JonathanAsh

Oh my God that’s so exciting!! I can‘t wait for the rest of the concert to be released!

I could imagine it’s a deliberate reference, coming full circle from (one of) the first Spielberg/Williams collaborations to the very last. … Now I imagine a reference to Sugarland Express instead… I reckon that would’ve felt a little out of place, stylistically?

I’m already absolutely in love with this score. The two themes are gorgeous, it bears all the hallmarks of Williams’ handwriting that I love so much while never defaulting to autopilot. Considering this will probably be the final collaboration between Spielberg and Williams, it feels appropriate and bittersweet at the same time that it is such an introspective, quiet score. But I wouldn’t want to have it any other way. I agree with @artguy360 that the classical pieces form an integral part of the soundtrack album, fitting very naturally with the restrained, chamber-like scoring of the film score itself. I especially loved the way Williams adds the orchestra to the Haydn piano sonata and then segues to his own material; it reminded me a bit of “Home and Hearth” from Empire of the Sun, where he integrated the Chopin Mazurka in a similar fashion. It’s such a bittersweet feeling, listening to a new John Williams soundtrack, full well knowing it will be one of the last. I cherished every moment of it.

Why not both? No work of art ever only has one be-all-end-all interpretation.

Gorgeous! I love how there’s that subtle nod to Marion’s Theme near the end, where the violins end on the vi chord, the celli soar up with that arpeggio and then the violins try again to land back home, just like at the end of Marion’s Theme.

Firstly – enjoy what you want, no matter why and no matter who wrote it. If you love Williams’ film scores but can‘t get into his concert music, that’s fine. Not everything is for everyone! That said – I was also about to mention the tuba concerto, which has a very lovable, bouncy little tune in its first movement. The syncopated rhythm of the harp concerto’s second movement I’ve always liked, and I think the atmosphere of the horn concerto is wonderful, too. If it helps you, try paying attention to how the film and concert music are alike, rather than how they are different: True, there are few melodies and the harmonies are often more ‘complex’, shall we say… But listen to the orchestral colours, the way he employs glockenspiel, harps and celeste – it’s so entirely Williams it could be from any of his scores. Maybe try listening to film scores you know well, but listen for everything but the hummable tunes. I think you’ll find a lot of similarities to the concerti. Maybe that helps! If not, no worries. Those film scores aren’t going anywhere.

Yes, you’re right. I think what upsets me is the general attitude of people who think they know ‘how something should be’, and then don‘t accept that other people might feel differently. That’s the kind of impression that review left on me a little bit.

Totally with you on that. My favourite recording of the march (pre-Vienna, that is) has always been John Debney’s with the Royal Scottish National. The horns don‘t hold back whatsoever when the “Can you read my mind” theme comes on. Neither did the Vienna horns, and I loved every bit of it. I agree that the Superman March is a lot less transparent than the Star Wars Main Title, for instance. I quite enjoy this ‘overloaded’ style of orchestrating, the likes of which you find in Korngold’s film scores as well, but I can very much understand if you might prefer something where all the little intricacies are a bit more noticeable.

I see your (or her) point on volume vs. refinement, but I do think there were lots of moments of wonderfully musical, ‘refined’ playing: The horn solo (Saturday’s flub notwithstanding) in Leia’s theme, the gorgeous soaring strings in E.T. or the passionate way the celli and horns sang Fawkes’ theme together… Definitely not just the flute. Sure, Superman sounded more like “Solti” than “Szell”, if you will, but I really don‘t think that piece benefits from being played too lyrically anyway. But different people have different preferences of course, I’m not saying there’s anything wrong or right with either way of interpreting. That part of the review confused me as well. I have no idea what this kind of journalism does for anyone. Is she trying to make fun of the plebs who don‘t have good taste in music? Or is she just sincerely surprised at how joyfully the audience applauded?

@Bespin Not exactly the same players, no. I recognised some faces again, like the first desk of the violas, some trumpet and bassoon players; but others, like the concertmaster, first oboe and the timpanist were not the same as in the 2020 concerts.

The recording engineer I spoke to also only said ‘Schallplatte’. I’m from Germany, where that word really only refers to a vinyl record. @Matthias, if you say in Austrian German it’s a general way of referring to CDs etc., all the better!

I don‘t really know a lot about how the whole recording technology stuff works, but in addition to the turn table-type thing you could see in PetePan’s picture, there was a large mixing console thing in the centre of the room with pretty flashing lights. It seems unlikely to me that they would only release an LP and no CD. I thought the big flashy lights console was their usual digital recording equipment, and the ‘Death Star control panel’ was some additional equipment they brought so they could also make an LP. I didn’t have anyone specifically tell me this, though. I could be mistaken.

From having talked to a recording engineer myself and from what @PetePan gathered, we have confirmation that the concert was recorded and that they (probably DG) are planning to release it on vinyl. I can‘t imagine there will be an LP but no CD, so I expect there to be both.

It’s super interesting just how differently that is perceived depending on where you sit. I sat Parterre yesterday and in one of the Balkon-Logen today, and my impression was rather the inverse. The few people around you really play a large role in how you perceive ‘the audience’ as a whole, I think. Also though, they didn't insist on Williams returning to the stage anymore after the final encore, as the audience on Saturday did.

I agree with @Marian Schedenig, the VPO really gave it their all today. Though I really didn’t feel they seemed particularly inhibited yesterday. I’m blown away by how amazing these concerts were. The Vienna Philharmonic played the music with so much excitement and joy… I am thrilled to know there will be a CD/LP release. What’s more than that, being in the same room as Williams, watching him conduct, and to think that the music I listened to as a child on those tiny CD player speakers was being played right in front of me, with the man to thank for it on the podium… magical. I’m so happy and grateful.