Sandor

This reviewer doesn’t quite finish what he wanted to say about the score it seems (1:33), but he seems positive about it:

The Raiders' March is definitely one of my favorite John Williams themes.

The score was actually mentioned quite often after TIFF: we had a whole thread devoted to it. I don't think Williams needs another 'breakout success' at this point. Nobody can tell what the theme is going to generate in the long run. I don't think anyone knew how impactful the Theme from Schindler's List would become upon release for example, let alone based on a 60 second sample (!). For now; I'm just enjoying every aspect of the last Williams/Spielberg collaboration score.

Although we only have the samples so far, this mock-up from way back then makes more sense now.

I hope your hearing comes back after you recover. 😉 Just kidding my friend and take care: I had it last year, took me about a week to get over it.

People have been praising the closing scene/final shot for awhile now. I'm starting to get an idea what it actually might be....

Where are members from The Netherlands ordering this from? I don't think any Dutch retailers are offering the soundtrack for sale at this moment. This is a German site I believe, which might be an option. Or Amazon.de of course. https://www.playthek.com/john-williams-the-fabelmans-ost-sony-classical-cd-pZZa1-2100722175.html?language=en&currency=EUR&_z=nl&gclid=Cj0KCQiAmaibBhCAARIsAKUlaKSuVfLkZWfPSM2igKUMFInONN1Cd-a3LT1-CvZY9Ultq1DRbww5dggaAi6sEALw_wcB When you order from a German site, will the soundtrack be a German pressing in the sense that certain information on the back is written in German instead of English? Or is there just one (international) release for this?

Not at all.

The main theme is one of the most beautiful melodies John Williams has ever written.

The very first glimpse of the score can be heard from 5:55-6:01.

The length of The Fabelmans score reminds me of something Williams said during the Seventh Annual Career Achievement Award in the early 90’s. Back then he said: ’I think it could be just as interesting to write a ‘Satie-like’ miniature score which is 10 minutes long. That can be the jewel in the hands of a master as a hundred-minute bombast can be in the hands of a fool.’ Source: Score Magazine (Dutch), 1991

Top men.

The Prologue from Hook, County Galway 1892 from Far And Away, With Malice Towards None from Lincoln, Regaining A Son from Seven Years In Tibet.... The man can create true magic in tracks lastig barely two minutes. Call me genuinely excited for this score. This is a preview by the way of an interview that will air November 6 on CBS. It could contain a clip or footage from the film or maybe just parts from the trailer. We'll see.

Classic FM has taken notice: https://www.classicfm.com/composers/williams/plays-brahms-piano-spielberg-recording/

I assume not the actual score, but check this out around the 5 minute mark!

https://www.indiewire.com/2022/11/2023-oscars-the-fabelmans-craft-predictions-1234777915/ 'Williams has scored 28 out of 35 Spielberg’s films since the director’s 1974 theatrical debut, “The Sugarland Express.” But “The Fabelmans” marks the last of their nearly 50-year collaboration, with Williams’ impending retirement following “Indiana Jones 5.” He too had the privilege of knowing Spielberg’s parents and particularly admired Leah’s musical talent. This served him well in several ways: At the center of the story is Sammy’s strong connection to Mitzi, and Williams was inspired to compose one of his most beautiful piano-based themes around that bond. He also got to musically convey “the Spielberg code” throughout the film and during Sammy’s film projects using the piano in a variety of ways (including ragtime). Meanwhile, the piano pieces for Mitzi were personally selected by Spielberg and recorded for the soundtrack by Joanne Pearce Martin, principal pianist of the Los Angeles Philharmonic. The pieces, of course, were among Leah’s favorites that she played on her piano. These include Friedrich Kuhlau’s Allegro burlesco from Sonatina in A Minor, Muzio Clementi’s Spiritoso from Sonatina in C Major, Joseph Haydn’s Allegro con brio from Sonata No. 48 in C Major, and Johann Sebastian Bach’s Adagio from Concerto in D Minor. The last of those pieces figures prominently when Sammy cuts his camping trip movies together and makes his shocking discovery.'

Ah ok, thanks. Could it be wrong though? Like back in 2001 an initial tracklist was published for the A.I. OST which was different from the final release?

Just wondering; how do we know the OST is 31 minutes in total?

Your rhetoric only makes sense when you ‘misquote’ me, by suggesting I was referring to discussions about ‘famous film music’ when I was actually referring to composers who continue working in the classical/symphonic idiom and to whom the film industry has proven to be an effective portal to reach a large audience (and still a pay-check nowadays). I never disputed or discredited Zimmer's popularity and achievements, but I don’t think you really understood my point and that’s ok.

I agree completely, but I've noticed that this is really an internet/keyboard-warrior thing. When talking to regular people 'outside The Matrix' I've never encountered this kind of bashing or ridiculing. In fact; there people hold Hans Zimmer in high regard and don't seem to be aware that the mechanisms behind a score like E.T. or Lord Of The Rings are very different from a score like Gladiator or Pirates Of The Caribbean. I've always felt that purely melodically speaking, Zimmer has an immense talent.

https://awardswatch.com/2023-oscar-predictions-original-score-october/ More Oscar buzz.

I added this to the original post to clarify my viewpoint: It’s not that Bon Jovi is a bad band. They successfully bridged rock and pop and made rock music more mainstream than before. But an Iron Maiden fan wouldn’t necessarily be into Bon Jovi, just because both bands classify as ‘rock bands’. My interest in film music started at a young age when I thought of film composers as ‘classical composers like Beethoven or Mozart, but then working today.’ With his many iconic themes to my favourite films growing up and his grand orchestral sound, John Williams became the best example of this notion. I like that traditional methods of composing live on and that film has become a canvas on which composers can express themselves, just like composers in the past worked on ballets, operas and such. It is part of my fascination for film music. So when I talk about film music, I will always mention the work ethic involved and the artistry of writing for a symphony orchestra. John Williams, Ennio Morricone, Jerry Goldsmith, John Barry, James Horner, Howard Shore: these are the kind of film music composers that sparked my interest in the genre. Hans Zimmer is not a bad composer by any means. He sort of re-invented film music by partly replacing the traditional symphony orchestra with electronics, rock guitars and such. His composing method is one of collaboration, much different than John Williams who sits alone behind his piano writing the notes down with a pencil on paper which will eventually lead to a complex and profound symphonic work. The music of Hans Zimmer simply doesn’t harmonise with my personal interest in film music, which is more an interest in the continuation of symphonic composition than specifically the film music genre. When I express my fondness for John Williams or Jerry Goldsmith and someone brings up Hans Zimmer as in: ‘He’s also good’, it doesn’t quite feel right.

I didn’t say it bothers me -it doesn’t- and I own quite a few Zimmer scores. It’s something different…

Imagine two guys who never met before starting a conversation somewhere in the mid 80’s about music. Guy A says he’s really into rock and heavy metal to which guy B responds: ‘Yeah, I like rock too.’ Guy A brings up legendary bands like Led Zeppelin, Deep Purple, Rush and Black Sabbath and guy B says he loves Stairway To Heaven by Led Zeppelin. Guy A says he’s also into current bands like Iron Maiden, Slayer, Anthrax and Metallica to which guy B responds: ‘You know who’s also really good right now? Bon Jovi!’ When people bring up Hans Zimmer when I’m expressing my love for film music and composers like John Williams, Ennio Morricone and Jerry Goldsmith, I often feel like guy A. It’s not that Bon Jovi is a bad band. They successfully bridged rock and pop and made rock music more mainstream than before. But an Iron Maiden fan wouldn’t necessarily be into Bon Jovi, just because both bands classify as ‘rock bands’. My interest in film music started at a young age when I thought of film composers as ‘classical composers like Beethoven or Mozart, but then working today.’ With his many iconic themes to my favourite films growing up and his grand orchestral sound, John Williams became the best example of this notion. I like that traditional methods of composing live on and that film has become a canvas on which composers can express themselves, just like composers in the past worked on ballets, operas and such. It is part of my fascination for film music. So when I talk about film music, I will always mention the work ethic involved and the artistry of writing for a symphony orchestra. John Williams, Ennio Morricone, Jerry Goldsmith, John Barry, James Horner, Howard Shore: these are the kind of film music composers that sparked my interest in the genre. Hans Zimmer is not a bad composer by any means. He sort of re-invented film music by partly replacing the traditional symphony orchestra with electronics, rock guitars and such. His composing method is one of collaboration, much different than John Williams who sits alone behind his piano writing the notes down with a pencil on paper which will eventually lead to a complex and profound symphonic work. The music of Hans Zimmer simply doesn’t harmonise with my personal interest in film music, which is more an interest in the continuation of symphonic composition than specifically the film music genre. When I express my fondness for John Williams or Jerry Goldsmith and someone brings up Hans Zimmer as in: ‘He’s also good’, it doesn’t quite feel right. Can anyone relate or is it just me?

I understand now! 🙈