filmmusic

Dear members,
I've not logged in for quite some time due to some problems, but I thought to post this here now.
 
This is an upcoming book on film music (in English and due to publication in December according to amazon) with chapters on various film composers including one on John Williams:
http://www.palgrave.com/gp/book/9781137573742#aboutBook
 
The chapter is co-written by Emilio Audissino, who I'm sure you know from his excellent book on John Williams (and is a member here too), and myself.
Emilio's part copes with the historical side and importance of Williams' film music.
My contribution to the chapter is strictly musicological. I'm examining the musical syntax of Williams' themes based on Caplin’s academically acclaimed study of classical theme-types, along with more contemporary theorists’ views of some sentential types.
Six notated musical examples are included representing five different types that are most prevalent on Williams' thematic output, and also a statistical table with the percentages of these types in my analysis of 341 themes.
This part of the chapter is really an abridgement of a much longer chapter from my upcoming musicological dissertation on John Williams.
 
I would like to thank Emilio very much, since he was the one that thought of me and suggested to the editors that we should co-write the chapter.
This represents my first academic publication so it was really important for me and I'm very happy about it!

Dear members,
I've not logged in for quite some time due to some problems, but I thought to post this here now.
 
This is an upcoming book on film music (in English and due to publication in December according to amazon) with chapters on various film composers including one on John Williams:
http://www.palgrave.com/gp/book/9781137573742#aboutBook
 
The chapter is co-written by Emilio Audissino, who I'm sure you know from his excellent book on John Williams (and is a member here too), and myself.
Emilio's part copes with the historical side and importance of Williams' film music.
My contribution to the chapter is strictly musicological. I'm examining the musical syntax of Williams' themes based on Caplin’s academically acclaimed study of classical theme-types, along with more contemporary theorists’ views of some sentential types.
Six notated musical examples are included representing five different types that are most prevalent on Williams' thematic output, and also a statistical table with the percentages of these types in my analysis of 341 themes.
This part of the chapter is really an abridgement of a much longer chapter from my upcoming musicological dissertation on John Williams.
 
I would like to thank Emilio very much, since he was the one that thought of me and suggested to the editors that we should co-write the chapter.
This represents my first academic publication so it was really important for me and I'm very happy about it!

Thank you very much! It's been my pleasure working with you, filmmusic. All Best!

Dear members,
I've not logged in for quite some time due to some problems, but I thought to post this here now.
 
This is an upcoming book on film music (in English and due to publication in December according to amazon) with chapters on various film composers including one on John Williams:
http://www.palgrave.com/gp/book/9781137573742#aboutBook
 
The chapter is co-written by Emilio Audissino, who I'm sure you know from his excellent book on John Williams (and is a member here too), and myself.
Emilio's part copes with the historical side and importance of Williams' film music.
My contribution to the chapter is strictly musicological. I'm examining the musical syntax of Williams' themes based on Caplin’s academically acclaimed study of classical theme-types, along with more contemporary theorists’ views of some sentential types.
Six notated musical examples are included representing five different types that are most prevalent on Williams' thematic output, and also a statistical table with the percentages of these types in my analysis of 341 themes.
This part of the chapter is really an abridgement of a much longer chapter from my upcoming musicological dissertation on John Williams.
 
I would like to thank Emilio very much, since he was the one that thought of me and suggested to the editors that we should co-write the chapter.
This represents my first academic publication so it was really important for me and I'm very happy about it!

Dear members,
I've not logged in for quite some time due to some problems, but I thought to post this here now.
 
This is an upcoming book on film music (in English and due to publication in December according to amazon) with chapters on various film composers including one on John Williams:
http://www.palgrave.com/gp/book/9781137573742#aboutBook
 
The chapter is co-written by Emilio Audissino, who I'm sure you know from his excellent book on John Williams (and is a member here too), and myself.
Emilio's part copes with the historical side and importance of Williams' film music.
My contribution to the chapter is strictly musicological. I'm examining the musical syntax of Williams' themes based on Caplin’s academically acclaimed study of classical theme-types, along with more contemporary theorists’ views of some sentential types.
Six notated musical examples are included representing five different types that are most prevalent on Williams' thematic output, and also a statistical table with the percentages of these types in my analysis of 341 themes.
This part of the chapter is really an abridgement of a much longer chapter from my upcoming musicological dissertation on John Williams.
 
I would like to thank Emilio very much, since he was the one that thought of me and suggested to the editors that we should co-write the chapter.
This represents my first academic publication so it was really important for me and I'm very happy about it!

Matessino did this too!!

Jaws 2 is  coming in Bluray in Australia!!! (alongh with 3 and 4).
That means we may soon see releases in other territories too!
 
https://www.jbhifi.com.au/movies-tv-shows/movies-tv-shows-on-sale/horror/jaws-2/940605/

I guess I'm the only one again disappointed at the news of a new Indy and a possible new Williams score, instead of a new original Spielberg film and a new original Williams score in uncharted territories.

I'm not sure if there is another thread with discussion about the score (this seemed the most relevant from my search).
 
E.T. is my favourite Williams score and what i consider his masterpiece.
For a long time I thought that the main title cue was quite unusual and original with only the use of effects on gongs/tam-tam, and something that I hadn't ever heard...until now.
I'm just watching The White Dawn (1974) scored by Henry Mancini.
Main title sequence (which shows some men stranded in an "alien" place, in the north, walking towards the unknown) is scored exactly like this. Brush and various effects on gongs/tam-tam.
 
I assume Williams must have heard that, given his relationship with Mancini too.
(or maybe it was Spielberg's idea after having seen the film to score the main titles like this)
 
Don't know if this has been mentioned again, probably has, but thought to write it here because it made an impression on me.
 
edit: Oh, I see my post was moved to a thread of its own.
I didn't think that it was worth a whole new thread, but thanks!

Just finished it.
I had no problem with the ending whatsoever.
 
Very good film, and very moving at times.
It is tragic to see what people thought back then about things that are common sense now, like the equality of people of all colors.
It reminded me of the debates and endless quarelling and strict attitude nowadays about the equality of people of different sexual orientation (just very recently our Greek government legalised the same-sex union). Well, here's to another 100 years when this thing will be considered common sense eventually.

Just finished it.
I had no problem with the ending whatsoever.
 
Very good film, and very moving at times.
It is tragic to see what people thought back then about things that are common sense now, like the equality of people of all colors.
It reminded me of the debates and endless quarelling and strict attitude nowadays about the equality of people of different sexual orientation (just very recently our Greek government legalised the same-sex union). Well, here's to another 100 years when this thing will be considered common sense eventually.

Just finished it.
I had no problem with the ending whatsoever.
 
Very good film, and very moving at times.
It is tragic to see what people thought back then about things that are common sense now, like the equality of people of all colors.
It reminded me of the debates and endless quarelling and strict attitude nowadays about the equality of people of different sexual orientation (just very recently our Greek government legalised the same-sex union). Well, here's to another 100 years when this thing will be considered common sense eventually.

Just found this and thought it was quite funny!!
 

Just found this and thought it was quite funny!!
 

It's one thing when piano is used as a percussion isntrument, and another thing when piano is used to carry a  melody.
I guess that person was suggesting the latter.

http://www.rogerebert.com/reviews/star-wars-episode-vii---the-force-awakens-2015

reading all these comments about less thematic, mostly rhythmic-motivic music, individual stand-out moments and less development etc. i think comes in total agreement with what Williams' music has become the last years..

I know what you mean!
First time there are so many releases I want to buy, around 7-8!
And most of them are limited.
I guess this one should be my priority since it's limited to 1500!

And, another John Williams!!!!
http://www.filmscoremonthly.com/board/posts.cfm?threadID=113050
TOM SAWYER
Expanded Original MGM Motion Picture Soundtrack (2CD set)
Music & Lyrics by Richard M. Sherman and Robert B. Sherman
Music Supevised and Conducted by John Williams
Limited edition of 1500 units
Release date: 12/15/2015
http://www.quartetrecords.com/media/catalog/product/t/o/tom_sawyer.jpg
Quartet Records and MGM are proud to present an expanded 2-CD set featuring the delightful songs composed by Richard M. Sherman and Robert B. Sherman (Mary Poppins, The Happiest Millionaire, Bedknobs and Broomsticks), supervised and conducted (with background score composed by) the legendary John Williams.

Based on the immortal novel by Mark Twain, this 1973 musical version, with the classic American literature characters Tom Sawyer and Huckleberry Finn, was directed by Don Taylor (The Island of Doctor Moreau, Damien: Omen II), and starred Johnny Whitaker, Jeff East, Celeste Holm, Warren Oates and a very young Jodie Foster.

Ten original Sherman Brothers songs (plus the instrumental Overture and Finale) were released on LP by United Artists at the time of the film’s premiere, but some songs were truncated, and a lot of reverb was used in the mixes (the orchestra is almost nonexistent behind the songs). The same program was reissued on CD in 2004 by Varese Sarabande, but sadly the tapes were transferred at incorrect pitch and speed—and the underscore composed by John Williams was still almost entirely missing.

While preparing this new reissue with a proper transfer, we were lucky to find, mislabeled, the 16´´ multi-tracks (eight channels for orchestra, eight for voices) including previously unreleased material. The slightly expanded album has been restored by Chris Malone and remixed by José Vinader, and offered here in full stereo. In the multi-tracks we found not only the original (uncut) version of “Hannibal-Mo,” but also some portions of the underscore. We have also used this opportunity to offer the songs in their instrumental-only versions, where you can appreciate the wonderful orchestrations of Mr. Williams, reminiscent of the Americana sound of The Reivers or The Missouri Breaks.

On the second CD we have included all of the songs heard in the film (in their original, complete form) plus the entire underscore. Unfortunately, the only available source was the mono music stem preserved by MGM. Not the best source, and although it showed signs of deterioration and some distortions in the voices, it has been carefully restored and mastered by Doug Schwartz at Mullholland Music, and it is the only way to finally have an archival edition of this wonderful score.

The full-color 24-page booklet includes in-depth liner notes from film music writer John Takis, including an interview with Mr. Richard Sherman.

Track list:
DISC ONE (Stereo)
THE EXPANDED ORIGINAL ALBUM
01. Overture (3:08
02. Main Title / River Song (The Theme From Tom Sawyer) (4:25)
03. Tom Sawyer! (2:11)
04. Trading* / Gratifaction (3:26)
05. A Man’s Gotta Be (What He Was Born to Be) (3:25)
06. How Come? (2:09)
07. If’n I Was God (2:29)
08. Freebootin’ (2:16)
09. Aunt Polly’s Soliloquy (1:26)
10. Hannibal Mo-(Zouree)!** (5:13)
11. River Song (The Theme From Tom Sawyer) (Reprise) / End Cast* (2:29)
12. Finale (1:41)##12 Finale
*Previously unreleased
**Extended
THE INSTRUMENTAL VERSIONS
13. Main Title / River Song (The Theme From Tom Sawyer) (4:25)
14. Tom Sawyer! (2:11)
15. Trading / Gratifaction (3:26)
16. A Man’s Gotta Be (What He Was Born to Be) (3:25)
17. How Come? (2:09)
18. If’n I Was God (2:29)
19. Freebootin’ (2:16)##19 Freebootin (Instrumental)
20. Aunt Polly’s Soliloquy (1:26)
21. Hannibal Mo-(Zouree)! (4:13)
22. River Song (The Theme From Tom Sawyer) (Reprise) / End Cast (2:29) (Instrumental)

DISC TWO (Mono)
THE COMPLETE FILM SOUNDTRACK
01. Overture (3:07)
02. Main Title (Extended) / River Song (The Theme From Tom Sawyer) (5:09)
03. Joe’s Entrance (1:13)
04. Tom Sawyer! (2:09)
05. The Fence (1:07)
06. Trading / Gratifaction (3:14)
07. Kids Chase (0:44)
08. Over the Fence (0:27)
09. Muff’s Intro / A Man’s Gotta Be (What He Was Born to Be) (3:49)
10. The Killing of Doc Robinson (1:33)
11. Sworn in Blood (1:19)
12. How Come? (Film Version) / How Come? (Coda) (2:58)
13. If’n I Was God (2:28)
14. River Song (Reprise) / Freebootin’ (Film Version) (3:01)
15. Joe Eavesdrops / Aunt Polly’s Soliloquy (Film Version) / Lights Out (2:57)
16. Log Hunting / Rock of Ages (1:48)
17. Hannibal Mo-(Zouree)! (4:58)
18. Injun Joe (0:34)
19. McDougal’s Cave / Martyrdom (4:10)
20. Muff’s Exit (1:13)
21. Off to St. Louis / River Song (End Title) / End Cast (3:07)
22. Finale (Exit Music) (1:40)

Total Disc 1 Time: 72:28
Total Disc 2 Time: 53:36
Total Album Time: 126:04

For more info, order and listen audio samples, please visit www.quartetrecords.com

And, another John Williams!!!!
http://www.filmscoremonthly.com/board/posts.cfm?threadID=113050
TOM SAWYER
Expanded Original MGM Motion Picture Soundtrack (2CD set)
Music & Lyrics by Richard M. Sherman and Robert B. Sherman
Music Supevised and Conducted by John Williams
Limited edition of 1500 units
Release date: 12/15/2015
http://www.quartetrecords.com/media/catalog/product/t/o/tom_sawyer.jpg
Quartet Records and MGM are proud to present an expanded 2-CD set featuring the delightful songs composed by Richard M. Sherman and Robert B. Sherman (Mary Poppins, The Happiest Millionaire, Bedknobs and Broomsticks), supervised and conducted (with background score composed by) the legendary John Williams.

Based on the immortal novel by Mark Twain, this 1973 musical version, with the classic American literature characters Tom Sawyer and Huckleberry Finn, was directed by Don Taylor (The Island of Doctor Moreau, Damien: Omen II), and starred Johnny Whitaker, Jeff East, Celeste Holm, Warren Oates and a very young Jodie Foster.

Ten original Sherman Brothers songs (plus the instrumental Overture and Finale) were released on LP by United Artists at the time of the film’s premiere, but some songs were truncated, and a lot of reverb was used in the mixes (the orchestra is almost nonexistent behind the songs). The same program was reissued on CD in 2004 by Varese Sarabande, but sadly the tapes were transferred at incorrect pitch and speed—and the underscore composed by John Williams was still almost entirely missing.

While preparing this new reissue with a proper transfer, we were lucky to find, mislabeled, the 16´´ multi-tracks (eight channels for orchestra, eight for voices) including previously unreleased material. The slightly expanded album has been restored by Chris Malone and remixed by José Vinader, and offered here in full stereo. In the multi-tracks we found not only the original (uncut) version of “Hannibal-Mo,” but also some portions of the underscore. We have also used this opportunity to offer the songs in their instrumental-only versions, where you can appreciate the wonderful orchestrations of Mr. Williams, reminiscent of the Americana sound of The Reivers or The Missouri Breaks.

On the second CD we have included all of the songs heard in the film (in their original, complete form) plus the entire underscore. Unfortunately, the only available source was the mono music stem preserved by MGM. Not the best source, and although it showed signs of deterioration and some distortions in the voices, it has been carefully restored and mastered by Doug Schwartz at Mullholland Music, and it is the only way to finally have an archival edition of this wonderful score.

The full-color 24-page booklet includes in-depth liner notes from film music writer John Takis, including an interview with Mr. Richard Sherman.

Track list:
DISC ONE (Stereo)
THE EXPANDED ORIGINAL ALBUM
01. Overture (3:08
02. Main Title / River Song (The Theme From Tom Sawyer) (4:25)
03. Tom Sawyer! (2:11)
04. Trading* / Gratifaction (3:26)
05. A Man’s Gotta Be (What He Was Born to Be) (3:25)
06. How Come? (2:09)
07. If’n I Was God (2:29)
08. Freebootin’ (2:16)
09. Aunt Polly’s Soliloquy (1:26)
10. Hannibal Mo-(Zouree)!** (5:13)
11. River Song (The Theme From Tom Sawyer) (Reprise) / End Cast* (2:29)
12. Finale (1:41)##12 Finale
*Previously unreleased
**Extended
THE INSTRUMENTAL VERSIONS
13. Main Title / River Song (The Theme From Tom Sawyer) (4:25)
14. Tom Sawyer! (2:11)
15. Trading / Gratifaction (3:26)
16. A Man’s Gotta Be (What He Was Born to Be) (3:25)
17. How Come? (2:09)
18. If’n I Was God (2:29)
19. Freebootin’ (2:16)##19 Freebootin (Instrumental)
20. Aunt Polly’s Soliloquy (1:26)
21. Hannibal Mo-(Zouree)! (4:13)
22. River Song (The Theme From Tom Sawyer) (Reprise) / End Cast (2:29) (Instrumental)

DISC TWO (Mono)
THE COMPLETE FILM SOUNDTRACK
01. Overture (3:07)
02. Main Title (Extended) / River Song (The Theme From Tom Sawyer) (5:09)
03. Joe’s Entrance (1:13)
04. Tom Sawyer! (2:09)
05. The Fence (1:07)
06. Trading / Gratifaction (3:14)
07. Kids Chase (0:44)
08. Over the Fence (0:27)
09. Muff’s Intro / A Man’s Gotta Be (What He Was Born to Be) (3:49)
10. The Killing of Doc Robinson (1:33)
11. Sworn in Blood (1:19)
12. How Come? (Film Version) / How Come? (Coda) (2:58)
13. If’n I Was God (2:28)
14. River Song (Reprise) / Freebootin’ (Film Version) (3:01)
15. Joe Eavesdrops / Aunt Polly’s Soliloquy (Film Version) / Lights Out (2:57)
16. Log Hunting / Rock of Ages (1:48)
17. Hannibal Mo-(Zouree)! (4:58)
18. Injun Joe (0:34)
19. McDougal’s Cave / Martyrdom (4:10)
20. Muff’s Exit (1:13)
21. Off to St. Louis / River Song (End Title) / End Cast (3:07)
22. Finale (Exit Music) (1:40)

Total Disc 1 Time: 72:28
Total Disc 2 Time: 53:36
Total Album Time: 126:04

For more info, order and listen audio samples, please visit www.quartetrecords.com

I'm sorry, I mean no offence, but if Williams has written 10 seperate themes for the new film, there will be 10 seperate threads here?

CD 1 track 18 Star Of Bethlehem [Film Version]* 3:03 is possibly my favorite track on the CD! It turns out that in addition to the organ (heard on the album), there are other instruments playing in the take used in the film, too! Finally after 25 years, we have this correct take on CD! It sounds awesome with the extra instruments.
 
Oddly, even the live to projection concerts only use choir, so I was quite shocked when I first heard this!
 
All the tracks with "(film version)" indicators on CD1 contain the proper film take for the first time ever!
 
For "Have Yourself A Merry Little Christmas", track 18 is the Mel Torme album version and track 22 is a version by Southside Johnny that that ultimately replaced by the Torme version in the film

I think you're probably joking, but from the latest scores I think I'd prefer a complete Tintin.

10,000 units from La-La Land
Jerry Goldsmith - Star Trek: The Motion Picture
John Debney - The Passion of the Christ
6,000 units from La-La Land
Various - Star Trek: The Original Series
5,000 units from La-La Land:
John Williams & Various - Lost In Space (40th, Anniversary Edition)
David Arnold - Independence Day
Danny Elfman - Batman
Jerry Goldsmith - Star Trek V The Final Frontier
Jerry Goldsmith - First Knight
John Barry - The Golden Child
John Williams - Hook
Shirley Walker & Various - Batman: The Animated Series Volume 1 (Re-issue)
Henry Jackman - This Is The End / The Interview
4,000 units from La-La Land
Michael Kamen - Die Hard With A Vengeance
John Williams - The Empire of the Sun
3,500 units from La-La Land
Various - Caddyshack
Jerry Goldsmith - The Edge
Danny Elfman - Batman Returns
John Williams - Home Alone
John Williams - 1941
Jerry Goldsmith - Sleeping With The Enemy
Michael Kamen - Die Hard
Danny Elfman - Planet of the Apes
Shirley Walker & Various - Batman: The Animated Series Volume 2
John Ottman - X2: X-Men United
Alan Silvestri - The Bodyguard
Ennio Morricone - The Untouchables
John Williams - The Fury
John Williams - Rosewood
Don Davis - The Matrix Reloaded

http://en.scorepedia.org/wiki/La-La_Land_Records