Martinland

The last ~40 minutes are the most amazing, exhilaratingly edited, composed, filmed, fx-enhanced (for the time), and funny culminating "moments" (nearly half the film!) of any (not too serious) action/adventure movie I know of; and in a nostalgic movie mode to boot (gone nowadays). I simply love it. Same could be said about the first two reels of the film...

No need to apologier about ”snappy” replies. There’ve been much worse on the forum - I interpreted your reply as difference of opinion. ; )

I am sorry if my answer was confusing, I should have explained:
 
Hopefully the third album is available individually on CD by now; it's not about the performances, it's about content and marketing. Good to know those are splendid performances!
 
Up until 2015 I have been collecting everything Williams (cassette dubs back in the early 90s, boots, LPs of scores unreleased on CD, concert work recordings, you name it), some of you know that feeling.
 
Then I had first doubts (e.g. liking original albums more than each and every expansion) and this particular announcement was really hard to say yes to for me (= easy to say no):
 
Not only would I have had to re-buy two perfectly fine albums I already owned and treasured for decades, but the content of the third I considered "less classic" and did exist individually on the respective score CDs except for that Marion's Theme (which is now available thanks to Tokyo) and Escapades, which we all heard live in Madrid, unforgettable - needless to say I started to say no (it's just me, don't worry) to a lot of albums until the point where, especially after being unable to experience the magic of seeing John Williams conducting (once more), this time with our daughter, in Vienna last year I just stopped collecting.
 
I have so much to treasure and listen to, lasting me another lifetime. So this is my collector's story coming full circle.
 
Hopefully this explains my snappy answer above and, again, I am sorry for any confusion that may have caused.
 
Have a better one,
ML

As long as they don't use the Zimmer Edition!

Agreed, but Gerhardt's extended suite fits better alongside the classical evergreens. It's like a grand tone poem.

The Goldsmith Odyssey had a bit of a hiatus, but we're back with a very extensive and varied conversation with composer/conductor David Newman, who also had the distinction of playing as a session violinist on multiple Goldsmith scores including Contract on Cherry Street and Star Trek: The Motion Picture, which he gives an important behind-the-scenes view on here. He also spends some time comparing Jerry Goldsmith and John Williams, and discusses his experiences conducting the music of the latter live to picture. Therefore I thought it was appropriate to share on this side of the board as well:
http://goldsmithodyssey.buzzsprout.com/159614/1000935-odyssey-interviews-david-newman
 

 
I should mention that Williams's friend, conductor Leonard Slatkin, also spoke about him in the very first Odyssey Interview I conducted (though not nearly as much as David Newman does):
http://goldsmithodyssey.buzzsprout.com/159614/824863-odyssey-interviews-leonard-slatkin
 
I would love to hear people's thoughts on this conversation as I found it quite eye-opening!
 
Yavar

I love the Jedi album.  I think the conducting on the Jabba The Hunt suite could have been sped up a bit and yes, when the tuba player has to hit those higher note there's a bit of a struggle.  But there is just so much life and energy in the rest of the recording. However, in "Return of the Jedi" like in the Empire Strikes Back recording have a few squawky trumpets... not sure why they were never addressed... but "Into The Trap: Fight In The Dungeon" is superb.  And what a unique arrangement that piece is.  The transition from Into The Trap to Dungeon is great and the pops finale of the piece is unreal! I'd love to hear that in concert!
 
As for the SW/CE3K album.  There's are a lot of issue with the conducting of the Star Wars suite, but the Close Encounters suite might very well be the best re-recorded suite of anything I've ever heard other than McNeely's Vertigo.  Close Encounters has never sounded better!
 
-Erik-

Not really, no. It's not a problem that exists for me. I don't care diddlysquat what's 'missing' or not, as the music in the film is not my reference for soundtrack listening. I only care about the soundtrack album as is, and it if holds up as a great listening experience/concept album as presented.

Here is the concert, split up into each individual piece.
 
https://www.youtube.com/watch?v=62-RHm4U61E
 
https://www.youtube.com/watch?v=JJoAv7b911I
 
https://www.youtube.com/watch?v=9fePsrFJpjo
 
https://www.youtube.com/watch?v=gRspOxN2K5A
 
https://www.youtube.com/watch?v=gRWzCPz2Wsc
 
https://www.youtube.com/watch?v=tuzf2TNb3-o
 
https://www.youtube.com/watch?v=ePXWA2v_FQ4
 
https://www.youtube.com/watch?v=FZvk0LklRfA
 
https://www.youtube.com/watch?v=CIUf9NXoi-k
 
https://www.youtube.com/watch?v=l3BY3W2gxhw
 
My first uploaded videos to YouTube. I don't upload much original content. It's not important to me, but I wanted to record the concert and file it. Enjoy!

Conductor and composer André Previn dies at 89...

Nice. Happy Birthday Maestro Williams indeed!
 
I actually celebrated a week ago (due to scheduling reasons) using exactly this CD for "An Evening With John Towner Williams At 87" and to blast his music through all of my eight speakers.
 
I was quite moved; alone in the room/evening, but quite moved nonetheless.

Where Dreams Are Born
Fawkes Is Reborn
Seeing the Baby
The Arrival of Baby Harry
Hatching Baby Raptor

John Williams turns 87 today! Happy birthday, Maestro! 🎂🥂🎉🎊🎈🎁
 

UPDATE: December 13, 2018
 
UNDERRATED JOHN WILLIAMS TRACKS - PART I
http://www.cinematicsound.net/underrated-john-williams-tracks-part-1/
 
On this brand new episode of CINEMATIC SOUND RADIO, and as voted by you on Twitter, Erik Woods explores some of John Williams’ most underrated tracks including selections from THE REIVERS, THE MISSOURI BREAKS, NIXON, SLEEPERS, HEARTBEEPS, SPACECAMP and more.
 
This is part one of a two-part show. Part two will be available soon.
 
-----
 
Recent shows you might have missed.
 
ANIME SPECTACULAR: EPISODE TWO
http://www.cinematicsound.net/anime-spectacular-episode-two/
 
THE ARCHIVE WITH JASON DRURY: EPISODE 14 - PART II
http://www.cinematicsound.net/the-archive-with-jason-drury-episode-fourteen-part-2/
 
THE ARCHIVE WITH JASON DRURY: EPISODE 14 - PART I
http://www.cinematicsound.net/the-archive-with-jason-drury-episode-fourteen-part-1/
 
THE 1UPBEAT INAUGURAL EPISODE
http://www.cinematicsound.net/the-1upbeat-with-eric-silver-inaugural-episode/
 
-----
The show is available via iTunes, Spotify, Google Play & Stitcher
http://apple.co/29zAyyL | https://spoti.fi/2PfYHPb | http://bit.ly/1ZrG6Lf | http://bit.ly/2bIQlM3
 
Cinematic Sound Radio Affiliate
http://www.moviescoreradio.com
 
Co-Host of Tracksounds The Soundcast Stereo
http://www.thesoundcast.blogspot.ca/
 
Social Networks
http://www.facebook.com/cinematicsound | http://www.twitter.com/cinsoundradio
 
Enjoy!
 
-Erik-

the biggest robbery is Spielberg doing 2 films at the same time last year. I would have MUCH preferred Williams to score Ready Player One
 
Bottom line, I believe this rumor unless Ricard dismisses it . Now I just hope makes it to the EP. IX recording sessions

Dear Marian Schedenig, this is quite eery - the more I think about it the more sense it does indeed make:
 
I just came back from buying the new "Falter", the weekly event calendar for all of Vienna and Austria. Guess what? The concert is still in there (!); filed under "E-Musik".
 
As maybe not all around here might know: In Austria (amongst other countries) it is still business as usual to strictly differentiate between "U-Musik" (Unterhaltung/entertainment) and "E-Musik" (Ernste/serious Musik/music). Two completely different worlds. (not my opinion entirely, but for "Großer Saal des Musikvereins & Wiener Philharmoniker" it's like chiseled into stone now through the centuries...)
 
And Maestro John Williams, on his way home and getting well - thanks universe!, made it into this century old, sacred halls; at least in theory and in print. I'll cherish that forever. (wish our daughter could have experienced this too, though)
 
Nonetheless there's still (a faint glimmer of - the Disney Star Wars machinery will occupy him for far too long next year, I fear, and then he will be 88 years old, if the universe allows for that) hope:
 
I am pretty sure Maestro Williams is aware that film music was practically born in Vienna (and in other countries of course) with Max Steiner and Erich Wolfgang Korngold (whom he has incorporated stylistically into his own writing now and then).
 
The latter had engagements at the Musikverein years before there was any music on a film's soundtrack, although he was more into opera (and the opera house) back then. Concerning Max Steiner, one of the first film composers as we understand them today (of course there were other, even classical composers before him in the silent area, etc.), I am not so sure about his history with the Viennese concert halls. (must check biography again lying around here somewhere )
 
So film music would have come full circle with the (in sheer public awareness last) man honouring this tradition (in an age of computerised orchestras and composers without classical orchestral background; no names) returning to its cradle. (one of them at least )
 
What I am trying to say is that he might still have that goal in sight after it has been thwarted right now by utter bad luck indeed. (missing the oportunity to meet the LSO again after all these years since the Barbican times must have caused grief as well)
 
The will to finish composing the whole of the Star Wars space opera cycle and maybe (hopefully?) the same wish to appear in these sacred Viennese halls and so "being taken seriously" (see above) are in his and our favour.
 
The "only" things against him and us are time and a busy schedule (both not even of his own choice entirely).
 
Well, let's hope for the best,
(our daughter was close,)
he is getting better now,
and I feel better too,
having written this
off my chest.
 
Have a better one,
ML
 
READY.
[]
 
P.S. Now you may let in the shrinks.
 

This was posted yesterday on Jeremy Sinkus' Instagram. May have been taken before the London trip, though.
 
 

Update from Mike Matessino:
 


 
http://filmscoremonthly.com/board/posts.cfm?threadID=132079&forumID=1&archive=0

Dear Marian Schedenig, this is quite eery - the more I think about it the more sense it does indeed make:
 
I just came back from buying the new "Falter", the weekly event calendar for all of Vienna and Austria. Guess what? The concert is still in there (!); filed under "E-Musik".
 
As maybe not all around here might know: In Austria (amongst other countries) it is still business as usual to strictly differentiate between "U-Musik" (Unterhaltung/entertainment) and "E-Musik" (Ernste/serious Musik/music). Two completely different worlds. (not my opinion entirely, but for "Großer Saal des Musikvereins & Wiener Philharmoniker" it's like chiseled into stone now through the centuries...)
 
And Maestro John Williams, on his way home and getting well - thanks universe!, made it into this century old, sacred halls; at least in theory and in print. I'll cherish that forever. (wish our daughter could have experienced this too, though)
 
Nonetheless there's still (a faint glimmer of - the Disney Star Wars machinery will occupy him for far too long next year, I fear, and then he will be 88 years old, if the universe allows for that) hope:
 
I am pretty sure Maestro Williams is aware that film music was practically born in Vienna (and in other countries of course) with Max Steiner and Erich Wolfgang Korngold (whom he has incorporated stylistically into his own writing now and then).
 
The latter had engagements at the Musikverein years before there was any music on a film's soundtrack, although he was more into opera (and the opera house) back then. Concerning Max Steiner, one of the first film composers as we understand them today (of course there were other, even classical composers before him in the silent area, etc.), I am not so sure about his history with the Viennese concert halls. (must check biography again lying around here somewhere )
 
So film music would have come full circle with the (in sheer public awareness last) man honouring this tradition (in an age of computerised orchestras and composers without classical orchestral background; no names) returning to its cradle. (one of them at least )
 
What I am trying to say is that he might still have that goal in sight after it has been thwarted right now by utter bad luck indeed. (missing the oportunity to meet the LSO again after all these years since the Barbican times must have caused grief as well)
 
The will to finish composing the whole of the Star Wars space opera cycle and maybe (hopefully?) the same wish to appear in these sacred Viennese halls and so "being taken seriously" (see above) are in his and our favour.
 
The "only" things against him and us are time and a busy schedule (both not even of his own choice entirely).
 
Well, let's hope for the best,
(our daughter was close,)
he is getting better now,
and I feel better too,
having written this
off my chest.
 
Have a better one,
ML
 
READY.
[]
 
P.S. Now you may let in the shrinks.
 

Dear Marian Schedenig, this is quite eery - the more I think about it the more sense it does indeed make:
 
I just came back from buying the new "Falter", the weekly event calendar for all of Vienna and Austria. Guess what? The concert is still in there (!); filed under "E-Musik".
 
As maybe not all around here might know: In Austria (amongst other countries) it is still business as usual to strictly differentiate between "U-Musik" (Unterhaltung/entertainment) and "E-Musik" (Ernste/serious Musik/music). Two completely different worlds. (not my opinion entirely, but for "Großer Saal des Musikvereins & Wiener Philharmoniker" it's like chiseled into stone now through the centuries...)
 
And Maestro John Williams, on his way home and getting well - thanks universe!, made it into this century old, sacred halls; at least in theory and in print. I'll cherish that forever. (wish our daughter could have experienced this too, though)
 
Nonetheless there's still (a faint glimmer of - the Disney Star Wars machinery will occupy him for far too long next year, I fear, and then he will be 88 years old, if the universe allows for that) hope:
 
I am pretty sure Maestro Williams is aware that film music was practically born in Vienna (and in other countries of course) with Max Steiner and Erich Wolfgang Korngold (whom he has incorporated stylistically into his own writing now and then).
 
The latter had engagements at the Musikverein years before there was any music on a film's soundtrack, although he was more into opera (and the opera house) back then. Concerning Max Steiner, one of the first film composers as we understand them today (of course there were other, even classical composers before him in the silent area, etc.), I am not so sure about his history with the Viennese concert halls. (must check biography again lying around here somewhere )
 
So film music would have come full circle with the (in sheer public awareness last) man honouring this tradition (in an age of computerised orchestras and composers without classical orchestral background; no names) returning to its cradle. (one of them at least )
 
What I am trying to say is that he might still have that goal in sight after it has been thwarted right now by utter bad luck indeed. (missing the oportunity to meet the LSO again after all these years since the Barbican times must have caused grief as well)
 
The will to finish composing the whole of the Star Wars space opera cycle and maybe (hopefully?) the same wish to appear in these sacred Viennese halls and so "being taken seriously" (see above) are in his and our favour.
 
The "only" things against him and us are time and a busy schedule (both not even of his own choice entirely).
 
Well, let's hope for the best,
(our daughter was close,)
he is getting better now,
and I feel better too,
having written this
off my chest.
 
Have a better one,
ML
 
READY.
[]
 
P.S. Now you may let in the shrinks.
 

I have a dream: Maestro John Williams conducting the Vienna Philharmonic at their summer open air "Sommernachtskonzert" in front of tens of thousands of people in the beautiful gardens of Schönbrunn castle!

Dear Marian Schedenig, this is quite eery - the more I think about it the more sense it does indeed make:
 
I just came back from buying the new "Falter", the weekly event calendar for all of Vienna and Austria. Guess what? The concert is still in there (!); filed under "E-Musik".
 
As maybe not all around here might know: In Austria (amongst other countries) it is still business as usual to strictly differentiate between "U-Musik" (Unterhaltung/entertainment) and "E-Musik" (Ernste/serious Musik/music). Two completely different worlds. (not my opinion entirely, but for "Großer Saal des Musikvereins & Wiener Philharmoniker" it's like chiseled into stone now through the centuries...)
 
And Maestro John Williams, on his way home and getting well - thanks universe!, made it into this century old, sacred halls; at least in theory and in print. I'll cherish that forever. (wish our daughter could have experienced this too, though)
 
Nonetheless there's still (a faint glimmer of - the Disney Star Wars machinery will occupy him for far too long next year, I fear, and then he will be 88 years old, if the universe allows for that) hope:
 
I am pretty sure Maestro Williams is aware that film music was practically born in Vienna (and in other countries of course) with Max Steiner and Erich Wolfgang Korngold (whom he has incorporated stylistically into his own writing now and then).
 
The latter had engagements at the Musikverein years before there was any music on a film's soundtrack, although he was more into opera (and the opera house) back then. Concerning Max Steiner, one of the first film composers as we understand them today (of course there were other, even classical composers before him in the silent area, etc.), I am not so sure about his history with the Viennese concert halls. (must check biography again lying around here somewhere )
 
So film music would have come full circle with the (in sheer public awareness last) man honouring this tradition (in an age of computerised orchestras and composers without classical orchestral background; no names) returning to its cradle. (one of them at least )
 
What I am trying to say is that he might still have that goal in sight after it has been thwarted right now by utter bad luck indeed. (missing the oportunity to meet the LSO again after all these years since the Barbican times must have caused grief as well)
 
The will to finish composing the whole of the Star Wars space opera cycle and maybe (hopefully?) the same wish to appear in these sacred Viennese halls and so "being taken seriously" (see above) are in his and our favour.
 
The "only" things against him and us are time and a busy schedule (both not even of his own choice entirely).
 
Well, let's hope for the best,
(our daughter was close,)
he is getting better now,
and I feel better too,
having written this
off my chest.
 
Have a better one,
ML
 
READY.
[]
 
P.S. Now you may let in the shrinks.
 

Dear Marian Schedenig, this is quite eery - the more I think about it the more sense it does indeed make:
 
I just came back from buying the new "Falter", the weekly event calendar for all of Vienna and Austria. Guess what? The concert is still in there (!); filed under "E-Musik".
 
As maybe not all around here might know: In Austria (amongst other countries) it is still business as usual to strictly differentiate between "U-Musik" (Unterhaltung/entertainment) and "E-Musik" (Ernste/serious Musik/music). Two completely different worlds. (not my opinion entirely, but for "Großer Saal des Musikvereins & Wiener Philharmoniker" it's like chiseled into stone now through the centuries...)
 
And Maestro John Williams, on his way home and getting well - thanks universe!, made it into this century old, sacred halls; at least in theory and in print. I'll cherish that forever. (wish our daughter could have experienced this too, though)
 
Nonetheless there's still (a faint glimmer of - the Disney Star Wars machinery will occupy him for far too long next year, I fear, and then he will be 88 years old, if the universe allows for that) hope:
 
I am pretty sure Maestro Williams is aware that film music was practically born in Vienna (and in other countries of course) with Max Steiner and Erich Wolfgang Korngold (whom he has incorporated stylistically into his own writing now and then).
 
The latter had engagements at the Musikverein years before there was any music on a film's soundtrack, although he was more into opera (and the opera house) back then. Concerning Max Steiner, one of the first film composers as we understand them today (of course there were other, even classical composers before him in the silent area, etc.), I am not so sure about his history with the Viennese concert halls. (must check biography again lying around here somewhere )
 
So film music would have come full circle with the (in sheer public awareness last) man honouring this tradition (in an age of computerised orchestras and composers without classical orchestral background; no names) returning to its cradle. (one of them at least )
 
What I am trying to say is that he might still have that goal in sight after it has been thwarted right now by utter bad luck indeed. (missing the oportunity to meet the LSO again after all these years since the Barbican times must have caused grief as well)
 
The will to finish composing the whole of the Star Wars space opera cycle and maybe (hopefully?) the same wish to appear in these sacred Viennese halls and so "being taken seriously" (see above) are in his and our favour.
 
The "only" things against him and us are time and a busy schedule (both not even of his own choice entirely).
 
Well, let's hope for the best,
(our daughter was close,)
he is getting better now,
and I feel better too,
having written this
off my chest.
 
Have a better one,
ML
 
READY.
[]
 
P.S. Now you may let in the shrinks.
 

I have a dream: Maestro John Williams conducting the Vienna Philharmonic at their summer open air "Sommernachtskonzert" in front of tens of thousands of people in the beautiful gardens of Schönbrunn castle!

Dear Marian Schedenig, this is quite eery - the more I think about it the more sense it does indeed make:
 
I just came back from buying the new "Falter", the weekly event calendar for all of Vienna and Austria. Guess what? The concert is still in there (!); filed under "E-Musik".
 
As maybe not all around here might know: In Austria (amongst other countries) it is still business as usual to strictly differentiate between "U-Musik" (Unterhaltung/entertainment) and "E-Musik" (Ernste/serious Musik/music). Two completely different worlds. (not my opinion entirely, but for "Großer Saal des Musikvereins & Wiener Philharmoniker" it's like chiseled into stone now through the centuries...)
 
And Maestro John Williams, on his way home and getting well - thanks universe!, made it into this century old, sacred halls; at least in theory and in print. I'll cherish that forever. (wish our daughter could have experienced this too, though)
 
Nonetheless there's still (a faint glimmer of - the Disney Star Wars machinery will occupy him for far too long next year, I fear, and then he will be 88 years old, if the universe allows for that) hope:
 
I am pretty sure Maestro Williams is aware that film music was practically born in Vienna (and in other countries of course) with Max Steiner and Erich Wolfgang Korngold (whom he has incorporated stylistically into his own writing now and then).
 
The latter had engagements at the Musikverein years before there was any music on a film's soundtrack, although he was more into opera (and the opera house) back then. Concerning Max Steiner, one of the first film composers as we understand them today (of course there were other, even classical composers before him in the silent area, etc.), I am not so sure about his history with the Viennese concert halls. (must check biography again lying around here somewhere )
 
So film music would have come full circle with the (in sheer public awareness last) man honouring this tradition (in an age of computerised orchestras and composers without classical orchestral background; no names) returning to its cradle. (one of them at least )
 
What I am trying to say is that he might still have that goal in sight after it has been thwarted right now by utter bad luck indeed. (missing the oportunity to meet the LSO again after all these years since the Barbican times must have caused grief as well)
 
The will to finish composing the whole of the Star Wars space opera cycle and maybe (hopefully?) the same wish to appear in these sacred Viennese halls and so "being taken seriously" (see above) are in his and our favour.
 
The "only" things against him and us are time and a busy schedule (both not even of his own choice entirely).
 
Well, let's hope for the best,
(our daughter was close,)
he is getting better now,
and I feel better too,
having written this
off my chest.
 
Have a better one,
ML
 
READY.
[]
 
P.S. Now you may let in the shrinks.