Miguel Andrade

The interview was made by Tim Burden to the producer of the album, for the most recent issue of FSM Online. As for the book interviews. Williams doesn't mention the new song, but Alan Bergman does, plus a few nice bits of information: they first met in 1955 and the couples become very close friends. "Come Tuesday" was their first off-screen collaboration, and when Bergman mentions that is on the same sentence as their first on-screen song (Make me Rainbows) and comes ahead of it... Maybe it's from before 1967? Williams and Bergman did a demonstration for Pavarotti of their song and the famous tenor asked for a recording so he could model his performance to Alan's singing style. On the Sinatra song: Part of this we already knew... Sinatra wanted Legrand, who was in France with his dying father. Alan was the one who suggested Williams and Sinatra was enthusiastic. They prepared a whole, 10-minute long, biographical number that they played for Sinatra on his Palm Springs home. This was 1974, and since Sinatra ended up not recording it (maybe it was to much of a self biography kind of piece), it remained forgotten. Fast forward to Michael Feinstein Sinatra Project. The recorded song derives from 16 transitional bars of music from original 1974 number, so, there are still goodies to discover (that "remains tucked away in our files", Alan Bergman's words). One final note... In 1967, the Bergman's sent a little original bit of poetry to Williams, on February 8. Since 2012 they resumed that habit and keep doing it, what Bergman calls "an ode to his talent, to our friendship..."

Can't recall if that was mentioned during the FSM interview. Anyway, I'll check the accompanying book this evening. Maybe that is covered.

"Come Tuesday" was written for the late Barbara Ruick. I still haven't had the time to go through the book, not sure if there's more info on it besides what was said on the FSM podcast, but I would imagine this was a sort of a private gift among friends and loved ones, hence being totally unknown to the rest of the world.

When you have good friends, you end up with autographs of a lot of people... I've collected quite a few, more by sheer luck, people being at the right place at the right time, and asking for a signature for a friend (me), than actually looking for this stuff. As someone else posted, this are nice to have, even more if with a dedication (Christopher Young was so kind in writing "Miguel, we miss you", when a friend asked him for an autograph on the cover of his "Cinema Septet" promo set), but for me, certainly not must haves and certainly not at the expense of the composers well being. Having that said, not a day goes by I don't glance in awe at the John Williams autograph that reads "To Miguel", on top of the Jurassic Park sheet music, a dear friend got me some years ago (not naming you, but you know who you are!).

Being an Universal release, it makes quite a lot of sense to use the recording on DG. Disc 20 is amazing, and as far as I'm concerned, worth the value of the set. Even if I already have most of the tracks, the new ones are priceless (mainly "Come Tuesday", such a lovely, lovely song), and the whole disc alignment is just perfect and tells yet another story of Williams career. Please note that, the song from "Daddy's Come A-Hunting" is the single release and not the film version as some wondered early on.

From my understanding, Williams asked that Dream Away would be the Sinatra recording.

The "Catch Me If You Can" track on disc 20 is this one, performed by Jean-Michel Bernard:

Upcoming concert to be broadcast at Stage+ https://www.stage-plus.com/video/live_concert_9HKNCPA3DTN66PBIEHFJAC1M

I remember that acknowledgement from the first time I read the book, back in the early 80's. (The book was released in 1982, but I likely read it in 1984, the probable release date of the book in Portugal.)

The Matsumoto concert is being broadcast in Japanese television on November 12: https://www.ozawa-festival.com/en/news/2023/10/05/170000.html

Yes, but being a recent release, I wonder if they would go with that one.

"The Eiger Sanction" theme is likely to be the one by Kyle Eastwood quintet (released on his "Cinematic" album from 2019).

Got my shipping notice yesterday.

But those two tracks are recorded, being released as digital singles... There's space left on the CD for them. Why not include them?

They could have included the two Williams singles on the CD (Star Wars and Jurassic Park).

Yes, you're right.

Quoting myself...

Well, you couldn't guess, unless you checked the reviews of previous concerts for the encores.

Angela's Ashes main theme.

There's a wonderful harpsichord part on it. Indeed. They have been doing these three encores during all the tour.

Yes

I watched the concert live (it was available on the Arte Musique site for a while too) and the Vivaldi correct position is in between the two Williams.

The Long Goodbye audio seems to sound like the Lou Donaldson version, for a long, long time, the only recording of the theme available.

Kingdom of the Crystal Skull was ordered from the UK if memory serves. Temple of Doom and Last Crusade I found on a local store on sale and were the only copies they had. Sadly not Raiders, but I would imagine that one was also available on jewel case.

I think it's rather obvious. His collaboration with LSO (either the famous film scores or the concerts locally) has contributed to the orchestra's success in recent decades.