JAMOcl

Maybe all this non retiring comes from the negociations between DC and Spielberg about Superman Maybe he just wants to come back

After listening two full times I must say that Elfman was kinder with Gia's theme than he was with Spidey's. But still Danny Elfman bases his score in his own material. I can hear some structure reference to Wandavision by Beck in this "new" Wanda theme, but its pretty annoying that everytime a new composer comes to the MCU, they seem to trash all from previous films. (Specially the harpischord, which was great). I think the Wanda's character is the most damaged of the MCU in terms of thematic material. She had a great, mysterious and badass theme by Tyler (mostly part of the rejected score, also great), then this Twins theme by Elfman, then Christophe Beck's awesome motif, now this by Elfman and let's not forget that short pieces by Silvestri for Avengers. Hope Giacchino doesn't throw everything from Thor, specially given that Mark Mothersbaugh, bringing his own theme, respected both Doyle and Tyler's scores. aside from this issue, the score is fun, bombastic and clearly an Elfman sound, even a la OingoBongo at times.

I love how Rachel Ziegler's voice is just as operatic as it should be. Not modernized "Dua Lipa/ Emma Watson" kind of treatment of the vocal character. The orchestra sounds top notch

After watching the film and hearing (God forgive me) the score album the most important thoughts are this: -Danny Elfman was right, his Batman theme is the Batman Theme (sorry Giacchino) -Although it hurts I think that the JW Superman Theme is rightfully out of this movie, I hope that the next superman is enough for bringing back THE superman Theme. -WW´s theme is becoming too much -Junkie XL is improving in his score writing -It's an overall better film -Flash is not only anoying but his musical elements went to hell without Elfman's motif, what's more I felt that Danny Elfman's theme had similarities with Blake Neely's Theme, so it was right. -Finally, I miss more and more Brian Tyler and John Powell as a good balance between modern superhero film scoring and being respectful with a tradition that comes from Wagner, to Steiner to John Williams...having a Theme that not only appears with the character, but also shapes the character.

I believe that part of a memorable performance is not how perfect it is, as a matter of fact Furtwrangler (who was a Berliner and Wiener champion) was known for conducting not perfect but intense performance. And as someone who hears a lot the WPO (Spotify was keen on reminding it to me) I must say that THIS IS the Wiener Philharmoniker sounds, not perfect, is an orchestra with its own personallity. John made a wonderful job conducting it. I think the magic of live performance is indeed that is live, unpollished. It's foolish to expect a sound like the original recordings or even the Gerhard ones. Yeah maybe The Main Title was kinda off and the Imperial March too slow, but come on, not just symbolically this was a great concert. Now the music of John Williams travels across the universe (or the stars) at the same level of Beethoven, Bruckner, Tchaikovsky, etc. the WPO is the sound of music recognized as part of human history, class without doubt and incredible importance to the world of orchestral composing and performance. I mean the textures in the CE3K Suite is just amazing, War Horse is delicious and even the Imperial March (slow and funny as it sounds) has the strenght necessary to represent faithfully the power of dictatorship and malevolance

I believe the maestro is in really good shape to make an appearence with the BPO. Take for example Bernard Haitink who is 90ish and can´t even conduct standing, still he managed to appear in the BBC Proms 2019, conduct his beloved Concertgeboworkest and also appear with the WPO and BPO. Also, I would love that the BPO and John innovate on the program compared with the WPO concert, of course they have to repeat Star Wars, but maybe they can add Superman, AI (a dream for me) or maybe Tintin. Well, they can add a lot of music if they reduce ASM's involvement.

I think most of the flaws are kinda common in classical music recordings and particularly de Wiener Philharmoniker, IMHO comparing the soundtrack recordings with a LIVE non film concert is just useless. The magic in this album is capturing the new interpretation John does of his own compositions. A perfect example of this is the CE3K piece, which sounds more like a Edgar Varese composition in the beginning that the classic John Williams style (SW, HP). I agree with the idea that they wanted to play this music as if this was a Tchaikovsky Concert and they really achieved that. I mean the strings are just marvelous, the brass is sometimes better than the LSO and the percussion is top. This is what John always (anoyingly repeatedly) says, "the music without the distraction of the film". Of course we know this music comes from movies, but in this performance by the WPO i think we must understand it as programmatic music (an aproach to hearing Beethoven's 6th or Wagner Concert Arrangements). About the gestures and faces the maestro did when the orchestra clearly didn´t sound as he wanted reminded me of Carlos Kleiber and it also made me notice that when he really enjoyed the playing he really showed it. Just as Kleiber, John Williams in this point of his career does not just conduct an orchestra, he is in ther performance, feeling the performance and have a critical view of it. Of course they could have had more rehearsal, but if this was just a two days tryout i think is a complete success. It would be interesting if they had filmed the rehearsal sessions, maybe there is a recording. it would be historical material. After the end of the concert and the album the two thoughts that kept swinging in my mind where: 1-This is how Carlos Kleiber would have played John Williams, and 2- John should really make a recording of the Beethoevn Cycle with th WPO.

I think we can explain that by the fact the RCO is far more conservative actually than the WP, they've had principal conductors for many many years which leads to little innoivation over the years. Recently Danielle Gatti who was ther last principal conductor seemed to be leaning towards opening the musical field, but he was fired (for rightdul reasons).

I must say that the quality of the orchestral performance by the Recording Artists of LA has improved very much. In the TFA their interpretation of Star Wars orchestration was alittle bit dry and lacking the lavishness of the LSO. But for this they have nailed it. Maybe it's the power of John's conducting or maybe the mixing, but the instrumental quality has really improved

For me is the complete War Horse Score...so brilliant and the flute solos OMG. Also Star Wars Revenge of the Siths