rpvee

The thread bump reminded me, I wrote up my recollections of the concert and have been meaning to post them.
 
----
 
I arrived about an hour early, and walked around the first, second, and third floors and looked at all the handwritten music by famous composers, and autographed photos of famous performers. I eventually made my way to my seat, on the fourth floor balcony. I was almost all the way on the far right, close to the stage. People filed into their seats, many arriving last minute. The orchestra members were all warming up, and you could catch occasional strains of Williams tunes.
 
Finally the first chair violin came out, to applause. Then Deneuve. He said something like "Yes... (pause) John Williams is here!" He introduced Just Down West Street and they performed it. He then introduced the cello concerto, with much discussion of Seiji Ozawa (who died recently) and saying that Ozawa encouraged Williams to write the concerto in the first place. He introduced Yo Yo Ma, who took the stage to big applause. I enjoyed hearing a lot of hallmarks of Williams' early-2000s writing in the concerto. At the end, Ma held his bow a long time, holding off the applause, and finally everybody went nuts. Then the stage door opened and I could see Williams standing square in the middle of it! He came out, hugged Yo Yo, waved at everyone, there was big clapping and ovating. He left again, Ma sat back down and did Schindler's.
 
After an intermission, the lights dimmed and it was time for the second half. Williams took the stage, to big applause of course. After every piece he conducted, there was quite a bit of applause, and ovations at least half the time. He moved around slowly, but was otherwise very enthusiastic, in introducing the pieces, waving to the audience, gesturing to orchestra members to stand for applause, and in conducting. He often used gestures to get the feeling he wanted, and to encourage specific sections of the orchestra during key moments.
 
Olympic Fanfare and Theme
> A great opener!
 
Excerpts from The Book Thief
> I like this score and was excited to hear this piece. Nice oboe solo! Williams introduced the piece with a long description of the plot, saying the music they were about to play was mostly for scenes of the children in the story reading books together.
 
Scherzo for Motorcycle and Orchestra
> He introduced this and the two following Indiana Jones pieces all together, saying Harrison Ford was in his 70s, which made him a teenager in Williams' eyes. He joked that the insurance companies were nervous about Ford's stunts. He told his anecdote about the Scherzo, firstly that a scherzo meant a little joke, but that it was challenging to perform. He said it took a brilliant orchestra to record it, but when he saw the final movie, all he could hear was the motorcycles. So now he was going to have his revenge, playing it without the movie. Which is a great thing about this and the other Williams concert I saw at Carnegie Hall previously (with Anne-Sophie Mutter) - no video screen the entire time! He introduced the other two pieces as well, not really explaining Marion's Theme, and calling the Raiders March "the Indiana Jones march", close enough right? He told an anecdote about that one, saying Ford told him he hears the theme everywhere he goes, and he even heard it when he was getting a root canal, and hates the music! Williams got a chuckle out of that. The Scherzo, I've heard live quite a bit in recent years. But it was still cool to hear it again, and it's a very nice showcase for the orchestra.
 
Marion's Theme
> While this piece is lovely, it just kind of drifts by, with the concert arrangement spreading the theme a little thin. And it became redundant with the long excerpt of the theme appearing again in the Raiders March.
 
The Raiders March
> This one somehow never really gets old, even after 1000000 listens. I focused more on the brass this time, and noticed they were really respecting the dynamics of the piece.
 
Princess Leia's Theme
> He introduced this piece with his anecdote I've heard several times, that George Lucas didn't tell him there'd be a second movie, and he figured Luke and Leia would end up living "happily ever after" and had good action scenes and comedy scenes together, so he wrote them a love theme. Then George made more movies and it turned out they were brother and sister, so he had to write a new love theme to correct the situation. He emphasized that he didn't know, so he was innocent! I was excited to hear the piece, which I think is one of his best concert arrangements of a film theme. And HOLY... SHIT did the Philadelphia Orchestra perform the hell out of that piece. This was the biggest highlight of the night for me. A series of absolutely stunning, BEAUTIFUL solos. Williams pointed out the soloists during the applause at the end, though I think only the flute player stood up.
 
Adventures on Earth
> Beautiful of course. I may have heard this one a couple too many times in concert, but there were still many excellent moments that I enjoyed... both the obvious "hooks" and some of the more meandering parts that I don't have memorized.
 
Helena's Theme
> The first encore. Big introduction about Helena, Phoebe, Lauren Bacall, and the idea that it was a femme fatale theme, although I kind of question that. But it was nice to hear, especially after getting more familiar with the Dial of Destiny soundtrack.
 
Star Wars (main title/end credits combo)
> This one was more welcome than usual, since I've been having a moment with the Star Wars 1977 score lately. Hearing this piece performed live, you would really never know he edited together the main title/Imperial Attack stuff right into the end credits... it flowed perfectly in this performance. Great to hear the material feeling fresh after my revisiting of the score.
 
The Imperial March
> Got the biggest cheer of the night at the start when people recognized it. As usual when hearing this in concert, I got the biggest kick out of the flute solo. Who knew flutes could convey pure evil.
 
After each encore, he walked to the stage door and a guy gave him a sip of bottled water, then he came back out for the next piece. But after Imperial March he did his usual sleepytime gesture, to the usual laughter, and walked off for good. Really a nice, enthusiastic, and highly professional performance from himself, the orchestra, and the soloists. A well-behaved and appreciative audience too. I'd say there's something special about the atmosphere of a Williams concert at Carnegie Hall compared to some other places. I daresay New York City and Carnegie Hall foster a climate of appreciation for the arts that leaves no need for gimmicks and keeps the focus simply on quality programming and refined musicianship. Serious Williams fans, see him at Carnegie if you can!

Wow, thanks everyone!  Obviously, the most important question to address is how I got those italics. Simple! https://lingojam.com/FacebookFonts 

As for the timeframe: I have over a year to hand in the finished manuscript, but my goal is to have it completed well before that. It's a big book, and publishing is a very slow process. But everything so far is proceeding as I have forseen...
 
It's not a guide to the scores really, but something more holistic, with each chapter looking at cues from all three trilogies from some angle: musical referentiality, thematic transformation, concert arrangements, and so on. There will be a ton of music examples (all my own annotated transcriptions as usu.), hopefully presented in an accessible way that draws in people who can't read sheet music. I know notation and music-theory jargon can be intimidating, and I'm hyper-aware of the potential gatekeeping effect it could on an already niche readership. But at the same time, I think we can all agree this music warrants deep and serious analysis! It's a balancing act for sure... 
 
Alas, I don't have special access to recordings, and can't speak to official expanded album releases, as amazing as they would be! 
 
Incidentally: I don't see it trumpeted nearly enough on these boards but Chloé Huvet came out with a book on SW music (mainly the OT and PT) a couple years ago that is absolutely brilliant and similarly synthetic in approach. The book is in French, which limits the audience, but it's worth getting your hands on if only for the fantastic music examples and charts.  The amount of insight in her prose is incredible too, and it's been a major source of inspriation to me. 

The happy news I cryptically alluded to last week is now something I can make official: I just signed a book contract with OUP for 𝘛𝘩𝘦 𝘚𝘬𝘺𝘸𝘢𝘭𝘬𝘦𝘳 𝘚𝘺𝘮𝘱𝘩𝘰𝘯𝘪𝘦𝘴: 𝘔𝘶𝘴𝘪𝘤𝘢𝘭 𝘚𝘵𝘰𝘳𝘺𝘵𝘦𝘭𝘭𝘪𝘯𝘨 𝘪𝘯 𝘚𝘵𝘢𝘳 𝘞𝘢𝘳𝘴!   It's a book it feels like I've been writing in my head for a long, long time -- since middle school, kinda? And unless Williams somehow returns to write another entry in the series, I'm treating it a chance to provide a properly 𝘴𝘺𝘯𝘵𝘩𝘦𝘵𝘪𝘤 investigation into these scores, all nine of them.   Even Rise of Skywalker?? 𝘌𝘴𝘱𝘦𝘤𝘪𝘢𝘭𝘭𝘺 Rise of Skywalker!   My hope is this book does some justice to the complexity, challenge, and sheer magic of this music.   Now, back to the grindstone!   https://www.facebook.com/Falstaft/posts/pfbid0L6wUjeDDxj6AmhwHh1f9obrVMJfYbPx4GJM8YaEWiZtqxwp37A88monPFVDxBQ26l  
Congratulations, @Falstaft!

Tanglewood on Parade is a one-day festival type of event that takes place not only in the shed, but at different locations around the Tanglewood grounds. It includes a variety of performances by various talent, and towards the end it culminates with a shorter set conducted by Williams, then another conductor (e.g. Lockhart) doing some classical repertoire, then the 1812 overture for the finale, followed by fireworks.
 
Because Williams' set is short, the event is so close to Film Night, and it happens on a Tuesday, it's usually not so well-attended by members of this forum. Film Night is a bigger deal for us. But @rpvee and myself both attended last year, and personally I really enjoyed the whole thing and can't wait to go again this year. Plus last year the Williams program from Tanglewood on Parade didn't overlap with the Film Night program at all.

No.  He has an Emmy, Grammy, and Oscar, but not a Tony
 
Other film composers in the same situation are Michael Giacchino, Hildur Guðnadóttir, Randy Newman, Trent Reznor, Atticus Ross..... and John Williams.

What a farce. Göransson a 2-time Academy Award winner.
While…
Alan Silvestri: 0
Danny Elfman: 0
James Newton Howard: 0
Thomas Newman: 0
John Powell: 0

I’m sure he’s fine. He’s said in recent interviews that he doesn’t find these long award shows that fun anymore, that they used to be more natural and entertaining, and has acknowledged that along with his record number of nominations are a great deal of losses. He probably just didn’t want to sit through three-plus hours of fanfare after being to so many of these over the years.

Alas, Oppenheimer won. Don’t think Williams is even there - they didn’t do a split screen of all the nominees, and when someone who won earlier shouted out Williams as an inspiration, they never showed him for one of those classic “reaction shots”.

In honor of Schindler’s List turning 30, the orchestra played the main theme as Spielberg came out to hand out Best Director.
 
Awkwardly, or perhaps a bit fittingly, it was directly after Cillian Murphy won Best Actor for his performance in another WW2 drama.

Alas, Oppenheimer won. Don’t think Williams is even there - they didn’t do a split screen of all the nominees, and when someone who won earlier shouted out Williams as an inspiration, they never showed him for one of those classic “reaction shots”.

https://variety.com/2024/film/news/john-williams-oscars-star-wars-steven-spielberg-collaborations-1235929403/

To carry on @WampaRat’s thematic glossary I put together a thematic breakdown of the score as well as the chronological order. I’ve seen the film three times now and honestly it’s one of the best things I’ve watched in a long time. In combination with Part One I’d say this is a 10/10 movie.
 
RETURNING THEMES/MOTIFS
 
Dune Main Theme - 
I’ll be classifying the four-note theme as the “A” theme and the eight-note theme as the “B” theme to stay consistent. When both play at once I’ll refer to it as the main theme.

Fate/“The One” Theme - 
This theme is extremely underplayed on album. The theme in this film basically becomes Jessica’s after she… changes. It’s played on woodwinds quite a lot as she enacts her plans. There is a major missing variation of this theme that plays towards the end of the film. It has the Kwisatz Haderach motif as a counterpoint. I’m sure this will be on the FYC album.
 
Vast Mystery/Wonder Chords - 
Sadly this motif takes a backseat in this score. It plays a select couple times but doesn’t nearly have the presence it did in the first film.
 
Tragic Noble Theme - 
Another theme that is diluted this time around. It has a great appearance at the end of “Only I Will Remain” but that track doesn’t actually play during the film only the credits.
 
Impending Doom Motif - 
Although not actually appearing as much as it did in the first film, this motif makes a major impact on the film by playing in select important scenes relating to Paul’s dark future or even the darker actions he takes here.
 
Sorrow/Loss Motif - 
Sadly not featured on the album but there is a track in the film that features this motif. It plays twice and both times relates to how the Bene Gesserit prophecy is taking over the Fremen and leading them to war. Hopefully this track will be on FYC album.
 
House Atreides/Paul and Chani’s Love Theme - 
This theme goes from barely being featured in the first film to becoming the main theme of the second. It evolves from the bagpipe power anthem for House Atreides to a beautiful woodwind/Blade Runner-esque love theme for Paul and Chani.
 
Bene Gesserit Seduction Motif/Feyd Rautha Motif - 
This motif was originally featured on the second half of the track, “Song of the Sisters” from the sketchbook album. It was then developed menacingly into the six-note Feyd Rautha Motif now heard in this film.
 
Bene Gesserit Whispers/Chant
 
Arrakis Drum Motif
 
Harkonnen Screech
 
Harkonnen Clang
 
Fremen Chimes - 
This is a new motif that I noticed upon rewatching both films. It’s like a small little chime march that appears when characters are walking through the rocky terrain of the Sietches. It has a big appearance that’s not on the new album but it’s when…
 
(Sandwalk Video (FYC) - 0:22)
(Stillsuits - 1:55)
 
NEW THEMES/MOTIFS
 
Kwisatz Haderach Motif - 
New dark three-note cello motif for the culmination of the Bene Gesserit breeding process; the Kwisatz Haderach. Also has a drum rhythm behind it. Blares loud in theaters and often acts as a counterpoint to other main themes. It represents both Paul and Feyd as they’re both prospects for the Kwisatz Haderach.
 
(Harkonnen Arena - 4:48)
(Travel South - 0:06)
(Arrival - 0:00)
(You Fought Well - 0:12)
 
The Emperor’s Motif - 
Loud and grand motif that represents the emperor of the known universe. Features choir and some brass which most of Dune doesn’t have.
 
(The Emperor - 0:39)
 
TRACK-BY-TRACK BREAKDOWN (In chronological order)
 
Eclipse
 

0:30 - Arrakis Drum Motif
0:45 - Tragic Noble Theme
1:02 - Vast Mystery/Wonder Chords
1:20 - Tragic Noble Theme
1:36 - Impending Doom Motif
2:30 - Bene Gesserit Whispers/Chant
3:00 - Arrakis Drum Motif
 
The Sietch
 

0:02 - Fremen Chimes
0:40 - Dune “A” Theme
1:12 - Dune Main Theme
1:24 - Dune “A” Theme
2:15 - Fate/“The One” Theme
2:22 - Arrakis Drum Motif
 
Cistern of Souls (UNRELEASED)
 
 
Water of Life
 

0:12 - Bene Gesserit Whispers/Chant
 
The Beauty and the Horror (UNRELEASED)
 

0:23 - Fate/“The One” Theme
0:46 - Arrakis Drum Motif
 
Beginnings Are Such Delicate Times
 

0:00 - Arrakis Drum Motif
0:19 - House Atreides/Paul and Chani Love Theme
 
Paul and Chani (UNRELEASED)
 

0:01 - House Atreides/Paul and Chani Love Theme
1:02 - Fate/“The One” Theme
1:15 - Arrakis Drum Motif
1:17 - Fate/“The One” Theme
 
Harvester Attack
 

1:04 - Arrakis Drum Motif
1:45 - Impending Doom Motif
3:10 - Dune “A” Theme
 
A Time of Quiet Between Storms
 

0:28 - House Atreides/Paul and Chani Love Theme
 
Worm Ride
 

0:03 - Arrakis Drum Motif
0:44 - Fate/“The One” Theme
0:51 - Dune Main Theme
 
Jessica’s Manipulation (UNRELEASED)
 

0:10 - Fate/“The One” Theme
0:25 - Arrakis Drum Motif
0:55 - House Atreides/Paul and Chani Love Theme
 
Jessica Heads South (UNRELEASED)
 

0:19 - Sorrow/Loss Motif
0:58 - Fremen Chimes
1:35 - Bene Gesserit Whispers/Chant
 
Ornithopter Attack
 

0:03 - Harkonnen Screech
0:06 - Harkonnen Clang
1:30 - I don’t know what theme this is but it sounds like something from Batman lol.
 
Bene Gesserit Plan (UNRELEASED)
 

0:35 - Impending Doom Motif
1:02 - Bene Gesserit Seduction/Feyd Rautha Motif
 
Each Man Is a Little War
 
 
Harkonnen Arena
 
 
0:29 - Harkonnen Screech
0:45 - Bene Gesserit Seduction/Feyd Rautha Motif
0:52 - Harkonnen Screech
1:12 - Bene Gesserit Seduction/Feyd Rautha Motif
1:37 - Harkonnen Screech
1:40 - Bene Gesserit Seduction/Feyd Rautha Motif
1:59 - Harkonnen Clang
2:13 - Kwisatz Haderach Motif Rhythm
2:15 - Harkonnen Screech
3:25 - Bene Gesserit Seduction/Feyd Rautha Motif
4:48 - Kwisatz Haderach Motif Rhythm
5:00 - Harkonnen Screech
 
The Baron’s Gift (UNRELEASED)
 

0:23 - Bene Gesserit Seduction/Feyd Rautha Motif
1:04 - Harkonnen Screech
 
Seduction
 
 
0:04 - Bene Gesserit Whispers/Chant
0:50 - Bene Gesserit Seduction/Feyd Rautha Motif
 
Feyd’s Anointment (UNRELEASED)
 

0:31 - Bene Gesserit Seduction/Feyd Rautha Motif
 
Gurney Reunion (UNRELEASED)
 

1:36 - Tragic Noble Theme
 
War is Coming (UNRELEASED)
 

0:14 - Sorrow/Loss Motif
 
Atreides Arsenal (UNRELEASED)
 

0:19 - Sorrow/Loss Motif
1:35 - Fate/“The One” Theme
 
Baby Sandworm (UNRELEASED)
 

1:36 - Impending Doom Motif
 
Spice
 

The Bombing of Sietch Tabr (UNRELEASED)
 

0:20 - Harkonnen Screech
0:20 - Harkonnen Clang
1:36 - Bene Gesserit Seduction/Feyd Rautha Motif
5:08 - Vast Mystery/Wonder Chords
 
Never Lose Me
 

0:09 - House Atreides/Paul and Chani Love Theme
 
Travel South
 

0:06 - Dune “A” Theme
0:06 - Kwisatz Haderach Motif
0:54 - Fate/“The One” Theme
 
Paul Drinks (UNRELEASED)
 

0:35 - House Atreides/Paul and Chani Love Theme
 
Paul’s Vision (UNRELEASED)
 

1:00 - Dune “B” Theme
1:17 - Vast Mystery/Wonder Chords
1:58 - Bene Gesserit Whispers/Chant
 
Resurrection
 

0:04 - Fate/“The One” Theme
0:58 - Bene Gesserit Whispers/Chant
1:35 - Impending Doom Motif
 
Arrival
 

0:00 - Kwisatz Haderach Motif
0:56 - Dune “A” Theme
 
Southern Messiah
 

1:22 - Impending Doom Motif
1:42 - Bene Gesserit Whispers/Chant
2:02 - Impending Doom Motif
4:05 - Vast Mystery/Wonder Chords
4:18 - Tragic Noble Theme
4:43 - Arrakis Drum Motif
4:46 - Impending Doom Motif
 
The Emperor
 

0:39 - The Emperor’s Motif
 
The Baron Confronts the Emperor (UNRELEASED)
 

0:02 - Bene Gesserit Whispers/Chant
0:19 - Arrakis Drum Motif
3:10 - The Emperor’s Motif
 
Long Live the Fighters (UNRELEASED)
 
 
0:24 - Dune “A” Theme
0:42 - The Kwisatz Haderach Motif
1:00 - Fate/“The One” Motif
1:16 - Dune “A” Theme
 
Worm Army
 

1:30 - Dune “A” Theme
2:14 - Bane?!?
2:32 - Dune “A” Theme
 
Paul Kills the Baron (UNRELEASED)
 

0:02 - Impending Doom Motif
2:01 - Arrakis Drum Motif
 
Gurney Battle
 

0:05 - Harkonnen Screech
0:26 - House Atreides Theme
2:05 - Harkonnen Screech
 
You Fought Well
 

0:01 - Dune “B” Theme
0:12 - Kwisatz Haderach Motif
0:48 - Dune “B” Theme
0:48 - Kwisatz Haderach Motif
 
Kiss the Ring
 

0:33 - House Atreides/Paul and Chani Love Theme
 
Only I Will Remain
 
 
0:00 - House Atreides/Paul and Chani Love Theme
3:42 - Arrakis Drum Motif
3:54 - Tragic Noble Theme
5:29 - Vast Mystery/Wonder Chords
 
Lisan al Gaib
 
 
0:00 - Fate/“The One” Theme
0:05 - Arrakis Drum Motif
2:30 - Dune “B” Theme
4:09 - Dune Main Theme
6:11 - Arrakis Drum Motif
 
Correct me on any mistakes I made and I hope you enjoyed the post.

Vinyl is coming! Tomorrow
https://www.ign.com/articles/dune-part-2-vinyl-album-soundtrack-mutant

Interesting that they haven’t listed a co-conductor!

I noticed that and wondered if we have those 3 suits as he first wrote and recorded them.
 
EDIT: He mentions the famous Laura theme from David Raksin as a reference for Helena's Theme.

Another truly wonderful evening! Not much to add since I covered this same program in my post about the Philly concert, but Williams was again in amazing spirits, even widely smiling at the orchestra while conducting. He couldn’t remember Mark Hamill’s name, referring only to Carrie Fisher’s screen “partner”, but that’s literally my only nitpick beyond again lamenting the missed opportunity of having Williams conduct Yo-Yo Ma himself.
 
Beyond that, nothing but great energy from the stage and the audience, and in an iconic and historic venue that Williams highly praised when he began the second half of the program (even theorizing there are ghosts in the Hall that dance and play music when it’s empty after performances).
 
I guess for now, this is it until Tanglewood for East Coast-ers. August feels so far away, but I’m sure it’ll be here before we all know it! Until then, grateful as ever to the living legend that is Maestro John Williams for countless priceless musical memories, from the first note of the first piece to the famous “sleepy hands”, and everything in between.
 

 

 

 

 

 
 

I mentioned in that thread that I emailed the station and they told me the concert won’t be broadcast.

Another truly wonderful evening! Not much to add since I covered this same program in my post about the Philly concert, but Williams was again in amazing spirits, even widely smiling at the orchestra while conducting. He couldn’t remember Mark Hamill’s name, referring only to Carrie Fisher’s screen “partner”, but that’s literally my only nitpick beyond again lamenting the missed opportunity of having Williams conduct Yo-Yo Ma himself.
 
Beyond that, nothing but great energy from the stage and the audience, and in an iconic and historic venue that Williams highly praised when he began the second half of the program (even theorizing there are ghosts in the Hall that dance and play music when it’s empty after performances).
 
I guess for now, this is it until Tanglewood for East Coast-ers. August feels so far away, but I’m sure it’ll be here before we all know it! Until then, grateful as ever to the living legend that is Maestro John Williams for countless priceless musical memories, from the first note of the first piece to the famous “sleepy hands”, and everything in between.
 

 

 

 

 

 
 

I mentioned in that thread that I emailed the station and they told me the concert won’t be broadcast.

First half done! Exactly the same as the first, including Williams greeting the crowd before and after the Schindler’s List encore. Also worth noting that while the Philly concert was confirmed to not have a future broadcast, it was heavily mic’d all the way down to one specifically in front of Yo-Yo Ma. Meanwhile, tonight’s concert only has a single microphone hanging in front of the conductor’s podium and no where else. There are a bunch of cameras at the back of the hall, but I can’t see how a good sound recording could be acquired for this one with the only mic I can see.
 

Another truly wonderful evening! Not much to add since I covered this same program in my post about the Philly concert, but Williams was again in amazing spirits, even widely smiling at the orchestra while conducting. He couldn’t remember Mark Hamill’s name, referring only to Carrie Fisher’s screen “partner”, but that’s literally my only nitpick beyond again lamenting the missed opportunity of having Williams conduct Yo-Yo Ma himself.
 
Beyond that, nothing but great energy from the stage and the audience, and in an iconic and historic venue that Williams highly praised when he began the second half of the program (even theorizing there are ghosts in the Hall that dance and play music when it’s empty after performances).
 
I guess for now, this is it until Tanglewood for East Coast-ers. August feels so far away, but I’m sure it’ll be here before we all know it! Until then, grateful as ever to the living legend that is Maestro John Williams for countless priceless musical memories, from the first note of the first piece to the famous “sleepy hands”, and everything in between.
 

 

 

 

 

 
 

I mentioned in that thread that I emailed the station and they told me the concert won’t be broadcast.

Another truly wonderful evening! Not much to add since I covered this same program in my post about the Philly concert, but Williams was again in amazing spirits, even widely smiling at the orchestra while conducting. He couldn’t remember Mark Hamill’s name, referring only to Carrie Fisher’s screen “partner”, but that’s literally my only nitpick beyond again lamenting the missed opportunity of having Williams conduct Yo-Yo Ma himself.
 
Beyond that, nothing but great energy from the stage and the audience, and in an iconic and historic venue that Williams highly praised when he began the second half of the program (even theorizing there are ghosts in the Hall that dance and play music when it’s empty after performances).
 
I guess for now, this is it until Tanglewood for East Coast-ers. August feels so far away, but I’m sure it’ll be here before we all know it! Until then, grateful as ever to the living legend that is Maestro John Williams for countless priceless musical memories, from the first note of the first piece to the famous “sleepy hands”, and everything in between.
 

 

 

 

 

 
 

I mentioned in that thread that I emailed the station and they told me the concert won’t be broadcast.

He looked great, the most energetic i’ve seen him in a while.
 
David Newman and Tim Greiving where in attendance together.

Another truly wonderful evening! Not much to add since I covered this same program in my post about the Philly concert, but Williams was again in amazing spirits, even widely smiling at the orchestra while conducting. He couldn’t remember Mark Hamill’s name, referring only to Carrie Fisher’s screen “partner”, but that’s literally my only nitpick beyond again lamenting the missed opportunity of having Williams conduct Yo-Yo Ma himself.
 
Beyond that, nothing but great energy from the stage and the audience, and in an iconic and historic venue that Williams highly praised when he began the second half of the program (even theorizing there are ghosts in the Hall that dance and play music when it’s empty after performances).
 
I guess for now, this is it until Tanglewood for East Coast-ers. August feels so far away, but I’m sure it’ll be here before we all know it! Until then, grateful as ever to the living legend that is Maestro John Williams for countless priceless musical memories, from the first note of the first piece to the famous “sleepy hands”, and everything in between.
 

 

 

 

 

 
 

I mentioned in that thread that I emailed the station and they told me the concert won’t be broadcast.

FANTASTIC concert! JW looked great — so energetic in his conducting.

First half done! Exactly the same as the first, including Williams greeting the crowd before and after the Schindler’s List encore. Also worth noting that while the Philly concert was confirmed to not have a future broadcast, it was heavily mic’d all the way down to one specifically in front of Yo-Yo Ma. Meanwhile, tonight’s concert only has a single microphone hanging in front of the conductor’s podium and no where else. There are a bunch of cameras at the back of the hall, but I can’t see how a good sound recording could be acquired for this one with the only mic I can see.
 

Another truly wonderful evening! Not much to add since I covered this same program in my post about the Philly concert, but Williams was again in amazing spirits, even widely smiling at the orchestra while conducting. He couldn’t remember Mark Hamill’s name, referring only to Carrie Fisher’s screen “partner”, but that’s literally my only nitpick beyond again lamenting the missed opportunity of having Williams conduct Yo-Yo Ma himself.
 
Beyond that, nothing but great energy from the stage and the audience, and in an iconic and historic venue that Williams highly praised when he began the second half of the program (even theorizing there are ghosts in the Hall that dance and play music when it’s empty after performances).
 
I guess for now, this is it until Tanglewood for East Coast-ers. August feels so far away, but I’m sure it’ll be here before we all know it! Until then, grateful as ever to the living legend that is Maestro John Williams for countless priceless musical memories, from the first note of the first piece to the famous “sleepy hands”, and everything in between.
 

 

 

 

 

 
 

I mentioned in that thread that I emailed the station and they told me the concert won’t be broadcast.