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Omen II

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  1. Like
    Omen II reacted to mahler3 in John Williams scoring all three new Star Wars films!!   
    The Lincoln piece was one selection from the new 3 Movement Suite. It has more elaborate cello lines.
     
     
    It wasn't John Williams that shoved Patrick out (really no surprise there!) It was purely political and related to unions and music recording locations.

    The concert was wonderful by the way. The young musicians really gave it their all and JW was as charming and musically commanding as ever. Seeing him conduct was a real thrill as it's been 15 years since I last saw him conduct live, which was with the LSO in 1998.
     
    The Gala Dinner afterwards was such a treat and it was kind of surreal having him just sit a couple of tables from me. Definitely a night to remember!
     
    I posted some photos on FB which some of you might have seen: http://www.facebook.com/media/set/?set=pcb.10151430056447229&type=1
     
     
  2. Like
    Omen II reacted to Maglorfin in Youtube clips   
    Leroy Anderson's famous The Typewriter, as performed by yours truly. Hope you like it!

  3. Like
    Omen II reacted to JoeinAR in The Official 2013 John Williams Top 10 Film Scores.   
    Ten years ago I post the official John Williams top 10 as voted by members 10 years ago. It was a fun endeavor and I thought in honor of John's 81st birthday tomorrow that we again determine this boards collective top 10 John Williams scores. Since last fall I've been asking members to post their lists and I was fortunate to get 82 lists this time around.
     
    Since then the Maestro has composed 10 more film scores. I wanted to see how many of those scores would be included and how the list would change from a decade ago. I'm happy to say that all 10 of the news scores did receive votes, and while none made the top 10 one score from the last year did come close. It stood taller than all the other scores in the last decade.
     
    So before I give the list let me once again explain how I drew my conclusions. I took each list of 10 scores and weighted the lists. The #1 score on each list received 10 points, #2 9 points, etc until the tenth score which received a single point. Some of you provided the list as you would say in no particular order but I took them in the order you provided.
     
    Here is the Official John Williams Top 10 scores as voted by the members here.
     
    1. The Empire Strikes Back, 485 points, 22 first place votes, 62 out of 82 votes.
    2. E.T. The Extraterrestrial, 368 points, 10 first place votes, 58 out of 82 votes.
    3. Star Wars, 330 points, 4 first place votes, 46 out of 82 votes
    4. Raiders of the Lost Ark, 273 points, 1 first place vote, 52 out of 82 votes
    5. Close Encounters of the Third Kind, 230 points, 4 first place votes, 37 out of 82 votes
    6. Jurassic Park, 223 points, 4 first place votes, 41 out of 82 votes
    7. Hook, 211 points, 4 first place votes, 38 out of 82 votes
    8. Superman, 211 points, 4 first place votes, 37 out of 82 votes
    9. Jaws, 211 points, 2 first place votes, 36 out of 82 votes
    10. Indiana Jones and the Temple of Doom, 195 points, 4 first place votes, 34 out of 82 votes.
     
    Here is the next 10.
     
    11. Return of the Jedi, 167 points,
    12. Schindler's List, 144 points,
    13. Harry Potter and the Prisoner of Azkaban, 142 points
    14. Indiana Jones and the Last Crusade, 110 points
    15. Harry Potter and the Sorcerer's Stone/Philosopher's Stone, 99 points
    16. A.I., 69 points,
    17. Home Alone, 68 points (17 out of 82)
    18, Memoirs of a Geisha, 68 points (15 out of 82)
    19. The Phantom Menace, 66 points,
    20. War Horse, 55 points.
     
    Of the 82 lists there were 22 films that received first place votes, and 67 films received votes overall. It's amazing that Munich received one vote, but it was for the #1 spot.
     
    Of the 67 films to receive votes 8 films received votes in all 10 spots.
     
    Those films were Jaws, Close Encounters, Superman, Raiders, E.T. Hook, Jurassic Park, and Prisoner of Azkaban.
     
    If you notice every major score from the Golden Era from 1975 to 1984 made the top 11 scores.
     
    The original trilogy and the original Indiana Jones trilogy all made the top 15 scores.
     
    Only one prequel film made the top 20, The Phantom Menace. Revenge of the Sith would be #25.
     
    I'm most pleased that of the 82 lists not one contained Attack of the Clones. It did not receive a single vote. While I don't hold that film score in high regard it's clear that even the board doesn't when it comes to making these lists.
     
    Probably my biggest disappointment was that The Adventures of Tintin received only 6 votes over all and barely registered. It's a fine score in any John Williams era.
     
    Now who got the most scores right on their list.
     
    No one actually got the order right but there is one who did get all ten films correctly on his list.
     
    All bow, yield, kneel before
     
    WOJO
     
    The next closest was our dear fozmo with 9.
     
    Now whose list had the least, well Alan, Alice and Romao had just two,
     
    then Koray, and Miguel each had one correct score but again
     
    All bow, yield, kneel before
     
    Scissorhand.
     
    You are as unique as the come, huzza, huzza.
     
    You two are our Regents for the moment. Bask in the aura of our great and powerful John Williams.
     
    And for reference here is the list from a decade ago for comparison.
     
    1. THE EMPIRE STRIKES BACK, 1980, 917PTS, 109 VOTES OUT OF 129
    2. E.T. THE EXTRA-TERRESTRIAL, 1982, 754PTS, 108 VOTES
    3. RAIDERS OF THE LOST ARK, 1981, 520PTS, 85 VOTES
    4. STAR WARS, 472PTS, 1977, 75 VOTES
    5. SUPERMAN THE MOVIE, 458PTS, 1978 81 VOTES
    6. SCHINDLERS LIST, 1993, 423PTS, 75 VOTES
    7. JURASSIC PARK, 1993, 348PTS, 68 VOTES
    8. HOOK, 1991, 339PTS, 66 VOTES
    9. JAWS, 1975, 283PTS, 61 VOTES
    10. RETURN OF THE JEDI, 1983, 281PTS, 46 VOTES
     
    Thanks to all who participated and all those who love John's music.
  4. Like
    Omen II reacted to BloodBoal in What do we know about Esther Williams -- John's mom?   
    Maybe we should create a "Serious Threads" subforum.
  5. Like
    Omen II reacted to karelm in How does he do it?   
    In 2007, John Williams was rehearsing with my school’s orchestra and I spent the week attending these rehearsals since there was so much to learn just from being there and observing. I was back stage and got to meet and talk to him on several opportunities which was very exciting for me.
     
    The concert program included his standards such as E.T., Star Wars, Imperial March, Raiders, Jurassic Park, etc., plus the Horn Concerto with Jim Thatcher on horn (he was the horn soloist in “JFK” Arlington cue.). I waited back stage where JW would come to lead the orchestra on the first day of rehearsing and about one minute before rehearsal (after the orchestra was tuned up), he was walking towards me (there was no other way for him to go since I was at the back stage entrance. His eyes met mine and I mumbled something incoherent that must have sounded like cave man talk (“me picture you give”) or something. I was very nervous having him look me in the eyes from just two feet away. I recall him saying: “there will be time for that later.” he was direct but focused since he was on the clock and had to start right then. I sat and watched the first rehearsal back stage from the orchestra’s venue. He started off by telling us what a pleasure it was for him to work with us and how much he enjoyed working with young musicians. He also mentioned finishing up a meeting with Spielberg and Lucas just a few minutes earlier since they were working on “Indiana Jones and the kingdom of the Crystal Skull” at the time.
     
    The security was tight and they prevented video and pictures during rehearsal so these were all sneaked pictures. I have several videos as well during the rehearsals mostly pretending the camera was off. I’m still not clear why the extra security but I gather it is just because there is a monetary value on these things so it must be managed. I would be surprised if JW himself cared as much as his managers but I’m sure there are others on this site more in the know than I am.
     
    JW never seemed worried, never was condescending when a wrong note was hit, etc. For example, if a horn cracked a high note in E.T., you didn’t get any indication that he wanted to call that out. Instead, he was beyond courteous to the players. One example that I vividly recall was during I believe Princess Lea’s theme, it starts with a long flute solo. He told the young flautist, “you played that so beautifully, I won’t conduct you. Just play as you feel it should be played and I’ll start on bar 3”. It was something to that affect. The whole orchestra applauded her but I have to think being told something like that by JW was life changing for her.
     
    He did not explain his music much but always demonstrated respect for the players. For example, letting all the non-essential players (strings) leave for one of the Harry Potter cues that was winds alone. I believe the cue was for that crazy bus. He said they can leave if they go quietly and every one instead stayed in their seats to watch and observe.
     
    The overall sense of the man was of a mentor rather than a tyrant. He never raised his voice and anytime he said anything, the orchestra was 100% in attention (rare). Spending the week with him, you also get the distinct impression he is a very generous though guarded man. I recall someone nearly shaking with excitement coming out of his trailer. I asked him what happened and he showed me a letter of recommendation signed by JW. Basically, as I put the details together, this person who I didn’t know had a story that touched JW and he agreed to hear him out and offer his powerful endorsement. I don’t know any more details of who this was or what it was about other than that, but I did think it demonstrated a human, paternal side to JW that is hard to see except up close. It was a very little moment but memorable.
     
    He also offered some of us composers personal advice at one stage after that days rehearsal. We all introduced ourselves and his guidance was something along the lines of “follow your passions rather than the flavor of the month”. If this had come from someone else like a teacher or parent, it might have seemed trite but coming from him, it seemed revelatory and profound.
     
    In general, I found him to be utterly professional, disciplined, genuinely humble, and sincerely appreciative (dare I say even surprised) of the excited performers attention. He has very discerning ears but also doesn’t nitpick. Most of the direction came in terms of phrasing and a few minor balance tweaks but I was overall surprised how little control he put on the performance. They just understand his intentions and guessing by the fact that we all grew up with his themes, I suppose it’s not a surprise they knew the material so well. There were still moments where I felt the percussion is too loud but he didn’t seem bothered by it. For example, the snare drum in Imperial March was louder than the soundtracks but that wasn’t commented on. An example of how humble he is, he repeatedly stepped aside during the applause to let a soloist stand and get their moment. Since this was a concert where every five minutes came an applause, he was very frequently stepping aside for others to bow who were just starting off. He never demonstrated any hint of stress or pressure that he might be under with his day job scoring a big film. If there was any insecurity ("might I fail? what if India Jones 4 bombs? When will i get the time to write 100 minutes of music?") absolutely none of it was detected. Some composers can be very insecure about how their music is percieved, but here, there was just focused, non threatening attention to details.
     
    A few times I did find myself looking at his head thinking how cool it is that all this brilliance comes from that guy who’s brain is just oozing with ideas. There was no moment of "ah hah, now I understand his secret" but rather a reminder of how dilligent hard work and respectfulness can pay off big over time. And I completely agree with Pete in this thread who said: "There really aren't any short cuts. And genetics play a part too. Obviously some parts of his brain are firing off a greater number of little electric charges compared to the norm. A happy congruence of a brain geared for creativity, a love of music, a rich musical childhood, and the timing of his birth giving him opportunities to learn his craft when TV required composers to compose a hell of a lot. Not to mention one hell of a work ethic."
     
    It was a wonderful privilege to experience this and every minute was valuable.
     
    The top picture is of Jim Thatcher who was playing the horn solo on the concerto. Jim said it was extremely difficult and he was quite nervous.
  6. Like
    Omen II reacted to mahler3 in BBC Radio 3 Composer of the Week - John Williams (14-18 January, 2013)   
    Here's a link to footage of Williams telling the orchestra off during a rehearsal in 1984, which would have been the same time frame as the Boston Pops fallout:
    "Should I need to justify the dignity of this orchestra". Go, Johnny!
    http://www.facebook.com/photo.php?v=495894392228&set=vb.812852228&type=3&theater
  7. Like
    Omen II reacted to TownerFan in My JW Video Tributes   
    As the year ends, I want to share with you fellow JWFans a couple of small video tributes I made to the music of the Maestro. More will come in the near future! I had fun creating these little pieces. Hope you all enjoy!


    Happy New Year everyone! May 2013 be filled with joy, peace and everything you wish for.
  8. Like
    Omen II got a reaction from alicebrallice in What Is The Last Score You Listened To? (older scores)   
    Great choice, Alice. The Constant Nymph contains perhaps my favourite piece of music by Korngold, the tone poem Tomorrow. Listening to it always cheers me up if I've had a rough day. I saw it performed in a concert by the London Philharmonic Orchestra a few years ago at the Royal Festival Hall and it was so lovely.

  9. Like
  10. Like
    Omen II reacted to Miguel Andrade in Friday Night Is Music Night 2012 & 2017   
    I'm not rectangular... so I guess I'll be there
  11. Like
    Omen II reacted to airmanjerm in Williams' Fenway Park Fanfare   
    Hey guys,
    Thought you may enjoy hearing/seeing this live rehearsal of "Fanfare for Fenway" by our Ceremonial Brass group. If any of you musician-types plan to be at the Midwest Band & Orchestra Clinic next week in Chicago, they'll be doing it live. If you're interested, let me know and I'll look up the time/date/location. (It'll be free of course.)
    Keep in mind this is just rehearsal, recorded with a video camera...

  12. Like
    Omen II reacted to Marian Schedenig in The single most beautiful piece of music ever written by John Williams   
    Certainly one of the strongest contenders. End Title from Jaws 2 shouldn't be ignored though.
  13. Like
    Omen II reacted to wanner251 in San Diego Symphony: John Williams in Concert - December 7-8, 2012   
    OK, I finally have some time to write down a few thoughts on the concert. I attended Saturday night's performance (Dec. 8th), but preceded with the Gala dinner. The dinner was really quite nice, and the tables were labeled with each hit film scored by our beloved maestro. I was at the Harry Potter table, and there were also tables for Star Wars, Jaws, Jurassic Park, and E.T. All the hits, all the time! I happened to sit next to the Chief Operating Officer of the San Diego Symphony. We had quite a nice conversation about music and its role emotionally. While he could not seem to admit directly that he was a fan of John Williams' music, he did assert that he longs for a by-gone age of film music by greats such as Bernard Herrmann and Alex North. When I told him that John Williams had scored Hitchcock's last film, The Family Plot, he didn't believe me at first. He checked his sources (iPhone), and suddenly was quite interested in my viewpoints. Funny thing. That was when he asked me if I had ever met John Williams. "No," I said, "I have never even imagined that such a thing would even be possible." He then asked me if I would like to after the concert.... Hmmm... meet my biggest idol of all time? Nah, I'll pass... kidding of course, I readily accepted. That was a wonderfully personal experience that I won't share here.
    As for the concert, it absolutely opened beautifully! Close Encounters was stunning, nearly perfect! I really thought the Cello Concerto was fantastic, as I had never heard it live before. Moser, the soloist, I thought had some definite skill, but it seemed as though he hadn't taken on the concept of the piece, but instead focused on the technical wizardry of it. It seemed like he was busy trying to be amazing the whole time, but he really could have paced himself better. His interpretation seemed a bit anticlimactic because of this.
    Elegy for Cello was a different story. Moser clearly had a conceptual handle on this one. Beautiful.
    During intermission, I attended a short party, where the CEO of the Symphony felt he needed to assure everyone that the second half of the concert would be much "easier on the ears". What an odd thing to say to your own benefactors. Incidentally, I found out that the program itself was completely John Williams' idea, and that he had explicitly insisted that he be able to perform the Cello Concerto. This was in exchange for completely donating his time. What a nice man!
    The second half of the concert was a really great program! I was especially excited for Adventures on Earth, as I had heard the entire cue to screen at the Hollywood Bowl. Here was a chance to hear the concert version! The real shining star ended up being the Far & Away Suite, a rare treat, and a very underrated score. I enjoyed every minute of that. The Harry Potter selections were really great as well, especially the middle one, which featured only the woodwinds. This, I think rivaled the Far & Away Suite for my favorite part of the concert! I do agree that the Theme to Schindler's List was quite rushed, although I thought it was rushed all the way to the end, instead of just in the beginning.
    Despite all of this wonderful music, the entire second half was plagued by a problem that I just could not get over. The execution in the brass section, namely the trumpets, was like a ball and chain. It seemed that anything requiring the trumpets to stay on task at what would be a brisker tempo was just too much for them, as pieces had a tendency to slow to a crawl. This was especially true for Adventures on Earth, as well as for the Raiders' March and even the two Star Wars pieces in the encore. I am aware that there is a delay between the front and rear of the orchestra, but the tempos actually suffered quite a bit. Personally, I thought the french horns were spot on. I was sitting in the grand tier, which is a pretty decent place to hear, so I'm told. When I went backstage later, I wanted to find the trumpet players and slap them all. Maestro's tempo, not yours!
    The concert arrangement of "Malice Toward None" from Lincoln was really well done, and a perfect first encore. I enjoyed the principal cellist's playing even more than Moser's from the previous half. I cannot seem to remember what was different about this arrangement vs. the film score, as I am not completely familiar with Lincoln yet. Rest assured, it seemed much more tightly woven into a package, as concert arrangements often do.
    When the concert was over, I went backstage to meet John Williams. I won't talk about what happened, as that is personal. However, I can tell you all that although he was very tired from the performance, he seems to be in very good shape, and just as thoughtful as ever. He definitely doesn't seem like someone who just celebrated his 80th birthday. So, here's to many more scores from our most beloved, the best of the best!
  14. Like
    Omen II reacted to Thor in Kraft Suspense Theater (John Williams)   
    [This was posted by myself on the FSM board, so I hope you don't mind the 'double dipping'. I know many of you don't frequent FSM, and I think you might find it interesting]
    WARNING! This is an article-length post.
    I made this for personal research, but thought it might be interesting to share here on the forum.
    I'm on an eternal quest to see everything John Williams ever scored, but much of the TV material, in particular, is really hard to find. See this thread for more general musings on the quest:
    http://www.filmscore...mID=1&archive=0
    However, I was finally able to see all the episodes of KRAFT SUSPENSE THEATER (1963-1965) that John Williams scored, and below follows a walkthrough of said episodes – 18 in total. Williams was not the only high-profile composer working on the show. Other luminaries included Bernard Herrmann, Franz Waxman, Lalo Schifrin and Pete Rugolo. And of course a whole lot of musical tracking, as was customary at the time. Like most anthology shows, however, it was never released on VHS or DVD, and the music tracks seem to be lost.
    In general, the quality of the episodes vary. I was surprised by how many of them focus on domestic settings, courtroom drama and crime investigation. There is rarely "action" and outdoors adventure. Most of it is psychological, relying on character interactions.
    At some point, I will probably try to rip some of the Williams tracks that stand out, where there's very little sound effects and dialogue. That would be the closest I ever get in terms of a "soundtrack", I think. Zooba has actually done a few already, but I want to focus even more on the dialogue/sound-free sequences, making them as musically worthwhile as possible.
    -----------------
    Season 1
    Episode 1 & 2: The Case Against Paul Ryker, Part 1 & 2
    I haven't seen this 2-part pilot episode, but a few years later (1968) they used the material for the feature film presentation SERGEANT RYKER, and that I have seen. See this previous thread for more about film and score:
    http://www.filmscore...mID=1&archive=0
    Episode 3: The End of the World, Baby
    Set in the Riviera, a love triangle drama occurs as both mother and daughter fall in love with the same man. Williams either tracks or uses the Ryker theme for much of this episode. Other noteworthy moments include some funky source music (for a pool and party sequence, respectively), as well as some very dramatic climax/murder music.
    Episode 4: A Hero for Our Times
    High-ranking bureaucrat Lloyd Bridges is witness to a murder in the adjacent building while visiting his mistress. The striking thing here is the sultry jazz sax, almost film noir-like theme. There's also a fair bit of jagged brass for the suspense scenes as well as some jazzy source music in a restaurant scene. For the most part, there's a lot of rather discrete dialogue music.
    Episode 5: Are there any More Out There Like You?
    After a hit-and-run accident, a high-ranking politician tries to find out if it was his daughter or her friends that drove the car. Love the opening tamtam music that reminded me a bit of the Leonard Bernstein-like opening of DADDY-O. There's also a cute jazz rendition of "Jingle Bells" used as source music in a hotel – hope this is Williams' arrangement. Music in this episode is rather sparse, and usually used for segues (intros and outros).
    Episode 6: One Step Down
    Wife of absent doctor Leslie Nielsen is about to have an affair at a motel when the guy keels over and dies, probably from alcoholism. She's torn between telling the truth or hiding it. The interesting thing here is that the score is written almost exclusively for strings – very Bernard Herrmann-style, whether used in a motif style or pizzicato.
    Episode 7: The Machine that Played God
    A girl accidentally gets her husband killed while driving up the wrong freeway ramp, and doubts her own innocence after taking a lie detector test. For the most part, it's mostly rather non-descript string writing for a few key moments – basically runs up and down the scale. Again rather sparse.
    Episode 8: The Long, Lost Life of Edward Smalley
    Soldier Edward Smalley (Richard Crenna) accidentally kills his commanding officer during WW2, and needs to stand court martial while he ponders his own guilt. Robert Altman wrote and directed. The main thing, musically, is a brass motif that sounds like a precursor to the suspenseful brass motif from CLOSE ENCOUNTERS OF THE THIRD KIND, in addition to a beautiful use of vibraphone in a dream sequence.
    Episode 9: The Hunt
    Unlucky traveller James Caan's car breaks down in the middle of nowhere. He gets tangled up in the twisted ways of hillbilly sherriff Mickey Rooney and his gang, who like to hunt prisoners for sport. Finally some outdoors adventure in this show! Again there are some interesting and dramatic brass motifs, but the striking thing is the atonal piano plunkings for when Caan rummages through the sheriff's office. Very avantgarde!
    Episode 10: The Name of the Game
    A brilliant 'architect' knows the name of the game while playing the dice in Las Vegas, and enters into a collaboration with millionaire Pat Hingle, not knowing that his love interest is in to hussle him. In this Sidney Pollack-directed episode, the music is very sparse. Mostly jazzy source cues in the casino, plus a brief "love" theme for the architect and his deceitful mistress.
    Episode 11: The Deep End
    A bit confusing storyline, but a private investigator tries to find out if the drowning of a woman working at a construction company was accidental or a murder. He's hired by the woman's sister, played by a young and gorgeous Ellen Burstyn. There's some source music again, and a reappearance of the Ryker theme (during a meeting at the elevator), but the really cool thing is an almost JAWS-like ostinato for when the murderer attacks and drowns the victims, rising from below – 11 years before he wrote JAWS!
    Episode 14: Leviathan Five
    A group of scientists get trapped in an underground facility and make an arrangement of who's going to live and who's going to die. They face their moral dilemmas in a court of law. David Giler of ALIEN fame wrote the episode, and it seems to have some of the 'isolated people' aspects that the famous sci fi film had. Very cleverly and smart written. There seems to be a lot of tracked music here – the Ryker theme as well as the brass motif from "The Hunt", plus some original suspense writing.
    Episode 16: The Action of the Tiger
    An American POW escapes from a German Stalag camp to deliver vital information to the French resistance. While on a train, he encounters the "help" from an undercover German officer (Telly Savalas). There is more action in this episode and some really intense suspense. Again, the Ryker theme appears (could this be Williams' recurring 'leitmotif' for the series?), some brass motifs and flourishes and a pretty cool percussion-only segment in the opening.
    Episode 18: The Threatening Eye
    A psycho woman with a hilarious French-Canadian accent tries to hussle a man out of money, killing his wife in the process. There are some wild string harmonies a la "One Step Down" here, with some occasional dramatic brass.
    Episode 20: Knight's Gambit
    A man named Knight is hired to investigate the corruption charges of a retired (and alchoholic) politician vacationing in Mallorca, falls in love with his wife and needs to choose sides as the mafia people who payed the politician off arrive on the island. The storyline is a bit confusing at times, and also a bit boring. There are some swingin' cocktail/pop source music for the festivities at the steamboat, a super-sweet soap opera-type love theme and some wild suspense/action music, relying on a descending riff.
    Episode 21: Once Upon a Savage Night
    I haven't seen this episode either, but I've seen the film version which was made (similar to SERGEANT RYKER) called NIGHTMARE IN CHICAGO (1964), directed by Robert Altman. You can read more about the film and score in this thread:
    http://www.filmscore...mID=1&archive=0
    Episode 27: The Robrioz Ring
    Set in some pittoresque coastal village at the west coast, Mario Robrioz (Robert Loggia) tries to get back the ring his mother pawned, wooing the vacationing woman who bought it. This episode feels very dated in terms of sex stereotypes, especially the woman who constantly apologizes to Robrioz, even though he is the transgressor. There is some wonderful pastoral writing for woodwinds, a few highpitched soap opera strings, a little bit of source music (piano), and lots of music with little dialogue. Should be possible to rip some really good tracks from this one.
    Season 2
    Episode 1: The World I Want
    An elderly man wants to change his will and give everything to his niece, since his own wife is a psycho. The wife, in turn, resorts to some pretty drastic measures. The title of the episode is the voiceover story the niece is writing. This is a very bad episode, with lots of overacting and a ridiculous "German" accent. The best thing about it is Leonard Nimoy as the lawyer who changes the will. However, there's some really nice flute writing for the niece, a reappearance of the CE3K string motif for the chase sequences as well as some "standard" TV suspense music.
    Episode 15: Four Into Zero
    Four guys plan to heist a train, steal some money plates and forge a million dollars while on board the train. Their wives become suspicious. Williams' score is quite monothematic; there's the main theme (which I've heard somewhere before, I can't place it....sounds a bit CE3Kish) is arranged according to setting -- a western/"train"-like arrangement, one for the city and a love theme version of sorts. There's also some very dramatic, staccato writing for the climax sequence. Pretty cool music.
    --------------
    I tried to see if there were any other episodes scored by Williams, but I couldn't find any. Whenever the credit reads "Kraft theme by John Williams", he didn't score it (it was either tracked or scored by other composers), and that was the credit for the others throughout the two seasons of this show. If anyone knows something I don't (Jeff Eldridge?), I'd love some info, though.
    One last thing – did Williams write anything (new) for the spin-off/replacement(?) show KRAFT MYSTERY THEATER?

  15. Like
    Omen II got a reaction from mahler3 in Friday Night Is Music Night 2012 & 2017   
    Thanks for the correction, Miguel. Lockhart must have to do a lot of travelling now that he is also the BBC Concert Orchestra's principal conductor (maybe he couldn't get his baton through customs?).
    I thought all three Home Alone pieces were great. The orchestra really seemed to enjoy playing this one and the choir singing it; I noticed that right at the very end of Merry Christmas, Merry Christmas the choir shouted an extra "Yes!", Macaulay Culkin-stylee, as the last chord was played. Ken Bruce announced beforehand that the programme would be broadcast close to Christmas, so it did not sound at all incongruous. Believe it or not this was the fourth all John Williams concert I had attended this year, but all four had something different to enjoy and included Williams pieces that I had never heard played live in concert before. I was very pleasantly surprised at the inclusion of Call of the Champions, for example, which I really wasn't expecting - I had to stop myself from singing "citius! altius! fortius!" along with the London Voices.
    Can you guys outside the UK listen to BBC Radio broadcasts on the internet, either live or on the BBC iPlayer?
  16. Like
    Omen II reacted to MarnixBilderbeek in Friday Night Is Music Night 2012 & 2017   
    This concert was so fantastic! I live in the Netherlands and unfortunately, hardly any film music (left alone John Williams) concerts are performed, so I really wanted to visit a John Williams concert in the UK. Actually, I intended to visit the RPO concert in the Royal Albert Hall, but sadly I couldn't make it that date, so I was happy to find that the BBC Concert Orchestra was going to perform a Williams concert too! I booked a ticket and travelled all the way to London to see and listen to the beautiful music played by the orchestra and the London Voices. The selection of musical pieces was great, and I was thrilled to hear the Home Alone music too I also adored the performance of the Schindler's List Theme - it's such beautiful music, and I think I'm a fan of violinist Charlie Siem too now haha, he played with such great emotion!
    I'm so happy I went and I can't wait to hear the concert again on the radio on December 14! I recommend everyone to listen!
  17. Like
    Omen II got a reaction from alicebrallice in Friday Night Is Music Night 2012 & 2017   
    I bought one of the last tickets to this concert and was so glad that I went. While the BBC Concert Orchestra was never going to be able to quite match the sheer brilliance of the London Symphony Orchestra in their John Williams concert a week or so earlier, they are a more than capable ensemble and treated the sold-out audience at the Watford Colosseum to a jam-packed two hours of John Williams goodness. Former Boston Pops conductor Keith Lockhart took the baton (or at least he would have done if he ever used one!). A nice additional touch worthy of mention is that the tickets were printed with the words “Happy Birthday John!” Watford Colosseum has the feeling of a large school hall, with the front row of the audience so close to the orchestra that they looked in danger of having their eyes gouged out by the first violins and cellos!
    One of the fun aspects of Friday Night Is Music Night, the longest running live music show on the radio, is that the exact programme is never revealed until the concert itself, so there was some fun to be had by trying to guess what pieces they were going to play; the two thunder sheets in the percussion section, for example, were a sure sign that we would be hearing The Witches of Eastwick. In fact the orchestra was very large - including five trombones, five trumpets, six horns and up to seven percussionists - although curiously there were only four double basses. The London Voices choir sat on the stage behind the orchestra and what they lacked in numbers (there were eight male voices and eight female voices) they more than made up for in ability.
    The concert was introduced by regular FNIMN presenter Ken Bruce, who sat beside the choir. No programmes were issued so I have tried to remember everything that was played (I may have got the running order wrong, but you will spot any errors or omissions if you listen to the radio broadcast on 14th December):
    High Adventure (the theme tune for Friday Night Is Music Night by Charles Williams)
    Star Wars - Main Titles
    War Horse - Dartmoor, 1912 (Ileana Ruhemann, flute)
    Jaws - Main Theme
    Call of the Champions (2002 Winter Olympics) *
    Far and Away - Suite
    Schindler’s List - Theme (Charlie Siem, violin)
    Superman - March
    Saving Private Ryan - Hymn to the Fallen *
    INTERVAL
    Raiders of the Lost Ark - March
    Amistad - Dry Your Tears, Afrika *
    The Witches of Eastwick - Devil's Dance
    Hook - Flight to Neverland
    Jurassic Park - Main Theme
    Harry Potter and the Chamber of Secrets - Harry’s Wondrous World
    Home Alone / Home Alone 2 - Somewhere In My Memory *, Making The Plane, Merry Christmas, Merry Christmas *
    E.T. - Flying
    High Adventure (the theme tune for Friday Night Is Music Night by Charles Williams)
    * denotes pieces in which the London Voices sang
    As you will be able to hear the concert on BBC Radio 2 on Friday 14th December (I will try to remember to post a reminder nearer the time), I will not go into too much detail here, but special mentions must go to Ileana Ruhemann for her lovely flute solo in War Horse and to Charlie Siem (a young violinist with whom I was unfamiliar) for his confident solo in Schindler’s List.
    Make sure you tune in!
  18. Like
    Omen II reacted to alicebrallice in All-Williams concerts in the UK, in Sweden and in Germany   
    aaanywaaay.... more about the concert!
    the programme:
    the concert surpassed all of my expectations and it was a most memorable evening! it was my first film music concert and I obviously loved every second of it! it was almost an overwhelming experience, I must say.
    the gothenburg symphony orchestra's performance was magnificent and watching strobel conduct was an absolute joy... and the gothenburg symphony chorus were amazing as well. most goosebumps? born on the 4th of july! other highlights were jaws, escapades, duel of the fates and, of course, e.t.
    the three concerts were sold out so I wouldn't be surprised if they'll do another "filmspecial" in the future. but there will be a korngold symphony and a peer gynt concert in march and I definitely hope I'll be able to attend those
    [media=]
  19. Like
    Omen II reacted to filmmusic in NPR: John Williams' Inevitable Themes   
    I don't think he'll be able to read them!
    Did you see his 2nd comment?
    You're a little bit ignorant as to what John Williams' job actually is. He is usually hired to compose the melody to the main themes. The orchestration and implementation are done by a team of other people, usually credited as "music editor", "music supervisor", "orchestrator", or "music director". Williams, of course, is not the only Hollywood composer that gets paid big bucks to write a handful of notes.
  20. Like
    Omen II got a reaction from Joni Wiljami in Music for the Big Screen: The Best of John Williams (All-Williams concert in London, November 8, 2012)   
    Just a few words on this concert before I turn in for the night, as I know that there are one or two John Williams fans that post here - it was ASTOUNDINGLY good! Yet again, to the LSO, but even by their own high standards the musicians really excelled this evening.
    If you fancy a butcher's at the programme, you can download it by clicking on the link in the original post. The suite from Indiana Jones and the Kingdom of the Crystal Skull was one of many highlights, for the record consisting of The Adventures of Mutt, Call of the Crystal and A Whirl Through Academe, the latter played live to the film sequence projected on a giant screen behind the orchestra (OMFG!). Yes, you read that right: the London Symphony Orchestra played a complex John Williams action cue from an Indiana Jones movie LIVE to picture in the Barbican Hall.
    The orchestra and maestro Strobel quite rightly received a standing ovation at the end, leading to the three encores - A Prayer for Peace from Munich, the March from 1941 (too good for any adjectives I can think of at the moment) and, of course, the main title music from Star Wars. I would love to read what others thought of tonight's concert.
  21. Like
    Omen II reacted to Princess in Hilarious John Williams Sketch on Funny or Die   
    Hey Everyone,
    Very funny mockumentary about John Williams just hit the internet!!!!!
    http://www.funnyordie.com/videos/124d58d022/the-greatest-moments-in-musical-history-episode-one
  22. Like
    Omen II reacted to Smeltington in John Williams Concert October 24, 2012 Atlanta   
    So, the Atlanta concert happened yesterday! I was sitting in the fourth row, behind the orchestra pit seats, and it was a wonderful evening. To give some background, I attended one of the Film Nights at Tanglewood two years ago, and the 80th birthday concert at Tanglewood this summer. The Film Night I went to was Spielberg themed, although Spielberg wasn't in attendance, so as much as I enjoyed it I missed hearing Star Wars, Harry Potter, or Superman, and was really hoping for some of those last night. I was also hoping for Tintin and War Horse, and maybe Lincoln. Alas, Lincoln was a no-show but otherwise the program was fantastic:
    Tribute to the Film Composer - a big montage of film clips, a few seconds each, with accompanying score. Some of the clips included Star Wars, Titanic, Psycho (like Jaws, this got a laugh from the audience), Rocky, Bridge on the River Kwai, The Magnificent Seven, and ET, which segued into Gone with the Wind for the finale. As the concert was held on the same street where Gone with the Wind was written and had its film premiere, this was a great note to end on. The screen went off for the next few pieces, which I was grateful for.
    Suite from Far & Away
    Hedwig's Theme - At this point Williams addressed the audience, saying this was his first time in Atlanta since the 1996 Olympics. That made me feel awfully lucky to be at this concert. He then announced the next three pieces, all from Harry Potter, meaning all my dreams were about to come true. He described Hedwig in what I'll call a very archetypal sense, as a "great, white bird who delivers the mail."
    Fawkes the Phoenix - The highlight for me, as this is one of my favorites and I NEVER would have guessed he'd play it last night. It was also great to hear it the day after listening to the complete Chamber of Secrets score for the first time!
    Harry's Wondrous World - Accompanied by some clips from the first four films.
    Dartmoor, 1912 - Great to hear in concert. Very lush and sumptuous, and the solos were beautiful
    Star Wars Main Title - The main event for me, along with Harry Potter. It was a great reminder that this is why I loved Williams in the first place. The orchestra gave the most powerful performance of the evening; the blasts during the star destroyer attack are so striking, almost primal, compared to the rest of the material in the program. I was also amused to see Williams mouthing the drum hits in the direction of the percussion section in the last few seconds of the piece.
    - intermission -
    Jaws - As usual, the audience laughed at the opening notes. This piece wasn't listed in the program.
    Close Encounters - At last, Spielberg entered, introduced by Williams. He introduced each piece for the rest of the evening, except the final encore, and between each piece he went and sat in a chair on the side of the stage. Most of his introductions didn't give us much info we didn't already know, but of course they were welcome anyway, and it was fun seeing his and Williams' camaraderie. "I love John Williams," quoth he. The Close Encounters piece was played to clips from the end of the film.
    Indy's Very First Adventure - I hadn't expected to hear any Indy other than the Raiders March, so this was a really nice surprise. Spielberg and Williams stood and watched the screen as the whole train scene from Last Crusade played, sans music. The audience was very responsive and laughed uproariously at all the gags, with Spielberg himself laughing at all the jokes too. They played the whole scene again with accompaniment from the orchestra; I was struck by how meticulously Williams planned and timed all the little touches in that cue, like the motif for the cross of Coronado, but how quick and effortless he makes it look while conducting.
    The Adventure Continues - Introduced as "The Duel" by Spielberg, and presented with a montage of "swashbuckling" film clips. The clips were pretty distracting to be very honest with you. But I was pleased to see one from Muppet Treasure Island.
    Theme from Schindler's List
    Adventures on Earth - around the end of the piece I could see Spielberg tapping his hand, clenching a fist, etc in time with some of the big orchestral flourishes.
    - encore -
    Sugarland Express - Haven't heard the score, so I don't know the name of the piece, but it was a nice detour from the rest of the evening and featured a flute solo for pretty much the duration. I thought Lincoln would make a nice bookend with this, but instead we got...
    The Raiders March - To thunderous applause. This was the only time throughout the evening where I could find fault with the performance; the tempo was a little slow, although I assume that was Williams' preference. Nevertheless it was a great way to end the evening.
    Other details... Star Wars and Schindler's List both got ovations. There was a snobby guy behind me before the show who was asking his friends who would be conducting, and insisted that John Williams "doesn't conduct." I brought my Raiders LP to try for an autograph, but both of the big dudes got in SUVs inside a huge garage in the building, so there was no chance. I did meet some other fans with really impressive and humbling posters covered in Star Wars cast and crew autographs. Someone told me Williams had been in Atlanta all week. According to one of the staff, he was flying out the same night. The highlights of the evening for me were the Harry Potter music, the Star Wars theme, War Horse, and Indy's Very First Adventure. After only seeing Williams conduct once before, and from very far away, and omitting some of my non-Spielberg favorites, this concert was really special!
  23. Like
    Omen II got a reaction from mahler3 in John Williams 80th Birthday Concert (another one!)   
    The Royal Concertgebouw must be well racist against Williams!

    Has anyone else noticed that E.T. appears to be missing from the basket in the picture above? The poor thing is probably lying squashed on the ground somewhere.
  24. Like
    Omen II reacted to Jay in JWFan debuts Lincoln Original Soundtrack samples!!   
    The John Williams Fan Network is proud to premiere for the first time anywhere on the web, the first samples of the Lincoln soundtrack!
    http://www.jwfan.com/?p=4950
    Enjoy everyone, and please post your thoughts!
  25. Like
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