ChrisAfonso

Now on YouTube as well:
 
 

Those two go really well together, actually:
Akallabeth combined themes ending.mp3  
 
(thanks for the idea ;))

Just came out of this. As predicted, this was a much better experience than last year in Nottingham and I would argue a better one than The Empire Strikes Back a couple years ago. It might be just the venue, the LSO or Dirk Brosse. Probably all three. Yes, the score is a weird Frankenstein monster. But for whatever reason it came together better. 
 

 
Karol 

Those two go really well together, actually:
Akallabeth combined themes ending.mp3  
 
(thanks for the idea ;))

Cinematic Studio Strings has finally received an update that notably adds a better runs mode. The creator of the library posted this test mockup of the Hedwig's Theme string runs. Sounds quite good!
 
CSS Potter 2.mp3

Those two go really well together, actually:
Akallabeth combined themes ending.mp3  
 
(thanks for the idea ;))

The Towner of London! 

It's back up for sale at DME! Still limited to 3 per customer. Perhaps it will stick around longer or be restocked again, but I'm not chancing it, so I just placed my order.

JKMS is playing coy, but these sure look like JW sketches, presumably for Indy 5, so it seems recording is still very much in progress:
 

 
 

Nice to hear it's been useful, though
 
 
As much as I still love the original LotR scores, by creating a myriad of very rudimentary motifs, Shore definitely made it very easy to now find them everywhere, intended or not . But put it this way: Not every repeated minor second is a quote from Jaws, but if it's played by the bass and you see a fish on screen, you might be on to something.
For now I'm enjoying a lot of the RoP score, although for my taste the themes could have been introduced more gradually and less fully-formed - but who knows, for all we know there are still things tucked away in there that come to bloom later

Oh damn, that is indeed a cool connection that works beautifully no matter if it's intentional or not. This coming from me, who's pretty much stopped making links between Shore and Bear's scores (on that note, have we forgotten the Dwarven End-Cap everybody?).
Also, I want to second TolkienSS's comment: I'm very grateful for your piano transcriptions, they've been a huge help to me.

This was mentioned by a member of the LSO in one of the "Legacy of John Williams" episodes. "John has a horror of takedowns, so he prepares the Signature Editions to make sure the real music is available" or something like that
 
 
 
 
 
 
I have the impression that a lot of different things get thrown together here (quotes as examples).
No one (usually) *does* care about *performed* transcriptions (as audio) on youtube. Releasing (paid) "covers" (as audio) of officially released tracks is (afaik) covered (:P) by a "compulsory" license (-> the copyright holder can't prevent it, but gets a mandatory royalty). For live performance you need to pay the composer's performance rights organization, in addition to buying or renting (often for a hefty fee) the official materials (I'm unsure if they can prevent a performance based on an "accurate" transcription? This may fall in a similar case as aforementioned straight *covers* are generally allowed, but "derivative works" like medleys, mashups, lyrics changes etc. need an explicit individual license). Sharing (for free) self-made arrangements informally seems to be some kind of a gray area (as long as it's not on a large scale) (?) *Selling* unauthorized arrangements (as sheet music) is the crucial case here - and I was generally under the impression that, at least until a few years ago, this was not allowed at all without individually requesting and getting a license (like Marc P. back in the day describing unsuccessfully trying to get his awesome JW horn medleys published). But on that point I do agree that the composer/publisher are fully in their rights to control/allow/disallow others from profiting off their work (without compensation) as they see fit.
Regarding the recent "blanket license" some online sheet retailers seem to have for publishing arrangements - when I looked into the conditions for sheetmusicplus's service (something like 2 years ago), they indeed had a long list/database of tracks from all kinds of composers that they have an automatic royalty sharing deal with (and note, the deal is: you get 10%, the authors get the rest!). Bear McCreary, for example, was in there, among many others I searched - John Williams, though, was not.  
(disclaimer: I have read a lot about these topics, but am not in any way certain any of this is actually correct )

This was mentioned by a member of the LSO in one of the "Legacy of John Williams" episodes. "John has a horror of takedowns, so he prepares the Signature Editions to make sure the real music is available" or something like that
 
 
 
 
 
 
I have the impression that a lot of different things get thrown together here (quotes as examples).
No one (usually) *does* care about *performed* transcriptions (as audio) on youtube. Releasing (paid) "covers" (as audio) of officially released tracks is (afaik) covered (:P) by a "compulsory" license (-> the copyright holder can't prevent it, but gets a mandatory royalty). For live performance you need to pay the composer's performance rights organization, in addition to buying or renting (often for a hefty fee) the official materials (I'm unsure if they can prevent a performance based on an "accurate" transcription? This may fall in a similar case as aforementioned straight *covers* are generally allowed, but "derivative works" like medleys, mashups, lyrics changes etc. need an explicit individual license). Sharing (for free) self-made arrangements informally seems to be some kind of a gray area (as long as it's not on a large scale) (?) *Selling* unauthorized arrangements (as sheet music) is the crucial case here - and I was generally under the impression that, at least until a few years ago, this was not allowed at all without individually requesting and getting a license (like Marc P. back in the day describing unsuccessfully trying to get his awesome JW horn medleys published). But on that point I do agree that the composer/publisher are fully in their rights to control/allow/disallow others from profiting off their work (without compensation) as they see fit.
Regarding the recent "blanket license" some online sheet retailers seem to have for publishing arrangements - when I looked into the conditions for sheetmusicplus's service (something like 2 years ago), they indeed had a long list/database of tracks from all kinds of composers that they have an automatic royalty sharing deal with (and note, the deal is: you get 10%, the authors get the rest!). Bear McCreary, for example, was in there, among many others I searched - John Williams, though, was not.  
(disclaimer: I have read a lot about these topics, but am not in any way certain any of this is actually correct )

This is of course most likely a complete coincidence, but the motif at 0:46 in the posted clip bears a striking resemblance to the beginning of Bear's Númenor theme:

 

 
---
 
 
I really don't understand this "wacky pub dance" or "hobbit music" comment regarding Durin's theme. It sounds much more like a baroque court dance, which given his noble status is quite fitting. Just because Shore used the "um-pa-pa-(rest)" accompaniment for hobbits doesn't make it a hobbit rhythm for all eternity

We played at Ozawa Hall.  Maestro Williams was there.  It was a great moment.  He stood and accepted the warm applause from everyone there. 

I was inspired after seeing the maesto at the bowl 
 

I love the "Lighting of the Beacons" from RotK. The orchestration is just phenomenal. Super interesting how the melody is traded between instruments. Howard Shore said this is one of the pieces he is most proud of.   I made a cover for pipe organ and performed it live to the film. There are quite a few people here who know the soundtrack very well - so I am curious to get feedback.  I have transcribed the entire first hour of RotK, might upload more pieces later.

JoAnn Kane Music Service just posted what’s likely a small peak at the score:
 

https://twitter.com/DisneyMusicEmp/status/1562860298910208001

I prefer the SNES game soundtrack

Not to forget that the String counterpoint itself Starts Off as a Variation of Han's Theme!

Not to forget that the String counterpoint itself Starts Off as a Variation of Han's Theme!

Tanglewood: I just noticed that in the Prelude concert on August 19 (the day before the JW Birthday Concert), the Duo Concertante will be performed at 6 pm in Ozawa Hall. This performance is included in the Sondheim memorial concert that is at 8 pm that same evening. I did a quick search, and I did not see that reported in the forums. (Sorry if I missed it!)
 
Info on all the Prelude concerts on this page: https://www.bso.org/tanglewood/prelude-concerts#august-19. It appears Schindler's List was in last Friday's Prelude. 
 
I wonder how often the Duo Concertante has actually been performed. 
 
 
Friday, August 19
6pm, Ozawa Hall
John WILLIAMS Duo Concertante for violin and viola
BRUCH Eight Pieces for clarinet, viola, and piano, Op. 83
Victor Romanul, violin
Michael Zaretsky, viola
Thomas Martin, clarinet
Xak Bjerken, piano
 
 

I've become a sort of a JW European Groupie, where these concerts are the perfect pretext to visit some great and interesting city and region. It was more than worth it with London, Vienna and Berlin

Not a composer but: an interview with a Japanese koto player on the Geisha soundtrack.