Once

He is crazy witty and charming on these occasions.  My favorite is from the late Mancini tribute when Williams went with the widow.
 
“I was all of 25 years old when Henry invited me to Universal Studios to play in his orchestra for a film session,” he recalled. “And apparently, it went very well, and I began to play with Henry on all of his recording sessions. He frequently had a chorus, and there was a beautiful young girl I kept noticing on session after session. One day I said to one of my musician friends, ‘Who is that fabulous blond girl up in the chorus? The third one in from the left.’ And he said, ‘Forget it. That’s Ginny, and she’s married to Hank.’
“So when Ginny invited me to be her date tonight, after I think 60 years” — Williams savored the pause — “I feel like I have finally made it.”

Did Yoda take the picture?  

Beautiful 
 

It was interesting to see the harp positioned immediately in front of the conductor for the violin concerto, given its prominent role in the work.  It reminded me of those old photos of Max Steiner or Alfred Newman in front of some Hollywood studio orchestra from back in the day.  I have yet to explore the second violin concerto beyond a couple of listens all the way through, but hearing it live certainly whetted my appetite for diving deeper into it.
 
This was my first time seeing Anne-Sophie Mutter play live so it was also my first live experience of any of the pieces which Williams has arranged for her.  I would say that the pieces from The Long Goodbye and Cinderella Liberty worked best for me, possibly because Mutter's style of playing has quite a breathy, flautando quality to it which is not always to my taste but very much suits those two jazzy, vocal pieces.
 
As Tom mentioned above, it seemed a pity that the concert could not have closed with more orchestral Williams, as great a score as Leonard Bernstein's On the Waterfront is.  I felt a little sorry for the horn player who flubbed a couple of notes in his first two solos, although I am not sure most people other than pedantic film music geeks like me would have noticed.  It is amazing to think that John Williams gave the London premiere of his symphony in the same venue more than fifty years ago, with Bernard Herrmann in the audience!
 
I grabbed a few photos for the record.
 

 

 

 

 

I couldn't find a discussion of this but anyone planning to go to this concert event in a few weeks?  Though the prices are high, there are still some seats available and like a unique event.
 
https://www.laphil.com/events/performances/2449/2024-02-02/a-century-of-film-music
 
I've seen about a dozen concerts of JW conducting or rehearsing and never heard of an event where he's the curator throughout the concert.  

Just saw the film again. Loved it again!
 
Songs and score are soo good! There actually were quite a few score cues I noticed that were unreleased that I wish weren't.
It's mostly variations on the themes but the way Talbot uses all of them together and in tandem is really impressive.

Most labels never announce plans for any upcoming titles, and this is no exception.
 
It's very logical to assume they'd like to do as many as they can, but there is no official announcement of any plans.

Greetings from the Royal Festival
Hall! Looking forward to this. Will report back after. 

@Tom Guernsey There are so many great scores in the discography of Thomas Newman!
 

Really hope LLL tackles The Godfather, part. II expansion this year. And speaking of 50th anniversary, there's two missing Williams scores that don't even have an OST that would be worth celebrating

They turn 50 in 2024!
Jerry Goldsmith - Chinatown John Williams - Earthquake John Williams - The Towering Inferno Nino Rota - The Godfather Part II  
Will you be turning 50 this year?
 

@Thor, question for you.
 
Now that you've done all the research for your great podcast, can you tell me if there is any wrong information on the JWFan.com TV Works page?
 
https://jwfan.com/?page_id=3886
 
I know "Big G" is still a complete unknown and "Flashing Spikes" is actually just an Alcoa episode, does anything else stick out as wrong?  Or do you notice anything missing from that list?
 
Any else reading this, feel free to reply on this matter as well.
 
THANK YOU!

You should pick this up. His disaster scores are more dated. Jane Eyre in particular is timeless. It is very much related to later Williams scores you probably love. Do you like Prisoner of Azkaban and/or the "Across the Stars" love theme from Attack of the Clones? Then you will ADORE Jane Eyre. It is an utter masterpiece. A shame more of it couldn't be found but it is still a fantastic album and will 100% sound like the John Williams you already know and love, I promise.
 
Yavar

To be honest, I couldn't hear any PRIDE in NAPOLEON. You're probably right that it's there, but it was so organically intervowen that I didn't even notice it. If that cue was what Scott & co. felt captured the scene in question perfectly, and thus no original score needed, I see no problem with that whatsoever.
 
 
Well, that is your - and ours - "burden to bear" as hardcore film music buffs. Most people don't notice or care. And sometimes, they're SUPPOSED to notice, i.e. using a famous existing piece in a new setting for new associations. Like "Also Sprach Zarathustra" in 2001, applying our previous associations of the piece in a new sci fi setting, although still commenting on human evolution. Tarantino does the same, although sometimes more for mood and ambiance than any particular pre-existing connotations. Again, all of this is perfectly valid.
 
When Sam Ismail uses Kilar's DRACULA in MR. ROBOT (or whatever the show was), few others than us will notice that it's from that score, but it sets the tone perfectly.
 
In the case of MAY DECEMBER, it's a different story yet again. It's not a matter of needle-dropping, but of infusing the whole score in Legrand's sonic universe, just as Noah Baumbach did with Delerue in FRANCES HA. Also a perfectly legitimate way of using existing film music.
 
In short, I see no problem with this whatsoever, as long as there is a conscious strategy or meaning behind it.

I see no difference between using a pop song, a classical piece or a film music track in a film, as long as it serves some purpose and there is a thought process behind its dramatic application.
 
It isn't necessarily a downplaying of the composer's abilities, it isn't a question of the composer not being able to compose a piece in a similar style, but more because the director feels that particular track does exactly what he or she wants, in that particular scene. So if they have the money to licence it, I see no problem in doing so.

Well it's good news they're re-using it , it increases the chance we might hear a recording one day

I love John Williams's drama scores from the 90s. 'Sleepers' and 'Rosewood' have exceptionally underrated scores. Have you seen the movies? They are great too.

emailed MM about a sports specific album, waiting on a response

Well, this gives me hope that this will become the standard ESPN championship theme going forward.  Count me as pleased. 

Seriously we're do for a stand alone album with all these one offs. Imagine a release with the tracks
 
Fanfare for Fenway
Dear Basketball 
This college football theme
Sunday Night Football theme
Olympic themes
 
What else could we throw on this album??
 
Get the NBC nightly News theme on there too while we're at it!!

Hopefully we will get an official digital release someday!

A new presentation using the Maestro’s piece? Count me in. Now, do us all a favor and officially release the piece itself!

Ha!
 
Yea, it was a very varied year for him!  I was glad to be on a podcast discussing the entire year, and was able to bring up how the year started with George Lucas reissuing the Star Wars films in theaters, and we all got those great 2-CD sets for each score, which are the first entries on Mike Matesino's website.  Williams also conducted lots of Star Wars music in concerts throughout that year, it being the 20th anniversary and everything.  It was quite a year to be a Williams fan!

Powell won Emmy for this!

https://deadline.com/2024/01/2023-creative-arts-emmys-winners-list-1235696511/
 
http://filmmusicreporter.com/2024/01/07/john-powell-wins-emmy-award-for-still-a-michael-j-fox-movie-score/
 
Beating JNH’s Light & Magic and Hans Zimmer Company’s Prehistoric Planet
 
A photo of his win

https://www.reflector.com/news/national/the-television-academys-75th-creative-arts-emmy-awards---night-2---show/image_63377aa5-b1ed-5ebe-95a0-5e056011299b.html

 
—-
^^
Anyway, check the breakdown above to understand why this score is such a hidden gem (albeit maybe a small minimalistic gem)
 

~ 20 or so updates have been pushed to the live chronology following the release of Hook and the Quartet Heidi/Jane Eyre sets with their insights fixing some uncertainty around a few dates for those scores.