Madmartigan JC

JW'S E.T. INFLUENCE EXPOSED!
 
 
Do you hear it?

I love JWFan

A 5 minute track was recorded to play throughout the scene, the walk through Diagon Alley was meant to be scored by the woodwinds and witchy fiddle. Then a "Reveal insert" was recorded to change the start of the reveal into an orchestral swell because it wasn't magical and awe-inspiring enough. Williams liked the music he wrote and expanded it into a longer, slower tempo concert piece in his Harry Potter Children's Suite for Orchestra, "Diagon Alley". For the original 1 disc soundtrack album release, Williams replaced the opening portion of his full recorded track with part of the Diagon Alley concert piece, this is "Diagon Alley and the Gringotts Vault" as you know it. For the movie, the filmmakers decided the reveal needed more of a warm happy reveal and excitement than a weird new world, so they replaced that same opening section with a latter track that Williams wrote for entering the Great Hall. (Confusingly, the track on the 1 disc soundtrack album called "Entry into the Great Hall and the Banquet" does NOT contain this entry music, only the banquet music.) The film also appends part of "Hermione's Feather" to the start of the track for the bricks moving out of the way. The LLL expanded release linked above has the original recorded track combined with the Reveal Insert in Disc 1 track 7, "Diagon Alley and The Gringotts Vault [Extended Version]", the Great Hall entrance in Disc 1 track 13, "Through the Doors", and the concert piece in Disc 3 track 8, "Diagon Alley". The original recorded opening of the track for Diagon Alley, the Reveal Insert, the full unedited concert piece and Through the Doors all premiered on the set, they were never before released, they were only available in a recording sessions leak with the exception of the Reveal Insert. I've done two videos about how the original opening and the reveal insert opening would've worked in the film:
 
 
 
 

We're all very pleased with the final program, keeping it mind that there were factors that lead into some decisions, such as compact disc length, composer preference, fee increases for tracks over 10 minutes long, etc
 
Programming any expansion includes deciding what to do when there are multiple versions of cues in terms of which goes in the main program and which in the bonus tracks, and by and large sticking to having all the versions used in the film in the main program, and all the versions that were not as bonus tracks, made a lot of sense and led to each program being really strong.  Additionally, the careful selection of which score alternates should go at the end of disc 2, instead of disc 3, in order to make disc 3 be the best album it can be, worked out really well.  The one change a lot of people will probably do of taking those disc 2 tracks and adding them to the disc 3 album (as John Takis laid out somewhere here earlier), to basically make a longer Songs & Alts program, which is really just as valid as the structure we ended up with.  However, when released as three physical discs, I am glad that a big bonus program didn't start on disc 2, have a disc break, and then have it continue on disc 3.  It's kind of nicer to have disc 3 be more of its own thing. 
 
Like Mike has said, everything just kind of took a life of its own and came out perfectly in that regard.  The goal was to make a program that pleased us, the composer, and the lyricist, while adhering to the stipulations we had, and of course presenting the songs in the best way possible.  Since most of the songs are piano demos, if they were just lumped together in a row, they don't speak nearly as loudly as they do in the current album 3 configuration where you hear lushly orchestrated versions of the song melodies before or after those demos in the score alternates; it just makes everything work so well that way!
 
 
Now, when it comes down to it, the die hard fans are going to change things around the way they want anyway, and it's impossible to make a program that pleases everyone.  And sure, I'm a diehard fan as much as anyone, so I don't think there's any harm in stating some of my own preferences.
 
For Hook Trailer (Prologue), as much as I like the viola version of Peter's theme, I ultimately think the final performance edit made for the released trailer in 1991 is the strongest version of this music.  I am glad that the new track is completely different takes from that version throughout (instead of sticking the different sections into an otherwise same track), but for me it plays better as a bonus track opener, and keeping the 1991 performance edit version as the main version.  Just my preference.
 
For Yuppie Sounds (Banning Back Home), I prefer Williams' original version, with the fun improv section, over the revision that was recorded at the last minute because of a picture change.  We actually discussed making the original version be main program version, but there actually wasn't space on the discs to swap them, since the original version is a minute longer than the revised one!  But since the revision is what's in the film it worked out nicely in that regard anyway.
 
For the first part of Looney Wendy (The Stories Are True), I prefer the original version with the twisted version of the "Childhood" theme, over the later revision that is just a re-done Forgotten How To Fly with the "Mothers" theme mostly removed.  This version actually was in the main program for a while, but having the "Childhood" version on disc 3 ultimately made that disc so much stronger.  And again because the revision is what's in the film it worked out nicely anyway.
 
For The Lost Boy Chase, I really like the percussion insert section.  But John Williams wanted the album version in the main program.  I don't really think it matters much either way.  If anything, having to present the first two minutes of this cue three times (because it was used in the end credits) is the biggest issue with the final product, but also an issue that just has no workaround.  At least each instance is on a different disc!
 
For the entire grand finale, I prefer to have from Tink Grows Up through The End of Hook to just be one single 24 minute track with all cues seguing directly into each other, instead of broken up into 4 tracks.  Just my preference.
 
One thing I still haven't decided on after all this time is my final thoughts on the Kensington Extension (the final part of Farewell Neverland (Short Version / Alternate)).  At first it was so jarring to hear, but I kind of love it more and more every time I hear it, and am now expecting it when I get to the end of the score.  And yet there's something about the simplicity (for lack of a better word) of the original version's ending that can't be denied.  So, I'm still undecided which I like better! 
 
I think that's about it.  I still haven't fiddled with trying to put God Rest Ye Merry Gentlemen and Take Me Out To The Ballgame in the main program or anything.  And I don't think there's any merit in trying to put the other songs into the main program, not even "Low Below".  Not having Bob Hoskins performing as Smee there would be too weird I think (and you'd have to lose Show Us The Hook, which is one of my favorite parts of the score).   Moira's Lullaby seems like it would fit in well if not for the fact that the Saying Goodnight cue effectively replaces it.

Wow, thanks everyone!  Obviously, the most important question to address is how I got those italics. Simple! https://lingojam.com/FacebookFonts 

As for the timeframe: I have over a year to hand in the finished manuscript, but my goal is to have it completed well before that. It's a big book, and publishing is a very slow process. But everything so far is proceeding as I have forseen...
 
It's not a guide to the scores really, but something more holistic, with each chapter looking at cues from all three trilogies from some angle: musical referentiality, thematic transformation, concert arrangements, and so on. There will be a ton of music examples (all my own annotated transcriptions as usu.), hopefully presented in an accessible way that draws in people who can't read sheet music. I know notation and music-theory jargon can be intimidating, and I'm hyper-aware of the potential gatekeeping effect it could on an already niche readership. But at the same time, I think we can all agree this music warrants deep and serious analysis! It's a balancing act for sure... 
 
Alas, I don't have special access to recordings, and can't speak to official expanded album releases, as amazing as they would be! 
 
Incidentally: I don't see it trumpeted nearly enough on these boards but Chloé Huvet came out with a book on SW music (mainly the OT and PT) a couple years ago that is absolutely brilliant and similarly synthetic in approach. The book is in French, which limits the audience, but it's worth getting your hands on if only for the fantastic music examples and charts.  The amount of insight in her prose is incredible too, and it's been a major source of inspriation to me. 

The happy news I cryptically alluded to last week is now something I can make official: I just signed a book contract with OUP for 𝘛𝘩𝘦 𝘚𝘬𝘺𝘸𝘢𝘭𝘬𝘦𝘳 𝘚𝘺𝘮𝘱𝘩𝘰𝘯𝘪𝘦𝘴: 𝘔𝘶𝘴𝘪𝘤𝘢𝘭 𝘚𝘵𝘰𝘳𝘺𝘵𝘦𝘭𝘭𝘪𝘯𝘨 𝘪𝘯 𝘚𝘵𝘢𝘳 𝘞𝘢𝘳𝘴!   It's a book it feels like I've been writing in my head for a long, long time -- since middle school, kinda? And unless Williams somehow returns to write another entry in the series, I'm treating it a chance to provide a properly 𝘴𝘺𝘯𝘵𝘩𝘦𝘵𝘪𝘤 investigation into these scores, all nine of them.   Even Rise of Skywalker?? 𝘌𝘴𝘱𝘦𝘤𝘪𝘢𝘭𝘭𝘺 Rise of Skywalker!   My hope is this book does some justice to the complexity, challenge, and sheer magic of this music.   Now, back to the grindstone!   https://www.facebook.com/Falstaft/posts/pfbid0L6wUjeDDxj6AmhwHh1f9obrVMJfYbPx4GJM8YaEWiZtqxwp37A88monPFVDxBQ26l  
Congratulations, @Falstaft!

Hi, 
im new to the Forum. Been a Big Williams Fan for several years now.(I am only 21) I have been reading the Forum for a while now every once in a while. And sometimes i get the urge to chime in, so i created an account.
 
Here is a Handwritten Letter/Theme i stumbled upon by Williams and i was Wondering wether anyone new anything about this. I couldnt find
anything on this Forum about it.
 

 

Williams has written themes for better fan clubs than ours here. But they're all dead.

FOR IMMEDIATE RELEASE
Deutsche Grammophon Unveils Highly Anticipated Release: John Williams in Vienna Part 2
Deutsche Grammophon is thrilled to announce the upcoming release of John Williams in Vienna Part 2 on 2 CDs. Following the resounding success of the first installment, fans around the world have eagerly awaited this next chapter in the collaboration between the legendary composer John Williams and the Vienna Philharmonic.
In this latest release, Anne-Sophie Mutter once again graces the music with her unparalleled talent, adding a new dimension to Williams' iconic compositions. The collection features an array of beloved pieces from Williams' extensive repertoire, including timeless classics and hidden gems alike, such as the second Violin Concerto.
"We realize that we've kept John Williams' fans waiting for far too long," says a spokesperson for Deutsche Grammophon. "It's time to rectify our past mistakes and deliver what the fans have been clamoring for over the past two years."
John Williams in Vienna Part 2 promises to captivate listeners with its masterful performances and evocative interpretations once again. This album is a testament to the enduring legacy of John Williams' music and the remarkable artistry of Anne-Sophie Mutter and the Wiener Philharmoniker, who agreed to keep the flubs to a bare minimum for the occasion.

JWFan Forum: Take this collection to Reddit for people who say songs, it will show them our progress.  Without the missing cues, I'm afraid it's no better than a souvenir.
 

Quartet records Announces MEGA SALE OF 25%

https://quartetrecords.com/

25% BIG SALE !!

FREE GLOBAL SHIPPING ON 8 PRODUCTS TITLES AND ABOVE

I'm assuming you're referring to "Last repair shop" award, right? (The video isn't showing for me).
Honestly, that kind of praise, someone expressing how one has touched one's life, is the highest kind of prize.

What a farce. Göransson a 2-time Academy Award winner.
While…
Alan Silvestri: 0
Danny Elfman: 0
James Newton Howard: 0
Thomas Newman: 0
John Powell: 0

Nice find! Just found the full speech in better quality HERE.
He looks great. I too was worried when he didn't appear in tonight's broadcast.

 

Nice find! Just found the full speech in better quality HERE.
He looks great. I too was worried when he didn't appear in tonight's broadcast.

 

Nice find! Just found the full speech in better quality HERE.
He looks great. I too was worried when he didn't appear in tonight's broadcast.

 

Nice find! Just found the full speech in better quality HERE.
He looks great. I too was worried when he didn't appear in tonight's broadcast.

 

Nice find! Just found the full speech in better quality HERE.
He looks great. I too was worried when he didn't appear in tonight's broadcast.

 

Oh, I am afraid they fooled you. This looks like a cheap handwritten Imitation.

The Hook Ultimate Edition is nominated for Best Archival Release!
 
http://filmmusiccritics.org/2024/02/ifmca-award-nominations-2023/

https://www.facebook.com/reel/1446267599252618
 
https://open.spotify.com/album/2DWJtnvhMCL49fvWBfyt27?si=lXLmNeerS0aGaN-LvaxEjg
 
 
 
Physical CD:
 

1     Signs: The Cornfield
2     Signs: After You Were Born
3     Signs: Hand of Fate
4     The Village: Morning - James Newton Howard, Hilary Hahn, Jean-Yves Thibaudet
5     The Village: Noah Visits - James Newton Howard, Hilary Hahn, Jean-Yves Thibaudet
6     The Village: Ivy Saves Lucius - James Newton Howard, Hilary Hahn, Jean-Yves Thibaudet
7     The Sixth Sense: Lonely Boy
8     The Sixth Sense: Ghost in the House
9     The Sixth Sense: Acceptance
10     Lady in the Water: Prologue
11     Lady in the Water: Charades
12     Lady in the Water: Story
13     Lady in the Water: Return to the Blue World
14     Unbreakable: Survivor
15     Unbreakable: Destiny
16     The Last Airbender
17     The Happening: An Event - James Newton Howard, Maya Beiser, Jean-Yves Thibaudet
18     The Happening: Harbinger - James Newton Howard, Maya Beiser, Jean-Yves Thibaudet
19     The Happening: Aftermath - James Newton Howard, Maya Beiser, Jean-Yves Thibaudet
20     After Earth
21     Flow Like Water
 
https://www.amazon.com/dp/B0CG1XXMM2

MV usually works from home so he might have been out for groceries etc. Try calling at a more accessible time.

Refloating this thread to ask if anyone knows wether they're back from the holidays at Lalaland.
Last time I followed @Amer's advice and MV was so kind to take my order personally by phone.

I've mailed them to try to order some more CDs but got no answer this time. Also, the answering machine used to have a message. But I called today and only got a what I believe is a Fax signal (?).
 
Thanks!
 

Yeah, that's why the name stuck with me. They had some trio shows earlier in the year, the performance of the Williams was an encore... I'll look further for that.
Found it:
 
Argerich, Mutter and Maisky... So much talent playing Williams!
 
 

I've been summoned!
 
Exact definitions differ between theorists of course, but there is a pretty stable consensus concerning what's genuinely fugal, what's canonical or imitative, and what's just polyphonically busy. For a fugue, it's all about that incremental feeling. One voice introduces the fugue's main idea ("subject") in full, then another comes in repeating it while the first offers a countermelody ("answer"), and so on. Traditionally, these need to be at quite specific tonal levels -- the second either in ("real") or on ("tonal") the key of the dominant.  And back and forth it goes until all seperate contrapuntal strands are introduced, usually 3-4 voices in total. I'm simplifying a lot, though it's worth pointing out that Williams almost never writes fugues by completely by the "book." The key thing is that feeling of accretion, of rising intricacy, of one melodic subject chasing another, 
 
 
As breathtaking as it is, I'm afraid there's nothing fugal in the Asteroid Field. March of the Resistance's middle section includes definite but quite unconventional fugal exposition that modulates up by fifth three times, from F to D, and doesn't have a consistent countersubject. 
 
A few years ago I gave a talk on all things neo-Baroque in Williams, which included transcribing all of his fugues, fugatos, and canonic passages. It's a marvelous thing to behold. In any case, my vote is for Black Sunday.