BTR1701
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Posts posted by BTR1701
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22 hours ago, crumbs said:
Not to mention the last word is the multi-track masters were missing anyway
I read about stuff like this a lot and I just can't imagine how it happens so frequently. Both with sheet music and recordings. How do things like that just get "lost"? Why don't these studios have clear cut archival procedures and employees whose sole job it is to make sure everything's accounted for and stored properly?
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5 hours ago, JWisgreatestlivingcomposer said:
Fascinating!
I just wish they had used the LSO for all the Indiana Jones scores. Last Crusade, in particular, is a really strong score, and yet it is somewhat let down by an underwhelming orchestral performance.
What always grates for me on the LAST CRUSADE score is the long sustained high C# (concert B) in the trumpets at 3:59 in 'Belly of the Steel Beast'. They are *very* out of tune with one another on that note. Someone's way flat, and it just kills it for me. It's noticeable enough even for non-musicians that I have no idea why they didn't do another take on the cue.
On the other hand, the LSO recordings have their flubs and faults, too. For example, the horns in the cue "Ben's Death / TIE Fighter Attack" on the NEW HOPE recording aren't exactly having their best day with those triplet runs at 3:11.
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On 31/07/2023 at 8:37 AM, JWisgreatestlivingcomposer said:
Wow, Wikipedia blatantly lies! It wouldn't be the first time...
Thank you for sharing that list of players!
I never did understand why some John Williams' scores were performed by the London Symphony Orchestra, while others just get these freelance Hollywood orchestras? It seems that the first six Star Wars scores (or maybe even the most recent three as well?) were all performed by the LSO, while the ONLY Indiana Jones score to get the LSO is Raiders. The remaining ones were all performed by Hollywood orchestras.
Is this correct?
And if it is, does anyone know why?
SW: A NEW HOPE was recorded by the LSO because the film was so far behind schedule that by the time Lucas delivered a locked print to Williams, there wasn't enough time to record it with a U.S. orchestra and meet the release date due to union restrictions. So they packed up and went to London. After that, it became somewhat of a tradition/preference for Williams.
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On 26/07/2023 at 9:38 AM, Tydirium said:
But you don’t have to stream it. You can buy an album on Qobuz or 7digital like many users here do, and save the files to your computer or an external hard drive so you never have to worry if the site ever changes or removes it.
I do understand the desire to have a physical product, though, such as when it comes to liner notes or just having something to put on the shelf alongside other CDs you already own. But if the streaming thing is your main concern, I just wanted to make sure you’re aware that in this day and age, with DRM-free music purchases available, you don’t really need to worry about losing access to your music. Once you download it, it’s not like they can take it from you.
"Once you download it, it’s not like they can take it from you."
Tell that to people who have had downloaded e-books deleted off their Kindles by Amazon for various reasons.
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On 14/07/2023 at 1:53 AM, Damien F said:
The DOD album has 13 minutes of empty space so the suites don't take the place of unreleased cues.
It's not just physical space on the disc. If Williams is deciding not to include all the cues and substituting a suite for some of them in his mind, then they're being included at the expense of the complete score.
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On 12/07/2023 at 4:28 PM, Edmilson said:
Clemmensen described the problem I have with Williams OSTs better than I could.
I wouldn't have a problem with the suites if they were in *addition to* the complete score, not at the expense of it.
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4 minutes ago, Tom Guernsey said:
Might there be a synch point after the single 6/8 bar? If so, there's could be some kind of marker in the conductor score which would then be propagated into the orchestral parts and thus it would split up a group of bars rest, presumably in case they need to start from a synch point rather than perform the entire cue. Just a guess.
It's possible. Never seen it done that way before, though. The first rule of engraving, especially the performers' parts, is to make things as clear and easy to understand as possible, especially for studio gigs like this where performers are expected to sight-read a piece perfectly the first time through. Throwing in confusing clef changes and leaving orphan bars on block rests would just make me as a performer say "Huh?" when I sat down and looked at the part. At a minimum, it would make me raise my hand and ask for clarification, which eats up valuable session time.
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15 minutes ago, BrotherSound said:
It’s one page of a French horn part:
Ah, thanks. As someone who's done some professional engraving work for film music, that part raises some questions.
When it changes to 6/8, why have one measure of rest and then a 6-bar block rest? Why not just make it a 7-bar block rest?
And in measure 22, why is there a clef change to treble indicated when it was already in treble clef the entire time?
Very weird.
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On 27/06/2023 at 9:54 PM, BrotherSound said:
It seems a likely candidate, but nothing from the sheet music we’ve seen for ‘Whip at a Gun Fight’ is in this track.
Where have we seen that sheet music? I'd love to have a look.
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On 27/06/2023 at 7:02 AM, raferjanders said:
It was more challenging than I anticipated, requiring quite a bit of pixel-shifting...
Another I made years back...
Very nice! Thanks so much
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8 hours ago, raferjanders said:
Re: The Indy Jones Collection ... it could easily be done but I can't think why you'd want one?
I like it better than this, the cover that came with the collection:
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Has anyone made a custom cover using this image for the entire Indiana Jones soundtrack series, not just specific to CRYSTAL SKULL? E.g., "Indiana Jones Complete Soundtrack Collection" or something similar? I seem to recall seeing one once but I've perused the entire thread and I can't find it.
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Not sure why it's a big deal to be the "first woman (anything)" anymore now that anyone can be a woman just by declaring themselves to be one.
On 22/04/2022 at 11:07 AM, SpaceCoyote said:"Obi-Wan is a legacy character that John hadn't written a theme for because he died quite early on in A New Hope. It's the only legacy character that he hadn't done."
Umm... Chewbacca? R2? C3PO? All legacy characters who don't have themes.
I know some people say the little motif below from EMPIRE is supposed to be the Droids' theme, but it was only ever used in EMPIRE and even then only in the first reel during the Hoth scenes, so it can hardly be called a full-fledged theme for the robots.
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3 minutes ago, WampaRat said:This should hopefully be a worthy “consolation score” since we didn’t get Indy 5 this year;) A bonus JW Star Wars theme is quite the treat!
The score to THE FABERMANS will be out this year as well.
- Taikomochi, Once and Not Mr. Big
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5 hours ago, rough cut said:
As good as the music is, it’s a shame it’s attached to such a stinker
That's the way I've felt about TEMPLE OF DOOM and JAWS 2 for years. Fantastic music. Horrible movies.
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9 hours ago, stravinsky said:
What always astounds me is the musicianship of these incredible session players. I mean how much rehearsal would they get for one cue? The music is so multifaceted and urgent but everything is so tight. And I don't mean just this score. Their unerring ability to just pick something up and make it sound like this leaves me in total awe.
You should check out "The Legacy of John Williams" podcast. Mauricio has been interviewing a dozen or so L.A studio musicians who've played on Williams's scores over the last 40 years. Their stories are fascinating, as is the way they offhandedly describe getting one, maybe two, run-throughs of some of the lost difficult music ever written before they hit "record" and have to do it for real.
I just finished the Malcolm McNab (principal trumpet) episode. It's stunning to me that he was able to do most of JURASSIC PARK in one take with no real rehearsal.
I was also surprised that JW picks who plays in the orchestra. I always just assumed the studio orchestra was staffed by the studio, not the composer. Jim Self (William's principal tubist and the voice of the mothership in CE3K) talked about how Williams cleaned house in the entire brass section around the time FORCE AWAKENS came out. Players who had been with him for decades were out and he seated a whole new crew.
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On 12/26/2019 at 7:24 PM, MattyO said:
The Rise of Skywalker theme makes me sad Williams never got to close out the Harry Potter films.
My secret musical fantasy is for JW to have been given musical authorship over the Marvel Cinematic Universe, composing the scores for all the individual hero films, creating and developing themes to all of the characters-- Cap, Hulk, Iron Man, Thor, Widow, etc.-- and then weaving them all together in the various Avengers films.
It would be monumental task, and likely not something he'd have been interested in committing to at his age even if offered, but it's fun to imagine.
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Would have been nice to have heard a little bit of this in the scene where it was appropriate.
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11 hours ago, igger6 said:
I'm just generally very curious to see JW's next move now that Star Wars scoring proper is behind him. Will he record an album of film music pieces? Throw himself into concert music? Retire to Kajimi?
He's signed on to score the next Indiana Jones flick, if they ever get it off the ground.
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18 minutes ago, ricsim88 said:
We performed HPSS last month, and it was all synths. Maybe they don’t always do it the same way.
When I saw POTTER live-to-projection with the Chicago Symphony last year, they used an old-school beautiful dark wood--mahogany?-- celesta. Very ornate looking.
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6 hours ago, First TROS March Accolyte said:
He might have been asked to have The Imperial March in the end credits, and then came up with the rest himself. Or maybe not even that. He likes it very much and has not had it in an end credits suite since 1980!
The way I see it, he finished Star Wars with basically his Symphony No. 2, or a sinfonietta
Movement 1 - Adagio - TROS Theme, Anthem of Evil
Movement 2 - March - Imperial March (the transition to it is very good!)
Movement 3 - Lyrical - Rey's Theme, TROS theme triumphant
Movement 4 - Finale - Fanfare & Ending
In classical music a listener tends to need a description to understand the structure. Without it many listeners are puzzled, and even consider the structure disjointed and aimless. I believe that's the case here. At first, I edited out the Movement 4, but after a couple more listens and an insight to the plan here, I absolutely stick to Williams' choice.
I don't think it's disjointed. I think it's uninspired and just a rehash of what's come before.
(I love the rest of the score. It's just this one cue that I don't like.)
2 hours ago, BrotherSound said:
Recent JW scores often (always?) use a synth Celeste, rather than the acoustic instrument. The famous Harry Potter opening, for instance.But the live performances, both concerts and live-to-projection, use the real deal.
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3 hours ago, ocelot said:
I think, I could be wrong, but based on the last couple of tracks beforehand, that he had written so many different themes for it and then got told which ones to use. It sounds like that to me. But yeah, to me it's not the best track on there.
Several people have said this and I have no idea if that's what happened, but I just can't imagine why Abrams or Disney would care all that much about which themes/music are playing over the end credits when most people, let's face it, are leaving the theater. I just doesn't strike me as something they would be concerned enough with to veto whatever Williams wanted to do and basically order him to recycle a bunch of old material instead.
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On 12/17/2019 at 12:09 PM, Bellosh said:
The ending of 'Finale' is just an absolute love letter to Star Wars.
The ending of 'Finale' is note-for-note the ending to RETURN OF THE JEDI. It's a new recording of it, but it's just a copy/paste of the ROTJ sheet music.
9 minutes ago, Romão said:JW did what he probably was asked to do for the finale and end credits. I've seen people calling him lazy for that. An 87 year old that just composed 3 hours of highly complicated music
I wouldn't say lazy. More like disinterested. Just my impression, anyway.
Indiana Jones and the Dial of Destiny (Disney Records Original Soundtrack Album) - NO FILM SPOILERS!
in JOHN WILLIAMS
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Has there ever been a proper recording of that overture?