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I would also recommend Bernstein's earlier TV specials on Omnibus. They can be found (for a subscription fee, cancellable after) on medici.tv. There are 7 in total and cover from Bach to modern music. They are a good companion to the Young People's Concerts. I also have really enjoy Robert Greenberg's 20 or so lecture series on The Great Courses. These are pricey (but on sale from time to time) and some of them are part of Audible's credits (audio only). (They are available as video or audio - same content. The videos are illustrated a bit but I have found no loss in just listening

I listened again last night, and I found that I was already enjoying the first movement more and loving the rest. In fact, I found it easier to focus on the music without actually watching it being performed. I guess I could put all my attention into the notes and not split that with observing Anne-Sophie's amazing playing and tracking every movement of JW to ensure he is ok. (As written on another thread, he looks great.) VCNo2 is on the playlist for this morning's run too! Looking forward to it. And great write ups as well! Very enjoyable to read other people's thoughts.

From the video broadcast, it was also apparent that he was in great shape. Perhaps a bit trimmer? Certainly, he was very, very engaged with the orchestra and focused on a lot of performance pieces as best I could tell. He only sat back when ASM had a true solo. Then he just listened. At one point though, he showed some sort of surprise or something. Have to watch it again to know! From both the BSO Now broadcast as well as the radio one, I felt the audience applause was somewhat mutated. So, @Jay, I am curious what it seemed like live. I can imagine the concertgoers not knowing wha

My first impressions of VC#2 is similar to a few comments above. I enjoyed the start (mostly) but then really enjoyed it as it moved forward and quietly ended. JW sure loves combining instruments together in duos and trios and that was very cool to hear throughout. I cannot wait to hear the whole thing again (hopefully my recording worked as I am watching on BSO but catching the stream on my laptop). I also think ASM will also find more and more in the piece and improve it further. Also: Was across the stars somewhat updated from the album? Future release: I suspect th

Hope you are enjoying, Jay! (And not reading this.) Rebecca and I are watching from Hawaii on BSO Now!

The DG Stage (Deutsche Grammophon's digital stage with paid ticketed events) will be broadcasting the July 24 concert from Tanglewood. From the email I just received: "In the second half of the month we’re delighted to present the world premiere of John Williams’ Violin Concerto No.2 with Anne-Sophie Mutter from this year’s Tanglewood Festival 2021..." https://www.dg-premium.com/dg_stage_video/world-premiere-of-john-williams-violin-concerto-no-2-at-tanglewood-2021/ Cost is €9.90 and the ticket is valid until July 27 for repeat viewings. The event

Fair point. I too have seen him paired (Schindler’s List for example) with other purely classical composers (vs. Bernstein/Gershwin who had a lot of fame through broadway). Digressing I guess specifically to this thread, but I suspect the pairing of Violin Concert No. 2 with a Beethoven overture and Bartok’s concerto for orchestra to kick off the BSO 2021-2 Season is a bigger statement then?

So, just watched Martin Grubinger‘s John Williams: The Special Edition piece live on the Berlin Phil’s digital concert hall platform. A bit of.a glitchy flow on my brand new AppleTV which was annoying (hopefully my audio recording on my PC captured it cleanly). Overall, my impression is pretty much what this thread feared - the whole piece was an awkward mash up of themes which were generally well played but transitioned in and out of mostly orchestral moments with the various percussion instruments overlaying or taking over. The suite started with a relatively large

I guessed (correctly) that he must have brought the Boston Pops there in the 80's. Here's a brief mention in the New York Times from May 3, 1988. Cover your eyes for paragraph 3, sensitive folks! https://www.nytimes.com/1988/05/03/arts/boston-pops-at-carnegie.html (You might need a subscription to read it. However, it is short, so I will paste it below.) ------- It will not do to be severe about the current provision of music from the Boston Pops Orchestra, which came to Carnegie Hall on Saturday night with John Williams on the podium and on the program. The organiza

Doh. I was looking at the wrong file in my iTunes as I have two that are very similar. The right concert was May 29, 2019. So, recorded 2 years ago or so. I've edited my post with the correct dates.

I believe the clips were recorded for the May 2017 2019 concerts tied to Film Night the release of the Boston Pops JW album "Lights, Camera, Music." They were played live on the Symphony Hall screens and were explained at the time that Williams was too busy working on RoS to travel to Boston for the concert. However, some of the clips were not part of that concert. I have the audio from the May 2429, 20172019 concert and about half of the interview segments included in this 2021 release were not part of the 2017 one.

So glad this played well for you (and thanks for listening to the rest). We knew we wanted to bring in Mike's thoughts on Indy 5, and we discussed how best to fit that in. Our initial thinking was to record the piece and then drop it into the original interview. But after I had gone through the material, there was not a clean, natural way to do this and keep the integrity of the discussion. Then we debated where to put the coda, and Mike and Ron both agreed to do what we did vs putting it after all of the music because we know not everyone listens to that far. (I was actually going to play all

I have tried for years to encourage this to happen. I know Joel McNeely would like to see them come out too. I would be willing to contribute money to the project. Alas, once the acquisition happened, momentum dried up. I am hopeful that Lucasfilm/Disney will move forward in line with Indy 5 and get these out. Beyond the 4 official releases, there are a few more score pieces floating around - but there is so much more. I cannot believe I did not keep a copy of everything when I was working on this stuff. Never occurred to me - but heck I was 25, so what did I know? And I agree - M

Thank you!

Mike was incredibly generous with his time and stories, and he was kind enough to listen to my first edit pass to ensure we had everything as he liked it. As you can expect, he gave good notes to ensure the most intelligibility and clarity. (Nothing was lost in some big cut! There is not some story he gave us that I had to remove. And we never asked him what soundtracks were coming out soon since he would not have been able to tell us anyway.) I thought about actually releasing the interview in two parts, but I did not feel there was an obvious break to do so. Everything just flowe