SteveMc

we are still doing this?

Can't wait to hear the recording when it comes out!

In the late 70s she became one of the most famous people in the UK. She indeed did not show up on America's radar until Hounds of Love in 1985.

Bush was actually approached to sing the title track for Moonraker but passed on it, thinking she was not suited for the song. Her sensuous late 70s style would have been perfect for where the franchise was stylistically at the time.

saw this today at the theater, decided to give it a go, being a casual admirer of Bernstein's WSS, despite not caring at all for the 1961 movie. I was one of 3 there. I understand why the movie is not doing well. 1. "regular" audiences are pretty dense. 2. this movie is not really geared towards musical fans and 3. it is too big and mainstream for the cineastes. All that does not change the fact that this is probably Spielberg's best movie since Catch Me If You Can and just maybe even since Schindler's List. It may be a "movie no one wanted or needed" but he put his heart, soul, and genius into this one. I'll go more at length elsewhere.

Tributes! (For Seiji!) (1999) This is a mature occasional piece that is substantial in length, postmodern-accessible in character, and virtuosic in nature, to the point of being described by some as almost a concerto for orchestra. Written to commemorate Seiji Ozawa's 25th year with the Boston Symphony, it is one of Williams's most interesting concert work achievements. It seems to blend some of his concert sensibilities with his 90s action style and a touch of 70s era grandeur. The work consists of sections that highlight different segments of the orchestra, in a celebration of the form and how it interacts with its surroundings, all culminating in more false endings than can be numbered! Some program notes by Williams for the piece can be read here: http://www.jw-collection.de/classical/seiji.htm Here is a concert recording of the BSO performing it. I believe a CSO concert recording boot also exists, hopefully it surfaces on YT.

Something Wild (1986) This Jonathan Demme film was and still is marketed as a sex comedy, but I think it is more Yuppie Noir, if that genre even exists. It's also quite fantastic. It seems to say that panache of the 70s, the free spirit of the 60s and the ideal of the 50s all come together to form an America and Americans that are actually, under the go and glow of the 80s, all brokenness and danger, and yet from the jagged pieces some unique and individual romance and domesticity can be formed. The film certainly does start in a free, fast paced sexual style that recalls 60s and 70s movies in approach, but Demme snuffs out that candle about half way and lights the slower burning other end, which starts to burn pretty intensely come the third act, getting warmed up for his most celebrated effort in '92. Melanie Griffith and Jeff Daniels were never better, both very effectively playing stock character types here who keep shedding layers until they reach the core of who they really are as people and as societal reflections. Ray Liotta brings menacing psychosis to a breakout antagonist turn. Score is full of alt needle drops that help contribute to the "other side of the 80s" feeling. I saw the movie on Amazon Prime, which has the deteriorated and somewhat discolored theatrical cut. Apparently, Demme oversaw a Criterion restoration and dvd/blu-ray release, which is probably the way to go. Screencaps show it really brings out the cinematographic choices. At any rate, a pretty good way to start 2022 moviewise. 3.5/4 edit: the original post midnight post had me say '93 instead of '92 and Jeff Bridges instead of Jeff Daniels.

Nice work everyone! Hopefully my time management will be better next year, but grad school is grad school.

Seven For Luck (1998) Well, it has been far, far too long. No promises this time, just getting back where I left off, with this most unique piece in Williams's concert output. A song cycle for soprano and orchestra with words by American poet Rita Dove, with the subject being seasons in a woman's life. It was premiered by the BSO, but apparently the only widely listenable version is a reduction for soprano and piano, which is up on YT. The compositional language is postmodern, marked by angular lyricism, soloist writing that varies between operatic leaps and conversational expression, and a sense of drama, rhythm, motion and mood that seems to state, in a different way, a lot of the musical choices JW was making in his film work at the time. It would be a treat to hear it in full form, the BSO and one would hope others evidently have it in their archives.

The Piano Quintet in E is pretty nice. tonight, I am discovering (or really paying attention to) the Elgar Cello Concerto. and am in awe Normally, I dislike Elgar, but this is a masterpiece.

oh, I can't play, but the expressive patch on musescore might fit the bill

I was writing a Rondo for Piano, but it is far from prime time. But I also have a short little something for clarinet in mind, so let's see if i can get it done in time. EDIT: oh shoot, stupid me, just saw the rules, has to be a fanfare!

I always hear it as Divorjacques (or Divorjauck)