fommes

Having seen the film, the score suffers from the exact same problem as in Fallout, namely it's like being hit with a hammer for 3 hours, the hammer being the two M:I themes heavily RCP-style processed.
It's a shame, I had higher expectations after Balfe scored His Dark Materials.

The film was still more than entertaining, but it's definitely the weakest entry since 2.
 
Why did they feel the need to repeat the exact same exposition every ten minutes? Cruise, usually very reliable, is somewhat overdoing the American patriot thing with his character. Atwell is good as always but her character is somehow underdeveloped; in fact, all characters (including Ethan Hunt, with the vague background hints) seem to be underdeveloped even though this is almost three hours. Even more than with the previous McQuarrie entries, the script seems to have been written around the stunts. The score is unfortunately not better than the previous installment's.
 
And the worst thing story-wise:
 
Still worth your time seeing this on the big screen for all the obvious reasons, but my expectations were higher. Maybe I should not have watched Ghost Protocol and Rogue Nation again before this screening.

Having seen the film, the score suffers from the exact same problem as in Fallout, namely it's like being hit with a hammer for 3 hours, the hammer being the two M:I themes heavily RCP-style processed.
It's a shame, I had higher expectations after Balfe scored His Dark Materials.

It seems like there’s a lot of interest in the printed signature postcard?
 
If fellow JW fans desperately want the printed signature postcard together with the CD, I’d be happy to order on your behalf since I am based in Japan.
 
Please PM me and we’ll work something out. But please do so soon (i.e. within the next few days) since I imagine these things will sell out pretty quickly!
 
(I’m not sure if there’s any limit on how many I can order - we’ll see!)

Decided to take a little dip into Tintin.
 
The old version of Sir Francis and the Unicorn.

As with many other scenes in the film, JW wrote two versions of the cue for Haddock's first vision (in the desert). 
In fact, the visions were originally organized in a different way: apparently, at first we were just shown two ships, and Francis giving orders [cues The Unicorn (unnumbered) and 1m20A Sailing with Sir Francis, recorded in 2010, were written for this version]. And already in the next vision (in the hospital) we were shown the fight with the pirates, the appearance of Rackham and the beginning of the confrontation [cue 1m21B Old Enemies Meet was written for start of this sequence]. This version can be seen in the featurette about music. 
That's why the old version is much shorter than the final version. In this version also interesting the pulsation of the drums throughout the cue (3 hand drums and 1 with sticks, dubbed by synth are indicated). The syncing in my video is very uncertain: I'm pretty sure that most of the shots have been redone over the year, but here's my rough attempt.

 
Later, a full-length battle was created, as well as a teasing appearance by Rackham at the end. So in 2011 an insert was written for the end of The Unicorn (4m20R The Unicorn) and a new cue 4m19C Sea Battle. JW strategically adapted material from 1m21B Old Enemies Meet (1:00-1:25 in the video), and used a snippet from the old version (1:42-1:52), but everything else is original material. 
In fact, the percussion is also noteworthy here: the pulsation now indicated as 3 'pirate' drums was still to be heard a lot, and should even have appeared in the middle of 4m20R. However, apparently, they were already abandoned during the recording, and so the last bars of the insert were retimed, and even recorded without the click track (because the pulsation is now gone). @TheUlyssesian did a video with synced OST version, and I tried to restore this along with drums and other bits: the chime hit for the pirate flag, the glisses of the harps when the pirates descend, the flutes during the piano solo...

I was the only one left as well. And the staff asked me if it's OK to switch it off because there's nothing after the credits. I just told them that I like the music and would like to listen to the rest of it so they left me alone. But it must have made them unhappy.
 
Karol

No idea if you're still looking for this but I was working on a spreadsheet earlier today:
 
https://docs.google.com/spreadsheets/d/1TujXB5NSiqPSTFx9Jl39vabZkqdrxLpoFh91GaJd564/
 
The season breakdowns aren't complete but the Fringe Fridays list should include everything he ever posted

This is the greatest thread in the history of JWFan

That first note was from when it was still called The Star Wars

Nah.  Mike doesn't reveal the timecodes.

All right, but apart from the sanitation, medicine, education, wine, public order, irrigation, roads, the fresh water system and public health, what has John Williams ever done for us?

The problem with Burton's recent work is that it's largely lifeless (no pun intended). Maybe this is the exact movie/character to help him loosen up.
 
Random thought: Elfman wrote an extended Alice suite for the Alice in Wonderland live-to-picture shows. This ended up being recorded and included on the sequel's score. It informs that score quite a bit actually.
 
I'd love it if he were to somehow include the extended build-up to the main theme for the Beetlejuice suite he wrote. It's so exciting and seems perfect for such a belated sequel. 0:46 - 1:15.
 
 

Bernard Herrmann fans might not be aware or might not remember that the overture to The Man Who Knew Too Much was actually played at the Royal Albert Hall in the BBC Proms back in 2011, a surreal case of life imitating art.  Keith Lockhart conducted the BBC Concert Orchestra.  I was lucky enough to be in among the Prommers in the arena that evening and couldn't help feeling that they had missed a trick by not having someone in the boxes fire a gun at the royal box during the climactic cymbal crash!
 
 

Anne-Sophie Mutter will give the UK premiere of John Williams's Violin Concerto No. 2 with the London Philharmonic Orchestra at the Royal Festival Hall in January 2024.  Tickets go on general sale on Tuesday 2nd May 2023.
 
Mutter plays John Williams
 
As well as a suite from Superman, the concert will also feature a suite from Leonard Bernstein's On the Waterfront.  There is no sign that John Williams himself will be in attendance (Jonathon Heyward will conduct) but I guess you never know.  It would be great to hear another of Williams's concertos live, as I have only ever seen the Tuba Concerto performed by Patrick Harrild with the LSO many years ago.

What a wonderful surprise! Thanks @mahler3

I guess we'll find out shortly...
 
EDIT: First take of "The Bicycle Chase" from E.T.

I've listened to it, but haven't yet read the liner notes. To be perfectly honest, these scores don't hold that much interest for me at this point. They're interesting glimpses into Goldsmith's early works, certainly, and fine music, but with any composer, and particularly one as prolific as Goldsmith, there comes a point - when you know enough of their output - when things that are perfectly fine on their own remind me of enough other stuff I'm familiar with that they tend to blend in as more of the same. I'll try to keep revisiting them though. And I was surprised when The Legend That Walks Like a Man reminded me quite a bit of Fierce Creatures, a score that I long thought as occupying a rather singular place in Goldsmith's output. Even more fascinating to learn that he sort of picked up a style he had used before, but decades earlier.

I love all three Indiana Jones films and all three Indiana Jones scores

No "Dear Basketball", no sale!!

Well, for the one in my edit, I followed @fommes
guide and corrected the speed + pitch
 
Don't forget there is like 3 (?) LC boots

Coming soon:
"She's not a woman you can say fucking no to."
"I know, but the fucks are all dead."
"I wrote a fuckton of 5 note variations."

Maybe he'll feel unwell upon arrival and be replaced by John
 
This looks great. Might have to make a trip down south

Rambling Records is finally releasing soon the score album for Eiffel, french movie that came out in 2021.
 
https://www.facebook.com/RamblingRECORDS/posts/720412043131746
 

 
I was so disappointed to see there was no way to listen to the music when I watched the movie last year... but fortunately a japanese label is handling the release (they did the same for Coupez! last summer, another french movie).
 
Snippet from the Eiffel score I extracted from the film audio:
 
 

Indeed, I was going to mention that. The stereo version sounds very different; the 5.1 version sounds very much like the real deal. Also bear in mind that this is a live recording of the real concert hall acoustics. The ASM album was a studio recording and probably sounds very different (and possibly much better) in the final mix than the actual room did during the performance.
 
I've certainly experienced bad acoustics at the Musikverein, when it was played too loud (or too fast for the volume), or too soft. But the Philharmoniker are at home there and know it by heart, and the JW concerts were some of the most transparent sounding big orchestra concert experiences of my life.

Yes, but this will a superficial treatment with a much greater length.