Tom

Cool speculation. Given that we know a new signature edition of American Journey is in the works, maybe this is part of it. We will know soon enough.

Yes, but I would still not count on a new piece. One would think such would be accompanied by "world premiere." Perhaps Williams decided the name sounded too self-serving.

That is most likely correct. He would not premiere the Hollywood Bowl overture here, so it is not that. One would love a new piece, but, all in all, I think I like the new name of the piece better, for whatever that is worth.

Why, oh why, has he not worked up a concert piece of Dear Basketball? If he were to do so, my guess it would be part of a Hollywood Bowl program first.

As a friendly, unsolicited reminder, do not let your expectations for a program (ideal or otherwise) lead to disappointment with the actual one--life is too short for such things.

That being said, I will not be able to attend, though I will be deeply envious of those who do.

I know they are just movies, but both of these films involve death and the threat of death as that which drives the plot. They must have been painful for Williams to score.

Helpful: yes Remaining three movements: yes, please.

I was wondering whether Bernstein commented on Williams' piece.

I love when composers use the Variation approach. It is one of the few instances where it feels top-tier composers collaborate with one another. This little piece feels like an exact amalgamation of both composers at their most joyous. Do we have any quotes from Bernstein on the piece?

I just read through the tracklist. This looks like a fantastic release.

Williams need to stop fiddling with it (sorry) and release the definitive version. I would prefer he go back to the original, but such is life.

And, another review. Honest and ultimately kind of positive, though one gets the sense the author has not listened to other JW concert works. https://www.artsjournal.com/condemned/2021/08/john-williams-violin-concerto-no-2-is-he-raging-at-the-force/

I think the official name is Fanfare for 10 Years Old, as in commemorating an anniversary versus kids, but yes the youtube video has it the other way. The piano reduction is cool. I would love to hear the full piece.

This is excellent news. A nice, varied score. I have no idea how much is unreleased and such, but a score that deserved a remaster and expansion.

I was referring to the name "Celebration Fanfare," but that is cool about the Hymn--I did not know that.

Cool indeed. His brilliant Last Starfighter theme is a key thread in the fabric of my childhood. I love how he used the same theme to express longing, love, and then just raw exhilaration and triumph.

A little hokey (which perhaps is why it never become the signature piece of the games), but I love its energy and enthusiasm. It deserves a proper recording.

Beethoven's 7th Symphony. It is my favorite of the symphonies (the only ones I do not care for are 1,2, and 8). Every movement has something profound to offer, and the final movement is as fun as music gets.

Another review. Positive but not glowing, and focuses on the music versus expectations. https://artsfuse.org/233598/concert-review-john-williams-violin-concerto-no-2-at-tanglewood/ ps. I have listened to this a couple more times. The first movement's energy is infectious--I really like the orchestra's role in it. Had I heard the piece in my younger years, I probably would have dismissed it. However, the whole thing really is a treasure-trove of JW concert scoring. I could use a stronger theme, particularly in the first movement, but the "rounds" theme and "moonlight" theme make up for it as it goes. I would love to hear it in a concert hall, particularly the moments where Williams lets the orchestra take over and soar.

I have not heard the fanfare, though I can say that Williams did not put all that much effort into the name.

Anytime you have a film with a "triple agent" in it, you know there was a bad writer involved. The film had two major problems: there is a good 45 minute stretch where nothing exciting happens at all (arrival in Peru until the escape sequence, which in turn made the final act more boring than it needed to be. Two) way too many 50s references in the first act, from visuals, idiomatic expressions, and slogans. I do not recall much "30s lingo" in the first three movies. It all felt forced and artificial. I don't mind the late 60's as a backdrop for the next one, but they could easily fall into the same trap without a good screenwriter to keep things proportionate.

"That which John Williams does well, and what many others attempt to do."

Williams doesn't typically aim for full-on, direct solemnity in his celebratory pieces (well, I hope that is not what he was going for with America, the Dream Goes On). He does here and he sticks the landing quite well. I suppose the second in line for direct solemnity, yet celebratory, would be Air and Simple Gifts, which is I think is very good, but does not touch upon greatness, while this fanfare does. Of course Hymn to the Fallen has solemnity but not the celebratory aspect. Kind of rambling at this point, aren't I?