Marcus

Well, I have to confess that my own reaction to the themes given would be so contrary as to seem completely inverse: The two finest themes are the ones listed as inferior, and subsequently, I call a gigantic BOGUS on this supposed theory of "flow": A melody's natural flow and memorability is simply not determined by the number of different scale degrees per downbeat! In other words, this ends up merely a matter of individual taste. The best evidence I could give to counter the theory, is that the two "inferior" -supposedly less flowing,less catchy- themes (Star Wars & Superman) happen to be two of the most immediately recognizable themes in our musical culture (that doesn't mean you have to like them, but it reduces the theory to a personal preference).

I had no idea I'd actually posted in this thread, but I'll chalk it up to ghostly activity on behalf of my (still somewhat intimidating) new smart phone... Anyway; looking at the quoted information, I'll rush to add that for a very short while, again courtesy of my far too sophisticated phone but its startlingly less than stellar speakers, I kept interpreting the opening cluster as E5-F5-Ab5-B5 (vn2 div á 4) and C6-E6-F6-G6 (vn1 div á 4), at least for a couple of listens... Now, what's absolutely brilliant,is the music that follows! As has already been pointed out, it's a very clever transformation of the opening accents of "Sail Barge Assault", but extending the tension for another few measures, as well as building an entirely new, albeit star wars-ian shadowy scherzo, the harmonic gist of which would be: D (with boiling D-C#-Eb cluster), C# (frenetic activity centered around D and E), C (vs.Eb minor, as well as melodic activity on G, C#, D# and E), Bb (w/E minor, as well as continued melodic activity on G, C#, D# and E), and Fmin/A, before settling on a unison F# (and subsequently launching the ominous low E in horns (?)). At any rate, I'm thrilled Williams invested the time and energy to revisit as well as revitalize this old cue, and I find his fertile re-imagining inspiring! Close, but there's a very subtle difference...G6 E6 D#6 C6 B5 G#5 F5 E5 Yes!

Loving the music, and liking the "lived in" feel of what design we're allowed to glimpse.

I'm pretty sure it's a revision, not a typo, lending even more modal ambiguity to the passage (adding a phrygian sprinkle to the already major-tinged dorian-ism of the writing). I like both versions, btw.

I think Williams' "7th on the bottom" is a sort of short hand for any altered traditional chordality that emphasizes minor seconds; it could be Fm/E, but also Cm/F#, Db/E etc. I think he really meant to sound less specific. My guess is that a host of similar harmonic constructs leapt to his mind as he discussed it, and he opted to offer the example that perhaps to him seemed would make the most sense to a general audience.

Will happily do! Much to the horror and detriment of whatever poor record label that fate shall befall...

No! Have mercy! Have mercy! Seriously, though: I don't think I ever really meant to belittle any of Shore's efforts, and when one consider what much contemporary film music has become, the virtues of Shore's LotR scores become all the more apparent. I guess the title of this thread provoked a more-fiery-than-warranted response from me all those years ago, although I can't for the life of me understand why I got so worked up over it, or why I bothered. Times change, and thankfully, so do we.

Well, that was terrifying! I detest the tone of those posts, but for what it's worth, I suspect they weren't intended to sound quite as harsh as they now seem to me. Confrontation with younger incarnations of one's self can be a very sobering experience... But at least it serves to remind one of the virtue of humility. Apologies, apologies...

You are very welcome!

It is not. The orchestral arrangements for the Signature Editions are always by Williams. The band versions, however, are usually arranged by others (frequently Paul Lavender). Christopher Martin is the dedicatee (Chicago Symphony's principal trumpet), and Hal Leonard simply screwed up and got the preposition wrong (it should probably read "for", not "by").

Yes, "Ah" and "Oo" simultaneously; it generates more complex overtones and a richer, more heterogenous choral sound. Happy conducting!

I was actually about to mention Solondz' "Happiness"! I agree completely about the link between the two, although Solondz pushes the boundaries even further, and insists on humanity and dignity even for someone who truly does commit an awful crime (unlike American Beauty's main protagonist). What I love about both films, and find very refreshing, is their amorality (not immorality), and unwillingness to judge.

I find it ironic that the article's conversation about the film reveals exactly the kind of uptight moralism that American Beauty makes satire of. American Beauty is a 90s masterpiece, and a beautiful one at that, with a truly humanistic message of forgiveness, and it's an unusually wise, non-judgemental film for its time. It portrays flawed human beings, and celebrates them as such. Therein lies the beauty (in the film as in life).

I've been blessed with lots of opportunities, and I am very grateful for all of them. But it's also hard work, and even more than that, an entire lifestyle. I guess I average 2-3 hours of music per year, almost all of it commissioned work (although I find it increasingly necessary to leave some time for work only demanded by my own creative urges), which for me requires at times 15-20 hour work days (I've never been good at balancing anything in life, least of all my working hours), so it is taxing, and it does take its toll sometimes. Again, I'm not complaining, I'm deeply thankful for the work. I'm also very lucky to be blessed with a wife with similar inclinations (she's a writer), so it's still possible to share an existance that involves more than just work, even though that work (hers and mine) is the very foundation of our lives.

The commission came about through the soloist, Tora Augestad, for whom I've written quite a bit of music, including the part of the Grand High Witch in my opera "The Witches" (based on Roald Dahl's book). She has worked with Saraste in the past, and sent him the score, as they were about to program concerts together in Ekenäs at Saraste's festival. Tora premiered the piece with Jonathan Stockhammer and the Kristiansand Symphony in Norway this past January, and her German management also took an interest in the piece, so it is probably a combination of interest on a few different levels.

Thank you both so much! I was unfortunately prevented from attending the performance in Finland, but I'm so touched, thrilled and honored by the brilliant performance they all gave, and by by both the lushness and clarity of maestro Saraste's take on the music. Same goes for Jensen's rendition of "Vita". And given Williams' very formative influence on the evolution of my own craft and voice, I'm unsurprised by the detection of certain shared characteristics, and will take any perceived kinship as a compliment (if I may). So glad you've enjoyed these, and very happy to share such stellar performances of my work!

Greetings, everyone! I'm pleased to report that a recording of "Hate Songs", my symphonic cabarét on poems of Dorothy Parker, is now featured on my website, in a stunning performance by mezzo Tora Augestad and the Finnish Chamber Orchestra, conducted by Jukka-Pekka Saraste: http://www.marcuspaus.com/audio/category/Works+with+Soloist Another addition to the audio section, is a short solo violin piece, "Vita", written less than two weeks ago, and already beautifully recorded by Norwegian violinist Bjarne Magnus Jensen: http://www.marcuspaus.com/audio/category/Solo Hope you'll enjoy!

Williams also conducted the premiere of Corigliano's "Promenade Overture". Magnificent piece, and certainly one of the best concert openers I can think of.

What a marvellous initiative! Love the name, too. The "Ravel Study Group"... makes me wish I resided in LA!

I believe those are actually flute glissandi! I have the score, but as I'm currently on a work stay abroad, I won't be able to verify until I'm home sometime late August... Will keep you posted!

It is! Another lovely instrument, and too rarely heard together with its slightly more sophisticated relatives in the woodwind choir. Rodion Schedrin actually employs both the soprano recorder and several of its siblings in some of his works (Cello Concerto, Concerto for Orchestra no.4 and others) to great effect, and in really neat timbral combinations.

Lovely, all of them!

In the actual piece, it's a conga, I think, but yes! I was referring to a cuica! What a bizarre drum!

They aren't.