WilliamsStarShip2282

This one is new, I believe its their recording of the 4th symphony that Beethoven did himself

Love this recording

Sometimes called the Chinese lute, but it isn't really. Like a cross between a guitar and an oversized viola. But it has a more reverberant sound so I can play stuff like the Bach cello suites and some of Williams stuff and it sounds decent (for someone who is just sitting enjoying playing it without an audience). The three piece from Memoirs of a Geisha, which lends itself more to the instrument, but I like playing the Elegy for Cello and am trying to record both parts of the Duo Concertante.

Agreed- the re-imagined title I find very annoying, but in any context. Unless the arrangements are very different, like those big band arrangements and Maynard Ferguson, then its really just a modified transcription. Williams clearly re-imagined a lot of those original pieces though for violin, especially the new version of Scherzo for Motorcycle, Hedwig, and the Elegy for Cello. These types of arrangements though seem best to me for live performance. I would love a night or an afternoon out listening to this. But as an album idk if I would buy it over just an occasional listen on youtube. But at least these arrangements are tastefully done. I went to one of these of just HP music last year and the arrangements were hideous. I often wonder how JW feels about this. I know he doesn't allow any arrangements, or at least so far, to be published as a buyable score (plus I assume whatever other nonsense happens with the studios). I like to play some of his concert works on the pipa, and I wonder if he would be intrigued or horrified. Incidentally as I continue this novella, has anyone here heard the Beethoven Symphony trios with Emmanual Ax, Yo Yo, and Leonidas Kavakos? They're incredibly well done, but of course brought to life by the most amazing musicians.

I REALLY miss these longer concerts, which were the norm until he starting doing only half, but I remember the first few years I went he wasn't playing a lot of his own music.

As much as I think JW should get every award possible, this is such horse shit. I guess since the company is borderline broke, they have to keep the gimmicks up

I live in Beijing, and I am a huge Williams fan. As much as I would like him to come, I would highly doubt it. There used to be big A list people coming pre-covid, and it is SLIGHTLY coming back (Anne Sophie Mutter was in Shanghai/Beijing over the weekend and Daniel Barenboim will come with the Eastern Divan in June). But it is very difficult to have a concert put on here, and or invited like Williams. The National Performing Arts Center releases tickets literally a week before major performances, with some getting booked or at least listed at the last moment, and many concert were cancelled or the artist did not show up and was replaced. Unless something changes (which I hope it will), I most sadly say, that I think it is highly unlikely. That is like saying he would have performed in Moscow while in Milan, meaning distance only. Japan and China look close together but Tokyo is an additional 6 or 7 hour flight to Beijing, or maybe even more to Shanghai. The flight from Beijing to LA is 12 or more hours depending on weather. That, and China can be very tedious to organize things like I mentioned.

Quite honestly, given how the Zimmer factory works, I doubt he has any clue what is what. Since he just comes up with concepts and hands them off to his minions, it wouldn't surprise me if he was indeed hyping up the score like the the other person commented. I do, though, think the score works very well with the film. It made me think back to Morricone's book where he said Williams was wrong in writing the score he did for Star Wars, and should have written something more avante garde. I think now we have perfect examples of both sides of that coin. I guess it's hard for me to say, since I wasn't around when the originals came out, but Star Trek had certainly been on TV and other Sci-Fi films, so although Star Wars doesn't seem so weird looking now, maybe it did then. But while I was watching the Dunes, I was thinking what is the difference between the two (besides the obvious story mirroring). Because obviously both scores work so well, but Star Wars is some what fast paced and action packed, even though there are a lot of weird words and creatures, they are all kind of doing things or acting in a relatable way. Dune is very slow, with all of these weird sound effects, everything looks incredibly unforeseen, and the characters also act and conduct themselves in weird ways, and the music really lends itself to that. Even with themes, they're pretty reserved.

I'm surprised they announced this so far in advance, but I would really like to go if only they revealed the program, which I won't expect the last moment probably. Unless they're just playing music from that album, which would be pretty great.

Part of it is picking things people might know VS having a good variety. I originally only had one Hisaishi piece, but eh better to have more and cut than not enough. This absolutely helps, thanks so much for taking the time!!

Hi everyone, I am currently making arrangements/ suites of music by Japanese composers. There is a lot of the classic music you would expect in there, but since I am not an expert on the subject I thought I would ask here. I have a bunch finished already: Summer (by Hisaishi) Suite from Zelda: Ocarina of Time Suite from the Castlevania Games (1-4) Theme from In the Mood for Love Pokemon Blue/Red Battle Music Suite from The Last Emperor (by Sakamoto) Ran (by Takemitsu) Suite from the Studio Ghibli Osaka Lover (by Dreams Come True) Suite from Super Mario 64 Theme from Merry Christmas Mr. Lawrence Since the suites are a bit longer, this collection is already about 70 minutes of music. But for those that know Japanese music well, is there any music that might be nice to add here? Thanks!! If anyone might be interested, here is a demo of the mostly finished Zelda suite (some of the levels are off and parts missing, but mostly in one piece)

The concert pieces are actually in the HL rental library, but as of fall 2022 (when I emailed them to ask about it) they only have the "solo with orchestra" works, which had a lot but not all of them, including Highwood. You can rent the full score from them for 100 bucks, but you may need to have a reason for it I can't remember. Scherzo for piano was not included at that time, and neither the second violin concerto, but the first was. The cello concerto and elegy were also included, but no heartwood. no clarinet concerto either actually.

so he didn't conduct the cello concerto?

I would say this is more accurate. Going from the US to Asia can really be tough. I have been going back and forth for years and it absolutely has not gotten easier, if anything it gets even harder as I get older.

This with the viola concert have always been two of my favorites, I'm super happy this got a fair recording. Now on to the viola concerto!

I hope John's fanfare becomes a staple for this event ever year.

Additionally, he has worked closely with a lot of people, including the chamber group Yo Yo and he playing in with Isaac Stern. In his youth he really made the rounds, much more than he does now. But like Miguel said, Ax is a fixture at Tanglewood and has a house there (which he did an interview in during covid). And as we know, most of his pieces are written for his friends, rather than a super star. So in a way, I am surprised it took him this long to get around to it. The most disappointing this is the scores/ parts are not always published. There is a lot available for rental, but mostly the scores that are already available for purchase.

And this is why, besides John, so many recordings are being made outside the US I personally think given the financial climate, they will constantly dig in their heels even more with all this stuff. They constantly need something to make it so the majority of these musicians live off gigs. On the other hand, its ridiculous to be paying out such fees. As good as they are, these are gig musicians, and to get an entirely new fee for doing nothing is completely unreasonable. Some of these musicians clearly are just taking advantage, however there are some that are obviously very high level but cannot afford living in LA, and probably just barely keep it together with living expenses. Although its really a double edged sword, I feel like both the corporate and musician sides keep continuously trying to take advantage of situations and the economy just throws fuel on that fire. But I feel like blanket policies like this ruin it for everyone. They want to take money from giant corporations like Disney and Universal, but actually its much small labels trying to bring out recordings out that are being hurt. And Geisha, sadly, out of all the albums I feel really could use a re-master.

Same, I was so hoping to see it

Thanks Miguel!

Did anyone find where this can be bought digitally?

I would guess her son probably is involved, my guess is really that she isn't the giant Williams fan she says she is, and her knowledge of his music is probably quite small in reality. Seeing as Andre suggested CL and Dracula, I don't think shes going to remember other pieces besides Hedwig and the more famous bits of Star Wars. Funny she will occasionally bring up Rey's theme, but I think they only played it the one time at Tanglewood?

very much looking forward to seeing it.

This is a tough topic, I feel like sometimes even we cannot disconnect our like for a movie from his music. I have to agree, I really like the premise of Close Encounters, and perhaps for its time it was something great, but I don't think it holds up, especially the directors cut. E.T. is another one, which I found just as stupid as a kid as I do now, and I thought his music was far more glorious than the film and JW outright saved that film, which I personally feel would have not been remembered. Home Alone though is a perfect marriage. And funny enough, I have met many people who only know JW for Home Alone. Home Alone certainly would have held up without him, but I don't think it would have reached peak classic status. There are a ton of movies that I thought were awful, but his score was great. The Robert Altman films especially. But again, some movies like Dracula kind of look stupid today, but I'm sure at the time were the real deal (interesting it is often forgotten in Dracula movie rankings, and always surprises me it gets passed over when the terrible Gary Oldman one is always remembered). Superman is another one where maybe at the time it was great, but watching it now I feel like it is pretty dumb, and another composer might have turned it into a cheap slap stick thing. I also question would Harry Potter have originally been so huge without his music. All of the music in those films are so original and uniquely identifiable, I don't think any other composer could have pulled that off, and I think it would have left it as just a really nice movie.

Does anyone know if there are still tickets for this? I tried many times, no luck.