Gurkensalat

Wouldn't that be Ready Player Two??
 
If I could wish for one more score from Williams after those 2, I would like to order Tintin 2, please. But I fear, that project will not be continued, since nothing is being heard about it. 

Wouldn't that be Ready Player Two??
 
If I could wish for one more score from Williams after those 2, I would like to order Tintin 2, please. But I fear, that project will not be continued, since nothing is being heard about it. 

Your contributions to this forum are orders of magnitude more valuable than Jurassic Shark's. We can't lose you. Put him on your ignore list, like I did long ago.

meaningless?? In it you find the answer to the ultimate question about everything! 

Nope, you can read Volume III on one of them. 
 
And it makes sense, there were a ton of alternates and inserts. An entire theme was rejected and replaced with a new one. 

While the server is down again, I am watching "The Force Awakens" starring ASM:
 
Quite amazing...
 
 

Princess Bride: Great movie, lousy electronic score. The guitar pieces are ok, but that's it.

Princess Bride: Great movie, lousy electronic score. The guitar pieces are ok, but that's it.

Princess Bride: Great movie, lousy electronic score. The guitar pieces are ok, but that's it.

Nobody agreed that Vienna sucked. Only you two trolls did. 💩

I like Dudamel's Sturm & Drang pace in this case (I'm much less convinced by most of the other pieces on his album), but it's always felt *very* fast. Considering the acoustics of the Musikvereinssaal, I'm not sure it would be a good idea to play such dense music so fast. Many famous conductors have misjudged the hall's strong reverb and played it too loudly or too quickly, and for whatever reason, Williams really hit a naer perfect acoustical balance in those concerts.

Hard to say if that's true. But most of the pictures in Berlin come from the third concert, and in Vienna there were only two. People who were in the first concert in Berlin said it was not so good and the third was much better. It always gets more relaxing for anyone on stage the more concerts there are. Also all the solo violin stuff in Vienna is a much bigger challenge for any conductor, to conduct the accompaniment, compared to being on your own for the whole concert.
Also they say, Vienna is harder to conduct, since they play so late after the conductor's beat. That alone can stress a conductor not experienced with them out.
I have a preference for the way Vienna played his music. More inspired, more lively, the players having more ambition to play it, having more fun too.
In the woodwinds there were only the best players in Vienna. Their brass group is unparalleled. The horn sound in Vienna, also the trumpets, mama mia... Much better than Berlin. So well blended and balanced, all the way from first trumpet down to the tuba. Berlin doesn't have that quality. The string sound in Vienna: more juicy.
Berlin was also very good, very precise, but less lively, less expressive.

The brilliant CBSO flautist Marie-Christine Zupancic really nailed the solo during this rehearsal. It was one of her first gigs and unsurprisingly she became principal soon after.
 
 

Bruder! Mein Bruder!
Siegmund! Ha!

We're all like broken records with our Potter opinions 
 
I've said at least a few times, they completely robbed Voldemort's death of its power and thematic importance.

Exactly two years (!) ago the experience had been so profound that I could not listen to pre-recorded music for about a week or so...
 
...thanks dear (?) world for having had that happened to us, still in a joyful, unconstrained way. I will always treasure those days, hours, minutes, and seconds in and around the Musikverein.
 
And thanks to all you wonderful people we had the joy to meet and have conversation and a shared experience with!

I would got, but the best of both worlds would be WITH film but WITHOUT audio (maybe subtitles instead). Kind of silent movie experience. I can dream...
 
 

I think it's essential. I grew up with the Eichhorn recording with reconstructed finale (one of the first reconstructions I think), so it's always been a part of the symphony for me. I understand that completions/reconstructions are "problematic", but I can't agree with the common idea that the 3 movement version is "complete", and that Bruckner could never finish the finale because of that. As Gurke said, Bruckner *did* finish much, or even most of it, even if it took him the last 10 years of his life. And what's there is just stunning - where the three finished movements already take Bruckner's style into strikingly modern territory, the finale goes even further, which combined with the general "death theme" of the symphony is frighteningly effective.
 
That old Eichhorn recording and reconstruction is quite good as far as I remember. The Harnoncourt take is also good and certainly interesting in the way he only presents the surviving original parts of the score. But of the same reason it's not fully effective, because Harnoncourt opted to do the "lecture concert" of the finale fragments first and then perform the 3-movement version of the symphony after the intermission. When I listen to it, I usually put the finale last. For listening to the full symphony, I like Rattle's 2012 version , which uses the latest (I think) version of the same reconstruction project that Eichhorn recorded much earlier. If I'm not mistaken, it even includes some bits of original material that Harnoncourt didn't have access to 10 years earlier. It's a good complete package, but for only the traditional three movements, the usual Bruckner masters are still one step ahead - e.g. Karajan and Wand, or Celibidache if you like a slow, heavy (but still intensely effective) reading.
 
Avoid the Gerd Schaller version though. It has great ratings and reviews, but in my opinion, both Schaller's own reconstruction and his interpretation of the symphony as a whole are rather odd, at times even goofy.

Tried it again and my final conclusion: the meh score of the decade. Very generic writing, sugary atmosphere, nothing special at all. I love the Williams years 1991 with Hook and JFK as well as 1993 with Jurassic Park and Schindler's List, but 1992... must be the least interesting year he has had.

I love Bruckner 9th since I heard it the first time with 14 or so years. I have several recordings of it, each with each its own strengths. I love both Guilinis. Most recently i bought the Honeck which is also superb, and has excellent sound quality in multichannel.
 
I was raised on the traditional 3 movement form and was first skeptical about the reconstruction, but when I bought the Harnoncourt recording in which he played all (at the time) sketches and explained them, I realizes, that this movement was almost finished except for the coda. Since then I heard several recordings with the 4th movement, e.g. the Rattle/Berliner recording and am now a fan of the complete 4 movement version.
 
The finale in its most recent completions is a great, almost visionary work since it expands on the more modern elements that Bruckner introduced in the first 3 movements compared to his earlier works. Sometimes it sounds almost expressionist. I still think that it is not his best finale, but that is due to the combination of his failing strength and the fact that it is not finished and only an approximation to his original vision, but a quite close one, I think. So in short: 4 movements, please. 
Funny enough it is not one of his longest finales compared to 8th and 5th symphony. It is shorter than the 1st and 3rd movement, if played in adaequate speed, around 20 min.

Today's selection is another "classic" -- John Williams performing a cue (his own composition, by the way) to a montage of silent film scenes, at an event in the early 2000s. Four-handed piano, accompanied by the Boston Pops pianist whose name escapes me. He would later perform the same piece with Leonard Slatkin. Of particular interest is the fact that a certain motif here also appears in the short film THE KATHERINE REED STORY from the mid 60s. It's either a classic tune from the era that I'm not aware of, or a tune that Williams repurposed for this film sequence:
 
 

The Vocallion label from UK released 5 of the Gerhardt recordings on hybrid SACD format. At least three of them have extra bonus cues culled from Gerhardt's 'Spectacular World of Classic Film Scores'recorded album. The sound quality on these are extraordinary. No John Williams though. 

As always, these Spielberg conversations are so far from my experience I don't really find the discussion worth having, but they're also what every Spielberg thread becomes.  I get tired of reading the same opinions from the same people.  On that note, here's my oft-stated opinion I post every time: Lincoln and Bridge of Spies are great, inspired films with a lot to say to me personally.
 
Also calling him a coward is some rank bullshit.

It's easy to understand: Because that's how it was written and how it's supposed to sound. If a film score is written like this and doesn't sound like it on album, it's a bad recording (or rather, a bad mix).