scissorhands

No, they're all special and you're missing the point of it of his music, I mean. My list is actually quite a bit longer than Romao's...

Kingdom of the Crystal Skull Last Crusade Temple of Doom Raiders Although after listening to the Indy boxset Temple of Doom isn't as good as I remembered or thought, so it might be in a tie-up with Raiders.

The new Williams.

Actually I personally prefer Howard's score to both Barry's and Steiner's. In terms of actual quality, I can't comment because I haven't seen the other films. I've only heard Howard's score so I can't really comment, but I consider his effort outstanding given the constraints. Again, I can see where this thread is going - one person already has claimed another guy needs help for daring to suggest a Jones score is better than a North score. It's this unwritten rule where no contemporary composer can possibly outdo a golden age one and I think that's rubbish. In all fairness, Rich, North's writing is much more contemporary, advanced and modern than that of Trevor Jones. But I agree that we need to be respectful to each other here.

Elfman's score is poo. Speaking of poo http://backgroundscore.blogspot.com/2009/0...ha-for-poo.html What do you expect from something titled Poo... for some odd reason, Illarajaya is mentioned in that post.

I think that Trevor Jones himself would admit North's score's superiority.

E.T. the Extra-Terrestrial Poltergeist Twilight Zone: The Movie Conan, the Barbarian Blade Runner The Dark Crystal

The suite is just a glimpse of a more larger score, one of JW's most solid early efforts. The thematic development is really well carried out (and some of the themes are very catchy). I like this score a lot, it's one of my favorite early Williams works. Although there are a few sequences that are so silly (60's naiveness), such as the farewell between the cow and the girl, which is supposed to be tragic.... therefore Williams scores it like a powerful dramatic scene, but the whole thing is pretty ridiculous. His intention was good anyway.

The Piano Sonata is his first opus. And the trumpet concerto too! I started working on it a few years back...wow...just amazing. Huh? http://www.amazon.com/Williams-Trumpet-Con...l/dp/B00006F7K4 Looks like bloody expensive You can order it also from the official site, Denouement Records. It hasn't been updated for years, but orders are placed from time to time.

And the trumpet concerto too! I started working on it a few years back...wow...just amazing. Huh? http://www.amazon.com/Williams-Trumpet-Con...l/dp/B00006F7K4

You've been gone for almost 2 centuries, Herr Beethoven.

You can find it here, although it's accompanied by the piano only, not the orchestra, in this recording.

Never heard the trombone version of the tuba concerto?

I do that also for works I know, as long as nobody starts applauding earlier. As I said above, if a conductor can hold the silence between the end of a work and his "release" of the orchestra, it's quite magical. Unless the works ends with a fff. That cries out for an instant ovation. That's a good idea, but not sure if it will be of any use. Remember all the warning prior to the performance to turn off all phone devices... and yet you always hear some ringtone during the concert.

Huh. I did not know that. Concierto serenata for harp and orchestra. Haha, I didn't know that either. Funny, coming from: a) me, who considers himself a fan of his music b) Elmo Lewis, who made a monographic radio show on Rodrigo for several weeks when he worked in Aranjuez, and even got praised by Rodrigo's late wife.

Ah, he said when asked by Hector back in 2005 in one Q&A session in Washington (or was it Boston?) that his wife had also asked him the same question, why doesn't he write a piano concerto, considering that it's his main instrument, but he answered he feels that other instruments were more capable of conveying a wider range of emotions (or something like that, but you get the idea).

Actually, if I remember correctly, the horn concerto was recorded by the Boston Symphony not long ago, under the baton of John Williams with Jamie Summerville as soloist, but the release is still in hold for future release, maybe along with any of the new works?

3 choices of what to do when applauding at the concert hall: 1) If you know the piece, you start applauding when you know it's over. (although there was this guy in the audience some weeks ago when I went to see the Corigliano Red Violin Concerto, this guy thought he knew the work... but he didn't, because he started clapping before the end, to which others followed, and they really ruined the climax, because there's silence before Joshua Bell started to play his final glissando, which I couldn't hear that thanks to this happening). 2) If you don't know the piece, wait until the conductor takes his baton down. This works 100% of the times, so don't be afraid to wait until that moment. 3) If you're lost with the previous advices, just wait until the rest of the audience starts the applause.

The Ginastera (I agree with Alan) and Rautavaara are my favorite harp concertos. John Williams will never write a marimba concerto for the same reason he won't be writing a piano one (in my opinion). Most likely instruments for future works: oboe, piccolo maybe? Double bass would be so cool. Who knows, I didn't see the Harp Concerto coming, it's good to be surprised from time to time.

Well, he wrote the Viola Concert in 2007, I wonder who the soloist will be. E.T., Angela's Ashes...?

BEST NEWS IN YEARS!!!! WOW!!!!!! P.S. So... who talked about retirement?

Alien, natürlich. My favorite Goldsmith score along with Total Recall.

Not half as bad as this one: http://br.youtube.com/watch?v=Pd1_kVz4S7U Does any of them care about the music at all?

It's really annoying. Especially when it clearly states in the programme notes what the next theme will be.

Plus you'll never take through the detector in the airport. That's not fare. How about a fistfight?