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TownerFan

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Everything posted by TownerFan

  1. I've been distraught for most of the day. Cannot listen to any of his music without feeling overwhelmed at the moment. I jotted down a personal homage on The Legacy of John Williams website, I hope it makes some sense: https://thelegacyofjohnwilliams.com/2020/07/06/rip-ennio-morricone/ Btw, here in Italy is basically a mourning day. He was loved by literally everyone.
  2. I hate to be the one breaking this very sad news. Maestro Ennio Morricone passed away last night: https://www.ansa.it/sito/notizie/cultura/2020/07/06/addio-a-ennio-morricone_13319023-9654-4ba1-a7f2-c3f53dbd7f60.html It seems he fell in his home the other day and broke a leg. Will report later when I have more news.
  3. It's a wonderful closure of the circle, it makes such perfect sense.
  4. What Karim meant, I guess, is when JW goes more heavily abstract-like to create a sort of suspended atmosphere through the usage of colours and textures produced by light instruments (like celeste, piano, harp, high-pitched strings), usually enhanced by electronic timbres of the synthesizer. I think this could be totally defined as one of JW's own trope. Several examples come to mind: Listening to these, I realize that despite they're heavily textural in character, they're also very pianistic at their core. It's sort of JW's own take on impressionist-like writing. It would be interesting to investigate his process when writing these kind of cues.
  5. Don't assume too much. JW is the consummate professional. He survived 60 years of Hollywood craziness, so it's more than likely he's well above these kind of things. As someone apt once said, "It's called show business, not show show."
  6. Absolutely wonderful, thank you!
  7. Sorry, I was misremebering. Byrd's interview was printed in the book The Hollywood Film Music Reader, but it was actually published in 2010. The interview appeared originally on Film Score Monthly Vol.2 N.1 (January 1997).
  8. The only interview FSM did with JW was the one by Jeff Bond from 2003 where he talked about AOTC, Minority Report and Catch Me If You Can, plus a little bit about A.I. The 1997 interview on the Star Wars trilogy by Craig Byrd was originally made as part of a book and reproduced under authorization from the author, AFAIK. It's the first time I see those quotes from JW about Jurassic Park. Perhaps they were pulled from the Making Of book by Jody Duncan published in 1993? I'll try to investigate.
  9. Glad you enjoyed it! It's the version as heard in the Spielberg/Williams Collaboration Vol.3 album from 2017 as conducted by JW. I didn't know there was a recording conducted by Ben himself otherwise I would have used that in the show!
  10. https://thelegacyofjohnwilliams.com/2020/06/24/ben-palmer-podcast/ Hope you'll like it, guys. It's quite a long and insightful conversation.
  11. The old Soundtrack! magazine published an article with photos back then. Here's a few scans from the magazine (courtesy of @Miguel Andrade, linked from MArkus Hable's website) As it's been already noted, this concert isn't the one he performed with the LSO at the Barbican a few days later (btw, I have the program of that one, I'll try to have it scanned)
  12. https://thelegacyofjohnwilliams.com/2020/06/09/marcus-paus-podcast/ Marcus is a true genius and his music is brilliant, I recommend everyone to check out his opus if you don't know it already. It was a joy talking with him. I hope you all enjoy.
  13. I believe the cue "Blood Moon" was originally recorded for the planned album because it doesn't appear anywhere in the film and it truly sounds like a concert-ized version of the main thematic subject of the score.
  14. As far as I remember, the track named “Hell’s Kitchen” on the OST is actually the end credits cue. It was performed live as a concert piece first at Tanglewood in 1996 and then in London in 1998. Reel 6 got heavily re-edited several times. The version Williams wrote his music to was already different than the one he had during the recording, so he had to do several podium changes. However, Lucas and Burtt continued to change and re-edit that reel well after scoring was done, so it’s likely that what JW recorded didn’t fit the film anymore.
  15. They're all JW except Black Sunday, War of the Worlds and Earthquake. The version of The Towering Inferno recorded by Lockhart (with the Finale segment tacked at the end) is at least acknowledged by JW, I think, as the album has his stamp of approval. Both suites from The Patriot are by JW--the one by the FSO is the regular published Hal Leonard version; the one recorded by Lockhart is an arrangement JW did for a Boston Pops performance in 2000 (in an interview Lockhart said he remembered that version so he had people searching for it in the BSO library) The Memoirs of a Geisha 5-mvt suite for cello and orchestra recording has been released on several different album (the Music from America 3-disc set), while the 3-mvt suite for cello and piano was released digitally on iTunes.
  16. The suite from War of the Worlds mentioned above is a collage of three cues unofficially transcribed by some arranger/orchestrator for some City of Prague recording released in 2005-6 (they used to do this quite a lot for their compilation albums, until they finally stopped). It circulated between orchestra librarians around Europe for some time and it has also been performed live a few times before it was asked to be removed. The Williams-authored War of the Worlds concert suite (comprised of two movements, "I. Escape from the City" and "II. Epilogue") has never been published or recorded. No, the Kunzel recording is a transcription (likely made by one of the Cincinnati Pops staff arrangers like Tim Berens or Steven Reineke) of the "Escape from the City" cue as heard on the soundtrack album, with an added short coda (not by JW). Considering the friendship between Kunzel and JW, I guess this was done with JW approval. The Varèse Sarabande recording of The Poseidon Adventure main title as heard on The Towering Inferno and Other Disaster Classics (conducted by John Debney) was likely made from a loan of the original manuscript score stored at JAKMS, from which new parts were copied. Same goes for the selections from The Towering Inferno and Earthquake recorded for the same album. They sound faithful to the original versions (save for the occasional wrong note here and there) and no orchestration changes were made. Bob Townson has always been very careful to do these things with taste and awareness. Keep in mind that many JW "rare" selections recorded on those Silva compilation album made in the late 90s/early 00s (including Black Sunday, Towering Inferno, The Rare Breed, Dracula etc) were indeed transcriptions made either by ear or from (often bootlegged) manuscript scores floating around. For some strange copyright law, these new transcriptions were passed as arrangements/cover version so that they could not be sued by the copyright owners.
  17. Absolutely. That's why I think it's duty of the conductors and musicians who will keep his legacy alive.
  18. I think sometime he just forgets what version he's playing Jokes apart, the most logical explanation is that the shorter version is what is kept in the JAKMS library (they do music prep for all JW concerts) and that's what is sent out to orchestras when JW is conducting. I'm fairly sure it was originally made for the Star Wars In Concert series back in the late '00s. The bars that were cut (a couple bars in the opening prelude with the flutes, a couple more in the mini-development section in the middle and a few more in the coda) probably made sense in the logic of accompanying a film montage and for some reason JW stuck with this version whenever he performs it live. However, the Hal Leonard published version (authorized by JW) is fortunately the full version with those bars intact, so whenever any other orchestra or conductor wants to perform it, it will be this one. The very same happened with "Hymn to the Fallen", which was shortened for a film clip montage he did in Boston several years ago, and that's what was also recorded on the Spielberg/Williams vol.3 album. But again, the published version on Hal Leonard is the longer original one.
  19. I’m sure Mr. Williams is writing every day even during quarantine. What I meant is that there will be hardly new film projects featuring new music from him in 2020.
  20. The version available on Hal Leonard is the full original version, luckily for us. I believe this shorter version originated for the Star Wars In Concert tour back in 2009, where the piece was accompanying a montage of clips from the original six films. For some reason, JW stuck with it since then. For the Mutter violin arrangement however, he went back to the full version.
  21. Considering the very particular situation the world is going through and how this is severely impacting the film and music industries, I find very hard to believe we’ll see any announcement for upcoming film or concert projects for 2020.
  22. Film music fans almost always see the original film recording as the epitome/ultimate reading of said piece. But we all know that the tempo is thoroughly dictated by the film in that case, so the composer might feel that the piece works better with a different tempo if presented in a concert setting. For Jurassic Park, Williams showed a tendency to prefer a slightly faster reading of the "brachiousaurus" segment since the first times he performed the piece in concert with the Pops: Sometimes he conducted it faster, other times slower. The point is that he takes freedom in these things and probably doesn't have a rigid interpretation in his head. A lot of these things depend upon rehearsal time and how the orchestra responds to the piece. The great thing about music is that there is always more than one interpretation of a piece, and that includes film music cues as well.
  23. When JW became Pops' principal conductor, he wisely decided to remain faithful to the traditon of the Pops concert programming, a.k.a. the three-act program that defined the Boston Pops standard. Williams started to put some of his own pieces into the programs (usually as part of the "showbusiness" third act of the concerts) since the very beginning of his tenure, but he was clever enough to avoid putting the spotlght on himself, so he did it very carefully and only seldomly. Some of the audience though came to the concerts and expected tos ee him conducting Star Wars and the likes, so he had to find a balance without taking anything away from the prestige post he was occupying. Once he gained more confidence (and also became more and more a reason of attraction for the very severe Bostonian audience), more of his own film pieces became part of the Pops standard, but he also started to write more music for the orchestra (for example the Tuba Concerto, written for the Pops principal tuba Chester Schmitz). Nonetheless, Williams avoided the Pops to become "the John Williams show", showing an immense respect to the orchestra's history and legacy. From what I know, the now traditional "John Williams' Film Night" began in the late 1990s, when the Pops continued to use his starpower to bring a wider audience and Williams became more active as a conductor of his own music in concert. However, Williams programmed a few film night-type of concerts during his tenure at the Pops--in 1981 he brought Lionel Newman to conduct a full concert devoted to Hollywood's golden age scores; Marvin Hamlisch appeared several times throughout the JW years as guest conductor performing selections from his popular film works such as The Way We Were and A Chorus Line; Michael Kamen conducted a full film music concert that included a suite from Robin Hood Prince of Thieves and a couple of Williams' pieces. As for performing his lesser-known works more often, it's my belief that Williams simply has preferences over his own works, as we all do, and that's it. Despite how highly we might think of some of his more obscure output, he's sensitive enought to avoid using his starpower to put the audience in front of something that might not be received as well as, let's say, the Raiders March, or the Cowboys Overture. Like every artist connected to his audience, Williams is sensitive about how they feel and react. Of course we also know the man is humble to the point of being almost self-deprecating, but as I said several other times, i think it's duty of the next generation of conductors and musicians to shed a light into his lesser-known scores. It bodes well that fellow conductors like Keith Lockhart and Richard Kaufman have been able to convince him to dust off the occasional hidden gem. Williams conducted "Hell's Kitchen" from Sleepers also at Tanglewood in the summer of 1996. Lockhart conducted "The Turbulent Years" from Nixon throughout the whole 2019 Pops season, including the annual "John Williams Film Night" (the composer didn't attend last year)
  24. There is this tidbit in an interview he did in 2011 with the San Diego Union-Tribune:
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