Tom

Even if the first theme is similar to others I cannot think of a real similarity of the second Visitor theme to any previous Williams work. Moreover, that theme is simply stunning, particularly in the concert version. It truly is achingly beautiful.

That's no Williams; that's a stunt double. I think that is the regular conductor of the SLSO. The Olympic pieces are the few highly popular pieces by Williams that I have not heard performed in a concert. My hunch is that Call of the Champions would be the most powerful. Either way, it is a theory I would like to test.

I had not seen this version with the MTC before and thought I would share it. I think the choir comes across better in this video versus the original recording. Never quite sure what to think of the piece. I like it, but it always seems a bit underwhelming, at least compared to the other Olympic pieces. http://www.youtube.com/watch?v=meYgJpgpWCo

Williams seems much more energetic in the last couple of little interviews we have seen. That is great to see.

I believe it was from the bumper/intro pieces recorded before Beijing. However, it would not surprise me if he re-recorded the whole piece at that time.

Yes, beneath him. These questions as part of winning an Oscar would be equivalent to a Nobel prize nominee in the sciences answering questions like, what is your favorite part of science? why did you get into the sciences. Such questions are too remedial to the occasion and to the statue of the person being nominated. Now the Oscars and the Nobel prizes are not equivalent, but the Oscar in film scoring is the highest out in the craft.

The fact that he has to fill out such questionnaire's is beneath him. I wish he could let go the desire for further Oscars and ignore them. Though, I am happy with the non-answer to one of the questions.

I think that any project Williams attaches allows for genuineness. I think it is equally clear that he can develop a greater or less passion for the project once involved. See the Spencer interview for confirmation of that. With that being said, it is clear that Star Wars is a source of genuine passion--particularly as evidenced by his desire to score the new Trilogy. The concert works should not be viewed differently as most are commissioned for a specific person or purpose. While they are free of visual constraints, they are not free of all constraints. In fact, Williams talks of Star Wars in terms of a free swing equivalent to a 3 and 0 pitch. In other words, he gets to do whatever he wants, to some degree. Using the criterion of passion as the judge, he does seem to have a particular fondness for the Cello/Ma. I think that one of the best example is the 6 movement suite based on his Memoirs score. also, already mentioned, but that he often chooses the Mission as a final encore seems to evidence as particular fondness for that piece.

What a refreshing interview. Spencer seems like he was a very sincere, if not brusque, man. It is clear that Williams knew some of the early films he scored were terrible (story-wise, not score-wise), but you have to start somewhere. Spencer's take on Empire of the Sun is classic, even though I do like the picture.

Don't you ever square things in the river of nile?

The Fury: Death on a Carousel

My guess is that the main title will be the same, but I would not be surprised if Williams changed the end credit opening from the rebel fanfare to something new.

I think there is an interview out there that mentions that Williams wished to feature a whole new opening theme for the prequels and not just a re-orchestration of Luke's theme, but Lucas requested Luke's instead. I think the general consensus is that the new theme was DOtF. Given that it was Lucas who vetoed the idea and Lucas is not the director/producer for VII, we might get a new approach. I would like a new theme, but that would open the door to every composer who writes for what are promised to be a lot of star wars movies to writing their own opening theme--that I might find tiresome.

It amazes me that these pieces were not previously commercially available. Did they used to be and these are a "reprint" or are they new?

probably not 1-3, as he did not even compose the score for the second. Settle down--just kidding.

Well, we must hope that a recording of this becomes available. From reading Williams's own notes alone (I have not heard the piece), it is clear that this is an intimate, personal project.

That was a wonderful interview. It is nice to hear professionals talking like us "fanboys."

I think what made Memoirs unique was not so much the score, but the awesome expansion of the themes for the suite for cello and orchestra. While Williams provides concert expansions of many themes from different movies, that suite represents a new level of aesthetic engagement of the material. Perhaps he will do something similar for The Book Thief with a suite for piano and orchestra, though I doubt it.

Who's the greater rehasher. Williams who rehashes musically or angry jwfaners who rehash their disappointment when a new score doesn't resonate like superman or et? Anyway, the expanded score samples sound excellent. I like the descending/ascending piano motif Williams spoke about in the interview--simple but I am guessing quite effective in the movie. The main theme is memorable and sufficient distinct, I think, from other similar themes to have its own musical identity. I love the playful tracks. For those who have heard the final track, is any of the playful music in it?

Well, we know he volunteered for the project, so he must be "enthusiastic" on some level. Second, he does seem genuinely pleased with the film and his working relationship with Percival, which must have been somewhat of an unknown for both of them. Either way, the music seems quite good, so whether he had warm fuzzies while writing it or was cold and dead inside (or somewhere in between) does not really matter.

I don't think the notion of "overplayed" really applies to a venue like this. My guess is that of the vast majority of the audience members, this will be at most their second time hearing any of these pieces live.

There is something highly satisfying about 100,000 people enjoying the Lord of the Rings music, but going nuts as soon as the Harry Potter theme kicks in.

http://www.gofobo.com/movie/the_book_thief_2013/movie_review/16106481?gaq=14915361-8703596 an extremely positive review of the movie with a several positive lines devoted to the score.

Speculative question: Do you think the accordion source cues will be original compositions by Williams or arrangements of traditional pieces?

Why does Naxos take so long to release the recordings? The cello concerto was two years ago. If it is an online release, they have even less reason to drag their feet.