Jesse

The Marvel style humor was then also imitated in the Sequel Trilogy because it was so in trend at the time. And while I think in Marvel movies, when done in moderation, it can work, I did not like this style of constantly making jokes for the audience, even in serious situations, in Star Wars. I'm just thinking, for example, of the very beginning of The Force Awakens, where Poe is in this serious confrontation with Kylo Ren and is then making these funny remarks about who should talk first and that he can't understand him. Even as a 15-year-old watching it in the cinema for the first time, I didn't like that.

Jaws is one of those perfect OST albums. I wish every OST album were this well arranged because I’m totally in favor of arranging the music to provide the best possible listening experience. The only problem is that it’s not always done in the best way, either by leaving out important and really good music that should have been included (like The Phantom Menace’s “The Tide Turns”), by having jarring or unnecessary edits, or by simply not having the best musical structure. I like to think of OST albums as long suites from the movie’s music, and appreciate them for what they are purely musically.

For the 50th anniversary, Bartje Bartmans, a YouTube channel posting classical music score videos, seems to be in the process of uploading the complete score to Jaws with the corresponding sheet music. Great for those interested in seeing or studying the sheet music of scores, like me, so I thought I’d share it. He has uploaded the first five cues so far.

Thomas Newman also told about this in an Interview he did with Rick Beato. It was Vaders Death if im not mistaken. As always with Williams "orchestrated" refers to "orchestrating" it from Williams short score. Im pretty sure Newman even said in the Interview something along the lines of it being more of a copying job, but still a great learning experience. Ah i found it

I think it's actually quite likely that it is a new arrangement for Ax, probably for piano and orchestra. Because why would they randomly include a single movement from a saxophone concerto, where they would need a saxophone soloist just for that? It makes sense too, since Shaham has his main piece (Treesong) and then a short encore (Schindler's List), and Ax would have a main piece (Piano Concerto) and an encore (The Float). Or more like a little overture in Ax's case since it is listed before the concerto in the program. So I don't think your thinking is very far fetched at all.

Oh, your right. Of course. I even played Claire de lune once and still confused them.

I did not expect, when I woke up today, to hear a John Williams rendition of Clair de Lune. What a treat. I also always love seeing Williams' handwritten music, so that manuscript of his from The Apartment was great to see. That’s now the earliest handwritten music by Williams I’ve laid my eyes on; previously, it was his sketches from Bachelor Flat. I love seeing this sort of thing. The article, and the whole blog for that matter, is super interesting and just great. Thank you very much!

Some time ago, when on vacation, in a City in Germany(i forgot wich one it was), we went to look at a church. The organist was practicing on the organ, and just as I went inside, he started playing the entrance music to the Great Hall from Harry Potter, which I thought was quite the "unexpected random encounter", especially since it was such a niche piece instead of the Main Theme or something. you know, this one:

Williams answers this exact question in this interview, which, by the way, is one of the best John Williams interviews out there. All 8 parts are on YouTube on Frank Lehman’s channel, and anyone who hasn’t listened to it yet really should. He talks about how he sketches his orchestrations, with whom he studied composition, and so on. Yes, that is exactly this Interview.

I would say orchestrating it completely differently, playing it in a different tempo, and with a different mood, counts as a variation. Williams often varies the harmony or the counterpoint too, even if only in subtle ways. He mostly keeps the melodies in his themes unvaried (at least in direct statements of the theme) to make them more recognizable and clear, although he does occasionally vary his themes melodically, but not so much the Imperial March. The point is, variation doesn’t need to be melodic to count as a variation. And it also doesn’t need to be a big change; it can be subtle. However you define where “variation” begins, I think Williams writing a specific variation of the theme for a specific scene (however subtle the variation might be) is always better than just tracking the same iteration in.

Paul Lavender arranged virtually all of the Williams pieces for wind band. This doesn't mean they are any different from the Williams originals, by the way. They are adapted for wind band as accurately as possible from the orchestral originals, and Williams has conducted these versions himself. Just in case anyone was worried that this was a different arrangement or anything, they are just very faithful translations for wind ensemble.

Thats a nice Programm. The seven minute Concert piece for Seven Years in Tibet is such a good piece and severly underplayed. Has Williams ever performed it in concert himself?

Gilderoy Lockharts Theme is not all that similar to No Ticket if you look closer at it. The Orchestration and Technique are similar with that String unison idea, and that pompous humorous feeling, but the actual melodic content is very different. Lockharts Theme is a reworking or Variation on Hedwigs Theme. And the fact that its a concert piece wich is available to purchase under Williams name on Hal Leonard makes me certain that its definitely a Williams composition. I really dont think Ross did all that much on CoS composition wise. Wasnt it mainly adapting all the direct quotes and reuses from the first score into the underscore? Neither the minority Report nor the War of the Worlds reworking were on the Soundtrack album of DoD though, were they? I still hold the believe that basically everything that is on the Soudntrack Album both for DoD and CoS is Williams doing. And about the Prologue. Can we assume that it is a Ross adaptation? Im not so sure.

Yes, my point was not that they are just there because they're getting paid. But rather that John Williams, too, is there because of the Olympics and because someone commissioned the piece, someone scheduled the recording, and so on. It's not like Williams paid them to be there, but rather that Williams, like the other musicians, is getting paid to be there. I did not want to imply that the musicians feel indifferent about playing the piece or anything, just that John Williams isn't the sole initiator of this piece or this recording. But it's really not that important or anything. I don't know why I even wrote all that in the first place.

Yeah, i dunno. Maybe i took it a bit too seriously. The comment just seemed so glazing to me.