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Posts posted by Will
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It's official -- JW will conduct the second half!
https://www.carnegiehall.org/Calendar/2024/02/22/An-Evening-with-John-Williams-and-Yo-Yo-Ma-0700PM
QuoteIn the first half of the performance, Yo-Yo Ma joins
The Philadelphia Orchestra and conductor Stéphane Denève as soloist in the dazzling Cello Concerto, which Williams composed for Ma in 1994. The orchestra also performs Williams’s celebratory Just Down West Street ... on the left, composed as a gift for the Tanglewood Music Center’s 75th anniversary. Williams then takes the stage to conduct a grand tour through some of his most iconic film music—including selections from the Indiana Jones and Star Wars series, E.T. the Extra-Terrestrial, and The Book Thief—as well as his quintessential Olympic Fanfare and Theme. -
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1 hour ago, Mr. Hooper said:
Is that usual for his half-and-half concerts where he starts? I expected him to come back out for the encores after Denève's half, giving him a chance to rest. It would certainly be a better way to end the evening. I guess we'll see...Yeah I've been wondering about that. I'm not sure if there's much (any?) precedent for JW conducting only the first half. Definitely hoping he does encores after the second half--would be weird to have the concert end without its star performer!
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Looks like Helena’s Theme got removed from the program? That’s unfortunate — maybe it’ll be an encore.
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I haven't seen the film, but I did watch this clip on YouTube and ... wow, "Let's Fly" works so well in the film:
Powell's music gives the scene an almost balletic grace. Beautiful marriage of picture and score.
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I wonder if "Tributes! For Seiji" will be added to the program in light of yesterday's news. It's a lovely piece.
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Yep, fortunately I was later able to snag one!
By the way, there appear to be a few (rather pricey -- $500) tickets on sale right now on the official website. Just FYI in case anyone is still looking.
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Some interesting influence here that I just discovered!
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Can really hear some influence on JW's writing!
- JTN and Yavar Moradi
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I got one!!! It's high up in the balcony and has a somewhat obstructed view, but just grateful to be going.
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Welp, Carnegie now tells me that concert only tickets have sold out.
Not sure how that could’ve happened — I’ve been checking the website virtually every day!
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Very nice video breaking down the second of the three race scenes in the film (heard on the album as "Poughkeepsie" -- see order in my post above):
As I recall, the entirety of "Poughkeepsie" (except for maybe the opening quiet passage) is heard in the film. The piece starts during the lead-up to the race and then covers the race itself too. You can see some nice video of Desplat speaking and conducting beginning at 10:32 in the above video.
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22 hours ago, Jay said:
Wow, that is crazy to hear. The ending passage is the highlight of the score and album. What was Clooney thinking?
Yeah, perplexing. To be clear, this is the part that I think goes unheard in the film:
A real shame. (I also really like the prior portion -- the one that gets repeated -- but the awkward tracking disrupts the flow.)
22 hours ago, Jay said:Fascinating! I'd love to know the full chronological order of the whole album if you can figure it out.
Unfortunately it's hard for me to remember exactly where some of the album tracks fit chronologically (in part because, in a few cases, the album tracks seem to combine multiple distinct cues). But I'm fairly certain about these ones (in order):
The Boys in the Boat
The Team
Pacific Regatta
First Win
Boat Ride**
Poughkeepsie
Check From Cal
Berlin
Qualifications
Olympic Final
We Were Never Eight
USA Rowing Team (Alternate Version)
The end credits are just an edited-down version of the first track, FWIW.
**I think this is the right placement for the portion that underscores the big kiss scene:
The delicate portion at the start of the track was probably intended for a romantic boat ride scene earlier in the film, but seemed to have been replaced with a tracked piano portion of "Love Letter."
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Just saw the film today! Really enjoyed. I've listened to the score so many times by now that it was great to see where it fits into the movie. Sadly, "We Were Never Eight" is rather awkwardly edited in the film, with the ending passage (the power anthem version of the main title theme) jarringly replaced by a tracked repeat of the big statement of the team theme from earlier in the cue. But the score is otherwise treated quite well, on the whole. It obviously really shines in the main title cue ("The Boys in the Boat"), and it also plays virtually unobstructed by SFX or dialogue in "Training."
Although the opening of "Boat Ride" seems to be unused in the film, the sweeping romantic portion is used to wonderful effect in a kiss scene midway through the film (I won't spoil it for those waiting to watch). Interestingly, it seems that "USA Rowing Team (Alternate Version)" is actually the version used in the film! And the "Film Version" is unused. I wonder if that indicates a very late change by the director, after the album had already been finished...
The OST seems to not be in chronological order -- for example, "Poughkeepsie" (the last track on the album) is used midway through the film, and "We Were Never Eight" is the second-to-last cue in the film despite appearing midway through the album.
Anyway, an excellent score for a great film. So glad that Clooney gave Desplat these opportunities for his music to shine, and Desplat hit it out of the park.
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Here we go! What a pleasant surprise -- I was not expecting ESPN to keep using this incredible theme (which might be my favorite piece JW has written in recent years). As others have noted, this version is not really any cleaner than the one that aired last year, but it's still awesome.
ESPN also used at least one of the bumpers JW wrote on the broadcast (you can hear the first half-second or so of the bumper at the end of the clip above).
UPDATE: Here is the portion of the bumper from tonight's broadcast, which was also used last year. Be warned: It's covered under loud dialogue. But it's fun and reminds me of JW's NBC News work:
- LB Makes Stuff and Bespin
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On 15/07/2023 at 6:09 PM, Will said:
Agree 100% with much of what has been said above. I'll add that my personal favorite bit is this hopeful, slightly adventurous section:
I don't know what the technical musical terms are for this, but it sounds like pure classic JW. A short moment but so distinctively him. Love how it manages to be both playful and deeply nostalgic. Relatedly, it's also perfect for the moment it underscores on screen.
Welp, I was listening to KoTC today and something sounded familiar... Turns out the moment I praised above was basically copy-pasted from 2M13R Remembering Henry Sr. & Leaving Campus:
I'm sure many of you noticed this long ago (indeed @Falstaft notes at the start of this thread that the main theme variation that follows is partly pulled from 2M13R) but I had not until today -- really emphasizes just how much of this score (even on the OST) is old material, and does make one question whether Ross had a greater role than we were led to believe. Of course, it's still a great passage! And well chosen as a lead-in to the main theme, I think.
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I mentioned above that I love how Desplat adapts the main title theme throughout the score in surprising ways. My favorite variation is probably still the one in the opening track, but this one from the end of "We Were Never Eight" is really amazing:
Goes from the flighty, delicate version in the opening track to this muscular, almost power anthem-esque rendition -- and Desplat makes it sound very natural in both contexts!
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This is a wonderful score -- I fully agree with @Jay that it's one of Desplat's all-time best. Virtually every cue is enjoyable to listen to, and the themes are nicely woven throughout (I particularly liked hearing how Desplat adapted the main title theme into very different contexts, e.g. in "Training"). At first the electronics in "We Were Never Eight" bugged me a bit but after a few listens I've definitely come to love it. Some similarities to the victorious "Florida" from Nyad, but at much grander scale and with considerable melodic elegance.
One cue I haven't seen mentioned yet is "Boat Ride" -- begins with beautiful, delicate orchestrations that remind me of the best parts of Little Women. And the romantic portion really soars in a way you don't often hear these days (sort of reminds me of John Barry, though obviously Desplat has his own unique voice):
Anyway, a real home run from Desplat -- definitely joins Dial of Destiny and Migration in my list of the year's top scores!
- JTN, Chewy, JNHFan2000 and 2 others
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1 hour ago, Edmilson said:
I would just like to add that Williams's action music from 1989 to 1993 (i.e. between his "golden age" of 1977 to 1984 and his post-Lost World modern age) is very underrated. On this period we got "Escape from Venice", "Scherzo for Motorcycle and Orchestra", "On the Tank", "Belly of the Steel Beast", "The Land Race", "T-Rex Rescue and Finale" and, of course, "The Ultimate War". They're so fun and yet so intense!
Speaking of The Ultimate War, I can hear some echoes from it on The Phantom Menace, particularly "Anakin Takes Off in Spaceship".
Yes -- and really great to hear the new inserts (I think?) in "The Ultimate War"!
The Classical Music Recommendation Thread
in General Discussion
Posted
Jaw-droppingly good:
I think this might overtake the New World symphony as my favorite Dvorak composition!