SteveMc

There probably should not have been a Disney trilogy to begin with, let alone two. The Jedi Steps and Finale alone is enough reason to be thankful Williams took on the project.

What a finale!

Rozsa's fiery and beautiful Piano Concerto. A favorite of mine, has echoes of Bartok, but definitely in Rozsa's own voice. This recording has a great deal of static, but it is Rozsa conducting the Philadelphia Orchestra.

Crystalline. He really breaks it down to its pure essence.

As the short's director, Keane would almost certainly be on stage, and actually given the statue, I believe. It would be great to see all three of them up there, though, the short being such a collaborative work..

I think not. Both fine scores, though. I find Munich to be rather underappreciated. The cello suite from Memoirs, however, should be an international concert staple.

Many composers feel rather negatively about their early work. Dvorak, if I recall, burned all of his. Perhaps Williams feels similarly.

Ah, good to see The Spitfire Grill getting recognition it deserves. A warm welcome to the forum Jack.

To my ears, the quality of this recording is the very peak of musical perfection.

Excellent interview, I think. It would be quite fantastic to have Williams and Keane work together in the future. Keane is a consummate artist and person. There is a great force of artistic energy in his work, especially in its purest forms.

Arguably it is the very peak of Williams's work, the essential synthesis of his cinematic instincts and his concert sensibilities. In a fairer world it would be programmed alongside the greatest 20th Century masterworks.

The Allnighter , from 1987, starring Joan Cusack, Deedee Pfeiffer, and singer Susanna Hoffs. (Directed by her mother Tamar Simon Hoffs). One of the worst movies ever made. Enough to make a film connoisseur suicidal. No redeeming qualities, though Hoffs does have a certain screen presence that a competent director might have exploited. Her delivery needs work, though. The plot is non-existent, the screenplay horrific, the direction inept, the characters forgotten the moment they are off-screen, the acting laughable, the score terrible, and the editing a crime against humanity. The whole travesty is up on YouTube. I shall not stoop so low as to post the link. Watch if you dare.

Quite true.

Hmm. That is strange.

Ouch. An unforgiveable oversight on my part. Long live the legends!

Well, much of it is a gift. But, the gift must be used to its fullest. We must point the way to the example of John Williams as something worth emulating and studying, strengths and flaws.

Come to think of it, things have been rather lethargic around here today.

I'm a bit low on energy myself, so if there is a debate to be had it would be an even contest.

Williams is the last living legend of film music. It only makes sense for critics to shower him with praise now, something they didn't always do. But, the fact is, Williams is the greatest living composer of orchestral music in the world. Certainly there are many luminaries in contemporary classical music, and some talented figures in modern film scoring. But, the hard truth is this: modern classical music is stiff and elitist, even at its most progressive, and modern film music is banal and repetitive. Williams, even on a bad day, writes music that is better because it remains vibrant, accessible and technically advanced. Art is not only for artists. The consummate artist shares his soul with the world, arranging his message in a form that endures.

They are fun pieces which work well in context, and work well in concert, to a point. If a piece of music gets too popular, it tends to lose some of its luster if you do not put an effort to look beyond the popularity and at the original essence of genius behind it.

So it is. Personally, I rank it third after TESB and SW.

Well, preference is, in its own way, rational. And it is great to hear your opinions, Oswin. By all means enjoy the forum.

This is a lot to take in. I'll just limit my comments to Princess Leia's Theme, one of my favorites, especially because of the beginning. The first 16 seconds set the mood for what is to come. The flute and oboe passages, against a harmonically complex background, set the stage for what is to follow. The emotional world in which the yearning beauty of the main melody lives. The true meaning of the rest of the piece does not exist without it.

Hmm... I do hear reflections of TLC in some of TFA, now that you mention it.

It was a post I saw a couple days back from @Richard that made me aware of Williams's Gloria from Monsignor. I must say I am quite impressed. Echoes of some Rozsa's concert choral works, perhaps, but in spirit overall I think it owes a bit to Beethoven's Christ on the Mount of Olives. Still very much in a unique harmonic and melodic language, out of John's usual "comfort zone" if you will. Heard it couple of times. Was unsure about the beginning at first, but I hear now how everything comes together structurally. Very impressive. Makes me wonder what a Williams Mass would sound like. Also, what is the context of the cue in the movie?