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You mean images?

Released 4/11/2024: https://www.thirdeditions.com/first-print/603-l-oeuvre-de-john-williams-le-chef-d-orchestre-des-emotions-first-print-9782377844371.html Press release pdf (in French): https://www.thirdeditions.com/index.php?controller=attachment&id_attachment=199

1M3

I think some forums do have moderators that don't like bumping old threads for any reason, but I've always thought it made sense to continue to use existing threads for new discussions of the same topic. The only thing I haven't liked if if some old thread is bumped for a similar but not exactly the same topic that would just make more sense to be a brand new thread.

In 1983, the Return of the Jedi OST track "Rebel Briefing" actually contains music from the end of the movie. The cue for the rebel briefing is not on the album. In 1988, the Accidental Tourist OST track "Wedding Scene" actually contains an alternate Main Title cue. In 1989, the Last Crusade OST track "Escape From Venice" contains the music for a boat chase that happens entirely within Venice, a place they continue to be in for a while after the chase. The cue for when they leave Venice for Austria isn't on the album. In 1997, the Lost World OST track "Rescuing Sarah" is for the second half of the trailer sequence, after Sarah is already rescued from the glass and they are working as a whole to get out of the trailer together. The actual cue for her being rescued from the glass isn't on the album. In 1997, the Amistad OST track "Mr. Adams Takes the Case" combines the start of the cue for Adams' introduction scene with a cue for later in the film when he's talking to Joadson in his home. Both of these scenes take place before he's decided to take the case (he decides to take the case off-screen, there is no cue for it). In 1999, the Phantom Menace OST track "Star Wars Main Title and the Arrival At Naboo" only contains the very start of the the arrival cue, almost immediately segueing to music from later in the film to end the track. In 2002, the Attack of the Clones OST track "Star Wars Main Title and Ambush On Coruscant" only contains the very start of the ambush cue, almost immediately segueing to music from later in the film to end the track. In 2005, the War of the Worlds OST track "Confrontation with Ogilvy" combined music from the "bodies in the river" scene (which is before the group has met Ogilvy) and the "Red Planet" scene (which begins after Ogilvy is already dead). The actual cue for Roy killing Ogilvy isn't on the album. In 2015, the Force Awakens OST track "Rey Meets BB-8" combines the "Finding The Map" cue from the very end of the movie with the "I've Found The Droid" cue from the middle of the movie. Williams recorded 5 different cues for the scene of Rey meeting BB-8, but none of them are on the album. (The film did track in "Finding The Map" into the scene where they met, so this is sort of an exception I guess).

A 5 minute track was recorded to play throughout the scene, the walk through Diagon Alley was meant to be scored by the woodwinds and witchy fiddle. Then a "Reveal insert" was recorded to change the start of the reveal into an orchestral swell because it wasn't magical and awe-inspiring enough. Williams liked the music he wrote and expanded it into a longer, slower tempo concert piece in his Harry Potter Children's Suite for Orchestra, "Diagon Alley". For the original 1 disc soundtrack album release, Williams replaced the opening portion of his full recorded track with part of the Diagon Alley concert piece, this is "Diagon Alley and the Gringotts Vault" as you know it. For the movie, the filmmakers decided the reveal needed more of a warm happy reveal and excitement than a weird new world, so they replaced that same opening section with a latter track that Williams wrote for entering the Great Hall. (Confusingly, the track on the 1 disc soundtrack album called "Entry into the Great Hall and the Banquet" does NOT contain this entry music, only the banquet music.) The film also appends part of "Hermione's Feather" to the start of the track for the bricks moving out of the way. The LLL expanded release linked above has the original recorded track combined with the Reveal Insert in Disc 1 track 7, "Diagon Alley and The Gringotts Vault [Extended Version]", the Great Hall entrance in Disc 1 track 13, "Through the Doors", and the concert piece in Disc 3 track 8, "Diagon Alley". The original recorded opening of the track for Diagon Alley, the Reveal Insert, the full unedited concert piece and Through the Doors all premiered on the set, they were never before released, they were only available in a recording sessions leak with the exception of the Reveal Insert. I've done two videos about how the original opening and the reveal insert opening would've worked in the film:

I mean shit. One of the best cues in KOTCS is the departure. JW writes UFO themes for breakfast.

That’s Sigourney Weaver

And here I was hoping they'd be incompetent enough to dump the complete recording sessions on CD by mistake.

For everyone who have mentioned or will mention LOTR on this thread:

Intrada announces the premiere release of Christopher Young's stunning score for The Piper. Writer/Director Erlingur Thoroddsen sought out the veteran composer not only for the task of scoring The Piper, but to compose the three-movement Concerto for Children, which is rehearsed and performed in several pivotal scenes in the movie and whose motifs haunt the soundtrack of the movie and its characters. The filmmaker tasked Young with creating a work that was sophisticated enough to convince as a concert hall composition, maddening enough to compel characters to stab their ears as it unfolds, dynamic and dramatic enough to work as underscore during some of the film’s most frightening and powerful moments, and so compelling in its unearthly beauty that it seems capable of holding characters—from unscrupulous conductors to innocent children—in its spectral grip. “It turned out to be a 30-minute, three movement concerto that I had to write in advance,” Young says. “Erlingur basically told me that he needed one movement that was going to be crazy, because it was going to be played toward the end of the movie when the whole theater is going to pot. But beyond that, it was pretty open ended." The concerto employs standard flutes with the performer providing more exotic timbres through his playing. “I used piccolos through the lower C flute, alto flute, into the bass flute range, for these lower chords. For the Piper himself, when we see him play, it’s a normal flute that has been completely altered through electronic modification.” As Young notes, all these factors add up to one problem: “My flute concerto can never be performed as written. I’d have to make changes because the performer is required to move from the alto flute to the C flute to piccolo all within a handful of bars. It was easy to punch in and record them, but I’m going to have to make some revisions if I ever want to have this performed live.” The result is a powerful and sophisticated work that would stand up well in the concert hall ... if only it could be performed as written! Thoroddsen’s supernatural horror film follows Melanie Walker (Charlotte Hope), an ambitious young flautist, composer and single mom working under the auspices of imperious conductor Gustafson (Julian Sands), who leads the orchestra at the fabled but financially troubled Virgil Hall. Struggling to maintain her first-chair position in the orchestra, Melanie hopes to impress Gustafson with a flute concerto she’s composed, but she’s being undercut by the equally ambitious flautist and composer Franklin (Philipp Christopher), who has his own concerto in front of the demanding conductor. Gustafson also has a connection to another troubled composer—the late Katherine Fleischer, whose Concerto for Children No. 1 was given but a single, disastrous performance in 1975. That uncompleted rendition resulted in the Virgil Hall Tragedy, a fire that killed over 100 children. Katherine had been Melanie’s mentor before the elder composer took her own life by burning herself to death—after Gustafson tried to browbeat her into another performance of the concerto. Struggling to maintain her position with the conductor, Melanie Walker insists that she can find Katherine Fleischer’s written music so that Gustafson can conduct it at a crucial upcoming fundraiser for the hall and orchestra. FLUTE CONCERTO: A Concerto for Flute, Children's Choir and Orchestra 01. Movement 1 (11:12) 02. Movement 2 (07:33) 03. Movement 3 (11:24) Concerto Time : 30:11 THE SCORE 04. Suite (21:11) CD Total Time: 51:13 THE PIPER (intrada.com)

Don't know if this should go here or in a score thread in the John Williams section proper. But I put on the complete(ish) Return of the Jedi today. (Some sort of mish-mash of sources. I think it's probably one of the ABC editions.) I don't know that there is another score, not even a Star Wars score, that takes me to THE first time that I saw a film the way Jedi does. I hear that intro of the Star Destroyer and Vader's approach as JW teases the Imperial March through the first minutes and I can feel the air conditioning and I can smell the popcorn. I can feel the summer heat when the doors open at the end. I can remember the cheers at the Fox and Lucasfilm logos, the hush during "A long time ago" and the cheers again at Star Wars. The Jabba music in particular can make me "hear" the ambiance of a cinema. We're film music nerds, and for many of us part of the appeal is re-experiencing a beloved film. But this isn't just the film, this is that exact DAY. I wonder why this one?

Wow. Is this great or what? Young is blasting out career-best work left and right. Movement 1 is brilliant, truly capturing Young's melodic skills and detail in orchestration and, especially, his ability to play with horror tropes - but then the last 4 minutes from 8:00 are a brilliantly dark fable with children's choir and all the best Young orchestral tropes at full display. I love the fact that he ends the movements with that crazy blast of mayhem! Movement 2 is another encapsulation of a magnificent career that keeps escalating into stratospheres - the detour at 4:10 is touching and epic. Makes me wonder what Young would have done with The Lord of the Rings. Movement 3 is very impressive, very much Young exploring horror tropes and going very Goldenthal at times. It is now wonder he has had such a fan resurgence recently. We all know what he does so well. It is fantastic to see producers funding him to do this. I mean, The Empty Man is a great film but it was a massive flop. The Young score, again, is fantastic. So happy I supported the Nosferatu incentive!

Steven Spielberg will be making a UFO movie based on an original idea with a David Koepp script. (Variety) Will this bring Johnny back to the scoring stage?

The Sound Of Vinyl lists the 2xLP release, and it doesn't seem to be a Japan Import: https://thesoundofvinyl.com/products/john-williams-in-tokyo-vinyl-lp Amazon.fr also lists 4 releases coming on July 12: CD release: https://www.amazon.fr/dp/B0D1LQXX36 2xCD+Blu-Ray release: https://www.amazon.fr/dp/B0D1LMHGTY 2xLP release: https://www.amazon.fr/dp/B0D1L856PL Bluray: https://www.amazon.fr/dp/B0D1YQL2KD

Musically right?

Locking in on these shit programs on the stupid antiquated format too, lovely

Frieren's complete score is out! 2 and a half hours of awesome music. It's so great to hear many of the great tracks I've grown to love while watching the show. On a first listen I really enjoyed new tracks like Frieren the Slayer, Beyond the Journey's End, Great Mage Flamme and The Magic Within!

Worst idea ever to make a musical about a soundtrack specialty label.

For what it's worth, I find myself drawn to play The Legend of Zorro far more than The Mask of Zorro. My answer to this question might upset some people: Alan Silvestri's Back to the Future. Most of it is the definition of generic, to me. I don't like the main theme which repeats ad nauseam. I don't find it remotely interesting or engaging. It doesn't receive interesting development, for the most part. The score works well enough in the film (it certainly doesn't detract) but I think it could have been a lot better. BTTF3 is the only one of these scores that connects with me more, because it's a western and has new thematic material and variety. Yavar

Enrico Nicola Mancini *16th April 1924 in Cleveland, Ohio

It looks like Robert Townson's post about this album isn't here yet: John Williams Reimagined Sara Andon, flute; Cecilia Tsan, cello; Simone Pedroni, piano Produced by Robert Townson So proud to announce this 2-CD set that will be released by Warner Classics on August 23, 2024. Star Wars. Memoirs of a Geisha. Schindler’s List. Far and Away. E.T. the Extra-Terrestrial. The list goes on and on. Legendary film composer John Williams has for decades reigned as the most celebrated film composer of all time. But John Williams Reimagined is Williams like you’ve never heard him before. John Williams’ themes and orchestrations have resonated in moviegoers’ minds for generations. Steven Spielberg called him “the greatest of all maestros.” George Lucas once told him, “You brought my stories to life beyond my wildest dreams.” For film score producer par excellence Robert Townson, it was the “extraordinary flute solos John has featured in so many of his film scores” that triggered the idea of “a John Williams album…unlike any other.” But could the album Townson imagined—scored for chamber trio of flute, cello, and piano—become reality? With a long career of film score productions to his credit, the producer knew that Williams seldom approves new arrangements of music from his iconic scores. Townson had more than a dream, though. He had a dream ensemble in mind: flutist Sara Andon, cellist Cécilia Tsan, and pianist Simone Pedroni. So, with no guarantee they’d ever see the light of day, he enlisted Pedroni to create three sample transcriptions; record them with the three musicians; and sent them to the composer. Much to their delight, Williams approved Townson’s full track list and sanctioned the trio to exclusively record and perform the full set. Pedroni, for his part, describes the orchestral color of John Williams’ film scores as “always masterful—which made me think that it is impossible to do better.” Yet as the pianist worked on the transcriptions he realized that “Williams’ compositional genius…pure, deep, and great in itself” was precisely what would enable him to reimagine the selections—some iconic, some relatively obscure—for the chamber trio Townson had in mind. The result is a revelation. Familiar themes pepper the track list, intermingling with lesser-known music. “Princess Leia’s Theme” from Star Wars made a lasting impression on Sara Andon when she first heard it as a child. The score for Memoirs of a Geisha features cello solos that Williams wrote for his friend Yo-Yo Ma, and that translate perfectly for Cécilia Tsan, who is a childhood friend of Ma. The trio premiered their John Williams Reimagined concert recital at the Rome Film Music Festival in 2023. The selections cover more than half a century—from Williams’ Emmy-winning score for the 1970 telefilm Jane Eyre—Townson’s original inspiration for the album—to the main theme of 2022’s The Fabelmans, one of over two dozen collaborations between Williams and Spielberg, which affords the brilliant Pedroni a solo piano spotlight. From the canon of iconic Williams scores over this timespan, the two-CD set includes selections from Harry Potter and the Prisoner of Azkaban, A.I. Artificial Intelligence, The Witches of Eastwick, Jurassic Park, The Accidental Tourist, Dracula, The Sugarland Express, Jane Eyre, War Horse, Hook, The Patriot, and more, not to mention the Star Wars saga, Schindler’s List, and E.T. the Extra-Terrestrial. During the recording sessions in Los Angeles, John Williams invited the trio to perform a selection of the new arrangements for him privately in his writing studio at Amblin. This was in 2022, during Williams’ 90th birthday year, and he was being celebrated all over the world. Following the performance of “The Face of Pan” from Hook, the composer was very moved. He warmly remarked, "This is one of my best birthday gifts," and gave each of the musicians a hug. Sara, Cécilia and Simone will remember this moment with immense joy and heartfelt gratitude for the rest of their lives. Film music producer Robert Townson founded his first record label in 1985 and has produced nearly 1,500 film music recordings over the past four decades. He has worked with a galaxy of eminent composers, from Jerry Goldsmith, Elmer Bernstein and Alexandre Desplat to Hans Zimmer, Lalo Schifrin, Danny Elfman, and of course John Williams. Flutist Sara Andon is a versatile international soloist and recording artist equally at home with symphonic and chamber music, opera, ballet, new music, jazz, and Broadway. She has performed with top-tier orchestras and is heard on countless film, TV and video game scores. She has recorded with such composers as Brian Tyler, John Debney, Marco Beltrami, and Jeff Russo and for labels Sony Classical and Varèse Sarabande. Cellist Cécilia Tsan, winner of the Debussy Prize at the Paris International Competition, performs as a soloist and chamber musician in her home country of France and abroad. She has recorded hundreds of movie soundtracks in Los Angeles by composers such as John Williams, Randy Newman, James Horner, and Alan Silvestri. Pianist, conductor and arranger Simone Pedroni launched his solo career winning the gold medal at the Van Cliburn Competition in 1993. He has performed in sold-out concerts throughout the world, working with artists such as Yehudi Menuhin, Zubin Mehta, and Leonard Slatkin, and recorded for labels including Sony Classical and Decca Records. JOHN WILLIAMS REIMAGINED - TRACKLIST CD 1 1. Star Wars: Princess Leia’s Theme Jane Eyre 2. To Thornfield 3. Reunion Memoirs of A Geisha 4. Sayuri's Theme 5. A Dream Discarded 6. Going to School 7. Images: In Search of Unicorns The River 8. Growing Up 9. The Pony Ride 10. Love Theme 11. Young Friend’s Farewell 12. The Sugarland Express: Theme 13. Elegy for Cello and Piano 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 CD 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 Harry Potter and the Prisoner of Azkaban 7. Double Trouble 8. A Window to the Past 9. Hagrid the Professor 10. 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? The Witches of Eastwick 15. The Tennis Game 16. The Seduction of Suki and The Ballroom Sequence 17. Devil’s Dance 18. E.T.: Over the Moon Recorded and Mixed by Gabe Burch Mastered by Patricia Sullivan at Bernie Grundman Mastering https://www.facebook.com/100007586280737/posts/3571911583071683/

Me popping into this thread to see if there's any interesting discussion related to the thread title

Holko: Jay:

Reported Jay for necroing.

From the print edition of the 2024/2025 Berlin Philharmoniker season book Found on: https://www.facebook.com/groups/904229429654872/posts/7527258017351947/

Update: She was suitably dismayed. The "It's a peaceful life" meme was icing. So thank you, all!

Scherzo for Abduction and Rectal Probe

Here’s an article that discusses it in a little detail: https://cointelegraph.com/news/hans-zimmer-writes-tron-theme-song. Apparently, the “song” had been under development since 2022 (although the end result sounds like Zimmer only worked on it since 8:00 this morning.) Read the article. It quotes Zimmer on how this music represents the potential of Web3.0. The disconnect between what he says this song represents and the actual banality of the music itself is… well, it’s astonishing. I really believe Zimmer has somehow managed to achieve the impossible — he’s transcended his corporeal form to become a being of pure marketing.

I knew this would come. The old cop-out. "It's too smart for you. You just want action. You hate exposition." This could not be further from the truth. My favorite Star Wars story by far, is Knights of the Old Republic 2. And I hate the action gameplay of the game. But I love the story, the exposition, the characters, the acting, the music, the atmosphere, and above all, the philosophy and the gorgeous dialogue. And that game is at least 15 times the length of The Phantom Menace. If anyone's got time for exposition when it comes to Star Wars, it's me. My problems with the TPM, is it doesn't delve into any of what you speak of. It doesn't set up the state of the galaxy. It's called the Republic but it seems to function more like the UN. I don't know what the Trade Federation want besides something about taxation that is never specified in favor of action. I don't know what threat the Trade Federation pose because we never see or hear of them doing anything truly horrific. Yes they unlawfully invade, and they say Naboo's people are dying, but we don't know why or how, besides some vague notion of a blockade maybe causing starvation, or maybe the droids are murdering citizens. It doesn't set up the Sith/Jedi conflict. Palpatine and Maul talk about wanting revenge but we are never told what the revenge is for. We don't even know if the revenge is history related or personal for Palpatine and Maul. We don't even know what the Sith are besides an assumption that they're the Jedi but bad! Oh and they were extinct for whatever reason. It doesn't lead directly into the clone wars, end of the Republic (whatever the Republic actually is) and the Jedi. It takes 10 years of set up and events off-screen that set up all of that. It's as much a philosophical thesis as Batman v. Superman is. Ideas are hinted at but never explored.

Alien The Black Hole John Carpenter's The Thing

We should create a thread: Top 10 scores for movies you didn't grow up on and only fell in love with it after you were out of your formative years

Very glad to hear that it's been made available again, for those who didn't get it the first time around (or the second or third). As I said earlier in the thread, I was 99% certain that this would pop up again, and I'm still confident it will be available in the foreseeable future, perhaps with some intervals. Kudos to those who managed to sell it on the secondary market for hundreds of dollars in the interim, but that's not my thing, despite poverty. My copy is not for sale, and never will be.

The simple truth is that, in every case, release order is the preferred order for watching a film series for the first time.

"Oops we accidentally made 13 extra copies, might as well sell those by themselves"

Yeah, but then we got Rogue One, Solo, Obi Wan etc... Imagine watching all that stuff and then seeing the original for the first time: Vader's entrance? Meh. Seen him plenty for that to maintain its drama. The Droids wandering through the dunes? Meh, we've seen endless amounts of far-more-impressively-framed desert shots AND we know Tatooine so its no longer about the Droids venturing into the unknown. The cantina? Pfft, we've seen more weird aliens than stars in the sky. The Death Star blowing up Leia's home? Pfft, please! We've seen the Death Star blow up several planets by this point. The lightsaber battle? Pfft, we've seen people - including Vader and Obi Wan - slash and jump and throw objects at each other, so these two geezers gently poking at each other? NEXT! etc... You get my point.

Looks like it’s not searchable but the old link works! https://www.disneymusicemporium.com/product/XVCD60/john-williams-indiana-jones-and-the-dial-of-destiny Thanks, Big Jim!

If you like drama scores, you should definitely check Murder in the First. I think it's Young's masterpiece!

New edition arriving Tuesday Coming 4/16. https://www.facebook.com/groups/95015405220/posts/10168907378520221/

Also on the same album, "Confrontation with Count Dooku and Finale". The finale is there, but no confrontation. And "Star Wars and the Revenge of the Sith"... where is the revenge? Is it safe? Is it alright?