Smeltington

Yeah you need a car for Tanglewood. It sucks but there's no way around it, unless you're extremely stubborn and don't mind spending too much time and/or money to find one of the very few, not great, alternatives. There's NO Uber or Lyft in the Berkshires, and no cab companies. The only transportation I know of is a Peter Pan bus that stops in Stockbridge (not sure if it stops anywhere else nearby) just once a day, I want to say at noon, and takes like 7 hours to get to Boston. And then there are a few local residents who offer rides if you can find their contact info, and want to spend the money and also potentially ride in a car that wouldn't qualify for Uber service lol.
 
I agree walking from Lenox is legit though, if you're ok walking along the side of the road for that distance. Getting out of the venue at the end can take time, because Film Night draws a huge crowd, and lines form at the exits.

The thread bump reminded me, I wrote up my recollections of the concert and have been meaning to post them.
 
----
 
I arrived about an hour early, and walked around the first, second, and third floors and looked at all the handwritten music by famous composers, and autographed photos of famous performers. I eventually made my way to my seat, on the fourth floor balcony. I was almost all the way on the far right, close to the stage. People filed into their seats, many arriving last minute. The orchestra members were all warming up, and you could catch occasional strains of Williams tunes.
 
Finally the first chair violin came out, to applause. Then Deneuve. He said something like "Yes... (pause) John Williams is here!" He introduced Just Down West Street and they performed it. He then introduced the cello concerto, with much discussion of Seiji Ozawa (who died recently) and saying that Ozawa encouraged Williams to write the concerto in the first place. He introduced Yo Yo Ma, who took the stage to big applause. I enjoyed hearing a lot of hallmarks of Williams' early-2000s writing in the concerto. At the end, Ma held his bow a long time, holding off the applause, and finally everybody went nuts. Then the stage door opened and I could see Williams standing square in the middle of it! He came out, hugged Yo Yo, waved at everyone, there was big clapping and ovating. He left again, Ma sat back down and did Schindler's.
 
After an intermission, the lights dimmed and it was time for the second half. Williams took the stage, to big applause of course. After every piece he conducted, there was quite a bit of applause, and ovations at least half the time. He moved around slowly, but was otherwise very enthusiastic, in introducing the pieces, waving to the audience, gesturing to orchestra members to stand for applause, and in conducting. He often used gestures to get the feeling he wanted, and to encourage specific sections of the orchestra during key moments.
 
Olympic Fanfare and Theme
> A great opener!
 
Excerpts from The Book Thief
> I like this score and was excited to hear this piece. Nice oboe solo! Williams introduced the piece with a long description of the plot, saying the music they were about to play was mostly for scenes of the children in the story reading books together.
 
Scherzo for Motorcycle and Orchestra
> He introduced this and the two following Indiana Jones pieces all together, saying Harrison Ford was in his 70s, which made him a teenager in Williams' eyes. He joked that the insurance companies were nervous about Ford's stunts. He told his anecdote about the Scherzo, firstly that a scherzo meant a little joke, but that it was challenging to perform. He said it took a brilliant orchestra to record it, but when he saw the final movie, all he could hear was the motorcycles. So now he was going to have his revenge, playing it without the movie. Which is a great thing about this and the other Williams concert I saw at Carnegie Hall previously (with Anne-Sophie Mutter) - no video screen the entire time! He introduced the other two pieces as well, not really explaining Marion's Theme, and calling the Raiders March "the Indiana Jones march", close enough right? He told an anecdote about that one, saying Ford told him he hears the theme everywhere he goes, and he even heard it when he was getting a root canal, and hates the music! Williams got a chuckle out of that. The Scherzo, I've heard live quite a bit in recent years. But it was still cool to hear it again, and it's a very nice showcase for the orchestra.
 
Marion's Theme
> While this piece is lovely, it just kind of drifts by, with the concert arrangement spreading the theme a little thin. And it became redundant with the long excerpt of the theme appearing again in the Raiders March.
 
The Raiders March
> This one somehow never really gets old, even after 1000000 listens. I focused more on the brass this time, and noticed they were really respecting the dynamics of the piece.
 
Princess Leia's Theme
> He introduced this piece with his anecdote I've heard several times, that George Lucas didn't tell him there'd be a second movie, and he figured Luke and Leia would end up living "happily ever after" and had good action scenes and comedy scenes together, so he wrote them a love theme. Then George made more movies and it turned out they were brother and sister, so he had to write a new love theme to correct the situation. He emphasized that he didn't know, so he was innocent! I was excited to hear the piece, which I think is one of his best concert arrangements of a film theme. And HOLY... SHIT did the Philadelphia Orchestra perform the hell out of that piece. This was the biggest highlight of the night for me. A series of absolutely stunning, BEAUTIFUL solos. Williams pointed out the soloists during the applause at the end, though I think only the flute player stood up.
 
Adventures on Earth
> Beautiful of course. I may have heard this one a couple too many times in concert, but there were still many excellent moments that I enjoyed... both the obvious "hooks" and some of the more meandering parts that I don't have memorized.
 
Helena's Theme
> The first encore. Big introduction about Helena, Phoebe, Lauren Bacall, and the idea that it was a femme fatale theme, although I kind of question that. But it was nice to hear, especially after getting more familiar with the Dial of Destiny soundtrack.
 
Star Wars (main title/end credits combo)
> This one was more welcome than usual, since I've been having a moment with the Star Wars 1977 score lately. Hearing this piece performed live, you would really never know he edited together the main title/Imperial Attack stuff right into the end credits... it flowed perfectly in this performance. Great to hear the material feeling fresh after my revisiting of the score.
 
The Imperial March
> Got the biggest cheer of the night at the start when people recognized it. As usual when hearing this in concert, I got the biggest kick out of the flute solo. Who knew flutes could convey pure evil.
 
After each encore, he walked to the stage door and a guy gave him a sip of bottled water, then he came back out for the next piece. But after Imperial March he did his usual sleepytime gesture, to the usual laughter, and walked off for good. Really a nice, enthusiastic, and highly professional performance from himself, the orchestra, and the soloists. A well-behaved and appreciative audience too. I'd say there's something special about the atmosphere of a Williams concert at Carnegie Hall compared to some other places. I daresay New York City and Carnegie Hall foster a climate of appreciation for the arts that leaves no need for gimmicks and keeps the focus simply on quality programming and refined musicianship. Serious Williams fans, see him at Carnegie if you can!

I can think of two options:
- Remove 100 other Aznavour CDs to make room
- Remove 100 Roy Orbison CDs to make room
 
Obviously removing any John Williams CDs is not an option, let alone 100 of them.

I can think of two options:
- Remove 100 other Aznavour CDs to make room
- Remove 100 Roy Orbison CDs to make room
 
Obviously removing any John Williams CDs is not an option, let alone 100 of them.

The initial 'okayness' I had with Dial wore off fairly quickly.
 
The story was as hollow as my ex girlfriends heart.
 
I can only assume there will be plots and arcs resolved off screen in this SW movie 
 
Edit: me and @Yavar Moradiposting these at the same time is the duality of man.

A box set that literally comes in an actual box! That's cool.

The thread bump reminded me, I wrote up my recollections of the concert and have been meaning to post them.
 
----
 
I arrived about an hour early, and walked around the first, second, and third floors and looked at all the handwritten music by famous composers, and autographed photos of famous performers. I eventually made my way to my seat, on the fourth floor balcony. I was almost all the way on the far right, close to the stage. People filed into their seats, many arriving last minute. The orchestra members were all warming up, and you could catch occasional strains of Williams tunes.
 
Finally the first chair violin came out, to applause. Then Deneuve. He said something like "Yes... (pause) John Williams is here!" He introduced Just Down West Street and they performed it. He then introduced the cello concerto, with much discussion of Seiji Ozawa (who died recently) and saying that Ozawa encouraged Williams to write the concerto in the first place. He introduced Yo Yo Ma, who took the stage to big applause. I enjoyed hearing a lot of hallmarks of Williams' early-2000s writing in the concerto. At the end, Ma held his bow a long time, holding off the applause, and finally everybody went nuts. Then the stage door opened and I could see Williams standing square in the middle of it! He came out, hugged Yo Yo, waved at everyone, there was big clapping and ovating. He left again, Ma sat back down and did Schindler's.
 
After an intermission, the lights dimmed and it was time for the second half. Williams took the stage, to big applause of course. After every piece he conducted, there was quite a bit of applause, and ovations at least half the time. He moved around slowly, but was otherwise very enthusiastic, in introducing the pieces, waving to the audience, gesturing to orchestra members to stand for applause, and in conducting. He often used gestures to get the feeling he wanted, and to encourage specific sections of the orchestra during key moments.
 
Olympic Fanfare and Theme
> A great opener!
 
Excerpts from The Book Thief
> I like this score and was excited to hear this piece. Nice oboe solo! Williams introduced the piece with a long description of the plot, saying the music they were about to play was mostly for scenes of the children in the story reading books together.
 
Scherzo for Motorcycle and Orchestra
> He introduced this and the two following Indiana Jones pieces all together, saying Harrison Ford was in his 70s, which made him a teenager in Williams' eyes. He joked that the insurance companies were nervous about Ford's stunts. He told his anecdote about the Scherzo, firstly that a scherzo meant a little joke, but that it was challenging to perform. He said it took a brilliant orchestra to record it, but when he saw the final movie, all he could hear was the motorcycles. So now he was going to have his revenge, playing it without the movie. Which is a great thing about this and the other Williams concert I saw at Carnegie Hall previously (with Anne-Sophie Mutter) - no video screen the entire time! He introduced the other two pieces as well, not really explaining Marion's Theme, and calling the Raiders March "the Indiana Jones march", close enough right? He told an anecdote about that one, saying Ford told him he hears the theme everywhere he goes, and he even heard it when he was getting a root canal, and hates the music! Williams got a chuckle out of that. The Scherzo, I've heard live quite a bit in recent years. But it was still cool to hear it again, and it's a very nice showcase for the orchestra.
 
Marion's Theme
> While this piece is lovely, it just kind of drifts by, with the concert arrangement spreading the theme a little thin. And it became redundant with the long excerpt of the theme appearing again in the Raiders March.
 
The Raiders March
> This one somehow never really gets old, even after 1000000 listens. I focused more on the brass this time, and noticed they were really respecting the dynamics of the piece.
 
Princess Leia's Theme
> He introduced this piece with his anecdote I've heard several times, that George Lucas didn't tell him there'd be a second movie, and he figured Luke and Leia would end up living "happily ever after" and had good action scenes and comedy scenes together, so he wrote them a love theme. Then George made more movies and it turned out they were brother and sister, so he had to write a new love theme to correct the situation. He emphasized that he didn't know, so he was innocent! I was excited to hear the piece, which I think is one of his best concert arrangements of a film theme. And HOLY... SHIT did the Philadelphia Orchestra perform the hell out of that piece. This was the biggest highlight of the night for me. A series of absolutely stunning, BEAUTIFUL solos. Williams pointed out the soloists during the applause at the end, though I think only the flute player stood up.
 
Adventures on Earth
> Beautiful of course. I may have heard this one a couple too many times in concert, but there were still many excellent moments that I enjoyed... both the obvious "hooks" and some of the more meandering parts that I don't have memorized.
 
Helena's Theme
> The first encore. Big introduction about Helena, Phoebe, Lauren Bacall, and the idea that it was a femme fatale theme, although I kind of question that. But it was nice to hear, especially after getting more familiar with the Dial of Destiny soundtrack.
 
Star Wars (main title/end credits combo)
> This one was more welcome than usual, since I've been having a moment with the Star Wars 1977 score lately. Hearing this piece performed live, you would really never know he edited together the main title/Imperial Attack stuff right into the end credits... it flowed perfectly in this performance. Great to hear the material feeling fresh after my revisiting of the score.
 
The Imperial March
> Got the biggest cheer of the night at the start when people recognized it. As usual when hearing this in concert, I got the biggest kick out of the flute solo. Who knew flutes could convey pure evil.
 
After each encore, he walked to the stage door and a guy gave him a sip of bottled water, then he came back out for the next piece. But after Imperial March he did his usual sleepytime gesture, to the usual laughter, and walked off for good. Really a nice, enthusiastic, and highly professional performance from himself, the orchestra, and the soloists. A well-behaved and appreciative audience too. I'd say there's something special about the atmosphere of a Williams concert at Carnegie Hall compared to some other places. I daresay New York City and Carnegie Hall foster a climate of appreciation for the arts that leaves no need for gimmicks and keeps the focus simply on quality programming and refined musicianship. Serious Williams fans, see him at Carnegie if you can!

I love Atonement from Supremacy, probably Powell's best "adult" cue. Overall though the Bourne scores work great with the movies, but they are far from the kind of music I like to hear in action movies.
 
And yeah, scores like Evolution, Agent Cody Banks, Solo, are as entertaining as his cartoon scores - sometimes even more than them. These are live action movies but without the dour and serious atmosphere of his thrillers so Powell has a lot more room to write the kind of expansive orchestral movie he does for the cartoons.
 
Also, am I the only one here who likes X3: The Last Stand? It's "dark" Powell but the action music is so fun. I enjoy it very much. How could I dislike Powell + LOTR choir + John Williams' prequels + Don Davis' The Matrix?
 
About this whole extremely interesting and informative discussion about the use of quotation marks in Thor's post, the only appropriate reaction is this:
 
 

Two performances of The Force Awakens this September at Symphony Hall in Boston!
 
https://www.bso.org/events/star-wars-the-force-awakens?performance=2024-09-05-19:30

Not exactly LTP, but the Boston Pops have a Harry Potter concert coming up this year that looks very exciting! "A Grand Suite from Harry Potter" on Sept 7 and 8. No program listed yet, but it mentions it's John Williams' music, so hopefully that means the concert suites from all three of the films he scored, and maybe some extra material from the score like they included in Boston Pops' Star Wars concert last year.
 
https://www.bso.org/events/a-grand-suite-from-harry-potter?performance=2024-09-07-19:30

It just felt like it got chucked out there, with interest in the films kind of instantly dying upon the release of TROS, and Williams not even including the music in his concerts. It felt like even more of a crime given how good the score turned out to be. I'll enjoy seeing it reconsidered and given the attention it deserves in your book. And that goes for the whole ST and the PT too, since the OT has had way more written about it than the other 6. Probably because the OT will always be "classic" and the others will never be taken nearly as seriously. But since we're here to talk about the scores and not the films, obviously they ARE classics and deserve the royal treatment!
 
You'll have some work to do trying to figure out the musical storytelling in the ST though. It's hard to be sure what Williams intended given the ever-changing cuts of the JJ films, or whether he was able to maintain a consistent vision at all.

The liner notes should be included digitally for every digital release on every platform, why the fuck is that not a common basic given thing

The thread bump reminded me, I wrote up my recollections of the concert and have been meaning to post them.
 
----
 
I arrived about an hour early, and walked around the first, second, and third floors and looked at all the handwritten music by famous composers, and autographed photos of famous performers. I eventually made my way to my seat, on the fourth floor balcony. I was almost all the way on the far right, close to the stage. People filed into their seats, many arriving last minute. The orchestra members were all warming up, and you could catch occasional strains of Williams tunes.
 
Finally the first chair violin came out, to applause. Then Deneuve. He said something like "Yes... (pause) John Williams is here!" He introduced Just Down West Street and they performed it. He then introduced the cello concerto, with much discussion of Seiji Ozawa (who died recently) and saying that Ozawa encouraged Williams to write the concerto in the first place. He introduced Yo Yo Ma, who took the stage to big applause. I enjoyed hearing a lot of hallmarks of Williams' early-2000s writing in the concerto. At the end, Ma held his bow a long time, holding off the applause, and finally everybody went nuts. Then the stage door opened and I could see Williams standing square in the middle of it! He came out, hugged Yo Yo, waved at everyone, there was big clapping and ovating. He left again, Ma sat back down and did Schindler's.
 
After an intermission, the lights dimmed and it was time for the second half. Williams took the stage, to big applause of course. After every piece he conducted, there was quite a bit of applause, and ovations at least half the time. He moved around slowly, but was otherwise very enthusiastic, in introducing the pieces, waving to the audience, gesturing to orchestra members to stand for applause, and in conducting. He often used gestures to get the feeling he wanted, and to encourage specific sections of the orchestra during key moments.
 
Olympic Fanfare and Theme
> A great opener!
 
Excerpts from The Book Thief
> I like this score and was excited to hear this piece. Nice oboe solo! Williams introduced the piece with a long description of the plot, saying the music they were about to play was mostly for scenes of the children in the story reading books together.
 
Scherzo for Motorcycle and Orchestra
> He introduced this and the two following Indiana Jones pieces all together, saying Harrison Ford was in his 70s, which made him a teenager in Williams' eyes. He joked that the insurance companies were nervous about Ford's stunts. He told his anecdote about the Scherzo, firstly that a scherzo meant a little joke, but that it was challenging to perform. He said it took a brilliant orchestra to record it, but when he saw the final movie, all he could hear was the motorcycles. So now he was going to have his revenge, playing it without the movie. Which is a great thing about this and the other Williams concert I saw at Carnegie Hall previously (with Anne-Sophie Mutter) - no video screen the entire time! He introduced the other two pieces as well, not really explaining Marion's Theme, and calling the Raiders March "the Indiana Jones march", close enough right? He told an anecdote about that one, saying Ford told him he hears the theme everywhere he goes, and he even heard it when he was getting a root canal, and hates the music! Williams got a chuckle out of that. The Scherzo, I've heard live quite a bit in recent years. But it was still cool to hear it again, and it's a very nice showcase for the orchestra.
 
Marion's Theme
> While this piece is lovely, it just kind of drifts by, with the concert arrangement spreading the theme a little thin. And it became redundant with the long excerpt of the theme appearing again in the Raiders March.
 
The Raiders March
> This one somehow never really gets old, even after 1000000 listens. I focused more on the brass this time, and noticed they were really respecting the dynamics of the piece.
 
Princess Leia's Theme
> He introduced this piece with his anecdote I've heard several times, that George Lucas didn't tell him there'd be a second movie, and he figured Luke and Leia would end up living "happily ever after" and had good action scenes and comedy scenes together, so he wrote them a love theme. Then George made more movies and it turned out they were brother and sister, so he had to write a new love theme to correct the situation. He emphasized that he didn't know, so he was innocent! I was excited to hear the piece, which I think is one of his best concert arrangements of a film theme. And HOLY... SHIT did the Philadelphia Orchestra perform the hell out of that piece. This was the biggest highlight of the night for me. A series of absolutely stunning, BEAUTIFUL solos. Williams pointed out the soloists during the applause at the end, though I think only the flute player stood up.
 
Adventures on Earth
> Beautiful of course. I may have heard this one a couple too many times in concert, but there were still many excellent moments that I enjoyed... both the obvious "hooks" and some of the more meandering parts that I don't have memorized.
 
Helena's Theme
> The first encore. Big introduction about Helena, Phoebe, Lauren Bacall, and the idea that it was a femme fatale theme, although I kind of question that. But it was nice to hear, especially after getting more familiar with the Dial of Destiny soundtrack.
 
Star Wars (main title/end credits combo)
> This one was more welcome than usual, since I've been having a moment with the Star Wars 1977 score lately. Hearing this piece performed live, you would really never know he edited together the main title/Imperial Attack stuff right into the end credits... it flowed perfectly in this performance. Great to hear the material feeling fresh after my revisiting of the score.
 
The Imperial March
> Got the biggest cheer of the night at the start when people recognized it. As usual when hearing this in concert, I got the biggest kick out of the flute solo. Who knew flutes could convey pure evil.
 
After each encore, he walked to the stage door and a guy gave him a sip of bottled water, then he came back out for the next piece. But after Imperial March he did his usual sleepytime gesture, to the usual laughter, and walked off for good. Really a nice, enthusiastic, and highly professional performance from himself, the orchestra, and the soloists. A well-behaved and appreciative audience too. I'd say there's something special about the atmosphere of a Williams concert at Carnegie Hall compared to some other places. I daresay New York City and Carnegie Hall foster a climate of appreciation for the arts that leaves no need for gimmicks and keeps the focus simply on quality programming and refined musicianship. Serious Williams fans, see him at Carnegie if you can!

It just felt like it got chucked out there, with interest in the films kind of instantly dying upon the release of TROS, and Williams not even including the music in his concerts. It felt like even more of a crime given how good the score turned out to be. I'll enjoy seeing it reconsidered and given the attention it deserves in your book. And that goes for the whole ST and the PT too, since the OT has had way more written about it than the other 6. Probably because the OT will always be "classic" and the others will never be taken nearly as seriously. But since we're here to talk about the scores and not the films, obviously they ARE classics and deserve the royal treatment!
 
You'll have some work to do trying to figure out the musical storytelling in the ST though. It's hard to be sure what Williams intended given the ever-changing cuts of the JJ films, or whether he was able to maintain a consistent vision at all.

It just felt like it got chucked out there, with interest in the films kind of instantly dying upon the release of TROS, and Williams not even including the music in his concerts. It felt like even more of a crime given how good the score turned out to be. I'll enjoy seeing it reconsidered and given the attention it deserves in your book. And that goes for the whole ST and the PT too, since the OT has had way more written about it than the other 6. Probably because the OT will always be "classic" and the others will never be taken nearly as seriously. But since we're here to talk about the scores and not the films, obviously they ARE classics and deserve the royal treatment!
 
You'll have some work to do trying to figure out the musical storytelling in the ST though. It's hard to be sure what Williams intended given the ever-changing cuts of the JJ films, or whether he was able to maintain a consistent vision at all.

Good thought, maybe he had that connection in mind. And glad you did your homework on that one! It's a good score, and the suite is a very satisfying souvenir from it.

The thread bump reminded me, I wrote up my recollections of the concert and have been meaning to post them.
 
----
 
I arrived about an hour early, and walked around the first, second, and third floors and looked at all the handwritten music by famous composers, and autographed photos of famous performers. I eventually made my way to my seat, on the fourth floor balcony. I was almost all the way on the far right, close to the stage. People filed into their seats, many arriving last minute. The orchestra members were all warming up, and you could catch occasional strains of Williams tunes.
 
Finally the first chair violin came out, to applause. Then Deneuve. He said something like "Yes... (pause) John Williams is here!" He introduced Just Down West Street and they performed it. He then introduced the cello concerto, with much discussion of Seiji Ozawa (who died recently) and saying that Ozawa encouraged Williams to write the concerto in the first place. He introduced Yo Yo Ma, who took the stage to big applause. I enjoyed hearing a lot of hallmarks of Williams' early-2000s writing in the concerto. At the end, Ma held his bow a long time, holding off the applause, and finally everybody went nuts. Then the stage door opened and I could see Williams standing square in the middle of it! He came out, hugged Yo Yo, waved at everyone, there was big clapping and ovating. He left again, Ma sat back down and did Schindler's.
 
After an intermission, the lights dimmed and it was time for the second half. Williams took the stage, to big applause of course. After every piece he conducted, there was quite a bit of applause, and ovations at least half the time. He moved around slowly, but was otherwise very enthusiastic, in introducing the pieces, waving to the audience, gesturing to orchestra members to stand for applause, and in conducting. He often used gestures to get the feeling he wanted, and to encourage specific sections of the orchestra during key moments.
 
Olympic Fanfare and Theme
> A great opener!
 
Excerpts from The Book Thief
> I like this score and was excited to hear this piece. Nice oboe solo! Williams introduced the piece with a long description of the plot, saying the music they were about to play was mostly for scenes of the children in the story reading books together.
 
Scherzo for Motorcycle and Orchestra
> He introduced this and the two following Indiana Jones pieces all together, saying Harrison Ford was in his 70s, which made him a teenager in Williams' eyes. He joked that the insurance companies were nervous about Ford's stunts. He told his anecdote about the Scherzo, firstly that a scherzo meant a little joke, but that it was challenging to perform. He said it took a brilliant orchestra to record it, but when he saw the final movie, all he could hear was the motorcycles. So now he was going to have his revenge, playing it without the movie. Which is a great thing about this and the other Williams concert I saw at Carnegie Hall previously (with Anne-Sophie Mutter) - no video screen the entire time! He introduced the other two pieces as well, not really explaining Marion's Theme, and calling the Raiders March "the Indiana Jones march", close enough right? He told an anecdote about that one, saying Ford told him he hears the theme everywhere he goes, and he even heard it when he was getting a root canal, and hates the music! Williams got a chuckle out of that. The Scherzo, I've heard live quite a bit in recent years. But it was still cool to hear it again, and it's a very nice showcase for the orchestra.
 
Marion's Theme
> While this piece is lovely, it just kind of drifts by, with the concert arrangement spreading the theme a little thin. And it became redundant with the long excerpt of the theme appearing again in the Raiders March.
 
The Raiders March
> This one somehow never really gets old, even after 1000000 listens. I focused more on the brass this time, and noticed they were really respecting the dynamics of the piece.
 
Princess Leia's Theme
> He introduced this piece with his anecdote I've heard several times, that George Lucas didn't tell him there'd be a second movie, and he figured Luke and Leia would end up living "happily ever after" and had good action scenes and comedy scenes together, so he wrote them a love theme. Then George made more movies and it turned out they were brother and sister, so he had to write a new love theme to correct the situation. He emphasized that he didn't know, so he was innocent! I was excited to hear the piece, which I think is one of his best concert arrangements of a film theme. And HOLY... SHIT did the Philadelphia Orchestra perform the hell out of that piece. This was the biggest highlight of the night for me. A series of absolutely stunning, BEAUTIFUL solos. Williams pointed out the soloists during the applause at the end, though I think only the flute player stood up.
 
Adventures on Earth
> Beautiful of course. I may have heard this one a couple too many times in concert, but there were still many excellent moments that I enjoyed... both the obvious "hooks" and some of the more meandering parts that I don't have memorized.
 
Helena's Theme
> The first encore. Big introduction about Helena, Phoebe, Lauren Bacall, and the idea that it was a femme fatale theme, although I kind of question that. But it was nice to hear, especially after getting more familiar with the Dial of Destiny soundtrack.
 
Star Wars (main title/end credits combo)
> This one was more welcome than usual, since I've been having a moment with the Star Wars 1977 score lately. Hearing this piece performed live, you would really never know he edited together the main title/Imperial Attack stuff right into the end credits... it flowed perfectly in this performance. Great to hear the material feeling fresh after my revisiting of the score.
 
The Imperial March
> Got the biggest cheer of the night at the start when people recognized it. As usual when hearing this in concert, I got the biggest kick out of the flute solo. Who knew flutes could convey pure evil.
 
After each encore, he walked to the stage door and a guy gave him a sip of bottled water, then he came back out for the next piece. But after Imperial March he did his usual sleepytime gesture, to the usual laughter, and walked off for good. Really a nice, enthusiastic, and highly professional performance from himself, the orchestra, and the soloists. A well-behaved and appreciative audience too. I'd say there's something special about the atmosphere of a Williams concert at Carnegie Hall compared to some other places. I daresay New York City and Carnegie Hall foster a climate of appreciation for the arts that leaves no need for gimmicks and keeps the focus simply on quality programming and refined musicianship. Serious Williams fans, see him at Carnegie if you can!

Love it! This score deserves some attention! Although it'll be harder to unravel its mysteries than most, given what's available to us.
 
Wow the italics are even showing up in the thread url. Never seen that before.
 
 

Great review!
 
I wondered about the inclusion of 'The Book Thief,' and Williams did explain that the girl and the young Jewish man reunited later in life in New York, and I guess that was the impetus.
 
I was only slightly acquainted with the score and had never seen the movie, so I made a point of watching it before the concert to contextualize the music. It's a fine film, and the emotional connection it provided made listening to the performance a much more satisfying experience.
 
I agree with what you said about Leia's Theme. It was the high point for me too, and hearing the end crescendo in the splendour of Carnegie Hall sent me soaring.
 
A wonderful evening.

The thread bump reminded me, I wrote up my recollections of the concert and have been meaning to post them.
 
----
 
I arrived about an hour early, and walked around the first, second, and third floors and looked at all the handwritten music by famous composers, and autographed photos of famous performers. I eventually made my way to my seat, on the fourth floor balcony. I was almost all the way on the far right, close to the stage. People filed into their seats, many arriving last minute. The orchestra members were all warming up, and you could catch occasional strains of Williams tunes.
 
Finally the first chair violin came out, to applause. Then Deneuve. He said something like "Yes... (pause) John Williams is here!" He introduced Just Down West Street and they performed it. He then introduced the cello concerto, with much discussion of Seiji Ozawa (who died recently) and saying that Ozawa encouraged Williams to write the concerto in the first place. He introduced Yo Yo Ma, who took the stage to big applause. I enjoyed hearing a lot of hallmarks of Williams' early-2000s writing in the concerto. At the end, Ma held his bow a long time, holding off the applause, and finally everybody went nuts. Then the stage door opened and I could see Williams standing square in the middle of it! He came out, hugged Yo Yo, waved at everyone, there was big clapping and ovating. He left again, Ma sat back down and did Schindler's.
 
After an intermission, the lights dimmed and it was time for the second half. Williams took the stage, to big applause of course. After every piece he conducted, there was quite a bit of applause, and ovations at least half the time. He moved around slowly, but was otherwise very enthusiastic, in introducing the pieces, waving to the audience, gesturing to orchestra members to stand for applause, and in conducting. He often used gestures to get the feeling he wanted, and to encourage specific sections of the orchestra during key moments.
 
Olympic Fanfare and Theme
> A great opener!
 
Excerpts from The Book Thief
> I like this score and was excited to hear this piece. Nice oboe solo! Williams introduced the piece with a long description of the plot, saying the music they were about to play was mostly for scenes of the children in the story reading books together.
 
Scherzo for Motorcycle and Orchestra
> He introduced this and the two following Indiana Jones pieces all together, saying Harrison Ford was in his 70s, which made him a teenager in Williams' eyes. He joked that the insurance companies were nervous about Ford's stunts. He told his anecdote about the Scherzo, firstly that a scherzo meant a little joke, but that it was challenging to perform. He said it took a brilliant orchestra to record it, but when he saw the final movie, all he could hear was the motorcycles. So now he was going to have his revenge, playing it without the movie. Which is a great thing about this and the other Williams concert I saw at Carnegie Hall previously (with Anne-Sophie Mutter) - no video screen the entire time! He introduced the other two pieces as well, not really explaining Marion's Theme, and calling the Raiders March "the Indiana Jones march", close enough right? He told an anecdote about that one, saying Ford told him he hears the theme everywhere he goes, and he even heard it when he was getting a root canal, and hates the music! Williams got a chuckle out of that. The Scherzo, I've heard live quite a bit in recent years. But it was still cool to hear it again, and it's a very nice showcase for the orchestra.
 
Marion's Theme
> While this piece is lovely, it just kind of drifts by, with the concert arrangement spreading the theme a little thin. And it became redundant with the long excerpt of the theme appearing again in the Raiders March.
 
The Raiders March
> This one somehow never really gets old, even after 1000000 listens. I focused more on the brass this time, and noticed they were really respecting the dynamics of the piece.
 
Princess Leia's Theme
> He introduced this piece with his anecdote I've heard several times, that George Lucas didn't tell him there'd be a second movie, and he figured Luke and Leia would end up living "happily ever after" and had good action scenes and comedy scenes together, so he wrote them a love theme. Then George made more movies and it turned out they were brother and sister, so he had to write a new love theme to correct the situation. He emphasized that he didn't know, so he was innocent! I was excited to hear the piece, which I think is one of his best concert arrangements of a film theme. And HOLY... SHIT did the Philadelphia Orchestra perform the hell out of that piece. This was the biggest highlight of the night for me. A series of absolutely stunning, BEAUTIFUL solos. Williams pointed out the soloists during the applause at the end, though I think only the flute player stood up.
 
Adventures on Earth
> Beautiful of course. I may have heard this one a couple too many times in concert, but there were still many excellent moments that I enjoyed... both the obvious "hooks" and some of the more meandering parts that I don't have memorized.
 
Helena's Theme
> The first encore. Big introduction about Helena, Phoebe, Lauren Bacall, and the idea that it was a femme fatale theme, although I kind of question that. But it was nice to hear, especially after getting more familiar with the Dial of Destiny soundtrack.
 
Star Wars (main title/end credits combo)
> This one was more welcome than usual, since I've been having a moment with the Star Wars 1977 score lately. Hearing this piece performed live, you would really never know he edited together the main title/Imperial Attack stuff right into the end credits... it flowed perfectly in this performance. Great to hear the material feeling fresh after my revisiting of the score.
 
The Imperial March
> Got the biggest cheer of the night at the start when people recognized it. As usual when hearing this in concert, I got the biggest kick out of the flute solo. Who knew flutes could convey pure evil.
 
After each encore, he walked to the stage door and a guy gave him a sip of bottled water, then he came back out for the next piece. But after Imperial March he did his usual sleepytime gesture, to the usual laughter, and walked off for good. Really a nice, enthusiastic, and highly professional performance from himself, the orchestra, and the soloists. A well-behaved and appreciative audience too. I'd say there's something special about the atmosphere of a Williams concert at Carnegie Hall compared to some other places. I daresay New York City and Carnegie Hall foster a climate of appreciation for the arts that leaves no need for gimmicks and keeps the focus simply on quality programming and refined musicianship. Serious Williams fans, see him at Carnegie if you can!

Instead of the music, the set will feature a complete recording of Williams having dinner with Mutter and a couple of Austrian dudes.  

"This release will also include the coveted 'Fanfare for the Vienna Philharmonic Ball' complete with audience clapping, talking, and coughing to give the listener the real feeling of being present in the venue".

Per Cinema Herald:
 
Legendary composer John Williams has been tapped to score Oliver Stone's upcoming film, "Donald Trump," set for release in 2027. The film will explore the life and presidency of Donald Trump. Stone, known for his provocative and politically charged filmmaking style, is expected to bring his unique perspective to this highly anticipated project.
 
Williams expressed his excitement for the collaboration, stating, "Working with Oliver Stone is always a creatively fulfilling experience, and I am thrilled to be a part of this project."
 
Williams revealed that he has already written the main theme. “Oliver wanted me to write an ambiguous theme that could be played in either a major or minor key, depending on the context. So I wrote a motif that goes up a major second, down a perfect fifth, and then up a perfect fourth. Hopefully, I’ve written something that might contribute in some way to the audience’s listening experience, if only on a subconscious level.”
 
This collaboration is set to deliver a captivating musical narrative, leaving fans eagerly awaiting the film's release.

The thread bump reminded me, I wrote up my recollections of the concert and have been meaning to post them.
 
----
 
I arrived about an hour early, and walked around the first, second, and third floors and looked at all the handwritten music by famous composers, and autographed photos of famous performers. I eventually made my way to my seat, on the fourth floor balcony. I was almost all the way on the far right, close to the stage. People filed into their seats, many arriving last minute. The orchestra members were all warming up, and you could catch occasional strains of Williams tunes.
 
Finally the first chair violin came out, to applause. Then Deneuve. He said something like "Yes... (pause) John Williams is here!" He introduced Just Down West Street and they performed it. He then introduced the cello concerto, with much discussion of Seiji Ozawa (who died recently) and saying that Ozawa encouraged Williams to write the concerto in the first place. He introduced Yo Yo Ma, who took the stage to big applause. I enjoyed hearing a lot of hallmarks of Williams' early-2000s writing in the concerto. At the end, Ma held his bow a long time, holding off the applause, and finally everybody went nuts. Then the stage door opened and I could see Williams standing square in the middle of it! He came out, hugged Yo Yo, waved at everyone, there was big clapping and ovating. He left again, Ma sat back down and did Schindler's.
 
After an intermission, the lights dimmed and it was time for the second half. Williams took the stage, to big applause of course. After every piece he conducted, there was quite a bit of applause, and ovations at least half the time. He moved around slowly, but was otherwise very enthusiastic, in introducing the pieces, waving to the audience, gesturing to orchestra members to stand for applause, and in conducting. He often used gestures to get the feeling he wanted, and to encourage specific sections of the orchestra during key moments.
 
Olympic Fanfare and Theme
> A great opener!
 
Excerpts from The Book Thief
> I like this score and was excited to hear this piece. Nice oboe solo! Williams introduced the piece with a long description of the plot, saying the music they were about to play was mostly for scenes of the children in the story reading books together.
 
Scherzo for Motorcycle and Orchestra
> He introduced this and the two following Indiana Jones pieces all together, saying Harrison Ford was in his 70s, which made him a teenager in Williams' eyes. He joked that the insurance companies were nervous about Ford's stunts. He told his anecdote about the Scherzo, firstly that a scherzo meant a little joke, but that it was challenging to perform. He said it took a brilliant orchestra to record it, but when he saw the final movie, all he could hear was the motorcycles. So now he was going to have his revenge, playing it without the movie. Which is a great thing about this and the other Williams concert I saw at Carnegie Hall previously (with Anne-Sophie Mutter) - no video screen the entire time! He introduced the other two pieces as well, not really explaining Marion's Theme, and calling the Raiders March "the Indiana Jones march", close enough right? He told an anecdote about that one, saying Ford told him he hears the theme everywhere he goes, and he even heard it when he was getting a root canal, and hates the music! Williams got a chuckle out of that. The Scherzo, I've heard live quite a bit in recent years. But it was still cool to hear it again, and it's a very nice showcase for the orchestra.
 
Marion's Theme
> While this piece is lovely, it just kind of drifts by, with the concert arrangement spreading the theme a little thin. And it became redundant with the long excerpt of the theme appearing again in the Raiders March.
 
The Raiders March
> This one somehow never really gets old, even after 1000000 listens. I focused more on the brass this time, and noticed they were really respecting the dynamics of the piece.
 
Princess Leia's Theme
> He introduced this piece with his anecdote I've heard several times, that George Lucas didn't tell him there'd be a second movie, and he figured Luke and Leia would end up living "happily ever after" and had good action scenes and comedy scenes together, so he wrote them a love theme. Then George made more movies and it turned out they were brother and sister, so he had to write a new love theme to correct the situation. He emphasized that he didn't know, so he was innocent! I was excited to hear the piece, which I think is one of his best concert arrangements of a film theme. And HOLY... SHIT did the Philadelphia Orchestra perform the hell out of that piece. This was the biggest highlight of the night for me. A series of absolutely stunning, BEAUTIFUL solos. Williams pointed out the soloists during the applause at the end, though I think only the flute player stood up.
 
Adventures on Earth
> Beautiful of course. I may have heard this one a couple too many times in concert, but there were still many excellent moments that I enjoyed... both the obvious "hooks" and some of the more meandering parts that I don't have memorized.
 
Helena's Theme
> The first encore. Big introduction about Helena, Phoebe, Lauren Bacall, and the idea that it was a femme fatale theme, although I kind of question that. But it was nice to hear, especially after getting more familiar with the Dial of Destiny soundtrack.
 
Star Wars (main title/end credits combo)
> This one was more welcome than usual, since I've been having a moment with the Star Wars 1977 score lately. Hearing this piece performed live, you would really never know he edited together the main title/Imperial Attack stuff right into the end credits... it flowed perfectly in this performance. Great to hear the material feeling fresh after my revisiting of the score.
 
The Imperial March
> Got the biggest cheer of the night at the start when people recognized it. As usual when hearing this in concert, I got the biggest kick out of the flute solo. Who knew flutes could convey pure evil.
 
After each encore, he walked to the stage door and a guy gave him a sip of bottled water, then he came back out for the next piece. But after Imperial March he did his usual sleepytime gesture, to the usual laughter, and walked off for good. Really a nice, enthusiastic, and highly professional performance from himself, the orchestra, and the soloists. A well-behaved and appreciative audience too. I'd say there's something special about the atmosphere of a Williams concert at Carnegie Hall compared to some other places. I daresay New York City and Carnegie Hall foster a climate of appreciation for the arts that leaves no need for gimmicks and keeps the focus simply on quality programming and refined musicianship. Serious Williams fans, see him at Carnegie if you can!