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  1. https://www.facebook.com/lucasfilm/photos/a.465029866888384/4105758406148827
    35 points
  2. The Legacy of John Williams is proud to announce an exclusive online video event coming MAY 4, 2021 dedicated to one of the most iconic and beloved collaborations in the history of music. 'The Special Relationship: John Williams and the London Symphony Orchestra' will explore the 40+ years collaboration between the legendary film music Maestro and one of the world’s leading symphonic institutions in a conversation featuring several former and current members of the LSO who performed under John Williams’ baton in many of his iconic scores recorded in London: CLIVE GILLINSON (former Cellist and subsequently LSO Managing Director), DAVID CRIPPS (former LSO Principal Horn), MAXINE KWOK (current LSO First Violinist), DAVID JACKSON (current LSO Percussionist). Joining this esteemed group of musicians is Planning Director SUE MALLET, a member of the LSO family since 1976, who worked closely with John Williams in his projects with the LSO since the early days. The panelists will talk about their fond memories recording and performing with John Williams on such legendary films as the original Star Wars trilogy, Superman, Raiders of the Lost Ark, the Star Wars prequel trilogy,Harry Potter and the Chamber of Secrets, but also on several other recording projects and live performances. The event is moderated and produced by The Legacy of John Williams’ editor/producer Maurizio Caschetto and film music journalist/concert producer Tim Burden. 'The Special Relationship' will premiere on MAY 4 (a.k.a. Star Wars Day) at 8PM BST / 3PM EST / 12PM PST at thelegacyofjohnwilliams.com and official YouTube channel. https://thelegacyofjohnwilliams.com/2021/04/23/lso-jw-video-event-announcement/ To get you in the right mood for this special event, Tim Burden produced a TERRIFIC musical tribute montage dedicated to this special relationship in music, featuring excerpts from the beloved film scores and compositions by John Williams recorded with the LSO from 1977 until today. Sit back, relax and listen to this magical musical journey with John Williams and the London Symphony!
    32 points
  3. This forum has a "report post" feature and this is now the most reported post we've ever had in the entire history of this forum. This post is a reply to one short sentence: "Seems like 2015 is when the BF slate started having really high profile releases" I am shock and dismayed that a label representative, let alone a label owner, would choose to sign in to our forum to post a reply like this to what is a very innocuous post. The post never read to me as "Boy, LLL sure sucked in the past, 2015 was the year they FINALLY got good!", it read as "Boy, 2015 is when they kicked things up a notch!" There are many "score collectors" who don't happen to like Star Trek music, or don't happen to like Lethal Weapon music, or don't happen to like Home Alone music. Why would you want to bully and shame them when all they did was express positivity towards different titles? This forum is full of film score fans who are constantly praising and purchasing from all the specialty labels, and LLL gets more attention than any label for a number of factors, such as the sheer amount of John Williams releases you've put out, and the fact that we skew younger than a forum like FSM so there is more discussion of 80-00s scores and you've also released more of those than the other labels. Day after day our forum members are constantly say positive things about LLL and we as a collective are always looking forward to seeing what's next, and I have spent lots of my free time doing what I can to promote LLL releases in the forums as well as via main page articles, which gets shared all over social media, providing more exposure to the great work you do. I can't believe you'd decide to come here and pick apart a post that you perceived as a negative one, when there is an ocean of positivity on this site about LLL across too many different threads to ever count. I also can't believe that you'd go beyond disagreeing with the opinion shared, but also elect to call his statement "stupid" and a "dumb ass comment". I think you should apologize to Richard, who has provided two followup posts that detail what it was he was actually trying to say: And I hope in the future you don't plan to attack your paying costumers on our forums, even if they do express a dislike of something you've released. Every single score collector on planet earth has different opinions of which scores they like and which they don't. You should know that as a whole, we appreciate and admire everything you do, and can't wait to see what's next.
    32 points
  4. Of the Star Wars sequels, The Last Jedi proved the most faithful to John Williams' intended score, with one major exception: the opening Escape sequence. After Williams recorded the score's first 8 cues, Rian Johnson restructured the entire sequence, forcing deep music edits to match the revised opening. Sadly Williams followed suit on his OST, presenting a heavily truncated suite of these cues in Main Title and Escape. Now, with the aid of sheet music and mockups, I've reconstructed the film's opening sequence, reintegrating deleted footage where available, and restored Williams' complete score to its intended glory. In my opinion, the best continuous stretch of film scoring in the trilogy. Enjoy! Williams' ability to ratchet up musical tension is simply unrivaled, paired with a climactic release to make the hair on your neck stand up. A shame neither the film nor soundtrack presented Williams' complete intended score; this had every potential of being the greatest opening track of any Star Wars soundtrack, period. Alas, the wait continues for expanded releases that showcase the Maestro's complete musical vision. Special shout out to @BrotherSound and another anonymous user for their help!
    29 points
  5. This year, I made a chocolate chip cookie cake. Happy Birthday, Maestro Williams, the most important creative force of my life.
    25 points
  6. I went to the reshearsal with my childhood friend. I'm 27, he's 26 and 20 of for those years we've been listening to John Williams together. I can't really describe how it felt to see him live. My friend and I couldn't even really talk about it, and I guess it's meaningless to try anyway. Let's just say it was a deeply emotional experience. I feel the need to share this experience with someone who might understand it, but I can't even put it into words (not even in Danish, if I tried, haha). I just feel so lucky to live in a world with and at the same time as John Williams!
    24 points
  7. Roger says http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8767 August 10th update: Roger's full blurb: http://www.intrada.net/phpBB2/viewtopic.php?f=3&t=8773 Doug's full blurb: http://store.intrada.com/s.nl/it.A/id.12305/.f
    24 points
  8. Hi everyone. I thought it might be useful to put together a listening guide of sorts for Williams's second violin concerto. This struck me as appropriate given how it's going to be heard in performance again fairly soon. Also, the piece, particularly its first movement, is fairly difficult to grasp on first listen! I've only put together a guide to the first movement (by far the most challenging), but if this is indeed helpful I'll consider doing the other three--or maybe someone else would like to. It's quite difficult to do this without a score, to put it mildly, so take everything here as provisional. I'm surely missing quite a lot of important details... Listening Guide for John Williams, Violin Concerto 2 MOVEMENT 1: "PROLOGUE" Overall, the most formally loose and spontaneous-seeming movement, fitting given Williams's striving for a "quasi-improvisatory" character. Not a truly non-repetitive piece, however: there are both aspects of inner-movement unity and some subtle prefiguring of material to come, particularly the concerto's principle "leitmotif" introduced in the 2nd Movement. The unpredictability of the music on a measure-to-measure level is compensated by an extremely clear division of 6 large-scale sections, summarized below. More in-depth account: SECTION 1 – INTRODUCTION 0:00 Quiet, slow introduction showcasing harp, supported by bed of strings. Shape of opening harp melody (D3-E3, D3-E3-C3-A3-D3) vaguely anticipates some later motivic details. First harp-based subphrase tonally centered on B♭-lydian, with contrasting Gm6(♭13) in middle. Second, string-based subphrase more dissonant, melodically disjunct. The third, once again harp-based subphrase coalesces on Dmaj6/min chord. 1:11 Introduction of soloist. Violin begins with repetition of note F4, giving bluesy quality to faint D-major tonality maintained by strings/harp. Melodic D tonic flanked by tritones A♭4 & G♯3 above and below. Progressively expands range upward, with what will become a quasi-motivic repeated note figure, here on B♭4 and E♭5. Thinner texture and new harmonies (F♯m and A-dim) and octatonic scale-fragment in violin at 1:50, followed by downwards chromatic cascades and melodic peak of E♭6. Unaccompanied violin sags glumly back downwards. SECTION 2 – FAST AND TURBULENT 2:24 Pulsing, agitated pattern in orchestra midrange on dissonant harmony (A3+B♭3+C4+ D♭4), supported at unpredictable intervals by rising bass-figure starting on low D. Violin gathers energy with repetition of Eb4, proceeds to a flowing, unpredictable musical thought, up to the first of several big orchestral swells marked by dissonant chord and percussive punctuation that swallows up soloist. 2:46 Violin reasserts itself over motivic rising bass-figure. Pace of textural and melodic change speeds up considerably, and music becomes increasingly key-less, violin and orchestra exchanging frenzied, short-lived ideas. Particular prominence to harp, timpani, clarinet. Low-strings trace downwards arpeggio of important Gm9 chord, echoed by violin (3:09), and Em9♭5, F♯dim7. 3:16 Lighter but more dissonant texture. Spiky, progressively accelerating violin writing against unpredictable staccato wind and pizzicato bursts. 3:33 Arpeggiating eighth-note figures in low strings resume, now upwards (D2-B♭2-D3-G2-C3-E♭3, etc.), quickly losing tonal focus as another dissonant tutti swell overtakes violin, followed by brief timpani solo (3:44). 3:46 Purely orchestral climax. Dissonant pitch pyramid assembled over B pedal. Similarly vaulting bass figures under now unified upper strings in octaves on urgent melody, arching upwards in successive swells. Pulsing/sustained brass and string melody help refocus tonality onto D, and downwards chord progression (D--C--B), while dissonant, can be referred to D-center. Ends on a shrieking tutti cluster, similar to opening sonority of section but greatly intensified. SECTION 3 – SLOW AND TRANSPARENT 4:23 Dreamy extended-tertian sonorities, starting with and centered on Gm13 (chord anticipated at 3:11, arpeggiated texture anticipated at 3:33). Violin enters with comparatively lyrical theme with pronounced downwards-moving trajectory. Tonality shifts to Dm, moving stepwise to Fm. Melodic shape heard in passing at 5:00 (F5-E5-G♯5-C5) seems to anticipate the recurring “leitmotif” of movements 2 & 4 -- you know, the one that sounds a bit like "Moonlight" from Sabrina. 5:10 Clear sense of tonality dissolves, violin becomes more agitated, emphasis on dotted rhythms, brief mini-solo of dissonant stops (5:18-5:22). Followed by dense, highly dissonant wind-ensemble writing, drawn from immediately preceding violin solo and segueing back into it. 5:39 Deep, dark minor chords (C♯m--Caug) prepare a catchy but ominous melody for solo violin built on double-stops (parallel minor 6ths), again with contour (A♭4-A♭4-G4-B4-C4) that anticipates shape of recurring leitmotif from mvts 2 & 4. 5:50 Busily spinning passagework for violin and glittering accompaniment, foreshadowing movement 2, recedes to background to allow brief flute solo (B♭4-A4-E5-G5-F♯5-F♯4) in E-minor, suggestive but as far as I can tell not motivically derived from anything else. Violin follows-through with flute melody, seamlessly moving to a… 6:20 Pre-cadenza for violin and harp, again with elements of flute melody (G6-F♯6-A5…B♭5-D♭6-C6-C5) SECTION 4 – CADENZA 6:50 Succession of contrasting technical and expressive ideas, not a huge degree of thematic connectivity with preceding sections though fairly consistent within its own scope. (Substructure: Downwards Em/B♭ chords—leaping octave pairs—compound melody (E6-D♯6-B5-A♯5, D♭6-C6-A5-G♯5)—trills—resigned droop—gathering energy—ascending melody over pedal—arpeggios—trills—melody reminiscent of VC1—ascending passagework maxing out at A6—descending, harsh stops, ending with repeated D4.) SECTION 5 – BROAD AND CLIMACTIC 8:38 Rather spooky melody for violin (F♯4-D5-B♭6-F♯5) over brief suggestion of B-minor. Quickly yields to new material for orchestra, with massed brass, strings in octaves, and thick, repeating wind quasi-fanfares, all grounded over low C-pedal (C-A♭-D♭-G chord?). Classic JW concert music stuff (c.f. For Seiji, Soundings, Heartwood, etc.). Much of this seems to respond vaguely to material introduced in the Cadenza. 9:00 Almost aleatoric sounding passage for harp, solo high winds, pizz strings. 9:09 Emphasis on low winds and strings. Recollection of ascending bass figure from 3:33 (now E2-B2-D3, F♯2-B2-E3) 9:14 Climax building really starts in earnest. Wind chords seem to outline violin’s spooky melody from start of section, against aggressive massed-string section counterpoint, ending on bright, dissonant wind chord. 9:25 Violin solo reasserts self, now more actively interacting with rest of orchestra. Strong sense of rhythmic and harmonic acceleration, climax building pauses after timpani interjection (9:40). 9:48 Final, rapidly attained climax, fastest solo violin writing; impression of huge sweeping motions from whole orchestra, culminating on a huge tutti chord of characteristically JW-dissonant flavor (A-C-E- F-A♭-C♭) SECTION 6 – AFTERMATH AND CODA 10:11 Instantly quiet, clear duet for harp and violin. Clear reminiscence of beginning of Section 3, via repeated harp arpeggio of extended triadic sonority, this time F♯m11(b♭13) instead of Gm11(nat13). Meditative violin solo above, not clearly connected to previous themes. 10:40 Quiet upwards scurrying from violin, reaching high B6, followed by abrupt, staccato motif (second phrase accompanied by four dissonant pizzicato chords from rest of string section). 11:03 Violin settles on sustained low A♭3, against resonant F2-A1 bass support on harp. Full fade-out by 11:16.
    24 points
  9. Jay

    The Home Alone Conspiracy

    Mike Matessino just confirmed on the latest episode of Maurizio's podcast that this was in fact John Williams himself whistling the villain theme!
    24 points
  10. Stay tuned for a very special preview of this new release coming soon on The Legacy of John Williams. It's really one of the best ones so far, imho. Even if you're familiar with the movie and the OST, there is a lot more here than you can imagine.
    24 points
  11. I still can’t believe this. It’s beyond anything I could have ever dreamed of. John Williams conducting his music in the city where I’m born and where I live, in one of the temples of classical music. Utterly amazing.
    23 points
  12. To all members of JWFan, Long time board member @Incanus has decided to step down from his Moderator position. This leaves Ricard and Jason as the forum moderators for the time being. We do not have any immediate plans to add another moderator to replace him. Incanus is still a member of our forums, and you can look forward to reading his review of the new "Spotlight on John Williams" album on the main page soon. We'd like to extend our thanks to Incanus for a job well done for many years! Now onto more pressing matters. In recent times, the forums have been drifting away from its original intention (a place to share a love of film music with other fans) and more towards a broader discussion forum of many topics, often venturing into political territory, with all the consequences that this entails. In order to continue to improve the forum experience, we have therefore decided to completely rewrite the Forum Rules, which are now effective immediately. Also immediately, we will be changing the way we moderate. We will now be using our discretion to delete posts that violate the rules, and increasing the length and frequency of bans as we consider necessary. This moderation will now exclusively be done from under a new forum account titled "JWFan Moderators". The best way to draw attention to posts that violate the rules continues to be the "Report" feature, which is available under every post to logged-in members. Please note that you will not receive direct feedback about your report, but know that all reports are taken seriously and will be attended to as our availability allows. Also note that we will not be deleting old posts or threads, as the new rules only apply to new content from this point forward. However, some old threads will be locked if the subject matter and/or recent content in them is considered to be a violation of the new rules. These changes have been designed with the intent of making the JWFan Forums a place where all people interested in productive discussion of film music and related media can feel comfortable and enjoy their time doing so. Thank you for bearing with us as we adjust and adapt together. Signed, Ricard and Jason
    23 points
  13. Definitely NOT film stems, no. I was planning to save this story for an Odyssey Soundtrack Spotlight, but now I feel like I have to silence the speculation about sources... Varese searched high and low for complete session tapes and really did their due diligence. Warner Bros, Taliafilm, Mike Ross-Trevor, Bruce Botnick...nobody had more music from this score. Nothing in Goldsmith’s own archives either. All Varese had to use was their original Vol. 1 and Vol. 2 album masters (thankfully those had been preserved in pristine condition and sounded fantastic.) So Varese actually reached out to me many months ago to see if with my Goldsmith Odyssey connections, I knew anyone who might have more music from the sessions. I bothered a bunch MORE people, on the slim chance they might have something. (I.e., did Mike Lang happen to help do the keyboard overdubs after the Hungarian sessions, and might he therefore have a copy of the full score as recorded? Nope, he didn’t, and nope, he didn’t. But he IS a super nice guy and suggested even more people I could try.) Finally, I remembered something at almost the last minute: Intrada’s re-recording of Islands in the Stream was done as a piggy-back fifth day of sessions at the end of four days of Lionheart sessions in Hungary. Doug Fake himself was there in Hungary, in 1986, for the original Lionheart sessions leading up to the first rerecording he produced with Jerry. And in multiple conversations with me, Doug has said, “I save everything I can.” Surely, Doug would have made himself a copy of those original Lionheart orchestral sessions, I thought! After all, this is the guy responsible for preserving copies of City of Fear and Studs Lonigan, for *decades*, which would otherwise be lost to time. So very last minute (they were finalizing the track list), I asked Cary at Varese for permission to reach out to Doug, and thankfully (though skeptical there would be anything) he agreed to let me contact the head of another film music label about a high profile upcoming Varese edition, even though all my other avenues of inquiry over the previous week or two had come up empty. Did Doug have tapes as I suspected he might? Yes, he had 84 minutes of Lionheart spread over three tapes he’d had made for reference purposes. These were not commercial audio cassettes, they were professional grade tapes. But they were still copies and never intended to be a source for an album. Doug told me this and warned me they wouldn’t be up to the quality of the album master tapes Varese had. In fact, he didn’t even know how they would sound because he hadn’t listened to them in decades. But we had no other avenues to check; this was a last ditch effort to include more music that would otherwise never get out to Goldsmith fans. So I put Cary and Doug in touch, and Doug generously had his tapes transferred to digital and sent to Varese. It turned out the unreleased music totaled almost four minutes spread over two cues that went unused in the film. But I figured out where those cues should go in the film, and David at The Goldsmith Odyssey edited them in for the scenes they should have scored, and they were a perfect fit to the final cut of the film! These cues are in fact very important ones because they clearly establish the thematic material for the villainous Black Prince, before it gets incorporated into the action cue “Children in Bondage”, mixed in with a lot of other stuff. That cue was never meant to be the first appearance of the theme, and IMO its development makes so much more sense now, with those two cues preceding it. One problem: since the two previously unreleased cues were definitely in inferior sound quality to the rest of the score, Cary wanted to put them at the end of disc 2 (after the end credits) as bonus tracks. I lobbied hard for them to be included in chronological order and just labeled with asterisks that they were in lower sound quality, but Cary didn’t like the thought of having great sounding cues on either side of poorer sounding ones. This is where Lukas Kendall, who also assisted Varese on this release, came in with a good compromise: keep the full score in chronological order which I felt so strongly about so that the thematic development can be preserved...but have the new cues end Disc 1 instead of Disc 2. That way they were still bonus tracks at the end of a CD rather than interrupting in between great sounding cues. So for those of you wondering why disc 1 is 22 minutes and Disc 2 is 62 minutes, this is why. It wouldn’t all fit on one disc, and it actually does work out well as a split because Children in Bondage is actually a great opener to Disc 2. If the extra music had survived the ages in pristine sound, The Road from Paris is where I’d have started Disc 2. But given the circumstances, I think the split makes total sense and I hope everyone else enjoys this new presentation of a top 10 Goldsmith score as much as I do. I’ve probably gone on about this longer than I should, but I wanted to head off a bit of the Monday night quarterbacking (“I would have done it THIS way!”) I was seeing here and at FSM. Rest assured a ton of work went into this release and no decision was made lightly. Chas Ferry did remaster this actually. In fact I haven't even heard his work on it yet -- its very likely that he made the two new cues from Doug Fake's tape sound better than when I last heard them in the album mock-up I made. I'm very interested to hear what his new mastering sounds like. I think you mean Nic Raine? Nick Redman is no longer with us and was not a conductor but an album producer for Fox. In any case, I would definitely be up for a re-recording of this score someday, and I know it's one Tadlow reconstructionist Leigh Phillips *almost* did a few years ago (Thriller narrowly beat Lionheart in a poll he ran, and thank goodness because those Thriller volumes actually made back their money which Lionheart probably couldn't due to how immense the expense would be.) But for now, let's celebrate the fact that the original (and still quite good) Lionheart recording under Jerry's baton has been reissued (and even expanded with two more cues) after being out of print and unavailable for *decades*! A lot of people are going to have the chance to own this masterpiece of a score again. I'm so glad Varese decided to revisit it. Yavar
    23 points
  14. PRESS RELEASE - WALT DISNEY PICTURE COMPANY, DISNEY+™ AND LUCASFILM LTD.™ (SAN FRANCISCO, CALIFORNIA) Walt Disney Pictures, Disney+™ and Lucasfilm Ltd.™ are excited to announce that visionary director JJ Abrams is returning to the galaxy far, far away. Abrams has been commissioned to remaster and reconstruct the original Star Wars™ trilogy (Star Wars™: Star Wars™, Star Wars™: The Empire Strikes Back™, Star Wars™: Return of the Jedi™) in brand-new editions exclusive to Disney+™, finally integrating the Original Trilogy™ with the beloved Star Wars™ Sequel Trilogy™. Reuniting with screenwriter Chris Terrio (Zack Snyder's Justice League), the pair wrote new dialogue to bridge the old with the new. "I said to Chris, 'man, this trilogy does a terrible job establishing context for Rise of Skywalker,'" recalls Abrams. "No mention of Palpatine's children, no hints about grandchildren... so many missed opportunities. Why shouldn't Rey's Song appear when the Emperor confronts Luke? We need to fix this!" Abrams credits inspiration for the project to veteran Star Wars composer John Williams. "I remember John saying to me, 'JJ Baby, after what you've put me through, I wouldn't be surprised if you asked me to write new music for Empire next.' That was the light-bulb moment." The acclaimed sound team from The Rise of Skywalker™ also return to remaster the iconic soundtracks, assembling immersive new Dolby Atmos mixes. "It never made sense that all the musical themes didn't exist in all of the films," muses Abrams. "Finally we can fix those mistakes." Disney+ subscribers can also enjoy isolated scores, further highlighting Abrams' new vision. "This will introduce a whole new generation to John's music. I'm even talking with Disney Records about releasing the new isolated scores on CD. Everyone's excited!" While Williams could not be contacted for comment, he would undoubtedly approve. Abrams shares Williams' theoretical excitement. "At last, fans will appreciate my vision for the Skywalker Saga." EXCLUSIVE: First clip from Abrams' newly remastered edition of Star Wars™: Return of the Jedi™:
    23 points
  15. Skelly

    Eddie Karam on Williams

    Hi! Some of you may know that Eddie Karam was Williams's trusty orchestrator for a long time. Karam gave a talk in 2013 for The Academy of Scoring Arts where he discussed his life in music, his work with various composers (Williams, Mandel, Horner, etc.), and gave some very funny anecdotes. I don't think a thread about this video has been made before, so here are the comments he made regarding Williams. Meeting John Williams: Orchestrating Williams's music: Dividing work between himself and Conrad Pope: "Crystal Skull" story
    22 points
  16. Pablo Sáinz Villegas, the spanish guitarrist who premiered 10 years ago Rounds, has just revealed in an interview for the spanish newspaper El Pais that he received a letter from John Williams inviting him for a collaboration with Yo Yo Man and him for a new album they are recording with the New York Philharmonic. https://elpais.com/cultura/2021-09-24/pablo-sainz-villegas-me-escribo-con-john-williams-por-correo-postal.html
    22 points
  17. 22 points
  18. Sadly Williams didn't approve the original cover art.
    22 points
  19. Hello There, some of you maybe know my youtube channel martyprod2 where i posted around 80 Tv pro video of john wlliams conducting all kind of stuff, including his own music (or not). Some parts of my collections come from myself, and some from someone very nice from here.. I Just started to remaster each video one by one in Full HD, Widescreen, pictures improved upscaled and cleaned, colors eventually reworked and a bit of new color gradding, and sound normalized (my hearing illness actually forbidd me to do more than that for now). I take this opportunity to post the stuff that i have in my collection and didn't posted yet, like this one, and which is the first one to be remastered. For the videos already posted, for the ones with few comments, i'll erase them and they will be replaced by their remastered version, and for the ones who have lot of comments, i'll let them online and will post the remastered version next to it. I'll post more soon, but it take a long time
    22 points
  20. What a fantastic photo! He looks like a proud dad
    21 points
  21. I don't know wtf you guys are complaining about. You just need to zoom in a bit.
    21 points
  22. I'm very happy to announce this. It's going to be special! Full press release: https://thelegacyofjohnwilliams.com/2021/01/25/score-masters-announcement https://iftt.co.uk/news/ift-launches-score-masters/
    21 points
  23. According to the feature in this month's BBC Music Magazine:
    20 points
  24. Today during the rehearsal they played: Olympic Fanfare and Theme Close Encounters of the third Kind Suite from Far and Away Three Pieces from Harry Potter Jurassic Park Finale The maestro was in great shape, how incredible to see him live for the first time, I still can't believe this has happened!!!!
    19 points
  25. For those who missed it, I recorded it: Chewy · Always End Credits (ClassicFM)
    19 points
  26. Starting with Daddy O in 1958 to the fifth film of the Indiana Jones franchise in 2022 (hopefully), Williams will have scored films in 8 different decades. I wonder if Williams is the first composer in history that has written film music over such a long period of time (64 years with the release of Indiana Jones 5) and the first who has produced a soundtrack score in 8 consecutive decades. Whatever the case, it is a testament to an incredible and impressive career (and Williams’ great health).
    19 points
  27. In a BBC Radio 4 interview from this morning, John Williams mentions that he "[hopes] to be in Berlin in October conducting the orchestra". Is this the first we have heard of a potential concert with what sounds like the Berlin Philharmonic Orchestra?? What do you make of this? Interview starts at 7:40am (1h40min in) but JW mentions Berlin at 7:44am, (1h44min in)? https://www.bbc.co.uk/programmes/m000ph3t If this is to be true and the vaccines are here to enable us to see concerts again, it is amazing to hear JW is still able and willing to work!!
    19 points
  28. Ricard

    HAPPY BIRTHDAY, MAESTRO!

    Make sure you tune in TODAY at 9PM GMT / 4PM EST / 1 PM PST for the premiere of SCORE MASTERS: CELEBRATING JOHN WILLIAMS AND JERRY GOLDSMITH, an online tribute event to the legendary composers co-produced by The Legacy of John Williams, The Goldsmith Odyssey and Ipswich Film Theatre. Join to celebrate Hollywood's finest composers in the week of their birthdays together with an amazing array of guest panelists, including Leonard Slatkin, David Newman, Mike Lang, Bruce Botnick, Jeff Bond, Mike Matessino and Leanna Primiani. More details here.
    19 points
  29. Falstaft

    HAPPY BIRTHDAY, MAESTRO!

    Happy Birthday to the master! By way of celebration, I've uploaded a rare, very long interview from 1983 JW conducted with Robert Lurtsema on NPR. I've been sitting on this for awhile; not sure it's been heard since '83!
    19 points
  30. Here is my review for Donnerstag, den 14. Oktober 2021 performance by John Williams and the Berlin Philharmonic. After the welcoming standing ovation, the concert opened with the sounding of the Olympic Fanfare, which introduced the reliably disciplined and strong sound of the Berlin Philharmonic. This was followed by The Close Encounters of the Third Kind, which, in contrast to the Viennese direction that mirrored Charles Gerhardt's legendary recording, here were conducted by Williams with more liberty. Afterwards, Williams took a while to compliment the city, which he said to have driven around over the past few days. He said that, in contrast to Los Angeles and New York with their abundant cars, it was great to see so many pedestrians and cyclists in Berlin. He added that the city has great history in its antique architecture, a thriving present, and in the faces of the many children in the park he saw that it is set for a great future as well. Next came his introduction of the Far and Away suite, which Williams said was a project with a need for Irish music, something that he had always wanted to do at the time. He described the Doonybrook segment, written as a non-seriour brawl that in tone harkened back to the times of pies thrown in people's faces in Hollywood comedies. The execution of this suite by the Berlin Philharmonic was solid, with the ever-energetic concertmaster convincingly taking on a role of a country fiddler. The Donnybrook segment stood out thanks to the great vitality coming from the lower strings. The introduction of the selections from Harry Potter was brief, and their execution conservative (as far as world's greatest orchestras go). Hedwig's Theme is a fitting piece where I should mention that the oboe soloist (a young lady with a flaxen hair – later identified as Sofía Zamora Meseguer) was outstanding throughout the concert among the woodwinds. Overall, for this reviewer the highlight of the segment was Hogwarts' theme in Harry's Wondrous World, a guilty pleasure it always is. The final piece before the break was the concert arrangement of Jurassic Park, In contrast with the original 1993 direction, where one can relax and stirr a tea between the phrases of the maestoso, this rendition followed Williams' recent tendency for much faster tempi. The main theme at today's speed resembled a single lyrical utterance, closer to an aria, credit to the skill of the Berlin Philharmonic which played it with grace. The island fanfare was played by the trumpet section with gusto, I daresay rivalling the legendary original performance of Malcolm McNab and his colleagues. The BSO's trumpet section is young and strong, precise in attack, and very cohesive, which continued to be felt throughout the concert. It is not improbable that all of the trumpeteers who played today grew up with Williams' music and knew it's big moments by heart. What an uncommon and wonderful compliment to an old composer this is! ---Intermission--- The second part of the concert resumed with a mighty performance of the Superman Theme. The excellence of the bassline, if it persists until Saturday, should be felt on the recordings, and the BSO certainly can hope to produce one of the go-to recordings of this piece. After Superman, a selection from the Indiana Jones series was introduced in Williams' standard fashion. The difference was the mention of contemporary events - Harrison Ford having recovered from an accident and filming the next installment in London, and Williams planning to begin the writing of the score upon a return to Los Angeles. It also involved what to me was the most comical event of the evening, when the maestro forgot Sean Connery's name and the crowd in the front rows begun trying to yell it to him through muffling masks. The Scherzo for Motorcycle and Orchestra to me was one of the highlights of the evening. The BSO was a flawless machine in this one, fitting for a piece most of all related to Berlin. Marion's Theme was a solid show, although I confess that I missed the spoiling plushness of the strings of the Vienna Philharmonic. Raiders March on the other hand was directed by a noticeably more vigorous hand than the one in Vienna, and the eventual recording, if safe from any misfortune, might well prove superior to the one made by Simon Rattle at the Waldbühne a few years prior. Next came the introduction of the Elegy for Violoncello and Orchestra, which Williams selected because he personally associated the sound of the cello with many different emotions, and the Elegy is well-suited for individual interpretations by the listeners. Indeed, it sounded generally solemn and emotional; clearly could work well as a score to many different films, and was a fine choice as an ambassador for Williams' concert works. Without much ado, the Star Wars pieces were announced, and to my pleasant surprise, in the opening Adventures of Han, the Philharmoniker roared to life as if they had just been reborn, no doubt owing to the shrewd contrast produced by pairing this piece with the Elegy. Overall it was my favourite performance of this piece to date, matching, and possibly exceeding the original one, and joined the Scherzo as another highlight. After it, Yoda's Theme came in with unexpected nobility, courtesy of the Berliner horns, and upon it's completion earned an immediate standing applause. Afterwards followed the final piece in the official programme, Throne Room and Finale from Star Wars. The performance was a very fine one, and the eventual recording is likely to be added to the list of ones we so much like to compare and favour. The trumpeteers should be mentioned once again, since a lot in the Star Wars pieces depends on their excellence, and they provided it in spades today. Overall, with energy reserves of the orchestra fully engaged and just about every piece a barn-burner, the second part of the concert was especially strong, not unlike in Vienna. It should also be noted that the percussion was astutely disciplined – certainly less error-prone than that of the VPO. Then came the encores, known to me beforehand since the concertmaster named them loud to the orchestra during the public-open rehearsal on Wednesday. Princess Leia's Theme, after a standard introduction, much like Marion's Theme, was a solid performance, and the principal horn was distinguished by Williams and orchestra colleagues to stand up three times to receive a standing ovation. The second encore was Flying from E.T., begun in a racing tempo from the final bike chase and welcomed by the audience with some happy noise. Then Williams feigned leaving the stage again, and returned with the final piece – The Imperial March. The public reacted with a welcoming ovation, one even longer than what I remember from the initial Viennese concert. With the composer-conductor overjoyed, and the orchestra firing on all cylinders, the piece was over not long after it begun. It was decidedly faster than the one in Vienna, although to my ears the horns lost their discipline and got a bit uneven, and so the Viennese ones remain unmatched. I regret I cannot single out the principal flute for praise as much as I could the oboe, or the flutes in Vienna, but that is the beauty of having these live performances with different orchestras and different strengths - back then they were strings, horns, and flute; today - trumpets, percussion, and the oboe. I am sure the orchestra will continue to make quick gains during the two performances it still has ahead of it, since it most certainly already did between Wednesday and Thursday. I am looking forward to your reviews after the next concerts. P.S. It should be noted that I was seated behind the orchestra and cannot speak about all nuances of balance or judge the string performance. I am sure those at the front might have praise to add in these areas. P.P.S. The audience seemed slightly inhibited by all the circa-epidemic restrictions. Had it been like in January 2020, when all everyone cared about was a ticket, I am sure the crowd would have been more freely jubilant. Yours, Fabulin
    18 points
  31. Upcoming & recent concerts 2021 Tanglewood (July / August) 2021 Hollywood Bowl (September) 2021 Boston (September / October) 2021 Berlin (October) 2022 Carnegie Hall (April) 2022 Chicago (June) 2022 Milan (June) Upcoming works The Fabelmans - 2022 Hollywood Bowl Fanfare - August/September 2022 Indiana Jones 5 - July 2022 Percussive Planet nevermind, false alarm! Vienna Promenade - 2022 Upcoming albums (conducted by Williams) Complete Philips Recordings - Jan 14 2022 new Yo Yo Ma album new Anne-Sophie Mutter album Recent film scores The Rise of Skywalker (2019) OST album - hype OST album - music FYC album Cue titles Complete score The Adventures of Han (Solo: A Star Wars Story) (2018) The Post (2017) FYC album The Last Jedi (2017) OST album - hype OST album - music FYC album Isolated score track Cue titles Complete score The BFG (2016) OST album Samples FYC album Themes Complete score The Force Awakens (2015) OST album FYC album Complete score 1 Complete score 2 The Book Thief (2013) Chronological order Cue list Lincoln (2012) Samples FYC album Complete score War Horse (2011) FYC album Themes Complete score 1 Complete score 2 The Adventures of Tintin: The Secret of the Unicorn (2011) OST album - hype Samples 1 Samples 2 Samples 3 OST album - music FYC album Complete score Recent updated concert arrangements Adagio from The Force Awakens (2018) Escapes for Alto Sax and Orchestra (2003) Han Solo and the Princess (2018) Han Solo and the Princess (2021) Irina's Theme (2008) - different than the OST track with that name The Jedi Steps (2016) Leaving Home (2019) Love Theme From The Long Goodbye (2021) Marion's Theme (2021) Memoirs of a Geisha Suite For Cello and Orchestra (2009) Schindler's List for Cello and Orchestra (2017) Stargazers (2009) Recent non-film works Conversations (2013) Dear Basketball (2017) Highwood's Ghost (2018) Fenway Park Fanfare (2012) Galaxy's Edge (2018) Just Down West Street... On The Left (2015) Music For Brass (2014) Overture to the Oscars (2021) Rounds (2012) Prelude for Piano and Orchestra (2021) Scherzo for Piano and Orchestra (2014) A Toast! (2014) Markings (2017) Violin Concerto #2 (2021) Recent albums (conducted by JW) Across The Stars (2019) Hooten Plays Williams (2019) John Williams: Conductor (2018) John Williams and The President's Own (2021) John Williams in Vienna / John Williams Live In Vienna (2020) - includes "Devil's Dance" Spielberg / Williams Collaboration III (2017) A Tribute To John Williams - An 80th Birthday Celebration (2012) - includes "Happy Birthday Variations" Recent albums (conducted by others) The 5 Sacred Trees (Bassoon Concerto) (2015) A Life In Music (2018) At The Movies (2018) Celebrating John Williams (2017) Cello Concerto (2015) Lights... Camera... Music! (2017) Music From The Star Wars Saga: The Essential Collection (2019) - includes "Han Solo and the Princess (2018)" John Williams for Winds (2015) Spotlight on John Williams (2021) Themes and Transcriptions for Piano (2017) Recent tracks (on multiple-artist albums) Montage (2015) - includes "Conversations" World Soundtrack Awards (2020) - includes "The Face of Pan" (Revised version) and "Tribute to the Film Composer" Recent Film score expansions / premieres 1941 (LLL) 1941 (LLL) - reissue A.I. Artificial Intelligence (LLL) Always (LLL) Black Sunday (FSM) Close Encounters of the Third Kind (LLL) - hype Close Encounters of the Third Kind (LLL) - music The Cowboys (Varese) Diamond Head (FSM) Disaster Trilogy (LLL) - hype - see separate threads for each score to discuss the music Dracula (Varese) - hype Dracula (Varese) - music Earthquake (LLL) The Eiger Sanction (Intrada) Empire of the Sun (LLL) E.T. The Extra-Terrestrial (LLL) - hype E.T. The Extra-Terrestrial (LLL) - music E.T. The Extra-Terrestrial (LLL) - vinyl Family Plot (Varese) Far and Away (LLL) The Fury (LLL) Harry Potter 1-3 (LLL) - hype 1 Harry Potter 1-3 (LLL) - hype 2 Harry Potter 1-3 (LLL) - samples Harry Potter 1-3 (LLL) - packaging Harry Potter 1-3 (LLL) - music Harry Potter 1-3 (LLL) - official alternate Philosopher's Stone covers Heidi (Quartet) Home Alone (2010 LLL) Home Alone (2015 LLL) Home Alone 2 (LLL) Hook (LLL) - hype Hook (LLL) - music Images (Prometheus) Images (Quartet) Jaws (Intrada) Jaws 2 (Intrada) Jane Eyre (LLL) Jurassic Park (2013 Geffen) Jurassic Park / The Lost World (2016 LLL) - hype Jurassic Park / The Lost World (2016 LLL) - music The Land of the Giants (LLL) The Long Goodbye (Quartet) Lost In Space (LLL) Lost In Space (Mondo) Minority Report (LLL) The Missouri Breaks (Kritzerland) Monsignor (Intrada) Nightwatch (FSM) None But The Brave (FSM) Penelope (FSM) The River (Intrada) Rosewood (LLL) Saving Private Ryan (LLL) Schindler's List (LLL) - hype Schindler's List (LLL) - music SpaceCamp (Intrada) SpaceCamp (Intrada) - reissue Stanley & Iris / Pete 'n' Tillie (Varese) Superman (LLL) Superman II / III (with Superman's source music) (LLL) Superman IV (LLL) The Time Tunnel (LLL) - includes Vol 1 & Vol 2 Tom Sawyer (Quartet) The Towering Inferno (LLL) The Towering Inferno (LLL) - JWFan Exclusive Jim Titus alternate cover The Witches of Eastwick (Perseverance) War of the Worlds (Intrada) Live To Projection Concerts Close Encounters of the Third Kind E.T. The Extra-Terrestrial Jaws Jurassic Park Harry Potter Home Alone Indiana Jones Star Wars Score Restore videos A.I. Artificial Intelligence Always Close Encounters of the Third Kind The Cowboys Dracula The Eiger Sanction Empire of the Sun Harry Potter 1 Harry Potter 2 Harry Potter 3 Home Alone 1 & 2 Indiana Jones series Jurassic Park The Lost World Minority Report The River The Post Star Wars series Superman War of the Worlds Complete cue lists / complete score breakdowns Amistad Bachelor Flat Catch Me If You Can JFK Harry Potter 3 Hook Memoirs of a Geisha Minority Report Indiana Jones 1-3 Indiana Jones 4 The Reivers The River The Terminal War of the Worlds Witches of Eastwick Informational resources Jay's google docs & specialty label expansion producer interviews Williams feature film scores sorted by Film Studio Williams feature film scores sorted by Music Label Williams feature film scores sorted by Specialty Label Williams-scored films on Blu Ray / 4K UHD Bespin's discography website discussion crumbs' list of Williams scores Williams' OST album breakdowns Williams' concert arrangements and where to find them John Williams Chronology
    18 points
  32. (Note: The “Prelude” is what will be premiered; the “Scherzo for Piano and Orchestra” is a previously-existing work.)
    18 points
  33. In other words, "am I a selfish asshole" vs. "do I want art to be presented properly and accessibly". LLL should get on the digital train after Varese and Intrada, and convince JW too, including the booklets digitally too, THEN limited physical releases would be acceptable. I was insanely lucky to find this site just when all I wanted (or was about to find out I wanted) was about to come out or still available.
    18 points
  34. Looks like this is fairly recent: https://www.steinway.com/news/features/owners/john-williams Short, but lovely!
    18 points
  35. These were once again outstanding concerts. I attended the Thursday and Saturday performances, both times close to the stage - on Thursday I had a seat in row 3, 2nd place from the left, with a good side view of Williams; on Saturday again row 3, but almost in the middle, only slightly to the left (which was in fact the 2nd row because the middle blocks start in row 2). That was the closest I've ever been to Williams. For some reason, I was under the impression that the hall was known for problematic acoustics, so I got a bit worried when I realised I was sitting to the left of even the rear violins on the first day. Needlessly, because the hall turned out to be stunning, and I could hear everything perfectly (plus extra harp, which was nice). My personal highlights were the Olympic Fanfare (always wanted to hear that live), Far and Away (much more fun than I'd expected, because I realised when the expansion came out that after all these years I don't enjoy the full score/album as much as I used to - but it's a fine suite), possibly the best live Raider's March I've heard (I usually find it a bit too much on the heavy side in concert - not this time), Throne Room (because it's Throne Room and because it wasn't in the previous Williams concerts I'd attended), and the three pieces that I thought suited the orchestra and the hall best: Nimbus 2000, Scherzo for Motorcycle and Orchestra, and The Adventures of Han. Comparing it to Vienna, I'd say both concerts were sufficiently different that I don't feel the need to pick a "better" one. Pieces that relied on precision (like the three standouts I mentioned above) were spot on here, while the more lush and lyrical pieces stood out in Vienna. There simply is no match for the Viennese horns (the Berliners were excellent, but they just don't have the same instruments), but the Berliner trumpets were fantastic. The halls complemented those different strengths as well - the Musikverein with its warm, luxurious sound, and the Philharmonie with its incredibly powerful yet transparent acoustics. In Vienna, I could hear every tiny detail, which is a rare thing when you know the pieces more or less by heart (and also, as I mentioned at the time, something that I've very rarely experienced at the Musikverein). In Berlin, the balance wasn't always perfect to that effect (it may have been better with a little more distance to the orchestra than my seats, where I got the most direct sound of the strings), but the spaciousness was stunning (not just left and right, but also a three dimensionality between the strings up front and the various winds in the back). I've also never heard instrumental doublings so clearly, especially when the horns and celli were doubled. The Viennese Imperial March remains unmatched (both for its tempo and for the incredible horn section), while the Berliner Raider's March easily beats Vienna. Jurassic Park, despite a few inaccuracies, was a marvel in Vienna (and again the horn parts stood out in particular), whereas the Berliner version was excellently phrased in the B section of the main theme, but perhaps even faster than the usual (too) uptempo version. On the other hand, the Berliner precision in the Motorcycle and Han scherzos was marvellous. I'm especially happy I picked those two days because I got an excellent Leia's Theme on the first day and the insane closing ovation on the last day. Williams was in very good shape on the first day (notably fitter even than in Vienna, I would say). From comparing notes after the last concert, it seems that he was much more energetic on Saturday than on Friday, but the difference to Thursday was still apparent. I couldn't help getting a bit worried and distracted whenever he turned to the left to propel the violins and looked like he'd run out of breath any moment. I think he deliberately shortened his last few speeches, and didn't even turn around for the applause between Yoda and the Imperial March to make sure he'd get through the concert before running out of energy. But on the other hand, the actual energy he invests in these concerts is incredible, and at times he seems to work even harder than the orchestra. And it seems obvious to me that he does it because he is aware of what he can get out of these pieces with the orchestra if he doesn't compromise and gives them everything he can. I still find it hard to believe that only three years after I thought I'd just missed my last chance of ever seeing him live, I have now attended five Williams concerts, with perhaps more yet to come. I think he just realised that it takes too much energy. I'm glad I caught one excellent performance on Thursday - I hope it was properly recorded.
    17 points
  36. Thanks everyone for the nice words about the Eiger podcast! Very happy that you liked it. The year is not over yet, by the way 🙂
    17 points
  37. LLL waking up this morning: John Williams waking up this morning: Us waking up this morning: https://drive.google.com/file/d/1d7YdbGzdhSrh6IL_bNL_f4iZjRBHeEoV
    17 points
  38. The merits and flaws of the prequels have been debated endlessly, but if there's one thing they had going for them was opportunities for musical expression. The Phantom Menace is particularly noteworthy in that sense, with its great variety of locales and set pieces, regardless of how well they actually work dramatically. Those aspects, combined with a plethora of vast establishing shots, dramatic scene transitions and numerous shots of ships taking off and landing, gave John Williams the chance to write what I think is his greatest collection of fanfares in any single score. I would even go as far as to say The Phantom Menace has the greatest collection of fanfares of any score that I know of, period. Listening to a mostly complete assembly of the score, I was awestruck at the sheer quantity of absolutely terrific and unique fanfares JW wrote for it: This score is an absolute treasure chest
    17 points
  39. I'd like to throw my hat in the ring as the third moderator. Qualifications: Read multiple biographies of other famous moderators, including Stalin and Mao Tend to enforce rules consistently yet arbitrarily; fairly yet capriciously Will ban that one obnoxious Star Wars guy and bring back BloodBoal Will limit all posts about aspect ratios to six paragraphs Will expand Tolkien section and add sub-forum called "Famous Composer Follies" Bread and circuses for all!
    17 points
  40. My understanding is that the nature of the quotes in the original versions of the cues was such that JW felt it was a direct presentation of his music rather than an oblique reference to it. Basically, if the score to R1 was going to use actual pages from JW cues from other Star Wars movies, the credits for the music on the film would need to be rewritten (i.e. Music by John Williams, arranged and adapted by....), giving JW top billing on the music card. This would probably have also meant even more expense for Disney in the form of some kind of payment to JW. The easiest solution was to remove these major quotes and replace them with less derivative music. By major quotes, I mean the way JW's Superman theme was used in Superman Returns (which literally used the conductor's score for Superman March), only more intrinsic to the fabric of the entire score. The term I heard used was "cut-and-paste" in reference to the way JW Star Wars themes were being quoted. Honestly, I wouldn't blame JW if he WAS being a "bad sport". He's a human being like the rest of us.
    17 points
  41. Chewy

    HAPPY BIRTHDAY, MAESTRO!

    Happy Birthday Mr. Williams! Hopefully Sony Classical will have a better message than the one from last year:
    17 points
  42. https://www.instagram.com/p/CU8NZfsAS-s/ https://www.instagram.com/p/CU8QQxtg38Z/
    16 points
  43. Currently intermission at Symphony Hall. The encore for the first half was Williams and Mutter doing a violin arrangement of his love theme from “The Long Goodbye”, which I believe was new (especially based on his speech beforehand, which said how there had been vocal versions but never one for an instrumentalist until this one for Mutter).
    16 points
  44. IMAGES Music by JOHN WILLIAMS PRICE: 16,95€ IN STOCK Limited edition of 2000 units Quartet Records, in collaboration with Handmade Films, is proud to present a remastered CD reissue of an early masterpiece from legendary composer John Williams (THE TOWERING INFERNO, THE COWBOYS, JAWS, E.T., THE RIVER) for Robert Altman’s 1972 psychological thriller-drama starring Susannah York. The film inspired one of Williams’ most fascinating and avant-garde scores. The composer based his ideas on two different musical styles: one more classical, almost childlike, the other experimental, aggressive, with an essential contribution from famous Japanese percussionist and experimental musician Stomu Yamash´ta. This musical duality allows Williams to reflect how sanity gradually and irretrievably loses ground to madness in York’s character. The composer was Oscar-nominated in 1972 for both IMAGES and THE POSEIDON ADVENTURE; this was the first time he received a double nomination in the same category of Original Score, something that became usual in the following four decades. This new 2021 edition, the first official release of IMAGES approved by the composer, has been expertly produced, restored and mastered by Mike Matessino utilizing a recently discovered stereo element, the only available source that could be located. The CD comes with a 20-page booklet featuring an authoritative and exclusive in-depth essay by Jon Burlingame, never-seen-before photos of the C.T.S. recording session with Williams, Yamash’ta and Altman, as well as the recently discovered liner notes written by Williams for an album (carefully assembled by the composer himself) that was ultimately released only as promotional edition for members of the Academy. NEW VINYL RELEASE IMAGES (LP) Music by JOHN WILLIAMS Pressed on 180 GM Black Vinyl Specially Mastered for Vinyl by Mike Matessino Limited edition of 500 units PRICE: 21,95€ PRE-ORDER (availability date 6/28/2021) Quartet Records, in collaboration with Handmade Films, is proud to present the first commercial vinyl release of an early masterpiece from legendary composer John Williams (THE TOWERING INFERNO, THE COWBOYS, JAWS, E.T., THE RIVER) for Robert Altman’s 1972 psychological thriller-drama starring Susannah York. The film inspired one of Williams’ most fascinating and avant-garde scores. The composer based his ideas on two different musical styles: one more classical, almost childlike, the other experimental, aggressive, with an essential contribution from famous Japanese percussionist and experimental musician Stomu Yamash´ta. This musical duality allows Williams to reflect how sanity gradually and irretrievably loses ground to madness in York’s character. The composer was Oscar-nominated in 1972 for both IMAGES and THE POSEIDON ADVENTURE; this was the first time he received a double nomination in the same category of Original Score, something that became usual in the following four decades. This new 2021 edition, the first official release of IMAGES approved by the composer, has been expertly produced, restored and mastered by Mike Matessino utilizing a recently discovered stereo element, the only available source that could be located. The LP, pressed on 180 GM black vinyl, comes with the recently discovered liner notes written by Williams for an album (carefully assembled by the composer himself) that was ultimately released only as promotional edition for members of the Academy. In Search of Unicorns (4:06) The House (2:40) Dogs, Ponies and Old Ruins (2:15) Visitations (2:53) Reflections (3:16) The Killing of Marcel (3:13) The Love Montage (4:48) Blood Moon (3:17) Land of the Ums (1:47) The Night Witch Ride (2:55) The Waterfall and The Final Chapter (4:19) https://quartetrecords.com/product/images/ https://quartetrecords.com/product/images-lp/
    16 points
  45. The LSO likes my LEGO Johnny:
    16 points
  46. I somehow always feel both elated and exasperated whenever John Williams gets announced for a new project. God willing, he will be 90 years old by the time he scores this. I'm happy he's still writing movie music for Hollywood pictures. I'm happy to have another year walking around like a man possessed waiting for his soundtracks. All good things to this man.
    16 points
  47. He does listen to them. Mike burns them to CDRs and hand delivers them to Jamie Richardson. Later, Jamie and JW will sit down together and listen to them at JW's house. JW will give Jamie notes that he delivers back to Mike.
    16 points
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