artguy360

Yeah a straightforward sound without embellishment.  And it goes hand in hand with the harmony being very spare and open.  Music that could sound very noble and homespun at the same time.  Which fits the mythos of Lincoln perfectly.

This new version of With Malice Towards none is a real demonstration of how JE likes to take a film themes and classical-them-up. He plays with the melody, takes it apart, complicates it, takes it in new directions, and it's all quite interesting. However, in the case of With Malice Towards None, one of the major strengths of the theme is its simplicity. It has an earnest, simple, directness to it that seems to speak to something JW felt was core to Abraham Lincoln. This version loses that earnestness and simplicity by complicating the main melody and with JW's stylistic concert music touches.
 

This new version of With Malice Towards none is a real demonstration of how JE likes to take a film themes and classical-them-up. He plays with the melody, takes it apart, complicates it, takes it in new directions, and it's all quite interesting. However, in the case of With Malice Towards None, one of the major strengths of the theme is its simplicity. It has an earnest, simple, directness to it that seems to speak to something JW felt was core to Abraham Lincoln. This version loses that earnestness and simplicity by complicating the main melody and with JW's stylistic concert music touches.
 

With one important exception: The Star Wars movies because John Williams Star Wars music is it's own genre.
 
Also, since 1990.
 
John Williams heightens any movie he works on, some say he breathes life into films. He has also worked on some of the most successful and well-regarded movies or all time. 
 
But what about the bad movies he scored? What's that list look like? And how did his score impact those movies? Did he knock it out of the ballpark? Did his music heighten the movie? Did he *GASP* write a bad score?!

I think it runs much deeper than that, asians are notoriously stereotyped in Hollywood movies since the dawn of film beyond lumping together ethnically different people. The standard refrain to these stereotyping complaints is the usual 'they're overreacting', which is as patronizing and ignorant in this case as it is for any marginalized group, but i know from hearing first-hand from asian colleagues that western people just don't understand/don't want to understand how offensive certain cultural slurs are to them. 

Thank goodness Kingdom of the Crystal Skull wasn't the last movie he scored.

Really enjoying the whole album so far including the revised concerto.

I remember seeing a band playing the IMPERIAL MARCH at the arrival of the previous Saudi Arabian King on a TV coverage.

Basically, I am struggling with all the concert arrangements. My main issue with the 1980 version is that for whatever reason Williams put there in the middle of the first phrase a very unsatisfying dark chord, but really at every repetistion on the theme so that it is all the time like driving with applied handbrake. It never gets to full bloom like in the most emotional moments in the movie (finale, falcon turing back to Bespin, rescue attempt Han).
The 2018 version has that towards the end, but it does not really hit the tome of the Empire score. It sounds to me rather like a prequel piece. But it is probably my prefered version because it contains the climax that I missed in the old version.
The 2022 is a great piece as a variation of the 2018 piece, but it is even more far away from TESB.
So none of them works for me as arepresentative elaboration of the piece from the 1980 movie.
But my favourite is probably the 2018 version, which is basically a different piece containing this great theme.
But the 2022 version might overtake this. It is at least so far my favourite ASM Star Wars piece. Better than Rey's Theme, Princess Leia's Theme, Yoda's Theme, Across the Stars or Luke and Leia. I would have loved an ASM arrangement of The Asteroid Field or Parade of the Ewoks, but that didn't happen.

I like that clip a lot too. Sounds gorgeous. The new Ghetto theme from SL sounds quite different than the original. Very curious about that one.

I hope JP returns to score more SW at some point. I thought he did a more than admirable job with Solo. There is a lot of fun action and some really interesting passages of thematic stuff. 

I think the most simple reading is that at this point in the film Ron and Hermione have become Harry's family, like Hogwarts has become his home. It's just a little precursor to Leaving Hogwarts which makes both of those things more explicit. But even more likely is that JW has always played fast and loose with his themes, he probably just thought it sounded good. If you start looking into his every choice like Mattris does you'll end up down a conspiracy rabbit hole.
 
 
I very much doubt John Williams was thinking about which of these 11-year old characters were going to hook up when he wrote the score.

I will again say that I don’t think Williams writes scores like that. He does not watch these films thinking about what is going to happen, he writes for what is happening in the moment.
 
He did not hide anything in Rey’s theme. He simply used a melodic and harmonic vocabulary that is consistent with all of his Star Wars scores. Any resemblance to other leitmotifs is purely a result of that vocabulary, nothing more. 

Apparently, DG has commissioned similar animation before. I just saw this for Across the Stars:
 
https://youtu.be/q5i6hCr0C5o

I hope JP returns to score more SW at some point. I thought he did a more than admirable job with Solo. There is a lot of fun action and some really interesting passages of thematic stuff. 

I hope JP returns to score more SW at some point. I thought he did a more than admirable job with Solo. There is a lot of fun action and some really interesting passages of thematic stuff. 

I hope JP returns to score more SW at some point. I thought he did a more than admirable job with Solo. There is a lot of fun action and some really interesting passages of thematic stuff. 

I hope JP returns to score more SW at some point. I thought he did a more than admirable job with Solo. There is a lot of fun action and some really interesting passages of thematic stuff. 

The way I see it, JW is in his most refined phase of his career. His mastery of instruments has never been better. 
 
At the same time, he has moved away from some of the relative simplicity and directness of his 80s era. 
 
The length of his career has produced several distinct artistic phases and I've loved following this journey.

Lol, yeah. That's a weird piece. I haven't listened to it much, but thought it was an odd piece when I did.

Stunning performance, but it sounds like Williams got a phone call just as he was about to get up to pee, was asked to write something for David Geffen Hall's reopening, didn't know it was closed in the first place, then wrote the whole thing before getting up and finally peeing. 

The way I see it, JW is in his most refined phase of his career. His mastery of instruments has never been better. 
 
At the same time, he has moved away from some of the relative simplicity and directness of his 80s era. 
 
The length of his career has produced several distinct artistic phases and I've loved following this journey.

The way I see it, JW is in his most refined phase of his career. His mastery of instruments has never been better. 
 
At the same time, he has moved away from some of the relative simplicity and directness of his 80s era. 
 
The length of his career has produced several distinct artistic phases and I've loved following this journey.