Miguel Andrade

Yes, I know what you're talking about... And loved you're new avatar!

I've watched MR last evening. And loved it. The film and the music. I wasn't much pleased with the music on cd, but was great on the film. and Spileberg's sound mix does let the muisc live. Great. Have to watch it again!

Nothing to get excited... only my name.

Well, I'll fix that problem for you... And you'll know how much you're really missing

Willams was being comissioned for concert works (Prelude and Fugue by Stan Kenton, Essay for Stirngs and Symphny by André Previn, Sinfonnieta and Jazz Odyssey by Donald Hundsberger), so he would porbably continue to get this comissions. He was already seen as a major talent in Hollywood prior to Spileberg and Star Wars. Both Lionel Newman at Fox and the people at Universal (Williams was close friend of one of the top guys there) backed his a carrere a lot. In fact it was that guy from Universal (can't remember his name right now) who sugested to Williams a meeting with this young kid who wants to became a director. Williams was faded to successes. But with Spielberg, that success became even larger.

Define successful....Do you mean, as popular famous as he is today? Then I think not, but in artistic terms, he was already successfull in 1973, when he first met Sepilebrg for lunch...

"This whole rubish of other people orchestrating your music is so wrong... To orchestrate is like a thumbprint. I can't understand having someone else do it. It would be like someone putting color to your painting..." -- Bernard Herrmann interviewed by Royal S. Brown And you would belive that, John Williams, someone who admired deeply Herrmann as a musician, who almost was something of a pupil of Herrmann, would let someone else do his orchestrations? Of couse not! But that has been discussed already. As far as golden age composers using orchestrators... Many of them were classical trained, and used to the the whole work by themselves. Sometimes, even if they would do almost everyhting, if they lacked the time (as Steiner must have in Gone With the Wind), they may ask the help of their trusted coleagues.

...and I read once (and again don't recall were...) that in the old days a composer was obliged to use an orchestrator. I remember that this story was told by a not american composer (Morricone or Jarre, I'm not sure) and he told that when he arrived to Hollywood he had an orchestrator, that didn't done a thing, but had to get credit for orchestration. Miguel, who as to get something for his bad memory

I've read it somewhere else.... I don't have the original The Omen release. Maybe it was on a old Silva screen compilation of Horror movie music that included a suite of The Omen, conducted by Stanley Black... I think there are a few Morricone scores where the "orchestrated" word appears...

Yes Marian, it was that! I wasn't really sure, but you've cleared my mind. And as FiveTones says, all this sound like the work of the same man... so his orchestrators don't really have much creative work to do. On the other hand I remember reading (again don't remember were) that Goldsmith asked for the late Arthur Morton help on writing for chorus on The Omen.

His that the interview in Tracksounds? And I Don't know everything... But I'm working on it

Williams does orchestrate everyhting sometimes. As for not crediting the orchestrators work on the albbum, I remember reading something about that on one of his orchestrators interview -- but to tell the truth, don't remember the explanation -- and don't remeber where I read it, I believe it was with John Neufeld. And if you wan't to know more about the orchestrators work with Williams read this: Orchestrating 'Indiana Jones' -- http://johnwilliams.jw-music.net/artigos/i...les/6-18-89.htm

Bennie for me. Erich Wolfgang Korngold and Miklos Rozsa come right next.

I have to disagree on the Olympic Fanfare. For the best one is the first recoding with the Boston Pops under Williams. Throne room is quite good, and Space camp does sound better under Kunzel than on the OST. Can you give me more info on that recording? I now that Mr. Salonen conducted Williams Violin Concert a few years ago with the LA Philharmonic. And we all know about is Herrmann recording... But this is totally new to me!

I don't like his more recent recodings, but his "Liberty fanfare" is,a t least in my hears, better than the Boston Pops/Williams recording

Thanks for all the info. I'll be checking the links later today. In fact I'm looking for the score for Three Pieces from Schindler's List. I'll probably will get the version fõr violin and piano, since the orchestral version is too expensive for me. The reason... Since I'm not a musician my self, it's for my brother, who's writting an arrangement on the them for a classicla guitar orchestra (he had already written an arragment for guitar duo, a couple of years ago). And then I gave him the ideia to arrange the full suite, wich he was glad with. But he asked me for a score -- I've a piano reduction of the them that he's using. Once again, thanks a lot! I'll let you know when they premiere the arrangement... And with some luck I might get a amateur recording of it too

Can anyone get me a link for a on-line shop of sheet music inside the european comunity? Thanks

I have an ADSL connection and works fine. It already did before, when I used my good old 56 kb modem.

In Portugal, both channels of public tv live the end credits roll untill the end. The same happen with some cable channels, but not every single one. The private chanels cut the credits as soon as the background is black...

**** I like the themes very much, but I found the full album to be a little messy... I usually program the tracks in my prefered order.

Very likely. I haven't watched the end credits in a while... I have the full film in vhs, but the last few times I watched were during regular television broadcasts. And latelly they cut the end credits all the time. But I believe the end credits are the "We Wish You a Merry Christmas" without chorus, following to the "Merry Christmas, Merrry Christmas" Williams song.

NOOOOOOOOO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Andrade, I didn't know it. It can't be possible. Mmmmh. I'll perhaps buy it. I assume she sings in the end credits of the film. I remember "Sombras, y por qué, ......". But I didn't know it was Ana Belén. To tell you the truth I don't remember hearing any of this versions on the film. Maybe Ana Belen version was used in spanish speaking countrys... I know this was also released as a single, at least in Brasil.

Still, the Home Alone 2 song album has a performance of Somewhere in My Memory, with spanish lyrics, by Ana Belen, and other one by Bette Midler

Very intresting... I've to check who they call that in Portugal...

Well, I just saw the trailer on TV and the title wasn't translated! And Spielberg name was mentioned... something like this: "Tom Cruise in a Steven Spielberg Film Minority Report" But in Portuguese, of course