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  1. 32 points
  2. 29 points
  3. 28 points
    I think it’s time for him to start his own vlog.
  4. 28 points
  5. 23 points
    http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8454 http://store.intrada.com/s.nl/it.A/id.12150/.f
  6. 17 points
    https://thelegacyofjohnwilliams.com/2020/05/25/star-wars-roundtable-podcast/ Hope you'll like this one, guys.
  7. 17 points
    Finally, some info: The legendary American film composer John Williams conducts the Vienna Philharmonic Orchestra for the first time - "Visit from the dear God" was the title of the standard, "standing upright jubilant choirs at their first appearance: as if God was received by earthly disciples John Williams in Vienna documents the historical performance - "a very special honour" in the life of the composer Symphonic Hollywood sounds on the stage of the Vienna Musikverein - the world-famous orchestra plays cult themes from Star Wars, Harry Potter, Indiana Jones, Jurassic Park and other milestones in film history. Star guest Anne-Sophie Mutter with adaptations for violin arranged especially for her by Williams Star Wars, Harry Potter, Indiana Jones, Jurassic Park - the soundtracks of the master of cinematic magic John Williams are among the most popular in the history of film and have received numerous prestigious awards, including five Oscars, five Emmys, four Golden Globes and twenty-five Grammys. Now the legendary American film composer has recorded the most famous, beautiful and touching cult themes for the first time with the Vienna Philharmonic Orchestra. "Star moments of film music" was the headline of the Wiener Zeitung, "Hollywood's grandmaster thrilled audiences with excerpts from his life's work at the Vienna Philharmonic." Williams' two concerts at the Vienna Musikverein on 18 and 19 January 2020 were the first performances the composer has ever conducted in continental Europe. Working with the Vienna Philharmonic was "a very special honour" in his life. In addition to Williams and the orchestra, another exceptional artist was on stage in the first half of the concert: Anne-Sophie Mutter. Thus the conductor and the violinist continued their artistic partnership after their joint album Across the Stars. The new album "John Williams in Vienna" combines cult themes from E. T., Great White Shark, Star Wars, Harry Potter, Jurassic Park, Indiana Jones and other milestones in film history as well as two previously unreleased adaptations, specially arranged by Williams for Mother, for violin of "Devil's Dance" from The Witches of Eastwick and "Raider's March" from Indiana Jones: Hunters of the Lost Treasure. Of course, the world-famous "Imperial March" from Star Wars should not be missing. "One of the best performances of this march that I have ever heard," Williams noted. The limited Deluxe Edition "John Williams - Live in Vienna" is the only version that contains the unique concert experience on Blu-ray with additional 6 tracks. Including a breathtaking Dolby Atmos surround sound mix for the perfect concert experience at home (available as video and audio-only version) As a bonus: an interview by Anne-Sophie Mutter and John Williams from the Vienna Musikverein. The standard CD as well as Blu-ray disc is presented in a high-quality digipack in Blu-ray format with a noble gold foil look on the cover. From https://www.jpc.de/jpcng/classic/detail/-/art/john-williams-anne-sophie-mutter-john-williams-in-vienna/hnum/9843487?lang=en Release date: 14.8.2020 ----------- Looks great! As someone who had to sell my ticket to this due to other obligations, I'm really looking forward to seeing it at home.
  8. 16 points
    Hi everyone. In the same spirit as the "A New Home" from TROS appreciation thread, I thought I'd kick off discussion of another stand-out cue from The Rise of Skywalker. I'm tempted to call Falcon Flight the best action cue from Episode 9, though far too many of its attractions are obscured in the film mix to notice. It seems to me to be as good a synthesis as we could ask for of the thematic richness of the OT action-style with the PT and ST's emphasis on quick changing gestures and repetitive ostinati. Over its brief duration, we get series-standout renditions of: 0:12 - Emperor's Theme. I simply love this arrangement, especially the atypical tritonal bass motion for the F#m - Am/C progression. 0:30, 0:45, 1:30 - March of the Resistance, really being used in an exciting and integral way 0:57, 2:05 - Rebel Fanfare, giving more proof that JW now treats it as much as an all-purpose hero theme (or Millennium Falcon theme) than something specifically for the Rebellion. 1:14 - New Heroics Motif, which seems to sprout from Poe's Theme and the Main Theme so seamlessly. And what trumpet writing! It's not just themes: I think channeling of the OT's harmonic language is nowhere more exact, down to the pitch-perfect Db(#4)/G => C cadence at the end, bringing us right back the ANH's soundworld (and, by extension, Holst's Mars). The new "one-cue-wonder" material is great too. I love how each of the three lightspeed jump destinations garners its own distinct musical material. And underneath much of it, a vigorous string ostinato that nods back, intentionally or not (I think intentionally -- it's too on-point!) to Hyperspace from ESB. And note how the string figure, while consistent as a texture, is actually never repeated for more than a measure or two without some substantial musical alteration. (cf. "The Master Switch" from Rogue One to see the difference between a master and an imitator..) What do you all think?
  9. 15 points
  10. 15 points
    In fact, if you look really closely, you can make out 52 different objects all around the room representative of each of the films he has received Academy Award nominations for.
  11. 14 points
    June 2nd, 2020, 6:00 P.M. G.D.: You know why we are here, John. J.W.: Absolutely. G.D.: So tell me John, what are your favorite recordings? J.W.: Well... I've got to tell you, Gustavo, that I never have the time to listen to music. G.D. Oh.
  12. 13 points
    Holy cow this is the coolest video I've seen in a long time! John Williams talking directly to the camera for something to be broadcast on the internet, what a time to be alive!
  13. 13 points
    What a long journey from that moment: to that: 40 years of hard work to the first one, and another 40 years of hard work to the second one.
  14. 12 points
    I skipped or condensed sentences here and there to keep my sanity, freeform not word-by-word prerehearsed, studied and memorised speech can be a bit messy anyway. Great concert at the Music Academy, 5 minute applause, fine performance. Double Trouble is indeed impeccable and sections of Quidditch Third Year were on par with the original. I loved the striped breakdown demonstrations.
  15. 12 points
    Whew. I gotta stop somewhere. The rest is coming tomorrow.
  16. 12 points
    Happy 40th Anniversary to one of John's greatest ever film scores, The Empire Strikes Back. Easily the strongest trio of new themes for any sequel score -- The Imperial March, Han Solo and the Princess and Yoda's Theme, capped off with the greatest end credits suite of Williams' career. You can't overstate the immense legacy of this score; music that remains as stirring today as the day it was released. Bravo, Maestro. Masterpiece.
  17. 12 points
    Let's celebrate another cue from TROS -- "The Old Death Star" (or 5m10, "Landing At?")! What strikes me most about this cue is how dense it is leitmotivically. It reminds me of certain cues from ROTJ where Williams really is approaching the level of thematic density of late Wagner. Not every second on this track is based on some preexisting theme, of course, but the way that he transitions into and out of familiar material, and how he allows musical tension to ebb and flow as a result, is pretty masterful. The first 25 seconds give us this neat, twisted play on the Psalm of the Sith theme (with hints, intentional or not, to the middle section of Across the Stars). That builds to the first climax, pathetically dialed down in the film-mix, when the Death Star II wreckage is revealed. A missed opportunity to revive the original DS motif, I suppose, but what we get instead is quite cool all the same, with that hectic string figure in Ab-minor that suggests a sped-up version of the Imperial March. Then at 0:31 it's back to the ominous mood of the beginning, and a new spin on that Psalm's twisted bass-line, even more redolent to my ears of ATS at this point. A second build-up section follows for Rey's use of the ridiculous Maguffin surveying-equipment, and for it we a quickly intensifying series of musical layers leading inexorably to the most famous villain theme of all time. First a Dotted Triplet Figure in the reeds (recalling an accompanimental gesture to ROTJ, R10P2, among other things). Then we get a swelling set of high polychords that are based on the new Sith Artifact leitmotif, terrifically orchestrated, all over a pounding C pedal. And finally, of course, the massive statement of the Imperial March at 1:04 in gloriously evil C-minor. This iteration of the March is clearly the most impressive statement of that theme in the entire Sequel Trilogy, and a contender for best version since AOTC in my mind. I love how it builds to its own internal climax with the rising trumpets around 1:15, and how Williams opts to support the penultimate chord with an F bass note (rather than the more standard Ab). It's a chance for last send-off for this iconic theme, and Williams milks it for all its worth. I could go on about the rest of the cue/track, but maybe this is enough to spur discussion!
  18. 12 points
    I hope you guys will enjoy this. We thought it could be nice to offer you something like this during these challenging times.
  19. 12 points
    What point was he trying to make about Duel of the Fates? He started off by saying it was "the most upsetting thing" about the score, seemingly referring to its absence. He then cites a trailer remix of DOTF, as if it were Williams music that got dropped from the film (with no supporting evidence). He then laments that no prequel music was reused in the sequel trilogy (not strictly accurate, but I digress). Why would prequel themes reappear in a trilogy set ~60 years later, when those characters are long dead? Doesn't that directly contradict his earlier argument about re-contextualising older themes where they don't belong, just because they sound cool? That was the moment I realised this video was like a YouTube comments section come to life. You know, those same people who complain that the trailer music sounded cooler than the actual scores, that the sequel trilogy had no memorable themes, etc.
  20. 12 points
    I didn't know before the sheet music leak that 6 of the 11 tracks on the OST were recorded directly for it, leaving most of the music recorded for the film unreleased. I just listened to the OST again the other day, it's perfect rainy day music.
  21. 11 points
    Anonymous tipster has sent in this complete cue list for TFA. Discuss! 1M1 Main Title 1M1A 1M1A v2 (Longer) 1M1A v3 1M1A (Free Version) Starry Night 1M2R 1M2R (New Ending) 'Hand' Opening 1M2A Fix 1M2B (untitled) 1M3A 1M3AR The First Order Approaches 1M3B 1M3BR The Attack on the Village 1M3C I’ve Seen Too Much 1M3D The Attack on the Village 1M4 1M4R The Arrival of Kylo Ren 1M4A Introductions or Introduction 1M4B Landing 1M4D Fix on Fix 1M5 1M5 Alt New Intro 1M5 Alt 2 1M5 Alt 2 Insert 1M5 Alt 2R The Scavenger 1M6 1M6 Alt Seeing A Mother and Getting Rations 1M6 AltR One Quarter Portion 1M7 1M7 Flute Version Lunchtime with Rey or Lunchtime 1M8 Breakfast 2M11 Don’t Follow Me 2M11R 2M11R Alt BB + Rey or BB & Rey or BB and Rey 2M12 Poe Under Torture 2M12A (Old) 2M12A (Preferred) BB & Rey Cont. 2M13 2M13R The Droid Is Not For Sale or This Droid Is Not For Sale 2M14R Alt Intro 2M14R Alt Intro v2 Finn Helps Poe 2M14 2M14R I Can Fly Anything 2M15 2M15R 2M15R Insert The First Escape 2M16 I Don't Know What To Do 2M17 2M17R Kylo Ren 2M17A 2M17AR Finn's Trek 2M17B Kylo And Hux On The Bridge 2M18A That Lady with the Stick 2M18B Who's Luke Skywalker 2M18C 2M18CR 2M18C Insert 2M18C Insert II Follow Me 3M20 3M20R The Falcon Still Flies! 3M21 3M21R What's Your Name 3M22 3M22R Kylo and His Sword 3M23 3M23R No, No...No! 3M24 3M24R Hiding Under the Grate 3M26 3M26R You're Han Solo? 3M27 Rathars Appear 3M28 The Rathars Attack or The Rathtar Attack 3M28A 3M28AR Old Falcon to the Rescue 3M29 3M29R Leia, C3P0 and R2 4M30 4M30R Snoke 4M30A Starkiller Reading the Map 4M31R 4M31RR The Map Scene 4M31A 4M31A (New Ending) Talking With Grandfather 4M32 4M32R Green Planet or The Green Planet 4M33 4M33R You Gotta Name? or You Got A Name? 4M33R Insert Gotta Name? 4M35R Maz on the Table 4M36R I Ran Into You 4M37 I’ve Found the Droid 4M38 4M38R Into the Cellar 4M38A 4M38AR Rey’s Dream 4M39 R I Have to Get Back 5M40 5M40 (New Ending) The Beam is Released 5M41 Leia’s Condolence Speech 5M43R (Fix) Find Rey! 5M43A (Fix) Maz's Treasure Chest 5M44 5M44 Alt Intro v1 5M44 Alt Intro v2 Kylo Arrives at the Battle 5M45R v1 Back to Battle 5M45R Alt Finn Fight Alt 5M45 Fix Finn and Trooper Fight 5M46R Kylo Stalks Rey 5M47 5M47 v2 5M47 Possible Insert Good Guys Shooting 5M48 We’ve Got What We Need 5M49 5M49R 5M49A Fix 11-5-15 The Abduction of Rey 6M50R 6M50R v2 Han & Leia Reunion 6M51 6M51R Finn and Poe, United 6M52 R2 in Hibernation 6M53R Parental Discussion 6M53A We See Rey 6M54 6M54R Rey vs. Ren 6M54A New 6M54A R Bring Her to Me 6M54B You Will Remove These Restraints 6M55R Council Meeting 6M56 6M56R Preparing for the Mission 6M56BR v1 (new ending) Kylo’s Rage! 6M56C Fixed To Lightspeed 6M56D Ice Landing 6M56E Ren In Cockpit 6M56F Hey! 6M57 6M57R Rey’s Rope Climb 6M57R Alt Ending Rey On Wall 6M58 The Bombing Run 7M60 Hug Later 7M61 Guns A’blaze 7M62 I Can Get Us In 7M62A 7M62A Insert On the Inside 7M62B Shootout 7M65 Father and Son 7M65A Leia’s Grief 7M65B Father and Son 7M65C Leia Fix 7M66 The Control Room and Ren in the Forest 7M67 Rey Vs Ren 7M67R It Is You 7M67A Rey vs. Ren 7M67B Rey Gets the Saber 7M67BF Rey Catches Sword 7M67C Blowing Up The Oscillator 7M68 Flying Home 7M68A Light In The Snow and Flying Home 8M72 Finding the Map 8M73 The Complete Map 8M74 Climbing the Mountain 8M74A 8M74A v2 To Ending 8M75 End Credits Part 1 End Credits Part 2 Finale (9-23-15) Finale (11-11-15) Finale Tag 8M77 The Resistance Theme 8M78 Snoke 8M79 Rey's Theme Rey's Theme (6-6-15) Rey's Theme (Piano Version 9-14-15) Rey’s Theme (10-7-15 longer version) 8M80 8M80A (First Ending) 8M80A (Second Ending) Scherzo for X-Wings 8M81 Sunbeam Strings
  22. 11 points
    What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us. And then there are the Modal Nodes on the shelf as previously mentioned... I mean, how lucky are we to get to have this music in our lives?
  23. 11 points
    He could just do twitch streams sitting there playing all day!
  24. 11 points
    I just came here to say that I haven't seen the video, nor do I intend to. Stupid people making inaccurate observations gets me all riled up, and I want to be able to sleep tonight!
  25. 10 points
    The year is 2075. Disney has re-released the Indiana Jones OSTs 25 times. All with different album artwork. Museum Tour Guide: "And as we continue down John William's illustrious early 80s, we come upon his score for Indiana Jones and the Temple of Doom. Enclosed in this section is the film version's missing :26 seconds of the End Credits. Mr. Williams counterpointed Short Round's Theme with The Raider's March. Grab the headphone everyone and take a listen, you'll sure to enjoy!" Me at 111 years old posting on the JWFan Forum: "Does anyone have a clean rip of the missing :26 seconds of Temple of Doom's end credits from the John Williams Museum?
  26. 10 points
  27. 10 points
    "Hi! I'm John Williams" is the cutest thing I've ever heard.
  28. 10 points
    Awesome! Awww, Figrin D'an and the Modal Nodes right on his shelf, what a nerd!
  29. 10 points
    The HARRY POTTER Scores: Book Cover Style Edition. And I also take the opportunity of sharing a set I did a while ago !
  30. 10 points
    Started off like an intelligently presented discussion about why the film doesn't work, finishes like a raving man-child, indistinguishable from thousands of other clickbait videos on these movies. A shame because there's some interesting points but it goes off the rails and devolves into childish nonsense, also not particularly well researched. At least half a dozen examples were instances of tracked music (the Vader references, Force theme for Lando, Han & Leia for Leia's sacrifice, etc). He even mentions the leaked spreadsheet, which specifies these tracked cues. It got tedious when he started ranting about (arguably) the film's strongest musical moment, the Rey/Force themes at the end. Why is Rey's Theme a bad choice when she's calling out to the Jedi, but the Force Theme is also a bad choice when she harnesses the Force and destroys Palpatine? The two moments are thematically interchangeable -- you could make the argument for either theme at either moment (personally I thought this was a missed opportunity for Williams to reprise the Rey/Force theme in counterpoint, like in TFA's credits). And even though it's tracked, Han & Leia's theme for Leia's decision to contact Ben makes sense. He's the product of their relationship and Han died trying to save him. Leia's decision is the culmination of that relationship and her final act as Ben's mother. That said, I am curious how Williams originally scored that moment. He also didn't make it clear that many of his points were a result of bad music editing than bad scoring. He cherry-picked re-contextualized musical moments in TROS while ignoring similar instances in films past (Emperor in TLJ, Luke's Theme for a random action scene in TPM, Luke's Theme tracked into random action nonsense in AOTC, The Duel for Yoda vs Palpatine in ROTS, etc). It would be refreshing to hear a reasoned, calm discussion about the application of music in this film. If that's what you're after, this isn't the video you're looking for.
  31. 10 points

    Call for JW biographical materials

    Hello, fellow JWfans. Obsessed with JW since 1994, member on this site since 2003, and have written my fair share of articles about the man for the LA Times, NPR, and elsewhere. All of that as preamble to a request. This fall, assuming the world is still turning and the higher education system still exists, I'm going to be teaching a course at USC on... the music of John Williams. As you can imagine, I couldn't be more ecstatic. Under the shadow of the "John Williams Scoring Stage," across a path from the school where George Lucas attended, I'll get to wax on about the greatest composer of all time every week for a whole semester. I know many of you have gathered biographical info about JW over the years—old news clippings, interviews, photos, etc.—and I would love to have anything and everything I can get my hands on as I prepare for this class. This will also just scratch an itch I have as a lifelong maniac for JW, but now I have a fancy professional reason as well. Let me know if you have anything you'd be willing to share. Thanks in advance!
  32. 9 points
    Juliet: "Romeo oh Romeo, wherefore art though Romeo?" Romeo: danger motif
  33. 9 points
    Ferdinand definitely belongs in the discussion. I wouldn't credit Williams much with Powell's recent developments as a composer...I don't think there's any evidence for that. I feel like if anything the bigger influence would be the Star Wars score study he mentioned doing for Solo. He said it was "devastating him hard" reading that music so closely I think the fact that Powell started doing fewer movies may be one reason his music has gotten seemingly richer in recent years. It seems that he's also become more philosophical about the kinds of movies he chooses to do, giving his music a stronger point of view. For a long time he always struck me as a supreme work-for-hire talent but he's become more interesting lately, it feels like there's more authorship going on. Also the more heartbreaking side of it which can be tasteless to speculate too much, but he did lose his wife to cancer in 2016. It's been noted here before that Williams lost Barbara Ruick in 1974, just before he began a remarkable creative period. Coincidence, maybe.
  34. 9 points
    Was half expecting JW to act surprised and say “Oh hello there, I didn’t see you come in”
  35. 9 points
    Credit for the news to The Legacy of John Williams facebook Edit: Ninja'd!
  36. 9 points
    Seems like the gif isn't uploading properly!
  37. 9 points
  38. 9 points
    That quote is of course taken out of context, but nowhere in what's been posted above does he say that inventiveness is the only criterion, or necessary, or that he has no respect for "talent". It's certainly true that Glass's primary claim to fame is his co-invention of "minimalism" and his very distinct style. Williams is a master at what he does, and that includes writing themes, dramatic structures, orchestration, and changing his style according to the needs of the film (often radically - see Images and Rosewood). But in the grand scheme of things, "invention" isn't what he does.
  39. 8 points
    Have you listened to his third HTTYD score? Or Call of the Wild? The former, especially, is overflowing with heart and soul.
  40. 8 points
    Here is how the OST was constructed 1 Main Title And The Attack On The Jakku Village (6:25) 0:00-1:26 = 1M1 Main Title 1:26-1:44 = 1M1Av3 Starry Night 1:44-2:16 = 1M2A Fix 2:16-2:29 = 1M1Av3 Starry Night {continued} 2:29-2:59 = 1M2B 2:59-3:07 = 1M1Av3 Starry Night {continued} 3:07-3:27 = 1M3C I've Seen Too Much 3:27-4:07 = 1M3D The Attack on the Village 4:07-4:52 = 1M3BR The Attack on the Village 4:52-6:03 = 1M4R The Arrival of Kylo Ren 6:03-end = 1M4B Landing 2 The Scavenger (3:39) 0:00-0:54 = 1M5 Alt 2R The Scavenger 0:54-1:02 = 1M5 Alt 2 The Scavenger 1:02-2:21 = 1M5 Alt 2R The Scavenger {continued} 2:21-2:40 = 1M6 Alt R One Quarter Portion 2:40-end = 1M7 Lunchtime With Rey (Flute Version) 3 I Can Fly Anything (3:11) 0.00-0.57 = 2M14R I Can Fly Anything 0.57-end = 2M15R The First Escape 4 Rey Meets BB-8 (1:31) 0:00-1:10 = 8M72 Finding The Map 1:10-end = 4M37 I've Found The Droid 5 Follow Me (2:54) 0.00-1:07 = 2M18B Who's Luke Skywalker? 1:07-2:24 = 2M18CR Follow Me 2:24-2:36 = 2M18C Insert II 2:36-end = 2M18CR Follow Me {Continued} 6 Rey's Theme (3:11) 8M79 Rey's Theme 7 The Falcon (3:32) 3M20R The Falcon Still Flies! 8 That Girl With The Staff (1:58) 0:00-0:35 = 3M21R What's Your Name? 0:35-1:05 = 2M18A That Lady with the Stick 1:05-end = 3M22R Kylo And His Sword 9 The Rathtars (4:05) 0:00-1:01 = 3M24R Hiding Under the Grate 1:01-1:22 = 3M27 Rathtars Appear 1:22-2:47 = 3M28 The Rathtar Attack 2:47-end = 3M28AR Old Falcon To The Rescue 10 Finn's Confession (2:08) 0:00-0:52 = 4M36R I Ran Into You 0:52-1:17 = 4M32R Green Planet 1:17-end = 4M33R You Got A Name? 11 Maz's Counsel (3:07) 0:00-1:21 = 4M35R Maz on the Table 1:21-end = 4M39R I Have To Get Back 12 The Starkiller (1:51) 8M81 Sunbeam Strings 13 Kylo Ren Arrives At The Battle (2:01) 0:00-0:15 = 5M43R (Fix) Find Rey! 0:15-0:43 = 5M43A (Fix) Maz’s Treasure Chest 0:43-end = 5M44 Kylo Arrives at Battle 14 The Abduction (2:25) 0:00-0:56 = 5M46R Kylo Stalks Rey 0:56-1:18 = 5M48 We’ve Got What We Need 1:20-end = 5M49R The Abduction of Rey 15 Han And Leia (4:41) 0:00-1:12 = 6M50R Han & Leia Reunion 1:12-2:52 = 6M51R Finn and Poe, United 2:51-3:23 = 6M52 R2 In Hibernation 3:23-end = 6M53R Parental Discussion 16 March Of The Resistance (2:35) 8M77 The Resistance Theme 17 Snoke (2:03) 0:00-1:02 = 8M78 Snoke 1:02-end = 6M54AR Bring Her To Me 18 On The Inside (2:05) 0:00-0:45 = 7M62A On The Inside 0:45-0:54 = 7M62A Insert 0:54-end = 7M62A On The Inside {Continued} 19 Torn Apart (4:19) 0:00-2:26 = 7M65B Father and Son 2:26-2:32 = 7M65C Leia Fix 2.32-3.40 = 7M65 Father And Son 3.40-end = 7M66 The Control Room And Ren In The Forest 20 The Ways Of The Force (3:14) 0:00-0:12 = 7M67R It Is You 0:12-0:47 = 7M67BF Rey Catches Sword 0:47-end = 7M67A Rey vs. Ren 21 Scherzo For X-Wings (2:32) 8M80 Scherzo For X-Wings 22 Farewell And The Trip (4:55) 0:00-1:16 = 7M68A Light In The Snow and Flying Home 1:16-2:05 = 7M68 Flying Home 2:05-end = 8M73 The Complete Map 23 The Jedi Steps And Finale (8:51) 0:00-2:12 = 8M74 Climbing the Mountain 2:12-end = 8M75 Finale (11/11/15)
  41. 8 points
    True - it’s important to support struggling businesses like Amazon, now more than ever!
  42. 8 points

    THE LAST JEDI - Disney Records OST

    Jesus, dude, tone it down a bit.
  43. 8 points
    The perspective is important. To many in California, Williams is a hero, but also a local musician who lives in the other part of L.A., and from time to time conducts something locally, can be seen behind the scenes or randomly if one is lucky, or seen at a local concert. To many Americans he is a compatriot from one of the bigger cities and a famous conductor of a popular national orchestra. To continental Europeans he is a hero from faraway, only ever heard or seen through a screen or other mechanical medium, who has never really interacted with their countries or even continent.. Most of even the biggest fans have already come to terms with the reality that they will never see him in the same world they live in. So yes, it was quite a coming! The fervent applauses were not because of the music really, the way one would measure if a Bruckner symphony was played well, but because, each time they were only allowed to, people wanted to thank him for being there for them.
  44. 8 points

    Only ONE Binary Sunset Finale!

    For overall significance to the film series, ROTS. It's the perfect ending to what was the end of the SW saga. None of the other endings make as much sense or have as much meaning. For purely the music, I prefer the TFA version. The TROS version is a pointless rehash in more ways than one. Should have ended on a grand orchestral swell on Rey's theme. But so little of TROS makes sense any ways.
  45. 8 points
    This video and performance made me shed a few tears. This was phenomenal. The sheer power that music has in uniting people. God bless Maestro John Williams, Keith Lockhart, and all the members of the Boston Symphony and Boston Pops who did this. A perfect way to thank all doctors, firefighters, police officers, first respondents and those who work to provide essential needs for many people.
  46. 8 points
    Still, great to see this back in print. Very enjoyable album. EDIT: Varese replied to my comment on their Facebook page. "Partially correct". All they need to do is read liner notes for the album. This is literally the first thing it mentions. 😆 Karol
  47. 8 points
    Audio-only version published by the recording label:
  48. 8 points
    I think Williams' scores from the 2010s, including the Star Wars sequels, were generally more subtle than his best-known earlier work. You kind of have to be paying attention now, more than before. If it's any comfort to you, I LOVE the TROS score!!!!!! I didn't like the theme rehashes at the end of the film, but I've edited most of them out lol, so I don't have to focus on that anymore. But even as a Williams fan who was going to enjoy the score in any case, I was pleasantly surprised by how inspired Williams sounded, the number of new ideas, and how colorful the score turned out. I'll always remember the fun of hearing the music in IMAX and listening to the OST for the first time (which was extra special with the big surprises of the brass riff from Speeder Chase and the choir from Anthem of Evil).
  49. 8 points
    Cheers @Marian Schedenig for being the rationalist of this thread. Saves some of us time. Glass' comments aren't so much derogatory as they are an honest reflection on his own priorities. Many artists are driven by questioning form, and convention. Asking oneself "why". And there's rarely ever space, time or money to ask such questions in a film studio. His own music came from a period that rejected the establishment and conventions of music-making. So it makes sense that the idea of challenging normative expectations is his priority and preference (even if his own music hasn't done that in years...which is also okay). And in the concert world, or even pop, you're creating autonomous music for music's sake, so you have more freedom in developing or pushing forward a language or a school of thought. In film music, you're serving a picture and a genre first. So, if you work hard and train well, you become a master technician like Williams, and become virtuosically adept at dipping into multiple traditions of music-making to serve the needs of the story at hand. And like Glass says, that's not to say there aren't "innovators" in these forms, but for the most part, Williams isn't one. And that's okay. That's all Glass' comments are really pointing to. Anything else is just a projection of Williams fanboy bias.
  50. 8 points
    The Hyperspace nods, both strings and brass, definitely stood out to me when I first listened to the track. An awesome callback without going full nostalgia repeat! As has been remarked before, Williams' Benjamin Button has been remarkable to hear over the course of this trilogy, each score's action music getting increasingly more vibrant and badass. The moment that always catches me is the breakdown at 1:40...not only does it bring to mind past moments from cues such as On the Conveyor Belt, Parade of the Slave Children, etc., but it also brings to mind something Williams has talked about again and again in his career: (4:18-4:38) You can talk about Williams' orchestrations, themes, all the other stuff, but one of his greatest strengths truly is rhythm--it's his first consideration when spotting a film, and it shows. Even with the mix being almost inaudible at many points, the moment that 1:40 of Falcon Flight played in the scene during theaters, I immediately tensed up and leaned forward in my seat. It was during this that I caught myself and realized that Williams was right: as moviegoers, we have been robbed of something so many times. Frankly, I don't give a damn about all the arguments out there about orchestra vs. electronics or bold melodies vs. nonthematic, or whatever else out there...it's all vibrations to me. But that push and pull that Williams is able to create so powerfully, that rhythmic momentum that he can manipulate what seems so effortlessly, the fluidity, all of it...that for me is the mark of a true composer, and something that I feel has been sorely missing from many film scores of recent times. I feel so fortunate that we were blessed with a master's contributions to a modern blockbuster series, regardless of their quality, as a beacon and reminder of what powerful film music can do to enhance a film. And I forgot to mention, I had a big grin on my face the whole time, too.
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