Marc

Definitely not! (just kidding )
 
I'm really really glad you nailed perfectly one my favorite moments (at 2:34 of the video).
 
You're right. You put it in better terms. Both are the film versions (even if Johnny doesn't like it). 
 
Since I "grew up" with the 5.1 audio, the "alternate" take from the Decca release, almost fully presented on the Intrada versions, is the go-to film version for me.

9M1-10M0 ~ Man Against Beast 📯🎺
 
 

That's exactly why I love doing these 
 
 
No extra points for me then 

9M1-10M0 ~ Man Against Beast 📯🎺
 
 

Fascinating to hear instruments "isolated" in this way and brought to the forefront... Allows you to hear things which may not stand out in the recordings, and renews your appreciation for the complexity of the arrangements.

Man, the clarinets came in really late in this take, I don't think I heard them at all on Bar 17!
 
Great job as usual, Marc!

9M1-10M0 ~ Man Against Beast 📯🎺
 
 

9M1-10M0 ~ Man Against Beast 📯🎺
 
 

9M1-10M0 ~ Man Against Beast 📯🎺
 
 

9M1-10M0 ~ Man Against Beast 📯🎺
 
 

9M1-10M0 ~ Man Against Beast 📯🎺
 
 

Who's coming to this livestream today?
 
 

10m2 📯🎺
I've always loved the way Indy's and Short Round's themes get interwoven as the scene progresses 
 
 

Interesting point and I heartily agree. Even at 93, John Williams could probably write a big Star Wars or Indiana Jones action cue in his sleep, to the point it probably bores him. They definitely take longer to write (owing to the number of notes and orchestration) but mentally I don't think anything's stopping him, other than how time-consuming it is.
 
I suspect he's far more challenged when reduced to a handful of instruments, where every note is spotlighted (unlike an action cue where 90 musicians are performing at once).
 
One of the trends I've noticed with Hollywood scoring is how painfully generic and dull orchestral underscore has become, even from composers who previously excelled at large-scale orchestral writing. Yet very little of their underscore has anything to say. With JW there's always unique colours or other details to discover, even in his quietest scores.

I think JW is still fully capable of writing interesting, exciting, memorable and touching music. The main theme to Fabelmans is flat out beautiful, especially in Mother and Son. His recent concert works show that he's still capable of writing dense, complex music, and personally I love the major new theme for TROS. At worst, any action music in the score will be derivative of some past action cues, but even then, I do not expect to be disappointed by this score.

Is Pedroni playing a synth or an electric organ here?
 
Apple Music and Qobuz etc. have the full tracklist up: https://www.qobuz.com/us-en/album/john-williams-reimagined-home-alone-transcr-pedroni-for-flute-cello-and-piano-simone-pedroni-sara-andon-cecilia-tsan/zbfz9fmwbzhjb
 
1. Star of Bethlehem (1:51)
2. Somewhere in My Memory (2:43)
3. Holiday Flight (1:05)
4. Christmas Star (3:34)
5. Plaza Hotel (1:27)
6. Finale (2:27)

Felt very lucky to have front row centre seats to this wonderful concert on Monday. It was a great evening, the programme was just perfect. I had just a couple of gripes - Simone and Sara were fabulous, they really locked into each other throughout the entire evening (Simone's piano playing was just astonishing - beautiful touch). Cecilia played well, but it felt like she didn't listen to the piano as much as Sara. Maybe she's used to movie scoring sessions where there's no budge in the tempo and the beat trundles on relentlessly. I felt that Simone was really keen to approach this as a chamber concert (which is exactly what it was obviously!) with more rubato and spontaneous expression than you'd get with an orchestra. The faster moments were sometimes a little hairy - Jane Eyre especially got dangerously close to derailing at one point. My other distraction was the constant moving video wall behind them - so unnecessary. We had the title of the piece for about 5 seconds each time, followed by these quick montages of scenes from the films (mostly scenes unrelated to the music that was playing, I might add). We had star fields in Star Wars, flames during Witches Of Eastwick, and even fake snow on the screen for Schindler's List. The lowest point was probably during Han Solo & the Princess where we were presented with overlaid images of them both, then during the build up in the music the 2 faces moved towards each other. It was just a bit difficult to ignore as the screen was really big, and the music was so nice it didn't need anything. Anyway, 2 gripes aside, it was a fantastic evening, and Simone Pedroni playing The Fablemans is quite possibly the most stunning thing I've heard in a long time.

Source: https://www.instagram.com/p/DQUAfpgEUjq/?utm_source=ig_web_copy_link

https://www.warnerclassics.com/release/john-williams-reimagined-home-alone
 

R19 Pt.1 - Love Theme (Overture) 📯🖖 🎺
 
 

R19 Pt.1 - Love Theme (Overture) 📯🖖 🎺
 
 

R19 Pt.1 - Love Theme (Overture) 📯🖖 🎺
 
 

"Leaving Home"  📯 🎺
 
 

"Leaving Home"  📯 🎺