indy4

"Mambone" from BACHELOR FLAT.

Back to topic, it is really cool to think that Williams is writing a Star Wars score at this moment. The BBC should do a follow up documentary to the one which featured him writing ESB and show him working on the new score.

The cover art for this utterly pointless release is terrible. It looks like a modern video game or something. Golden age John Williams score albums were known for spectacular cover art. This isn't even good in that minimalist Star Wars/Superman logo on black kind of way. What was wrong with the original poster art with the blimp? Absolutely nothing.

I certainly would dispute that concert hall is the venue that decides the longevity or importance of a piece of music in this day and age. That goes a bit too much by the way of classical elitism for my tastes. What is remembered or stays in the public consciousness (yes even of the musicians who perform the music in these concert halls) is one way or the other iconic. By "concert hall acceptance" most of Williams's work (nor of many others) is not alive at all. I am all for performances of Williams's works in the concert hall and am open to new interpretations as it does keep the music alive and current and topical and in part in the consciousness of the public but I don't think its vitality is hanging by the thread of concert hall performances alone. As long as this music is listened in one form or the other it is remembered and alive. If new generations of music makers want to add their spin to it I am all for it as I am always interested in hearing another point of view to a well known (or not so well known) piece.

From "Williams casts spell for `Potter' score - Richard Dyer - 2001":
WTF?
Also does anybody know anything about this piece mentioned in JW listens to a song of a tree - Richard Dyer - 2000:

As long as he speaks at the RNC in 2016, I don't care who scores his films

https://www.facebook.com/jkmslibrary/photos/a.10150658466000326.393754.62282245325/10152750476460326/?type=1&theater

The more I listen to the teaser music, the more I love it.

The track, not the score
http://www.latimes.com/entertainment/music/la-et-ms-grammys-2015-nominees-winners-list-story.html#page=4
Instrumental Composition
"The Book Thief," John Williams (John Williams)
"Last Train To Sanity," Stanley Clarke (The Stanley Clarke Band)
"Life In The Bubble," Gordon Goodwin (Gordon Goodwin's Big Phat Band)
"Recognition," Rufus Reid (Rufus Reid)
"Tarnation," Edgar Meyer & Chris Thile (Chris Thile & Edgar Meyer)

The track, not the score
http://www.latimes.com/entertainment/music/la-et-ms-grammys-2015-nominees-winners-list-story.html#page=4
Instrumental Composition
"The Book Thief," John Williams (John Williams)
"Last Train To Sanity," Stanley Clarke (The Stanley Clarke Band)
"Life In The Bubble," Gordon Goodwin (Gordon Goodwin's Big Phat Band)
"Recognition," Rufus Reid (Rufus Reid)
"Tarnation," Edgar Meyer & Chris Thile (Chris Thile & Edgar Meyer)

Hi,
posting for Gloria! Thanks for your great work!!!
Two performances: 8pm and 9:30pm
MONTAGE - Great Film Composers and the Piano
Film premiere and CD Release Concert
Celebrate Gloria Cheng's latest harmonia mundi release of piano works written for her by today's greatest film composers. Hear the "personal side" of John Williams, Bruce Broughton, Don Davis, Alexandre Desplat, Michael Giacchino, and Randy Newman, and how they compose when free from the constraints of scoring a film. Each of the two performances will feature selections from the CD, and the much-anticipated premiere of Gloria's documentary film of the recording sessions, interviews, and footage from last year's spectacular world premiere concert on the Piano Spheres series.
http://www.bostoncourt.com/events/232/piano-spheres-gloria-cheng
I hope my boss (Ricard) can post a small news on the frontpage :-)
Andreas (Admin)

Oi!

https://www.facebook.com/MontageFilmComposers/photos/a.311226809044672.1073741828.308140492686637/373827679451251/?type=1

I couldn't find any previous thread on this fanfare.
In any case, I stumbled over a new performance of this piece in the Thursday Live program of the Norwegian Radio Orchestra (Kringkastingsorkesteret), which is different enough from all the other versions out there (slightly slower and more regal) that I thought it might be interesting to you.
Hopefully, you can play this in your country, but it's the first piece played in the program after the introduction:
http://radio.nrk.no/serie/paa-konsert-p2/MKMK07004114/09-10-2014

http://worthly.com/news/the-eight-richest-movie-score-composers-in-history/
This should be interesting..

Yes for the one Feinstein recorded, but don't forget 'Dream Away" which Sinatra did record

Terrific score. I don't know how many have seen the following interview with Don Davis from years ago, but I thought it provided some interesting insight into the scoring process.
http://www.ign.com/articles/2000/07/17/interview-with-composer-don-davis-part-3-of-4
PLUME: On a side note to Horner, you worked with him on Titanic. There was a very famous rift between Horner and James Cameron after Aliens. Was any residual of that evident in what you observed between Horner and Cameron on Titanic? It was originally a falling out based on their differing views on the music for Aliens, wasn't it?

DAVIS: No, I think it was a little more than that. It was music too, but Jim Cameron is a very tough guy to work for. Actually, I gained a lot of respect for Horner during Titanic, because Horner was accommodating Cameron in ways that I thought a composer the stature of Horner had no reason to accommodate anyone. He completely handled the situation with absolute humility and professionalism. I don't think there are very many composers who would have acquiesced to Jim Cameron the way Horner did. Horner gave Jim exactly what he wanted. I think there are some people who think that the Titanic score may be overly simplistic, or some people object to the Celtic nature of it, or whatever, but I can tell you that if any other composer had scored that picture, Jim would have fired him and at least four other composers before he got what he wanted. Horner was determined that that would not happen, and it didn't happen, and I think it was the best score that Jim would ever allow into that picture. For that reason, I think he deserves all the Academy Awards and accolades that he got.

PLUME: I think that's a perspective that not very many people saw in that.

DAVIS: Well, you kind-of had to be there to see it. I mean, it was magnificent.

PLUME: It was surprising to a lot of people that Horner would even work with Cameron again after Aliens.

DAVIS: I can't really say, because I wasn't there all that much. I would go to Horner's place, pick up the sketches, he'd talk me through them, I'd do them, and I was done. I do know that I made a lot of extra money on that show, because the picture kept changing and Cameron kept making changes, and as the sketches changed, they kept coming back to me to change the orchestration and I'd get more money. That was just fine as far as I was concerned. Through that process, I could see that he was accommodating this director. He was really bending over backwards to do everything that Jim wanted him to do. I couldn't picture a composer of the stature of John Williams doing that, well, maybe he would but there gets to be a point when it's too much.

PLUME: Isn't it the job of the composer to conform to the director's view of the film? What line is there that demarcates when it's not worth the hassle?

DAVIS: There are situations where directors give composers directives just to give them directives. Just to show "who's boss in this room."

PLUME: Is it the film version of busy work?
DAVIS: Sure. Go outside and dig a 20-foot hole and then fill it up again. Composers, whether they are or not, certainly like to view themselves as being creative and having a contribution to make to the process. There are some personalities, fortunately they are few, that seem to want to negate that. There's a point where it becomes too much of an insult to bear. If a composer is very highly successful, and James Horner certainly is, that means that he has to take less of that kind of abuse than a composer who is not of that stature. From my limited vantage point, it seemed like changes were coming in just for the sake of changes to come in, and I was wondering, as I was picking up these changed sketches, why Horner was going to such lengths to make this guy happy. Once the film came out, I understood perfectly. That's another tribute to James Horner, because he has not only an amazing visceral insight into what a film needs musically, but he knows how these situations work and he knows when to do something and when not to do something. You've got to hand it to the guy.

Can we all acknowledge how awesome the last 30 seconds or so of "Jango's Escape" is? Weirdly medieval, but so great.
Starting at 3:08:

Yes, there is more.
(God, forgive me for linking to Daily Mail website)
Karol

You can also try this: https://www.youtube.com/watch?v=kpsEqINeMS4

In The Making of the Star War: Revenge of the Sith: Chapter 10: The Saga Is Now Complete:
It would be interesting to know what this scene was temp tracked with. ETandElliot's suggestion of the Immolation from Schindler's List is actually quite a good candidate. The Jedi Temple steps scene is of course tracked with march music but I think the sentence above refers to the Order 66 scene. Interestingly the Lament or similar music was to go on into the scene with Bail and the young Padawan killed by the stormtroopers but this was obviously changed when they reached the final film.

The people who prefer poa to SS because it's more mature are more likely to vote for an even MORE mature score, like geisha, Munich, AI, etc. if you get rid of those options and just had a SS vs poa poll, I think it would be much closer.

Good call. Added Heidi!

Liked! It's great to read Williams, he should really write something like a memoir or autobiography.