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TownerFan

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Everything posted by TownerFan

  1. Yes, and he talks about that session during the conversation
  2. https://thelegacyofjohnwilliams.com/2021/07/26/stephen-erdody-podcast/ I'm honoured to have another legendary LA musician joining the podcast. I hope you all enjoy!
  3. FYI, all EU viewers with access to Arte.tv can watch the full concert for free until Aug 24: https://www.arte.tv/it/videos/104491-000-A/anne-sophie-mutter-e-john-williams/
  4. Williams' deep love of Claude Thornhill is well known, as he mentioned him as the source of inspiration also for Heartwood and one of the movements of the Conversations piano suite. I think it's almost moving to see JW keeping his passion for what he loved as a youngster so much alive even in this late phase of his artistic life. He's definitely an artist very much in tune with the deepest parts of his soul.
  5. I love Williams' eloquence with the written word--it does surely makes you want to read more thoughts about music in general from him! From his description, it seems another work very much in the vein of his more recent concert pieces. Wistful and contemplative, with the occasional virtuosic outbursts. I very much envy all the people who will experience this live on Saturday
  6. Swiatkowski became JW's preferred pianist after Grierson moved more and more toward synth for John. It's Chet performing the exquisite solos on such scores as The Witches of Eastwick, The Accidental Tourist, Always, Presumed Innocent.
  7. I think you're mixing this with Images. The keyboardists on Always are Ralph Grierson, Randy Kerber, Mike Lang and Chet Swiatkowski. Kerber and Grierson did perform the synth parts, while Lang and Swiatkowski were mostly playing piano. Anyway, back in those days (late '80s and early '90s) it was either Swiatkowski or Grierson performing the piano solos.
  8. Great news: the concert will stream online on Deutsche Grammophon streaming platform DG Stage: https://www.dg-premium.com/dg_stage_video/world-premiere-of-john-williams-violin-concerto-no-2-at-tanglewood-2021
  9. The interesting thing is that both pieces aren't funereal in character, but express wistfulness and contemplation. They're both a journey from darkness to light.
  10. I always thought that this concerto shares a common ground with Alban Berg's Violin Concerto, another piece composed in memory of a dearly departed. Musicologist Tom Schneller explored those analogies in a beautiful essay contained in Emilio Audissino-curated volume John Williams: Music for Film, Television and the Concert Stage
  11. Wonderful and thorough analysis, Jim. Excellent podcast! Tim Greiving wrote a really nice retrospective article about the making of the movie, with quotes from several people who worked on the film: https://www.theringer.com/movies/2021/6/29/22553929/ai-artificial-intelligence-steven-spielberg-stanley-kubrick
  12. As I said, those recordings were very likely made using the original manuscripts, from which new parts were created. How they obtained the full score manuscripts, it's unclear. Back in the day, Fitzpatrick worked a lot with music copyists agencies and studio libraries, so it's likely he got a hold of those in some way or another. Back then, there was much less control and awareness of what was out there (officially or not) in terms of sheet music available to perform.
  13. Neither this or The Rare Breed suite you mentioned in another thread were arranged or prepared by Williams himself. Back in the the era of these Silva re-recordings (mid to late 1990s), there was quite an unregulated landscape concerning the chance of renting scores and do new recordings. Most of these were transcriptions made by using copies of the original full score manuscripts that were circulating (most of the time without a proper authorization) in music libraries and various archives. A lot of these full score manuscripts are stored in film studios libaries or at Jo Ann Kane Music Servi
  14. At the article I linked above, you'll find some accurate descriptions of the piece.
  15. You guys are now faster than me Hope you will enjoy this long-awaited episode!
  16. Grubinger confirms the piece is a suite of sorts of selections from JW film scores: https://www.facebook.com/BerlinPhil/videos/558066225601279
  17. I'm sure a copy of the manuscript is safe in JW's personal library. Withdrew means that he doesn't want to have it our available for public performance.
  18. If you're a fan of old movies, the last place you should go is Netflix. There is almost nothing pre-1970, save for the occasional classic they license from the competitors. But give it a few years and they will only carry their own product. They're massively working in creating as much owned content as they can. And speaking of that, it's another different matter. As with any film studio, there is both the quality product and the useless dud. I have a feeling they will pursue and produce more and more IP-driven content going on, as they have to compete with juggernauts like Disney,
  19. JW's Symphony No.1 was written in 1966 and then performed in 1968 in Houston conducted by Andre Previn. JW later did extensive revisions for the European premiere in London in 1972, eith the LSO again conducted by Previn. Williams planned to conduct a furtherly revised version in Houston in 1986, but he then decided to put it back in the drawer. It's never been performed again and the printed score was withdrew from rental houses by JW's current publisher. More info here: https://thelegacyofjohnwilliams.com/2019/10/08/john-williams-early-concert-works/
  20. The violin cadenza in Fiddler is all Williams writing. Btw, you might be interested in hearing stories from some of those musicians themselves in the series of interviews I'm doing for my podcast series on The Legacy of John Williams https://thelegacyofjohnwilliams.com/category/podcast/l-a-studio-legends/ More interviews coming soon
  21. I noticed how much the average watcher nowadays says often "I'll watch Netflix", "I'll watch Amazon", "I'll watch Disney+" instead of saying "I'll watch the new [director's/actor's name] film". And I often heard or read comments (even from film fans) saying things along the lines "It looks like something made my Netflix" or, even more amusingly, "this is pure Netflix style". It's interesting to see how people now rapidly associate the name of the studio with the product rather than the actual filmmakers. We can say that the same already happened in the 1930s and '40s, when the studios' marque
  22. August 9. They will give important information about the sale the week before, or at least that's what they told me. I have a hard time believing they will fill up both the 14th and the 15th concerts just with subscription sales. I'm sure there will be plenty of seats available on Aug 9.
  23. What do you mean? If you refer to the differences between the versions recorded for the OST album and the ones published for concert performances, yes, it's always JW himself writing new material, changing orchestration, adding or removing things here and there, etc. That is done primarily for two reasons 1) creating a musically coherent piece of music that can stand on its feet when performed in a concert hall and 2) adapting it for a standard symphony orchestra and give the piece more opportunity to be performed by virtually any orchestras in the world. All the arrangements and a
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