Tom

It is a mature, reflective piece. The "old" guy that I am finds it brilliant in structure, melodies, and execution--a fitting musical end to the story . However, it is the "final" SW episode, I can understand the expectations for a big dramatic blowout piece--its Star Wars after all.

Who among us has not thrown eggs at a person during the middle of an act that has nothing to do with us? Let him without sin cast the first egg.

That final squint makes him look like Yoda.

Assuming the rumor is true, I think she will do well. She has shown great potential. She has the theme/s by Williams (and probably some general guidance from him as well--he seems to genuinely like to mentor). While her resume is good, this could be a transformative assignment.

The real lie is that the show doesn't even exist. That is why no composer has been announced. Turns out Williams did not record anything. He just passed out a list of things in his apartment.

No, but it does rhyme with Jilliams.

Williams has lived a very, very long and full life. It really is remarkable, and his career, influence, and legacy of productivity probably will not be fully appreciated for a generation or two. We all love him, but I suspect, down the road, just about all artists will bow to his unprecedented life of achievement. It is hard for me to believe that the artistic icon from my formative years in the late 1980s and 90s is still alive, still productive, and still my icon--(sorry, I got a bit dramatic and emotional there).

Perhaps a bit long, but this is a great piece. Skip to the last five minutes, if impatient.

From what my sources tell me, Williams was so incensed by Ma's interruption that he insisted the album be called "A Gathering of Friends (and Yo Yo Ma)."

This has great potential to be a highlight. I think the original Mutter project has given Williams motivation to breathe new life into past pieces that are not regularly performed (if at all).

It is hard to know if Ma is speaking of a revision relative to the original or last revision. It comes off as a new major revision and the final movement sounds fantastic.

We can be sure he tweaked it until the end, but my guess is not radically so. I wonder why this concerto in particular has had so many revisions. By this point, the thing is like the Ship of Theseus.

Now that is a full CD. Great to see Highwood's Ghost. I wonder if Lincoln/Munich are reworkings for guitar, cello, or both.

Crap! Evidently, I cannot read. 2 more days for Williams to compose the whole score.

A couple extra weeks to find a composer for this thing.

Perhaps Williams will premiere his new piece, "The Adventures of Muti."

And she is a changeling.

The days of Martin, Dangerfield, Rickles, etc. are over. It is hard being funny in an ultra-sensitive world.

When I first heard Williams' Overture to the Oscars in the fall, I thought, "really nice piece, but way too classy and sophisticated for the contemporary Oscars." This has reinforced that thought to a very high degree.

Don't make us slap you. (too soon?)

If he returned the award (not just the damn statuette but the award itself), it would be the most meaningful Oscar act since Brando refused to accept his.

PS. If I was truly sorry, I would return the Oscar I won, but...I am keeping it.

Funny listening to Williams talking about how BPO never does all-Williams programs. What a difference just 10 years would make.

Milan, meet in Milan.

This is an either/one thread, so please wear noise canceling headphones for every piece other than your favorite.