities of the new composer. As such, it made it a lot easier for me to appreciate this as its own thing, even if some of the reprises barely registered as such (one quote in particular left me scratching my head as to if the main melody was even being attempted there). The one thing I will give to Afterlife is being clearer in establishing motifs, as I was very quick to pick up on at least one recurring idea despite what I mentioned earlier. FE, while remaining plentiful in its Bernstein use, seems to have more trouble in really establishing some concrete new identities. There's one that I think is there, yet it could just be 3 cues that happen to hit similar emotional beats. Still, I thought it was a pretty fun listen overall. It's not often a score can leave me feeling a little swept up on a first go (especially a new one), yet I think it achieved that in a few places here. Especially "In the Fabric of the Universe," which seems oddly cosmic feeling for this franchise, yet it definitely worked in a manner not too dissimilar to Dana's theme from the first. The action material isn't exactly remarkable, but there's definitely touches of creativity within the orchestrations in areas. Really, I just wish we did have more material akin to that last track, since there's heart and sincerity here that's been lacking in a lot of Hollywood scores these days (and dare I say even Afterlife to a degree).
    4 points
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