pete

He's just using his daughter's knowledge as an example. I think it just stands to reason. The most memorable of melodies that transend their films, and those films have been viewed by - in some cases billions. Williams basically said the same thing when he talks of how gratifying it is to have his music heard all around the world so soon after the music was written and performed, something obviously not possible in the past. 
 
 

Where's everyone's optimisim?
I'm choosing 2025-2030

Where's everyone's optimisim?
I'm choosing 2025-2030

Where's everyone's optimisim?
I'm choosing 2025-2030

Where's everyone's optimisim?
I'm choosing 2025-2030

Wouldn't that be great?
My personal feeling is that if I were trying to define what a true "golden age" for Williams was, it would have to include a big peak on both ends.  For me, that's 1975 (Jaws) through 1993 (Schindler's List).  Almost everything between those two peaks is a genuine masterpiece, even for crapola like Heartbeeps.
 
But if I was being a bit less restrictive, I'd expand those years to 1968 (Heidi) through ... uh, through, what, like, 2011?  2012?  2023?
 
And if I were being a bit less restrictive than that, I'd just refrain from ever putting dates on it at all, because there's very, very little the guy has ever done that isn't worth my time to listen to frequently.  The man's work IS a golden age.

1932 to now and beyond

Probably just because for privacy issues. Williams himself is really the only person who has the right to share such details. 

I just checked, on my iTunes is just the audio from YouTube. Here it is if anyone hasn't heard it yet:
 
 
 

Probably just because for privacy issues. Williams himself is really the only person who has the right to share such details. 

Probably just because for privacy issues. Williams himself is really the only person who has the right to share such details. 

Damn, 7 Years, Meet the Press, and Wide Receiver.   Good stuff.  

And here is the love theme of the film.
 

Probably just because for privacy issues. Williams himself is really the only person who has the right to share such details. 

Probably just because for privacy issues. Williams himself is really the only person who has the right to share such details. 

Probably just because for privacy issues. Williams himself is really the only person who has the right to share such details. 

Thanks! 

Bingo!
 
 

Bingo!
 
 

I just bought my first batch of LLL CDs ever last week (well, my first ones from LLL anyway - I do have one or two I've gotten used before).
 
I just picked up AI, The Lost World, and Amistad in the most recent sale. I wanted to get Minority Report as well but it seems to have gone out of stock before I had a chance.
 
The shipping was a bit expensive but I can't wait to check these out! I've never actually listened to any of these three scores before so I'm pretty excited.

From Mike Matessino, at around an hour and 25 minutes of the new Sugarland Express episode of the Legacy of John Williams podcast
 
 

A friend took me to a bar just outside of Seoul last night - we had both never been there before. Wow, a wall full of soundtrack CDs! A shame the owner wasn't there - I would have liked to have talked to him or her!
 
 

Here’s my recording of the A.I. performance: 
 
Encore was Olympic Fanfare and Theme (with an epic fireworks display that I thought I caught on video but it was set to photo 😂)
 

If you weren't aware, there's an earlier version of that on his Asian XTC album for smaller ensemble. Four movements - minus the absolution piece. And in a different order with the first and last movements switched, and both a little shorter than the Asian Symphony
 
 

Good album.
 
There's also Asian Works on the 2021 Symphonic Suite Princess Mononoke album - music from a Lexus China ad 'Will be the wind' (arpeggios Philip Glass would be proud of), a track from Soul Snatcher and the café/exit area music from the Xpark aquarium in Taiwan (the other 6 pieces he composed haven't been released - I might have to visit one day).