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Don't forget the mothership sequence from CEOTTK because the score is doing most of the work of the film at that point. There's practically no useful dialog for the final 15 minutes of that film and the music is very, very good with such a range of emotion. Though not bombastic, I think it's the pinnacle of awe and wonder scoring. Complexity isn't always about tempo and notes; it can also be about what the music is doing emotionally.

Star Trek fans were fanatical from the start. We all know it had a rebirth after Star Wars but this pre-Star Wars clip surprised me in how fanatical Trek was. My question is how unusual as this? Was there any other show before this with this level of fan mania or was this the first?

Happy birthday to our dear Maestro and wishing many more to come and lots more music too!

It's not horrible, just so many missed opportunities and story telling misses. I hate that Voller died in a senseless plane crash. Every prior Indiana Jones film had the villain get their come upends by getting the object of their desire but through supernatural means that Indiana doubted. I could have written a better story than what we got. Have Voller seek to alter the past by either informing Hitler in 1939 how to succeed in his goal of restoring the Reich and making the Nazi's the empire of the era. But in doing so, becoming either a victim of the power unleashed where he becomes part of all time or unleashing prior empires like the Romans and Greeks which Indiana becomes obsessed with but is told the past belongs in its time by Marian who is more involved in the story and thereby, he sees his lifelong obsessions are needing restraint and balance. This film is a master class in missed opportunities. I'd say it's the weakest in the franchise.

I hear what you mean. I was hearing that "twee and treacly" as a hollywoodized version of english. Very much like how Russian music was done in Hunt for Red October with huge chorus and double brass, just making it VERY Russian...a caricature of sorts. Hollywood does that all the time across genres. In one of my astro clubs, people generally hate "The Right Stuff" because it is so inaccurate and embellished. Others think it's a great broad approach to the era capturing the feel better than any other movie of that topic regardless of accuracy. Same with Amadeus. I thought there is a concert arrangement. I heard it in concert with him conducting. It's available on Hal Leanord. Hymn to the Fallen is more, well, hymnal full of solemnity and reverence with a dignified yet simple, lyrical melody that you would find in hymns. It isn't modal (though has a borrowed note or two) but English pastoralism seems to live in a mode to give it a more timeless quality. To me, hymn to the fallen could be sung in a church with an organ providing the harmony. Structurally, it is also very much in song form (maybe A-A-B-B) with 8 bar melodies that repeat. Pastoralism are more rhapsodic and free flowing, dreamier. This is an example of the stately hymns I mean where you could imagine Hymn to the Fallen to sound as if it came from that world with orchestral treatment and embellishments.

The problem I have with the theory is Arnold didn't orchestrate Stargate or Independence Day. I don't think he planned on what exact percussion was used and how it was used. He relied on experts to craft a score of polish and sparkle that clearly referenced old fashion scores and those of big budget blockbusters they were trying to make.

I was listening to this cue from War Horse (Remembering Emilie, and Finale) and thought it was a great example of Johnny in an English Pastoralism mood but still very much Johnny. That got me thinking, what made it English Pastoral and what makes it still feel like Johnny? English pastoralism often evokes the serene and idyllic landscapes of the English countryside, especially think early 20th century such as much by Ralph Vaughan Williams. It typically features lush, flowing melodies and rich open harmonies, often using modal scales to create a sense of timelessness which conveys a gentle, lyrical quality*. It also can include folk elements and pastoral imagery with a sense of nostalgia and connection to nature, resulting in a peaceful, reflective atmosphere. Here is a quintessential example of English pastoralism from Vaughan Williams' "Lark Ascending": I recall reading somewhere that Williams loves Vaughan Williams and English music of this period but can't remember where I heard that. Anyway, to me, we frequently hear this style in his music. Do you agree this has the same heart, flow, and feel? But I also feel there is some Americana in it too. I wonder if that is typical of how Yanks represent England? For example, would English people find War Horse to be very much an American (ala Spielberg and Williams) vision of what passes for England? I think one of the most overtly Americana music from Williams was leaving home from Superman: It features many stylistic similarities to what I think is the classic version of Americana, Copland's Appalachian Spring. It's a long piece (here lasting nearly half an hour) and has a narrative so does have multiple styles but overall has the spirit of Americana complete with folk tune just like how English pastoralism either uses folk tunes or evokes the feel through modalism. The piece beautifully captures the essence of rural American life with its open, expansive harmonies, simple yet powerful melodies, and use of folk tunes like the Shaker melody "Simple Gifts." It evokes the vastness of the American landscape and the optimism and pioneering spirit of its people, making it a cornerstone of American classical music. I also feel you hear some French qualities in both Copland and Vaughan Williams. Both studied in France (RVW with Ravel, Copland with Nadia Boulanger) so maybe what we're hearing is an amalgamation of styles. I also believe if composers want to evoke English pastoralism or Americana now, these are not the references they'd use which kind of adds to the nostalgia of the style. It's kind of gone and represents a place and time that no longer really exists. * To explain modes, a simple example would be the song Scarborough Fair arr. by Brian Balmages that dates back to 1670 according to Wiki. It is in D dorian. In D minor, the notes would be D, E, F, G, A, Bb, and C. In the Dorian mode, the sixth scale degree is raised a half step so the B flat is B natural. That makes it feel more archaic, perhaps timeless, but is an example of how these styles can feel nostalgic or timeless and less contemporary.

No, it's a joke. Musicians will find it funny as a caricature but Bach could be quite sophisticated harmonically so take it as a joke.

It was pretty good. I liked the kids but felt it didn't go deep enough. Basically it was really kind of light. Some of the kids had interesting backstories that were mentioned and then dropped for example. Score was fantastic by Giacchino junior. An overall fun and satisfying B movie that could have gone deeper.

As I understand it, Anne-Sophie Mutter owns those arrangements, and they are not publicly available. Those who have performed it had permission from Anne-Sophie Mutter directly, not a publisher as its not published.

Remind me, how much of Gilligan's Island did our Johnny do? Was it the whole thing or just the pilot? For example, is this him?

Very sweet!

You seriously thought they put that much thought into it?

I love how Harrison owns the carpenter career he had. When one struggles in the career they are passionate about, it can feel like you are defeated and it's hard to not be embarrassed about needing to find other work, but he owns it!

Not sure if this belongs in the Star Wars is Better than Everything thread or Star Trek is Better than Everything thread, but here is a cute mid 1977 interview with the cast where Trekkers asked lots of questions. Carrie Fisher looked so young and cute here.

60 minutes had a good report into the fires. I tried to go to check in on my first music teacher's home in Altadena on her behalf but National Guard blocked the area saying no homeowners (or someone on their behalf) allowed in yet, only fire fighters, electrical and gas crews. The area is full of gas leaks, live wires, and flames. I could see the red fire retardant all over the nearby hills. The National Guard and police were very kind and patient answering all my questions as best they could and most of them are themselves impacted as local residents.

It's not that strange. It's based on song form which existed before sonata form. You state your theme then repeat it because it helps drive it in to memory, then you present a contrasting theme in a complementary key or melody that bridges back to the opening theme. Sonata is an elaboration of this. If you take issue of it in bigger forms, you'll need to take issue of it in smaller forms so every pop song ever. Additionally, the whole meaning of long form and structure evolved over time and strict sonata practically doesn't exist now so you are looking back to a period where sonata structure was the most expansive structure, and those composers were adhering to conventions of their time.

This is a guess but Star Wars Ep IV was recorded over eight three hour sessions (so 24 hours of studio time spread across 4 or so days). There were a few overtime sessions but that was usually for a single take or something they already had recorded just needing to polish it further. In 24 hours of session time, a pro level orchestra can record five minutes reliably per hour on average but they also did some run throughs and rehearsals so that actually is a tight scoring schedule with very little excess time. The score featured about 88 minutes of finished music plus around 9 minutes of source music (cantina band) not recorded in London. There were alternate unused takes (original binary sunset), multiple main themes so probably something like 130 minutes of total music recorded for that film of which 95 or so minutes were used. It's rare to hear an entirely different cue like original binary sunset because what usually happens is what goes in the film is a reconstructed edit of multiple takes of the same cue so if you count those minutes for each film, way more music would have been recorded but unused (think original opening music where multiple different takes exist but the final cue is a mix of these I believe, rather than just a single final take). Empire and Return of the Jedi had more music but I would assume similar amounts of music for the other films. I think the sequel trilogy had a lot more music because they edited the films during the scoring so sometimes entire plot points were scored that aren't in the film at all.

What an incredibly stupid thing to say. I know people impacted and it's a very large impact zone, many modest families have been impacted and lost everything. Some 90 year olds having to start from scratch where everything they've done in their life is gone and now not knowing where to go or how to start from scratch at that age. Thousands of people have been directly impacted and it's 0% contained and spread throughout the regions. Many houses burned are nowhere near the place the fires started because of the 75 to 100 mph winds blowing embers into densely populated areas miles away. Really sad.

He used two harps.

I'm enjoying the Indiana Jones and the Great Circle video game. Lots of nice Indyisms and a great tutorial sequence!

Hmm, I've heard Fountains of Rome a million times and played it in concert but never drew that connection but you're right - same harmonic intervals. You mean when the Orca is leaving the dock through the shark jaw, right?

I play bass trombone. Here's me at a concert.

If any of you are interested in more, here is a new interview with Sarah and again mentioning performing Rey's Theme while in orbit.

John Williams played on pipe organ!