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TownerFan

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Everything posted by TownerFan

  1. Galaxy's Edge is not a fanfare per se, even though it has heraldic writing in some spots. Btw, the man has written more fanfares than any other composer in the history of music. Don't be hard on him
  2. Yes, arranged by LA-based composer Dan Redfeld (who plays the piano here too), curiously predating the version JW would arrange for ASM a few years later.
  3. It's a fairly new ensemble of Swiss-based musicians specializing in film repertoire and live-to-picture concerts. They will do the world premiere of Superman The Movie in Luzern next year.
  4. I definitely plan to talk with LSO members too, yes, especially some of the former ones from the 77-83 era who are still around. I already have a roster of guests scheduled, including composers and other very interesting people So happy you liked it, Richard. Thank you for your ongoing support!
  5. https://thelegacyofjohnwilliams.com/2020/11/27/tim-morrison-podcast/ I don't have much to add other than it was a real honour and privilege to talk with such an iconic musician who we JW fans all admire so much. I hope you will enjoy, gents!
  6. On his website, Grubinger is listing it as "JOHN WILLIAMS: Suite Special Edition". It doesn't mention it being a world premiere or a Concerto of sorts.
  7. The man knows no limits. I take this as a good sign from the universe that the pandemic will end before the end of next year
  8. Hmm... I don't think this is going to be a full-on new Concerto, but rather a symphonic adaptation of his own (Williams-approved) film themes medley that Grubinger already performed last year at the Schleswig-Holstein Festival with his own Percussive Planet ensemble: On his website, Grubinger is listing the Berlin piece as "WILLIAMS: Suite Special Edition". If it was a world premiere of sorts, it would have been surely noted.
  9. I think that's the most logical reason. I guess it will be out when orchestras will fully resume activities and concerts, hopefully next year.
  10. Thanks for the nice words, guys. Happy you like the show! More coming soon Sergio Carolino (the soloist performing in the exceprt of the Tuba Concert featured in the episode) studied with Jim Self, so I thought it made sense. There are many other recordings of the Concerto I could have used, but I love the energy and the virtuosity of Carolino's performance.
  11. https://thelegacyofjohnwilliams.com/2020/11/10/jim-self-podcast/ This is another great episode, guys. Lots of great stories and memories from a true legend among studio musicians!
  12. Jaws at 45: https://thelegacyofjohnwilliams.com/2020/11/06/jaws-at-45 This year, Steven Spielberg's timeless classic turned 45. The Legacy of John Williams presents a new analysis focusing on the element of trust and kinship between director and composer and how they fulfilled a shared artistic vision.
  13. I very much hope you'll enjoy the episode, dear Marc! Your Horn Tributes are amazing
  14. https://thelegacyofjohnwilliams.com/2020/10/23/james-thatcher-podcast/ I hope you'll like it. It's a long episode!
  15. https://www.fpa.es/en/princess-of-asturias-awards/laureates/2020-ennio-morricone-and-john-williams.html?texto=discurso&especifica=0
  16. Thank you dearly, @Incanus. I'm so glad you're enjoying this. Check the latest episode with Mike Matessino discussing WAR OF THE WORLDS: https://thelegacyofjohnwilliams.com/2020/10/12/war-of-the-worlds-podcast/
  17. https://thelegacyofjohnwilliams.com/2020/10/12/war-of-the-worlds-podcast/ Also available as a YouTube video: Hope you'll like it, gents!
  18. Interesting points. What gives this score its most unique quality, in my very humble opinion, is the fact Williams avoids almost completely the theme-driven approach he's known for and that often is at the core of his film scores, which is very unusual for him. While there are thematic figurations throughout, it's mostly motivic stuff, not fully fledged themes. It's an almost impressionistic score in that regard, where the identity of the film is rendered throughout the harmonic language and the very dark orchestral colours. It's Williams at his most Stravinsky-esque, imho. It fits the film's
  19. Thank you all for the nice words. I'm glad you've enjoyed this episode. Malcolm is really a legend of his own and he really seen it all in terms of greats he played for. Stay tuned for new episodes coming with more legendary musicians who performed with JW.
  20. This. Williams' demo cues were never intended for usage. Plus, they were recorded in LA, which complicates things in terms of re-use fees etc. Whatever Powell used and re-recorded from those demos will likely be presented, though.
  21. https://thelegacyofjohnwilliams.com/2020/09/23/malcolm-mcnab-podcast
  22. FYI, Karam is 91 years old and retired. There is no inherent reason as to why JW stopped working with Conrad other than he likely didn't need his services anymore. As he said in the podcast interview we did, Conrad feels like JW is doing good without him nonetheless Conrad started in the early 1980s working as a copyist at JAKMS, so he was able to look at scores already very early on. He was recommended to John Neufeld by Arthur Morton (Goldsmith's main orchestrator), and started doing uncredited work for him. He was given his first credits with on some James
  23. The use of the harpsichord might recall Francis Poulenc's Concert Champetre from 1928. There is an overall air that harks back to French composers of that era like Poulenc, Honegger, Milhaud. All of them were strongly influenced by the early jazz music coming from the US (Gershwin, Antheil et al). It makes sense considering the source material and also the setting of the film.
  24. These are fantastic peeks into the creative process, other than being lovely pieces of music. I think Spielberg and JW did the right choice in the end--the final jazzy version is probably the best of the three. It gives the opening a fantastic 1920s feeling.
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