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Trumpeteer

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Posts posted by Trumpeteer

  1. On 3/22/2021 at 12:55 PM, Jay said:

     

    This is all true, except that eventually, he did write a bunch of cues to specific edited footage: Check out this list here.  All the stuff with XMX numbering was written to specific footage, while the unnumbered cues after are the ones he wrote as you described

    That's interesting about "The Witnesses," because it sounds a little choppy in the film mix, but that could have just been some last-minute editing choices made.

  2. Just to clear up and clarify some points being made here in this topic:

     

    John Williams was asked by Oliver Stone to write a score for "JFK," which Williams quickly accepted. However, Williams was very busy with Steven Spielberg's "Hook," which at the time was being discussed as an original musical. Both films were set for a fall/winter 1991 release, and the timelines for scoring both projects created a conflict.

     

    After "Hook" officially became a nonmusical, Williams had a little time to work on the "JFK" score. He visited Stone on the New Orleans set to talk about some ideas, and visited Dealey Plaza, where Kennedy was shot. After that, he wrote music to fit scenes as written in the script and concepts of the film. Stone and Williams agreed that the music would be recorded almost as concert suites, with Stone and music editor Ken Wannberg fitting the music into the film where needed. The only scene that seems to precisely fit the score and visuals is the team examining David Ferrie's home after his apparent suicide. The music for that scene doesn't appear anywhere else, and likely Williams was able to write music for that specific scene after Stone presented a rough cut.

     

    If you never heard the soundtrack album, and you didn't know the story, you would think Williams composed the score pretty much in his usual fashion. I didn't know the back story of the composing technique until about 2005, and it offered a different perspective on the score but did not detract from the "enjoyment" of it.

     

    I discuss many of these points with Brian Martell in my "JFK" epsiode of my podcast:

     

     

  3. As we all know, John Williams' 89th birthday is tomorrow (Monday), and I will be posting a special video episode of "The Baton" to celebrate. I will be joined by 12 of my podcast's cohosts as we share how we celebrate the Maestro's birthday, and talk about some of Williams' music we would use to introduce a new fan.

     

    This video will make its debut as a YouTube "live" Premiere at 9 am Eastern on Monday, February 8. Link is below. I invite you to the Premiere to chat with other John Williams fans as the video plays. If you can't make the "live" video, it will be available at the same link as an on-demand video.

     

    Celebrating John Williams' 89th birthday

  4. 18 hours ago, bruckhorn said:

    I started in the middle and listened to a few episodes (scores I was familiar with).  I have now downloaded all of the episodes.


    I highly recommend them.  The approach is amateur in the truest sense of the word: for the love of it.  Very little techie talk (e.g.: chord progressions, use of pedal tones, use of modes) which usually comes from co-hosts.  Heck, I think he misidentified a recorder as a flute, but I don’t expect him to point out the Wagner tubas in Empire.  (Star Wars Oxygen didn’t mention it).

     

    And yet, with all I’ve read/heard about Stars Wars, there was something in his Star Wars episode that was new to me.  That’s something, right?


    No, I’m not going to say what it was: you have to listen to it yourself.

     

    Just as a reminder: I mention in the first episode that I am not a trained musician, so approach this podcast knowing that. Plus, I would personally be bored if every episode was a music theory lecture. My frequent cohosts add that when needed and I am very thankful for that.

     

    @bruckhorn I am curious to know the new piece of information you learned in the Star Wars episode. Send me a private message.

  5. Thanks @Biodome and @Bayesian for the kind words. They are much appreciated. I am happy that you discovered more music from John Williams and are going to watch some of the films. Many of the scores will be greatly enhanced from matching the music with visuals.

     

    Hey @T.RASK you are the first to say that you are going backwards. That feels like reading a book from the last chapter to the beginning, "Memento"-style. Hope you find it enjoyable. 

  6. 3 hours ago, WampaRat said:

    @TrumpeteerListening to the Book Thief episode right now. Terrific. How fortunate you got the director of the film on this one! Probably the best episode you’ve produced yet. Bravo!

    Thanks. "Fortunate" is the best word to describe our opportunity to hear Brian give us this insight into John Williams' process. The story about sitting next to Williams while he played the piano was wonderful.

    On 11/15/2020 at 2:12 AM, Gurkensalat said:

    Finished the Lincoln Pocast, great as always. Small correction: Rounds is not Williams first composition or recording for a solo instrument, since he composed at least several pieces for solo Cello before. Some you can hear on the YoYoMa CD with the Cello Concerto, another on YouTube with Lynn Harrell. Just FYI.

    Thanks for the clarification. I'll fix that.

  7. I am happy to see all the comments that have sprung from the information I gave on my podcast about Williams almost scoring "Batman." I never tried to ponder what the music would sound like, but I do believe Burton would have fought for Danny Elfman, unsuccessfully.

     

    The problem is that Jon Peters was the Harvey Weinstein of his day (minus the sex stuff) and no one said no to him. So, if Jon Peters had gotten John Williams that was the final decision. That is also part of the reason Prince got involved. Burton caved in to demands that Prince write songs and he has said often that he regrets that decision.

  8. 5 hours ago, Gurkensalat said:

     

    Congratulations, I just listend to the episode, very nice. One small thing; I think the solo at the end that you contribute to a clarinet, is in reality an oboe. Otherwise, as so often, your podcast made me rediscover this soundtrack I had only listened to once or twice.

    Sometimes I get those instruments mixed up. I often just say "woodwinds" unless it is clearly a specific instrument.

  9. I can't believe the 100th episode of this podcast is now available for the world to hear. Where has the time gone? It feels like yesterday I was nervously recording the first episode, then watching "Daddy-O" with excitement. Well, that was two years ago this month, and this only shows how fast time flies when you are having fun.

     

    Here's the 100th episode, covering the music from "Munich." People have said the score is boring and lifeless, but I think you need to hear it in the film in order to really appreciate it.

     

  10. 2 hours ago, ricsim88 said:

    I finally decided to start the podcast from the beginning. I listened to a few episodes, and realized that it makes a lot more sense to go in order. Tonight I stopped after The secret ways. Even in 1961, you definitely start to hear thé genesis of his style. Really enjoying your analysis of the scores. Not sure how long it’ll take me to catch up, but I’m definitely going to keep going in chronological order. 
    Thanks for doing this

    Yes, it is definitely the right thing to listen to the shows in order. Imagine reading someone's biography and starting on chapter 10?

     

    Don't rush through them. All episodes will remain available long after I finish the series in December.

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