lairdo

Disc 1
1. Main Title (Pilot Version) :46
Disc 2
1. The Boiler Room (Show Dub) :39
Disc 3
1. Main Title (Pilot Version With Overlay) :46
41. End Credits (Alternate Take) :52
 
 
Total John Williams: 3:05
That's about $9.99 per track + shipping
 

ORDERED!
 
 
 
 
But in seriousness, I really enjoy this kind of 60s television score music, so indeed, ordered. 

I can definitely confirm the error both on my CD 2 and on the subsequent rip of these tracks. Here's a shot from Audacity of the end of Track 14.
 
As mentioned above, an easy fix which I have just finished.

 
Edit - I did not notice this until it was mentioned above either. I just played straight through a few times and did not hear the track change. But nice to have it fixed. 
 

Friday, August 13th was an incredibly hot, humid day in Massachusetts.  As pleasant as it was - as always - driving westward through seemingly endless patches of green trees with more and more mountain ranges peeking out behind them, checking out the Berkshire Botanical Gardens (highly recommended to anyone traveling to the area!) as an afternoon adventure was dampened somewhat by the pervasive heat and humidity.  Luckily our hotel room provided the adequate cool down time before departing again for dinner at Cafe Adam (also highly recommended!) before heading to Tanglewood!
 
We arrived at Tanglewood about an hour before the scheduled start time, and would have loved to have enjoyed a walk around the whole property, but the humidity was still quite unpleasantly high even this late in the day.   We decided to sit down and grab drinks at one of the designated outdoor areas, but even that didn't provide the respite we were hoping for.  Before long we headed to our seats, only to find it even more unpleasant there, due to there being even less of the minimal breeze than there was in the more open areas and the new proximity to so many other people.  I think due to the new covid protocols, they made sure to leave empty chairs between each group of tickets sold, but that was sort of made irrelevant by having people seated directly in front or behind of you.  So, at this point I was mentally preparing myself for an hour and a half of increasing discomfort, and wondering how the musicians on stage would fare...
 
Shortly after the second second set of bells rang out a little after the 8:00 scheduled start time, Keith Lockhart took to the stage to a round of exuberant applause, and quickly began the first selection of the night:
 
Hooray For Hollywood (Richard Whiting, arr. John Williams)
 
This is a terrific concert opener, which I have experienced live a few times before.  The melody is timeless and instantly recognizable, and Williams' arrangement makes it come alive in so many different ways for its succinct runtime.  The three giant screens positioned around the Koussevitzky Music Shed showed closeups of various musicians throughout, which is always welcome in my book.  Though in this case, you could visibly tell some of them were struggling with the weather conditions, as was Keith Lockhart, made more noticeable as he grabbed the microphone to speak to the audience for the first time
 
 
"Hello friends!  Thank you, welcome to Film Night at Tanglewood!  We started out appropriately with "Hooray for Hollywood" because that's what we are saying here tonight.  Tonight we explore the wonderful world of film music, the most recent genre of the music that we play on up here on this stage.  When you think about it, the talkies started in 1929, it's not even a century yet, and what a rich legacy we already have.  A lot of that rich legacy is due to a man who will be following me later on the podium tonight, you may have heard of him - John Williams
 
<massive audience applause>
 
I just like saying his name because I like getting applause <audience laughter>
 
But, I'd love to start out with some great, classic movie scores from a little bit earlier on.  First up is the epic 1962 Lawrence of Arabia.  One of Maurice Jarre's first film scores, his first collaboration with director David Lean.  That movie clocks in at 3 hours and 48 minutes.  It had an intermission.  And you can't say "Look on the bright side, it's 10 minutes shorter than Gone with the Wind".  <audience laughter>
 
Lean first tried to hook up with William Walton, the British film composer, and Malcolm Arnold, before settling on the relatively unknown Jarre.  And the result of course was a 30 year relationship between Lean and Maurice Jarre that resulted in such great movies as Dr. Zhivago, Witness and Ghost.  Here is some great music and great scenes from Lawrence of Arabia."
 
 
I could tell Lockhart was struggling with the weather conditions, At this point the screen behind the musicians lowered to show synced film footage, which was also shown on all three screens instead of the musician closeups
 
Suite from Lawrence of Arabia (Maurice Jarre)
 
Though this is a film I have still not seen and score album I have yet to check out, the music is beginning to make a lasting impression on me due to its frequent concert appearances, not to mention all the homages in other media.  The main theme is so evocative, and when seeing all the epic footage from the movie really made me want to check out this film finally more than ever.  After applause, the next piece begin, with all the screens again showing a medley of footage from the associated feature:
 
Excerpts from An American In Paris (George Gershwin)
 
This music was not my cup of tea, and the film looked like it wouldn't be up my alley either.  However, it was during this part of the night that something magical happened.  First I noticed one of the screens blowing upward strongly, then another, and then I finally felt an amazing cool breeze coming through the shed.  This great breeze continued consistently, and ny the time this selection was over, the weather conditions had completely flip-flopped, all humidity was completely gone, and the temperature was extremely pleasant!  This seemed to have created an unspoken boon to the entire audience and everyone on stage, including Keith Lockhart as he took to the microphone again to say
 
 
“Don’t you just love that musical?  1951, An American in Paris directed by Vincente Minnelli, choreographed by Gene Kelly, and starring Gene Kelly of course.  There's nothing to say about that, it's just the most perfect dancing and the most perfect music.
 
You know, the way we’re attracted to film, it’s not just about great scores, it’s not even just about great pictures, it’s also about the stars, these luminaries who light up our lives. We have a little tribute now, that was put together by Susie Dangle and Dick Bartlett, to one of the most radiant stars of any generation, the great Audrey Hepburn <audience applause>
 
You'll see her in many different things, but I should point out to you that towards the end you’ll see her dancing with Fred Astaire, that’s from 1957’s Funny Face, and when John saw this montage, he looked at it and he said “Hey, I played piano on that movie!” <audience laughter> So there you go, a bit of Hollywood history.  Featuring our concert master Alexander Velinzon and set to the music of John’s score to the revival of Sabrina in 1995, this is a tribute to Audrey Hepburn.”
 
 
Theme from Sabrina (John Williams)
 
I was really looking forward to this piece in particular, as I finally saw the film earlier this year and that led to a new admiration for Williams’ score.  This arrangement did not disappoint, it was performed exceptionally well, and paired nicely with the accompanying montage of Audrey Hepburn (which was more or less an endless series of close-ups and medium shots from across all her work - though I noticed 1989’s Always was not included at all).  A short applause break separated it from the next piece:
 
Suite from The Godfather (Nino Rota, arr. John Mauceri)
 
Less than 5 notes into this, something that seems to be common in film music concerts I’ve attended, which is that the audience seemed to recognize that this was Godfather music around this point and started laughing subtly, which quickly turned to more raucous laughter when the first shot of Marlon Brando was shown, then quickly turned into a round of applause as The Godfather title card was shown.  It was around here that I thought about how when I attended the premiere of Williams’ Violin Concerto #2 at Tanglewood less than a month prior as part of a night of classical music, that audience never applauded over any of the music, and in fact waited for the piece to completely conclude and the conductor to lower his baton before applauding.  But throughout this night, the audience would begin applauding as the final notes were finishing, or even sooner, just about every time.  Anyway, this suite was a nice summary of the original music for the first film, set to a montage of footage from all three films.  After it ended, Keith Lockhart grabbed the microphone again:

 
“Nino Rota’s mesmerizing score to 1972’s The Godfather.  But you knew that. <audience laughter> I’d like to end my portion of the program with a truly extraordinary score by the Viennese war-time refugee Max Steiner, for the 1939 film Casablanca.  <audience applause>
 
Who would have thought that a movie made from an obscure never-produced play called “Everybody Comes to Rick’s” that was made as a war-time propaganda film and happened to be, also, the first romantic lead by a relatively unknown actor named Humphrey Bogart would turn out to be one of the immortal romances of all time.  I’d like to leave this portion of the program with some great music from Casablanca."
 
 
Opening and Finale from Casablanca (Max Steiner)
 
More music that is not my cup of tea (though La Marseillaise and As Time Goes By are always fun), and while Casablanca is a movie I’ve seen, it’s not a favorite.  This montage also did something I’m not a fan of, which was playing the actual audio from the movie at three different points (“Play it once Sam, for old time’s sake” “here’s looking at you, kid” and the later “here’s looking at you, kid”).  The audience began applauding long before the music was finished, which turned into an extended applause as Lockhart waited to take the microphone one final time
 
 
“Thank you ladies and gentleman and may I say, this is such a privilege to make music with this wonderful orchestra in front of this wonderful crowd, and really go down memory lane with so many great films.  Now comes the next problem of how you introduce the person that I’m supposed to introduce... I could go over a list of awards but that doesn’t seem to do justice to someone who has so transformed and fulfilled the medium of film music.  It’s been my honor and pleasure for now going on 26 years to be a colleague of this man, and I’ve learned so much over that period of time.  But I'd say the greatest thing about John Williams, ladies and gentlemen, at least in this case, is that I don’t have to follow him. <audience laughter>  Ladies and gentlemen, John Williams!”
 
 
I should have mentioned before that due to the new covid protocols, Tanglewood is doing shorter shows without any intermission at all the whole season.  So while the standard procedure through most recent Film Night concerts would have been to have the intermission here in between conductors, in this case Williams was waiting right at the side door and as soon as Lockhart exited, Williams entered to the largest applause of the night so far!

I like this theory.

Good news -- it appears that WCRB will be broadcasting this concert on August 29 at 7 p.m. Eastern Time!! 
 
 
https://www.classicalwcrb.org/show/the-boston-symphony-orchestra/2021-08-13/film-night-with-the-pops-and-john-williams-2021 
 
So excited to hear this new overture!

I was checking the CRB stream and site throughout yesterday, but they do not seem to broadcast the Friday concerts. This was true in the past too, so I guess no change even with COVID. I think the only video concerts are the Saturday and Monday ones that end up live and then are sometimes shared a week later for a few weeks. The July 24 concert was not shared after the fact though. 
 
I suspect every concert is recorded that happens at Tanglewood (and Symphony Hall). But just for the reference of the BSO/Pops.
 
There is a small hope, but it's hard to catch them, that the WCRB rebroadcasts it at some point in the future. I have caught past concerts even a year later. 
 
I foresee the BSO moving to extend BSO Now as the Berlin Phil has done with the Digital Concert Hall. Doesn't help us today though!
 
So glad for everyone who got to attend and enjoy. What a treat!

Got mine!!

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

Yes! He seemed energized. I think his gratitude to be performing again came across. I found that the Throne Room was especially triumphant and cathartic to hear in light of this.
 
I got caught up in the Leia portion of the piece and noticed some instrumentation that never jumped out at me before. Sabrina was gorgeous! I still like hearing BFG in concert, and it was nice to get a newer piece.
 
I would have liked to hear more new stuff, especially something from Rise of Skywalker, but it was not to be, cherie. This show was more of a victory lap. But the energy and affection between Williams, the orchestra, and the audience was special. There's always a lot of enthusiasm for Williams at Tanglewood, and it was great to see people wearing Jaws shirts, and hear positive comments on the way out.
 
I went by Highwood beforehand and said hi to the ghost. I kept an eye out for fellow JWFans, but didn't see anyone. There was quite a crowd! The weather in New England has been awfully hot and humid, but luckily that changed suddenly after the first few Lockhart-conducted selections, and it was easier to simply enjoy the music.
 
I'm so happy we got to see JOHN WILLIAMS at Tanglewood in 2021!! It seems like a miracle! Feeling thankful. Peace and love to all JWFans tonight.

That was, potentially, the greatest night of film music I ever attended. 
 
"Magical" is the best word I can think of to describe it. 
 
John Williams seemed to be in the best shape yet, even better than just a month ago. He was funny, he didn't reach for words as often as the recent norm, and he conducted everything with a great tempo, no slow versions at all. 
 
He ever commented how nice it was to see an audience again after 18 months. 
 
What a legend. The man is almost 90 and looks and acts like he has 20 more years of a career in him

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

Thanks for addressing my concerns and thanks for the help.
 
By the way, I checked my e-mail after said concerns were relieved…
 
Shipped!

Young Indy is now on Paramount Plus.  Not sure how long Paramount has the rights for them, but figured I'd let you know.

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

And we have arrival!
 
Already listened to the first 4 tracks. Amazing! I liked this score previously. I am sure I am going to love it now.
 

Glad to see such a positive response! I can't promise it'll be quick, but I will try put together a similar listening guide to the other three movements. 
 
Until that point, here's something that ought to be quite useful: my attempt at a transcription of the main theme of the whole concerto, the one that occurs prominently in the second and fourth movement, and which some reviewers missed (?!). This particular iteration comes from Mvt. 4, and goes up until its little internal modulation from C to Eb. My rhythmic transcription is a little iffy in places, but the pitches are right, I believe. Top part is solo violin, bottom accompanying harp & strings. Putting this down on paper, I'm struck not only by its affinities with "Moonlight" but also JW's Elegy for Cello and, oddly, Always, with those turn figures in measure 5. Gorgeous music.