ricsim88

Here’s my version of With malice toward none. Recorded about a month ago. 
 

Click on your username in the top right, then the Ignored Users menu. It's a very very useful feature.

It was a fantastic episode Maurizio! Length was no issue for me, I really enjoyed the musical excerpts. 

Easy, 1932.

It was a fantastic episode Maurizio! Length was no issue for me, I really enjoyed the musical excerpts. 

https://thelegacyofjohnwilliams.com/2020/10/23/james-thatcher-podcast/
 
I hope you'll like it. It's a long episode!

It feels like something that makes a lot of sense tbh. John Powell seems to be on a bit of a roll with special releases at the moment so I wouldn't be at all surprised if there is a Solo release coming from Omni. I just wish I could read music well enough to get something out of the printed scores!
 
I guess we don't know the release date for the Solo DE because it hasn't really been "officially" announced yet, has it? I mean in terms of the actual record label announcing it. John's teases have been more like someone that is on the same wavelength as the fans giving them something to get excited about.

HA! Well, you made an interesting point!

It was me...lol
 I commented on his IG post of the tracklist

Got mine today, no scratches. Sounds amazing. Also got here fairly fast. 

Always.  I'll never understand why some people struggle with this.
 
 
 
Nope. 
 
I love the Indy 4 score, I think it's great.

But The Force Awakens is just better.  In pretty much every way. Bigger, better themes, better action set pieces, better emotional arc.
 
None of this has anything to do with the films themselves.  The Force Awakens score is a modern masterpeice.  The Indy 4 score is "just" a very good score.

I made a simple transcription that may be useful. This is definitely quite unlike the usual accompaniment heard with Leia’s theme, which I think helps strengthen the likelihood this is an intentional allusion to Kylo’s theme:
 

To me, one of The Rise of Skywalker's most endearing qualities is the number of short, transient melodies and motifs that are heard just once or twice. These tend to be unrelated to the series's main catalogue of leitmotifs, and they aren't really set-piece themes either since they don't draw attention to themselves like "The Asteroid Field" or "Flag Parade" do. Nevertheless, I find these little one-offs quite essential to the overall warm, humane tone of this score as a whole.
 
Here's a sample of what I'm talking about:
 
Leia Trains Rey. Two distinct statements, at 0:10:33 and 0:13:24, neither on OST.
 
 
 
 
Luke Trains Leia. Two distinct statements, one on OST (Track 6, 1:28) but cut from film, one in film (1:33:18) but cut from OST.
 
 
 
 
Children's School. One statement, at 0:22:56, not on OST.
 
 
Zorii's Farewell. One statement, on OST (Track 8, 0:24) and in film at 0:55:01.
 
 
 
What do you all think? What other short, non-leitmotivic moments from Episode 9 caught your attention?

The possibility of me exploring his TV scores deeper than I already have is very low. It's hard to track down exactly which episodes he scored, and which were taken from the Universal library. The concert works would be fun, but many of them were never recorded, so they are impossible to find. I have had some help finding some of the ones I feature in some of the episodes, but I can't imagine someone out there has, for example, one of the two performances of Symphony No. 1.
 
I started working on this project two years ago this month. It required a lot of sacrifice from other things in my life, which I was very happy to do. Now, it is almost time to ride off in the sunset. I will do an "epilogue" episode after Rise of Skywalker, and that's probably the last one, unless a film score announcement comes.

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.

Negative. Not a single news or announcement.

Here it is again
 
 

Interesting points. What gives this score its most unique quality, in my very humble opinion, is the fact Williams avoids almost completely the theme-driven approach he's known for and that often is at the core of his film scores, which is very unusual for him. While there are thematic figurations throughout, it's mostly motivic stuff, not fully fledged themes. It's an almost impressionistic score in that regard, where the identity of the film is rendered throughout the harmonic language and the very dark orchestral colours. It's Williams at his most Stravinsky-esque, imho. It fits the film's very brooding tone like a glove.
 
I don't know if this was a consequence of the unusual circumstances in which he scored the film, or if it's because basically Spielberg given him total free reign to do whatever he wanted.

Thank you all for the nice words. I'm glad you've enjoyed this episode. Malcolm is really a legend of his own and he really seen it all in terms of greats he played for.
 
Stay tuned for new episodes coming with more legendary musicians who performed with JW.

I can’t imagine JW meant it in a bad way. But indeed it probably did hurt. Although it seems Malcolm has enough ego to be able to take it. I also play principal trumpet chair in my orchestra. It definitely takes a bit of ego to get through it. Without sounding too arrogant of course. I absolutely love Malcolm’s playing, he’s been an inspiration for a long time. But he’s from a generation that can handle themselves. I’m sure he’s fine. 
In any case, fabulous interview Maurizio!

A few years before the set was even considered I implored Matessino to do it as a stand-alone 3CD set for this and specifically requested that the OST album be made part of this. I even made my own version of the track list for the set. This was around the time when the FSM set became OOP. I was told it would eventually happen in the future but there was a lot of paper work and approvals required.
 
Fast forward to the future, and as plans to issue the standalone set were set in motion and it was going to be a high resolution transfer from the same sources that was used for the FSM set.But then a Miracle happened and the original recording session were discovered. The rest is history.... 

With the AFM it's a chicken-or-the-egg situation. For 25 years film score fans have been complaining about how prohibitive the AFM's new use fees are, but over that same period of time those royalties have been becoming more and more precious to the musicians. In 1999 Local 47 wages totaled almost $50 million and by 2013 that total had sunk to barely $15 million. For most musicians that's not livable, and so they get their most important paychecks through residuals. If even that isn't enough to make ends meet, you have little choice but to be a "scab" and hope the only people who hear about it are sympathetic.
 
Obviously the musicians don't like this whole development. And they don't like the AFM's leaders who are doing little/nothing to stay competitive with London, where most of the work is moving. LA is the only place asking for these high backend payments. Their justification is that they're some of the best musicians in the world, but that's not a realistic appeal to a producer who only sees music as the thing which goes behind the dialogue/sfx. Why not save some cash and do it abroad?
 
Local 47 has tried in the past to experiment with a London-type "buyout" plan -- having much higher upfront wages in place of new use royalties -- but once the AFM caught wind of that they shut it down. The musicians are very split about it and the leadership of the AFM (who have been winning elections unopposed for a decade now) only wants to keep the status quo.
 
Since all work shut down overnight in March that annual residuals check became so critical that AFM members got theirs a full month early. I'm sure at least a few people who thought a buyout clause was the best way forward are now thinking twice about removing new use entirely, because otherwise a lot of them would have been totally financially stranded.

According to Seth MacFarlane, season 3 is not even done. They had to shut down production because of Covid. Who knows when they’ll finish. 

They might air the ones they did shoot this fall and then the rest in 2021

Love Sibelius 2. Performing it in October. 
Definitely some voicing and harmony resemblances between Williams and Sibelius. There are most certainly worst composers to be influenced by out there.