Score
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2 hours ago, Luke Skywalker said:
Yesterday's acceptance speech video from the maestro:
Damn...its dubbed in spanish. Must be in english somewhere
I'm looking at those big books on his left... on two of them, I think I read "Star Wars" and "The Rise of Skywalker". If I'm correct, it should be the bound complete score!
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I recently "discovered" Brahms's own two-piano arrangement (op. 34b) of his Quintet op. 34 in f minor, and I definitely prefer it to the quintet version. The Quintet is a masterpiece in its own, but I always felt that the piano part was too dense to be matched in strength by the solo strings. Two pianos are the right instrumentation for this piece, in my opinion. In both versions, this work is really full of great musical substance, and belongs to Brahms's greatest works.
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18 minutes ago, blondheim said:
Which recording(s) do you listen to?
Barenboim (and Solti)!
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9 hours ago, Manakin Skywalker said:
I'm no psychologist, but isn't Mattriss displaying several common symptoms of narcissistic personality disorder?
I'm no psychologist either, but I suspect it is just an extreme case of this: https://en.wikipedia.org/wiki/Confirmation_bias
Fortunately, when this involves completely irrelevant topics, it is just funny.
14 hours ago, Falstaft said:Quite the contrary, we of all people, knowing full well the often ad-hoc nature of Williams's scoring style and the limits of his memory, should be more skeptical of these purported "deep" connections than the average listener. We all know the famous examples of, shall we say, thematic amnesia in his corpus. But I'll add that, when I asked him last summer how he keeps all his motifs straight across these 9 films, he said that he tries but doesn't always succeed. (He went on to give an amusing anecdote about mixing up a few of his character themes while scoring 1941 and, when he apologized to Spielberg, he laughed and said he didn't notice or care).
Did you talk with JW?
If you already spoke about that, I must have missed it. Anything else that you can share (maybe in another thread)?
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10 hours ago, Falstaft said:
The motivic similarities are happy coincidences -- not exactly trivial from a music structural or stylistic standpoint, but definitively, demonstrably not evidence of any sort of long-range plan.
The fact that JW in Vienna told the story about how he thought Luke and Leia were going to be lovers, then he said something along the lines of "... and this is their love theme from the second movie", and then proceeded to play "Luke and Leia" from ROTJ, speaks volumes about the long-range plans that Mattris wants to find everywhere.
(although, except for the wrong movie number, this is a bit more coherent than when he told the same story and then played "Princess Leia's Theme" in another concert - maybe "Luke and Leia" was really meant to be a love theme initially)
What is clear is that JW needs to sort his leitmotifs out!
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On 10/2/2020 at 9:28 PM, Chen G. said:
there shouldn't have even been an Episode VII.
At least, we got a trilogy of beautiful scores! This justifies the existence of the sequel trilogy. It's probably the only thing that does.
- GerateWohl and SteveMc
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Wait people, Lebrecht is the first one (with the generic "I don't like it, so they shouldn't play it" thing), the Australo-Hungarian guy is Kugelmass. I mean, they are both wrong, but the styles are totally different!
I'd love to see John Williams "going Beethoven" and replying to those people in the style of the good old times, but unfortunately, it seems excessively out of his character...
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I listen start-to-finish at least once, then it depends on how much time I have / how much I love the score / how many times I have already listened to it. Most of times, I end up listening to sections of several consecutive cues. There are very few scores that I've managed to listen to start-to-finish more than once or twice. I just don't have time. But there are many scores that I've listened to in all their parts multiple times, just not in a single go on the same day. For me, the important point with C&C releases is to have "everything" (well, almost), so I can decide what I want to listen to on a given day.
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Als der Film zu Ende war, konnte ich gar nichts sagen. Ich stand auf und ging ein paar Minuten im Haus herum. Schließlich hatte ich mich gefasst. Und dann sagte ich: „Steven, für diesen Film brauchst du einen besseren Komponisten als mich.“ – „Ich weiß“, antwortete er, „aber die sind alle tot.“
He cannot resist!
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3 hours ago, Miguel Andrade said:
I would rather call it a private recording. The three concerts were broadcast on WCRB and I recorded all of them.
Now, if I was trying to make a single euro out of it, then Thor would be right. As it is, I wouldn't call it a bootleg.
Ah, I see. Then "bootleg" was a wrong word for it, sorry. Thanks for the clarification.
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2 hours ago, Miguel Andrade said:
Levine did not record the Harp Concerto for commercial release.
So, is this a bootleg? http://mahawa.jw-music.net/classical/harp.htm
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Yeah, maybe it was just that the Musikverein wanted a photo with both, for the press!
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2 hours ago, Fabulin said:
Likewise, that's a new concerto. What about the other 90% of JW's repertoire?
I have no idea. I just remembered that case, because I found it interesting that a major conductor had asked JW to write a harp concerto. Everything happened many years before the scandal, of course.
1 hour ago, Jurassic Shark said:To get back on track, I have the impression that Riccardo Muti of the CSO and JW are mutual admirers. But has Muti ever performed JW in concert?
I've never heard of Muti playing Williams. He did play and record some film music, by Rota and Prokofiev (Ivan the Terrible, although it was the oratorio arrangement by Stasevich), so he is definitely open-minded towards the genre. I think I would be thrilled to hear Muti conduct JW. He is a conductor who gives his best with operatic writing, and he might be suited to that kind of film music.
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On 8/9/2020 at 6:25 PM, JW Fan said:Williams was trained by Tedesco, of that there is no doubt, he just wants to make himself appear as the self-made man who did it on his own.
Williams did not deny that he was trained by Tedesco, he actually confirmed that. The question asked in the interview was "how long did you spend with him?", and I don't see any reason to doubt JW's answer, "two summers" (if it was 3 summers, I don't think it makes a significant difference, he might not remember exactly). In every interview that I have heard, JW has always been very modest, downplaying his own achievements with respect to the great masters of the past, so I don't believe he wanted to appear as a self-made man by minimizing the importance of his teacher (note that this was not the first question asked in the interview, to which he was answering).
However, then Mutter asked: "Who was your main influence in terms of composing? Who was your main composition teacher?". These are two very different questions! But while she was completing the second one, JW had already started answering the first one, and maybe didn't even hear the ending of the second question. So, when he said that he doesn't really know, because he has been writing in a chamaleon-like style, he was talking about musical influences, and not about teachers. I think what he said was perfectly correct from every point of view.
QuoteHe is a good film composer but for God's sake he is not in the arena of Beethoven, Mozart, or any of those aforementioned names.
Well, this is debatable, especially here
. I have no hesitation in putting him (and several other film composers) in the list of the great "classical" masters, the same list that includes people like Beethoven, Tchaikovsky, Prokoviev, and so on. He might not be Beethoven, but I definitely think there are great classical composers (whose music I love) whose achievements are less significant than his.
On the other hand, JW himself would agree with you on that point!
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10 hours ago, TheUlyssesian said:
The only ding is that the absolutely outrageously beautiful love theme was not composed for this film. It was from a prior symphony that he wrote.
This is true - and that's why it is so good! I generally prefer Rota's concert production to the film scores for which he is famous. "Il Gattopardo" is peculiar in this respect, exactly for the reason that you mention (*). "La Strada" is also great, but I prefer the suite from the ballet to the film score itself, although in that case, the ballet was done after the film.
(*) For those who are not familiar with Rota's concert works, we are talking about this beautiful piece, which was then used as the love theme from "Il Gattopardo":
Originally, it was indeed the 3rd movement of "Sinfonia sopra una canzone d'amore" (Symphony on a love song).
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1 hour ago, Corellian2019 said:
Il Gattopardo, Nino Rota
This is a very good one, arguably Rota's best film score.
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19 minutes ago, Jurassic Shark said:
I guess you're referring to The Mission, by The Ennio Morricone.
Yes, but the Italian title (the one used by Morricone) is "Mission"... I was being philologically correct!
(It was also an attempt to avoid confusion with the piece by JW called "The Mission").
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Mission, by Ennio Morricone.
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On 7/29/2020 at 11:56 AM, Remco said:The Williams Wheel just keeps on going.
John Wheeliams!
I just saw the video of the Devil's Dance, from which this clip is taken. Is he repeatedly saying "wow" while conducting?
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On 7/17/2020 at 7:15 PM, Marian Schedenig said:
Apparently, Rome is renaming its Auditorium Parco della Musica (according to Wikipedia the second most visited cultural music venue in the world) after Morricone:
My purely fragmentary Italian and Google Translate are not sufficient to confirm if "intitolare" means they're really *renaming* it or "only" dedicating it to him; perhaps @TownerFan can clarify.
It means "renaming". The previous name was "Auditorium Parco della Musica", the new name is "Auditorium Ennio Morricone". It is written a bit more explicitly here: https://www.ansa.it/sito/notizie/cultura/musica/2020/07/17/campidoglio-dice-si-lauditorium-si-chiamera-morricone_0a2922ce-3dc3-41d7-bc62-aea29e80ea57.html
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3 hours ago, Thor said:
I would argue that it's fairly well-known as far as Morricone (and Morricone fans) are concerned. It's certainly among my own favourites.
Also among mine! Really a fantastic score. I was meaning that the general public is much less aware of that one, compared for instance with the main themes of Mission, Once Upon a Time in the West / America, and so on, which everyone knows.
3 hours ago, Brundlefly said:I constantly rant over the fact that there's no adequate, uncompressed, pristine-sounding release of this wonderful score. It gets a lot of appreciation in this forum.
By the way, the excerpt from The Mountain that can also be heard in Inglourious Basterds does not stem from Secret of the Sahara. Just like Tarantino, they stole that bit from The Return of Ringo which is the film it was composed for.
Interesting, I didn't know that! I'm not familiar with The Return of Ringo. With hindsight, the cue sounds a bit "out" with respect to the rest of The Secret of the Sahara, but it is gorgeous, so I am fine with that. Actually, it works perfectly in Inglourious Basterds as well!
John Williams (and Ennio Morricone) bestowed with the 2020 Princess of Asturias Award for the Arts
in JOHN WILLIAMS
Posted
I had noticed that it looks like a painting, indeed... however, I don't think I want to have that in my house
A bound complete score for ROS (or any of his other works) signed by him, on the other hand...