KingPin

On Williams and Birches.

On Williams and Birches.

On Williams and Birches.

Usually they have the new signature editions on display at the Midwest Clinic, which starts on Wednesday this week.  I'll be there, so if there is anything aside from that there I'll report back.

“The Rebellion is Reborn” from The Last Jedi is available for pre-order.
 
https://www.halleonard.com/product/viewproduct.action?itemid=4492273&lid=160&keywords=John Williams signature&subsiteid=1&
 

“The Rebellion is Reborn” from The Last Jedi is available for pre-order.
 
https://www.halleonard.com/product/viewproduct.action?itemid=4492273&lid=160&keywords=John Williams signature&subsiteid=1&
 

Circus Train Chase
The Lost Boys Chase
Scherzo for Motorcycle and Orchestra
Anderton’s Great Escape
Adventures on Earth
The Basket Chase
The Mine Car Chase
Flight from Peru
Introducing The Thompsons/Snowy’s Chase
Escape from Venice
 
 

I've got six in no particular order:
 
Jim's New Life (Empire of the Sun)
Exsultate Justi (Empire of the Sun)
Cadillac of the Skies (Empire of the Sun)
Flight to Neverland (Hook)
Call of the Champions
Merry Christmas, Merry Christmas (Home Alone 2)
 
 

Good ones!
 
I completely forgot about Exultate Justi and Jim's New Life!!! Pure joy, fun, and happiness!

I've got six in no particular order:
 
Jim's New Life (Empire of the Sun)
Exsultate Justi (Empire of the Sun)
Cadillac of the Skies (Empire of the Sun)
Flight to Neverland (Hook)
Call of the Champions
Merry Christmas, Merry Christmas (Home Alone 2)
 
 

http://archive.skem1.com/csb/Public/show/k0iy6--dj6nl-5080tji3
 
Tickets go on sale to subscribers on Tuesday October 10 at 12:00 noon.
http://purchasing.sandiegosymphony.org/single/eventDetail.aspx?p=6579
 
Tickets go on sale to the general public on Tuesday October 30.
 
http://www.sandiegosymphony.org/
 
 

Thank you



Dear Basketball!

Lockhart is a very amiable personality who has known Williams personally for decades now. He could have easily done it!

I thought nearly all of the narration was dull and lackluster, and I thought the Cher/Professor McGonagall joke was even more poorly delivered. The hostess was lacking any sort of energy in my opinion. Very awkward throughout.
 
Catch Me If You Can was a highlight for me though. The saxophonist absolutely nailed the piece, although her excessive and exaggerated body movements were a bit distracting at times. But overall, impressive technique.
 
I absolutely despised the clarinet soloist's interpretation of The Terminal. I thought that she was making too much attempt to add unnecessary flair.

I think when possible, the conductor should do the narration. Of course, not everyone wants to, and that's fine (but also, not every concert needs narration). But with film music in particular, most conductors who play it regularly are quite enthusiastic (and obviously knowledgeable) about it and can handle the narration very well when they're allowed to. It's disheartening to see a conductor you know has done this stuff in the past and knows a ton of appropriate anecdotes stand by while some starlet narrates their way through a half informed script, often more dramatically, or (not so) "funny" than necessary simply because that's literally all they get paid for.

Of the non-TFA tracks, I think "The Patriot" is the definite stand out for me.  BPO just shines playing that.

A solid programme!
 
Can't wait to catch this on the telly next week.

Hi guys, here I am finally. Sorry if I didn't chime in earlier, but I was literally eaten up by work obligations once I returned from my Boston trip.
 
As you can imagine, it was beyond amazing. I tried to sum up all the experience and the big feelings I had in this article for my website. Hope you will enjoy it!
 
http://www.colonnesonore.net/contenuti-speciali/reportage/5017-memoirs-from-boston-john-williams-film-night-at-pops-may-31-june1-2017.html
 
I'm a blessed guy!

I've always been a fan of this example (2:28 to 2:43):
 
 

The March from 1941. I love how multiple melodic lines are integrated throughout this piece. In the first half of the piece, we are introduced to the main march theme (let's call it "A"), and then we get a quote middle interlude section that introduced the jaunty woodwind flourish ("B") and a brassy horn line ("C"). Once all three parts have been established, Williams plays around with different combinations. At 2:56, A is combined with B, and then at 3:27, A is combined with both B and C, and then at 3:47, A and C are combined to lead into the finale. Earlier in the piece, foreshadowing of the counterpoint method is made when B and C are overlapped from 2:33 to 2:37.
 
 

I've always been a fan of this example (2:28 to 2:43):
 
 

The March from 1941. I love how multiple melodic lines are integrated throughout this piece. In the first half of the piece, we are introduced to the main march theme (let's call it "A"), and then we get a quote middle interlude section that introduced the jaunty woodwind flourish ("B") and a brassy horn line ("C"). Once all three parts have been established, Williams plays around with different combinations. At 2:56, A is combined with B, and then at 3:27, A is combined with both B and C, and then at 3:47, A and C are combined to lead into the finale. Earlier in the piece, foreshadowing of the counterpoint method is made when B and C are overlapped from 2:33 to 2:37.
 
 

At 5:22 there is a great overlap of the upper string instruments and the lower string instruments playing two separate lines. What I like about this passage is that later at 5:44, the upper melody drops out and the lower melody is passed on to the horns. Then at 5:55, after the horns are finished the string section picks up again with that original upper melody on its own. So basically, Williams starts the section by having both melodies play simultaneously, then each is played independently.

At 5:22 there is a great overlap of the upper string instruments and the lower string instruments playing two separate lines. What I like about this passage is that later at 5:44, the upper melody drops out and the lower melody is passed on to the horns. Then at 5:55, after the horns are finished the string section picks up again with that original upper melody on its own. So basically, Williams starts the section by having both melodies play simultaneously, then each is played independently.