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mahler3

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    mahler3 reacted to Badzeee in JAWS - 2015 Intrada 2CD Release (Complete film tracks & original LP re-recording)   
    Thank you. 
     
    I have an old 2000 Decca release, but never picked this up and it always nagged at me. Felt like an omission. Just ordered. 
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    mahler3 got a reaction from BB-8 in JAWS - 2015 Intrada 2CD Release (Complete film tracks & original LP re-recording)   
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    mahler3 got a reaction from ThePenitentMan1 in JAWS - 2015 Intrada 2CD Release (Complete film tracks & original LP re-recording)   
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    mahler3 got a reaction from Badzeee in JAWS - 2015 Intrada 2CD Release (Complete film tracks & original LP re-recording)   
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    mahler3 reacted to Holko in Restored Isolated Score: Far and Away   
    I thought I'd do this film a huge favour by removing the accents and allowing everyone to focus on its two best aspects, the cinematography and the score.
     
    JW's themes that are used in more than one cue, following the booklet's lead:
    Love theme - A sweeping, romantic, optimistic theme.
    Ancestral - An ethnic sounding theme representing destiny and Joseph doing right by his father.
    The Dream - A jaunty motif for Joseph acting on his desires and fulfilling his dreams.
    Ireland - A scarcely used melody for uillean pipes.
    Joe Sr. - A darker tinged, more melancholy variant of the Ancestral and Ireland themes.
    Donnelly - An Irish jig and reel for Joseph and his family.
    Donnybrook - A fast Irish dance recently developed into its own concert piece.
     
     

    1M1&2 County Galway, June 1892 - Ireland the introductory text, then Ancestral takes over on penny whistle as we glide over the water and the main titles start, orchestration shifts/phrase changes coming as the camera pans up and starts flying. When the town is coming into frame, the Love theme is introduced on whistle. My gut feeling of how to sync the cue up is seconds off from how it is used in the actual film, but I went with it anyway.
     
     
     

    1M4 The Fighting Donellys - Joseph and his brothers are introduced comedically with the Donnelly dances.
     
     
     

    2M1 Joe Sr. Passes On - Joe Sr. plays on the tin whistle, then horn and other ethnic instruments as the camera represents his soul going up to the heavens. This original version ends with a dark orchestral and synth passage for Stephen and the enforcers arriving, which was removed for the final film in a retake.
    ?M? Burning The Village - The dark strings continue for the burning of the house. A lighter folksy passage takes over for Joseph getting his gun, but the dark Joe Sr. plays as the full weight of his planned assassination sinks in.
     
     
     

    2M4 Leaving Home - Joseph sets off on his journey, accompanied by the Ancestral and Love themes.
     
     
     

    3M2 The Barn Scene - Horn scores the Christie estate's reveal, then a gentle flute passage accompanies the morning look through the barn.
     
     
     

    4M3 I'm Running Away - Oboe references the melody from the middle of the previous cue, then the Love theme comes in on twinkly synths as Shannon starts explaining her situation, then once again as Joseph hears the magic word, "Land". The cue ends with comedic woodwinds for their bickering. The final film uses none of it.
    5M1 The Duel Scene - Ireland returns to set the dramatic mood, then the Ancestral theme briefly plays as Joseph picks his weapon. Drums start building up, until the count is up and the duel starts to Donnelly, then it picks up in tempo and morphs into triumphant Love theme statements as Joseph decides to run away with Shannon.
     
     
     

    6M3 This Is My Destiny - Ancestral scores Joseph's memory of his father, and the Love theme follows for the rest of his vision.
     
     
     

    7M1 Burning The Manor House - A melancholy passage plays as Christie tells his wife about Shannon, but it's violently interrupted with the hellish chaos of the riot (featuring a variant of the Love theme for the shot of Shannon's picture on the piano and Mrs. Christie collecting her letters, which also returns in the aftermath when they decide to go to America).
     
     
     

    7M3/8M1 Am I Beautiful - Understated comedic writing for the two leads' growing lust for each other, culminating in a Love theme statement. Completely unused in the final film.
    8M4 Blowing Off Steam - The Donnybrook scores Joseph winning his first fight.
     
     
     

    8M8 Fighting For Dough - Donnelly returns for the montage of Joseph climbing the ranks (while Shannon slaves away unappreciated), capped off by a happy Love theme.
     
     
     

    9M2 My Own Man - The Ancestral theme returns for Joseph' pride, then after some dark scoring, returns for him accepting the deal about an upcoming match.
     
     
     

    9M4 Into The Bathtub - The Dream is introduced as a comedic element, and the Love theme is used for Joseph's frustrations about their relationship. The cue is completely unused, IMO it's a bit too comedic and a bit too gentle.
     
     
     

    9M4/10M1 Facing Goliath - The orchestra comes in, starting to hype us up with The Dream, but it stops like Joseph for a Love theme. Now The Dream is in full hype mode, leading Joseph onto the battlefield together with the Love theme. Ancestral makes appearances throughout the fight, as the stakes are high, and so does the Love theme as Joseph is on a roll, then when he sees Shannon and makes his way to her. I used a part of the alternate for the full clean ending of the same take.
    10M2 Joseph Is Defeated - Joseph has lost focus and is getting pummeled, the momentum of the motif from the previous cue is lost. The Love theme scores his ultimate defeat on sampled choir, then woodwinds. I used the alternate for a clean opening of the same take.
     
     
     

    10M3 Banished - Among dark nightmarish scoring, the Love theme briefly pops up when Joseph sees Shannon's picture, then again when they're thrown out.
    11M1 Inside the Mansion - After the bleakness of the last cue, the leads and audience get a breath of fresh air with this beautiful glistening cue, athematic when they're just exploring the house, but the Love theme takes over as the conversation starts personal. The film has a small gap between its two parts, which I replicated here.
    11M2 Shannon Is Shot + 11M2 (New Ending) - The dark scoring for the shooting echoes 7M1 Burning The Manor House, then a distressed Love theme plays as Joseph carries Shannon away. After some more dreamlike scoring, the Love theme comes in on flute as Joseph says farewell, then the Ancestral theme returns as Joseph leaves and runs away in anger. In the final film, the end of the cue seems to be out of sync, I shortened a shot of Stephen a bit to bring it back.
     
     
     

    11M3 Day Dreaming - The Love theme returns on the penny whistle.
     
     
     

    12M1 Joseph's Dream - The classic penny whistle setting of Ancestral scores Joe's dream reunion with his dad, but as he's reminded of the Land Rush, The Dream takes over completely, building to a grand Love theme for the hopeful march across the country, which is played off by more of The Dream in a fun westerny setting for the arrival at the camp.
     
     
     

    12M3 The Horseshoe (Version #2) - A dreamy Love theme plays as Joseph picks up a lucky horseshoe and immediately notices Shannon.
     
     
     

    13M1 The Reunion - The cue skirts around variations, only arriving on Ancestral as they say everything is fine (not believing it themselves), but then the Love theme warmly comes in for their parting and the final compliment.
     
     
     

    13M3 Oklahoma Territory (New) + 13M3 Oklahoma Territory - A string, horn and woodwind development based on the Love theme scores the preparations, then a comedic westerny motif scores Joseph's struggles with the horse and the Christies' sneaky plan.
     
     
     

    14M1 The Land Race + 14M1 (Insert) - The cue starts with a buildup of a new Race motif in various guises, then it erupts as a full fanfare when the race begins, supported by brass renditions of Donnelly. The huge ultrawide shots are scored by a low Race, with another Donnelly inbetween. When we cut from the moving wide shot to closeups of people, the Love theme takes over, then a small comedic Donnelly comes in for Joseph still struggling with his horse. The following slow motion shots return to Race with big boom-tsss punctuations, then a unique section with a Love theme when we focus on Shannon, then the cue climaxes with a giant Love theme capped off with The Dream as Joseph sprints across and takes the lead. Ancestral serves as a cute coda for the Christies. The footage in the final film is a little shorter, and in the middle many musical changes seem unmotivated to me, so I reedited it a bit.
    14M2 The Race to the River - After a joyous fanfare for the Christies, the Race continues with Dream and Love variations.
     
     
     

    15M2 Settling With Steven - The Love theme scores Joseph's arrival, then shortly combines with the Donnybrook for him charging at Stephen. Ancestral gets a grand rendition when he rushes off to claim the land, but the music turns dark with a bittersweet Love as he realises it wouldn't be worth much without Shannon.
    15M4 Joseph and Shannon - The cue gently mourns with Shannon, until, mirroring his father's first passing, Joseph comes back to life, at which point the Love theme fully takes over in glorious finale settings.
    End Credits - Donnelly kicks off the suite in a new rendition full of orchestral additions and new phrases. The Love theme then takes over in a gentle penny whistle setting, then joined by orchestra, then fully taken over by the orchestra. The Dream takes a short turn on brass to bridge to the Donnybrook, then again bridges from it to the Love theme in a combination very much like 12M1 Joseph's Dream, but with an all-new ending. The film's credits are shorter, and use Enya's song for half, and an edit of the piece for the rest.
     
     
     

    9M7/10M1 (Insert) - This unused revision featured a less confident and reassuring orchestral piece featuring a bit of Donnelly.
     
     
     

    13M3 Oklahoma Territory - The original version of this cue focused entirely on the one-off playful westerny motif, making the pre-race preparations much less anticipatory.
  16. Thanks
    mahler3 reacted to Thor in New Podcast Series: The Complete John Williams Television Music Walkthrough   
    Here’s finally the REDUX version of the podcast series, the only one I'll ever do. Took me a while to get around to, but there are so many nuts and bolts.
     
    For those of you who have already listened through the series, I provide time codes below for where the significant additions and changes are.
     
    PART 1:
     
    - Removed some fill words, corrected a few mistakes
    - Double checked for more episodes of General Electric Theatre. None found.
    - Added an episode-by-episode walkthrough of M Squad, all 8 episodes (21:54)
    - Added a suite of incidental music from Bachelor Father (43:59)
     
    PART 2:
     
    - One additional episode of Alcoa Premiere found, “George Gobel Presents” (01:06:13)
     
    PART 3:
     
    - Corrected a couple of mistakes
    - Added what is presumably John Williams’ theme for Kraft Mystery Theatre (22:20)
     
    PART 4:
     
    - Added two additional episodes of Chrysler Theatre, “The Game” and “The Admiral” (19:23)
     
    PART 5:
     
    - Double checked for second episode of Convoy. Not found.
    - Double checked for more episodes of The Tammy Grimes Show. None found.
    - Double checked for CBS Playhouse episode. Not found.
    - Added an episode-by-episode walkthrough of Wayne and Shuster Take an Affectionate Look At…, 8 out of 9 episodes found! (24:10)
     
    PART 6:
     
    - Added the “Rodeo” NBC News theme (32:12)
     
    This leaves only the CHECKMATE project, which will be down the line.
  17. Like
    mahler3 reacted to Thor in New Podcast Series: The Complete John Williams Television Music Walkthrough   
    Thanks, Junion, and for the info on the names. That's also a jungle to sort out propery. Same goes for Kraft too, with all its iterations, in syndication and beyond (Suspense, Crisis, Impact etc.), depending on where it airs etc.
  18. Like
    mahler3 reacted to Junion in New Podcast Series: The Complete John Williams Television Music Walkthrough   
    Finally, I managed to listen to the second episode of that podcast. Again, this is a brilliant episode compiled by Thor and a must for all John Williams fans who are interested in his early compositions when he still was in his 20s!
     
    Especially, the presentation of TV series Alcoa Premiere is very interesting as a lot of unreleased cues can be heard. Hopefully, there will be an official soundtrack release in the future.
     
    There are several fascinating clips like
    - A Moment of Decision (wonderful action cue with an excellent piano solo (maybe played by JW himself?),
    - Pattern of Guild (the clip lasts 2:30 minutes and is full of suspense),
    - Mr.Easy + Guest in the House (nice and easygoing lounge style clips)
    - Blues for a Hanging (great jazzy style)
    - Blow High, Blow Clear (cool trumped theme with a film noir vibe)
    - Jeenay Ray (playful and pleasant cue)
     
    By the way, I did a little research to figure out why there are different names of the series Alcoa Premiere. Well, season 1 was produced at Revue in 1961 & 1962 and fully sponsored by Aluminium Company of America (=Alcoa). For this reason the series was called "Alcoa Premiere" in the US by that time.
     
    Season 2 in turn was only half-sponsored by Aluminium Co. of America. The other company that participated in the second season was R.J. Reynolds Tobacco.  Therefore, with the beginning of season 2 the formal title of the show changed to "Alcoa Premiere, presented by Fred Astaire" one week, sponsored by Aluminium Co. of America alternating with "Premiere" or "Premiere, presented by Fred Astaire" the other, then sponsored by R.J. Reynolds Tobacco. In Australia and England, on the other hand, the show was broadcast in the early 1960s under the title "Fred Astaire's Premiere Theatre". So, I guess most uploaded videos on Youtube are recordings from Australia or England as they contain that show name.
     
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    mahler3 reacted to Omen II in Anne-Sophie Mutter plays John Williams   
    Here is a copy of the free programme for tomorrow's concert with the LPO, if you are interested:
     
    LPO Programme
  20. Like
    mahler3 reacted to ZackR in The Legacy of John Williams (Website & Podcast)   
    Just finished part 2. Brilliant. So grateful for this release and everyone who worked so hard to make it a reality. I’ll posit one minor disagreement with Mike: he stated that he felt  London was too magical and that the transition to Neverland should have been minors stark and dramatic like in The Wizard of Oz. That’s an interesting perspective and one I can understand but I’m glad it ended up like it did. To me (who like John Takis) was eleven when I saw Hook, I always considered London to be somewhat magical in the film. It was the “bridge” to Neverland and to Peter’s past life. It’s where he was adopted. It’s where the story originated and where the book was written. I believe Peter had subconsciously avoided returning to London for many years. His return to London is like the key that begins to unlock the door between the worlds. London is the gateway and therefore slightly magical in its own right. I totally see Mike’s perspective, but for me, the scene as-is is perfect. 
     
    Again, I couldn’t be more thankful for this release. Just amazing.
  21. Haha
    mahler3 reacted to KittBash in The Legacy of John Williams (Website & Podcast)   
    Finally got a chance to listen to the Hook episode! 
     
    I always love when Mike M. says something along the lines of I don't know if anyone cares to hear this.... then he proceeds to blow my mind! 
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    mahler3 reacted to filmmusic in HOOK (1991) - NEW! 2023 3-CD Ultimate Edition Produced, Edited, and Mastered by Mike Matessino featuring all Williams/Bricusse songs   
    You know, I've got this cd before Christmas, and still I haven't listened to it! 
    I just want to listen with a clear mind, doing absolutely nothing else!
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    mahler3 reacted to Miguel Andrade in Ecoutez le cinéma John Williams release - The Legend of John Williams 20CD box set   
    "Come Tuesday" was newly recorded for this set and was a private song Williams and the Bergmans wrote for the late Barbara Ruick.
    Also, a few songs were never available on CD/digitally, just on vinyl. And the disc 20's previous released stuff came from all over the place, most surely there will be something one didn't already have.
     
    As for the Sinfonietta, this is actually a new transfer from the original master source, instead of using the Japanese transfer from some 15 years ago.
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