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TJH132

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TJH132 last won the day on October 18 2014

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  1. Am I listening to a different score/watching a different movie, because the end credits I remember seeing in the theater and have on Blu-Ray finish with the big "Dorinda Solo Flight" music (right up through the Amblin logo), not either of the two "End Credits" on the album.
  2. Just coincidentally I've been listening to ALWAYS quite a bit lately. All this talk about how some of the cues are cut and pasted from other bits has be worried that the presentation of "Among the Clouds" will be ruined, as in, IF A SINGLE NOTE IS CHANGED, it will be ruined! It is easily one of my top ten favorite pieces of John Williams music! The suite from Spielberg/Williams Collaboration is too cobbled together, seemingly from the best bits, but with none of the structure and breadth. Also, were Spielberg and Williams not on the same page when it came to spotting this film? The talk from this thread makes it sound as though there are edits, re-tracked bits and alternates all over the place. For a movie as uncomplicated as ALWAYS, this seems odd.
  3. I thought JKR, after the first film, didn't allow WIlliams' "Children's Suite for Orchestra" on the soundtrack, or something like that. Sounds like she was VERY involved with musical choices.
  4. I think the "Scherzo" is a heavy and aggressive piece, unlike many of Williams' other concert works, which, as we know, have a tendency to focus on the dreamy quality of nature. I really enjoy it but would like to hear it a few beats-per-minute faster. The "Prelude" should be a fantastic addition.
  5. I wonder why Williams doesn't consider "TreeSong" a violin concerto? I mean, if it walks like a duck and quacks like a duck, it must be a violin concerto!
  6. I feel like the loss of the full horn chorale in "The Face of Pan" is a real detriment to the piece. I'll stick with the original concert version.
  7. In the spring of 1994, I won a "You Pick the Oscars" contest put on by a radio station in my college town. The grand prize was two plane tickets to anywhere in the USA. It took a bit of research (no real web at the time), but I discovered Williams was conducting the Boston Pops with Itzhak Perlman as soloist. One of my friends had relatives in Boston, so I provided the plane tickets and he provided the accommodations! The concert was very good (and long) with Peter Schickele on the program, too. Afterward, my friend and I, as well as a few others waited outside the stage door to try to get an autograph. We waited for a LONG time before Perlman made his way up the elevator and out the door. He graciously signed the inside cover of the SCHINDLER'S LIST CD. We waited even longer and most of the people left. Stagehands and whoever else told us Williams wouldn't be coming out and to just go home. Somehow we thought to walk a bit down the street to the underground entrance and, lo and behold, John Williams was walking to a waiting car! We pleaded with security to get an autograph and, taking pity on us, Williams stepped forward and signed the outside cover of the CD. My friend brought "...by Request" and got it signed as well. By then there was only one other person hanging around and he signed something for her, as well. What little chit-chat there was consisted of talking about how far we'd come for the concert (Oregon to Mass.). I've seen two other Williams-conducted concerts since and never felt the need to repeat the experience!
  8. Funny you mention this. WAY back in the late '80s, I saw BEETLEJUICE on video and remember thinking the opening title music was so original and fresh and (quietly) lamenting that JW didn't really write music like that. Then I saw WITCHES OF EASTWICK and was blown away! That it was written the year previous was just icing on the cake. WITCHES was the first CD I ever bought and is still one of my favorite Williams scores.
  9. I've always found "Pops in Love" to be a very good listen. "Pops a la Russe" is very energetic and "Pops Britannia" has (I think) the premiere recording of Sir Peter Maxwell Davies' "An Orkney Wedding with Sunrise," of course commissioned by Williams for the Pops.
  10. At 600x600, I thought Sissy Spacek was carrying a child wrapped in a blanket. At 1200x1200 I can finally see it's a SANDBAG!
  11. The bluesy-ness of the "Love Theme" has always been a highlight for me in this score. When I first heard the theme to "War Horse," the flute part immediately reminded me of this cue. Also, back in the '90s, the Babe Ruth biopick trailer used "Ancestral Home" to good effect. https://youtu.be/xZ7oY0tA7qU
  12. The Williams tune? I ask because Keith Lockhart opens his (excellent) Boston Pops Christmas album with "Gloria," but it's not by John Williams and it's much more Christmas-y.
  13. I'd love to hear "Blue Cathedral" live! Most of the recordings I've heard just don't get loud enough for the fine details near the end.
  14. I remember the orchestral version of "Sound the Bells" was used as the music underneath the announcer as he told us who would be performing. Often, it was the highlight of the week trying to hear just a few precious clean seconds of non-film music from Williams! Over the years, Williams did perform quite a bit of his music on the show. I remember an Olympics-themed episode in '96 with "Summon the Heroes" (and "Javelin"). I think Williams even gave Randy Newman his first shot at conducting publicly with the Pops one time (though I could be mis-remembering this). And there was a pre-recorded conversation between the two where Newman admitted to voting for "Home Alone" for the Oscar. Anyone recall this?
  15. Too many to name, probably, but one that always struck me was tracking shot at the opening of SAVING PRIVATE RYAN. When the first cross comes into frame, Williams scores it with a subtle snare roll. Appropriate and moving.
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