Marian Schedenig

There's a low quality audience recording by a certain fan of Nana Vistor.

I want Gimme Shelter and She's a Rainbow.

Goldsmith's 2001 LSO concert at the Royal Albert Hall is probably the best big composer-conducts-his-own-film-music-with-a-major-orchestra concert we've had so far from a programme standpoint. Though to be fair, Williams has an impossible task if you consider how many people go to these concerts to hear his greatest hits for the first time in their lives and that despite all the highlight concert reductions, he still can't pack half of them into one concert. Even with Berlin you get semi knowledgeable Williams fans (who are no strangers to classical concerts) who would have wished for more highlights in place of the lesser (i.e. less well known) stuff.

It's also the one thing that keeps the tension going throughout the entire first book (and beyond). I was surprised when they simply dropped it entirely.

Are you referring to Hollywood in Vienna specifically (I was, more or less), or that "style" of concerts in general? For Hollywood in Vienna, I would say they've increasingly been fun *despite* the setting, and often would have been better and more fun without all the extravagances.

It's more a question of acoustics and quality for me. Apparently, Williams was also invited (repeatedly) to Hollywood in Vienna and declined. Those concerts are more pop spectacles with light shows, projection, and grotesquely amplified sound (and often grotesque arrangements, too) than "proper" concerts. Waldbühne concerts are also amplified (the closest Viennese pendant would be the "Sommernachtskonzerte" by the Philharmoniker at Schönbrunn, where they first performed the Star Wars suite unter Welser Möst all those years ago). It's not that I get offended by Williams or his music being in a setting like this, but that I'd rather have my "important" concerts in a proper concert hall.

Listen to Sneakers.

I love both symphonies, and I've always been happy with Karajan's 60s recordings of both. Yes. The 9th (despite Janowitz, although to be fair the soloists hardly make an impact except in a few places) is the one where I'm not too fond of Karajan's version. The Szell is usually my pick.

Images or The Russia House? Sabrina or Planet of the Apes? Gotta be Heartbeeps.

It's easy to understand: Because that's how it was written and how it's supposed to sound. If a film score is written like this and doesn't sound like it on album, it's a bad recording (or rather, a bad mix).

A full human set and the full set of a T-Rex.

I've never experienced it at "proper" concerts, except if there were amplified instruments like an e-bass - and then it was quite obvious. Tanglewood was amplified, and compare to other amplified orchestral concerts I've heard it was relatively well done, but it was clearly noticeable for some of the solo instruments, and the choir sounded wrong.

Windows PC? Get Linux.

I'd had it for years before the official release came out. It's not necessarily top shelf Young all the way through, but overall it's still among my Young favourites. I love Fever (and the variations of it in Fever's Fever, which wasn't on the promo).

He performed it in Vienna. You could argue that it would feel less "inappropriate" here because Austria still acts like we were a victim of WW2, but I would argue that that reasoning would make it less appropriate, if anything. (I'm not saying it was inappropriate, and I don't think it was, but the reasoning would be). In contrast, Berlin acknowledges its role in the war, as countless prominent memorials attest. I don't think performing it would have been (or been interpreted as) inappropriate. Also, it doesn't just "restart" the processional and doesn't just change its key, but also adds counterpoint.