That_Bloke

Worth bumping this thread since this revision has been expanded upon to now be a new arrangement for Anne-Sophie Mutter, which premiered last night in Pittsburgh. It’s about another minute longer, and the new ending has the harp play a statement of the Imperial March that’s quite reminiscent of the end of the Vader’s Death cue in Return of the Jedi - chilling that a piece about the character’s childhood now directly references his ending. Hopefully this version gets recorded, it was quite lovely and felt generally more ominous than the original.

But if they tried that this would pop up:
 

John Williams made them as a joke to throw off JWfans.  Now every JW expansion is gonna have fake songs based on the score's themes

Just finished listening from beginning to end. My God, what a thrill it is to have the ENTIRE score and songs in one beautifully-done package. The remastered and restored sound is unbelievable. I had the film itself, the original 1991 album, and LLL's 2012 "expanded and remastered" edition (and still own the film on 4K Blu-ray). This release is like I was hearing the music for the first time. The pristine detail in the restoration is incredible. I teared up quite a bit. I also loved reading the liner notes. Very insightful and fascinating. Truly phenomenal. A big thank you to Maestro John Williams, lyricist Leslie Bricusse, Mike Matessino, Jason LeBlanc, John Takis and everyone else involved in this truly beautiful complete release. "Good form."

The Second Disc has an article about The Ultimate Edition
 
https://theseconddisc.com/2023/12/11/holiday-gift-guide-review-john-williams-hook-the-ultimate-edition/

Just let me put a bowl of fresh cream out for you, dear  

Czechmate.

That you, Pierre?

Posted on the JWFN within an hour of each other…
 
As someone once put it to me, it makes one miss people one has never met.
 
Indeed you'd better write him a letter... Because I imagine John Williams has never heard about email, texting and social media 
 
Please be kind. And please try and show some tolerance for people whose first language is not necessarily that of your own. And remember this board thrives on everyone’s shared love of something beautiful, so let’s celebrate that. 
 
And if anyone gets angry or touchy about any of this, please listen to “Where Dreams Are Born” and calm yourself the fuck down. 
 
As you were. 
 

Someone from China who perhaps hasn't got as much experience using a message board with quoting as we do....
 
At least we only got four posts in before someone posted something helpful.

The guy appears to be from China, so spelling mistakes are forgiven. But lots of other weird things, including quoting and thanking himself. Anyways, I'm not sure Williams signs much anymore, but I suppose it's worth giving the agency a shot, at least.

This thread is on the very precipice of going off the rails... Its future hangs in the balance.

Maybe this is the only one he'd say yes to and that's why it's going forward lol
 
Kennedy's talking and all he hears is "zzzzz rogue squadzzzzz patty zzzzzz rian zzzzzz taika zzzzzz new zealand zzzzzzz REY

If Williams scored  this movie, we know, we would experience the next great Disney Music Emporium CD distribution desaster. 
I don't want that.

Williams was very actively involved with SOLO. Not only did he provide thematic material, but he spotted the film with Powell and made suggestions. He also heard and approved the final cues. He seems to have such a strong affection for Daisy Ridley and Rey that I wouldn't be a bit surprised if he asks to be involved with this new film, so long as his health and schedule permit. (For that matter, I'd actually like to see Powell get another bite at the Star Wars apple! When I interviewed him for the recent Intrada release, he seemed very taken with the notion of getting to do something with the Force theme, which he loves but had no opportunity to use in the Jedi-free world of SOLO.)

Mike in the FSM thread:
 
On the subject of re-recording, Superman, Midway and even Amazing Stories: The Mission were done, plus things done in Prague like Black Sunday and The Rare Breed, so I suppose anyone making such an undertaking has the choice of asking permission or begging forgiveness. But it's also possible that since one would have to secure a publishing license, where Mr. Williams' management does keep things under control, any request for re-recording would have to be run by him.
 
After the Disney merger was announced, Neil Bulk and I were working at 20th to clear out any tapes that did not belong to the studio, and he spotted 2 rolls of Jane Eyre (of 9). We tore the place apart but no others were found. So when Quartet asked about pairing Jane Eyre with a new Heidi release, I was able to say, "well, we do have a little bit we can add." The two rolls we found were from the album session day, so agonizingly no additional film score cues, but at least we had alternate takes of three tracks and an extra little piece of source music. I've learned to not look into the mouths of 50-year-old gift horses. This is the first time that the original 3-track master was used for a release of the album.

Yes, the alternate performance of "To Thornfield" (along with the other extra tracks from JANE EYRE) comes from the newly unearthed partial session masters that Mike talked about on FSM. It's a real treat to hear "new" interpretations of these cues from the maestro's own baton!
 
And HEIDI sounds so much better because Mike was able to go back to an earlier-generation source (½″ four-track masters) than was used for previous releases, which also happily had the cues separated in such a way as to enable a chronological presentation. Don't worry, Thor, it plays beautifully this way! Even better than before, when we had to deal with cue combos that had been created not for purely musical considerations but to conform to the Capitol Records album narration. We addressed that to a degree on the old Quartet disc, but our hands were tied in a few places. That wasn't the case this time around! Mike was prepared to consider resequencing things, given that this is not the complete score. But when we lined everything up in film sequence, we felt that the program had a lovely ebb and flow and made for a very enjoyable and balanced listening experience.
 
The Capitol album with narration also sounds better than ever, by the way! Mike gave this program the same meticulous attention as the score-only tracks. If you just skip to the two tracks that were recorded specially for the album, you'll miss some lovely performances by Sir Michael Redgrave and Jennifer Edwards.

No. Mr. Rochester signs an excerpt from The Beggar's Opera, a 1728 work by librettist John Gay and composer Johann Christoph Pepusch.

Yep! The media dubbed it the "Heidi Bowl." It had a big impact on how sporting events are broadcast.
 
Also, it's worth adding to the conversation that while these films certainly were made to be broadcast on American television, Delbert Mann agreed to direct in large part because he would be given the budget and scope to shoot them as big-screen features for theatrical distribution in Europe. They are thus very "cinematic" in execution and Williams scored them accordingly. It's absolutely criminal that they are only available in shoddy, bootleg-quality home media releases. Assuming the negatives still exist, I'd pay very good money for a proper Blu-ray restoration of the whole Mann/Brogger literary classics series from a company like Powerhouse/Indicator!

Bye-bye Macarthur, 
Hello Heidi/Jane Eyre.

Oh man. Heidi finally sounds amazing. There was always something weird going on with instrument placing and the harp being really up front. Absolutely gorgeous, can't wait!

Doesn't Intrada have one more release to announce next week?
 
If it's a JW then I'd like to acknowledge the wonderful assistance from the labels for helping me achieve bankruptcy 

Ah...ok. Thank you for that, Jay.
 
I'm glad that shall return (boom tish!) 
 
Peter.