lairdo

La-La Land is releasing a 2 disc remastered version.

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. 
 
 
I've been spending a lot of time with Stravinsky's music as of late. (The 50th anniversary of his passing has caused labels to put out much of his work again.) The above point is very apt in another way as it relates to good old Igor and maybe even to Arnold. The radio announcer alluded to this point as well but in the context of the lucrative nature of the Firebird. Stravinsky is widely known and played for just a few of his works - Firebird, The Rite of Spring, Petrushka. All of those are from the earliest phases of his work. He composed another 50 years after those were released. Other pieces such as The Solder's Tale Suite, The Violin Concerto, Dumbarton Oaks and a few others do get played too, but much less frequently. Bernstein recorded a number of them. Schoenberg is really only remembered for 12 tone writing and not even so much for specific pieces (Verklärte Nacht and  Pierrot Lunaire are examples that are played - and those are really pre the twelve-tone method).  
 
Williams too is known, widely, for a handful of pieces. That group is larger than IS and AS given the films he has scored and their mass popularity and the subsequent concert arrangements. However, when an orchestra does a Williams program, they do 10 pieces, most of which are the same from concert to concert. Of course, we've been fortunate to get gems from Lockhart that are outside the standard range but that is unusual. Stravinsky was always annoyed by the fact that he was known and played for just those few early works. I wonder if Williams thinks about this at all. I sense he does not, but I still wonder. He truly has a range that is in rarified air.
 
I find it a real miss that orchestra do not program one of his concertos during their "film" concerts. They could have their own principal section leaders or bring in a guest. Of course, as we heard in Violin Concerto No. 2, some of his concert works are just not going to be doable by more than a handful of the best violin concertmasters or equivalent players for viola, trumpet etc. (I think the Trumpet Concerto could be played more. Maybe the Oboe one too.)
 
Many people have written that film music (and live to picture concerts particularly) brings new audiences into the concert hall - particularly younger people. However, then they do not hear anything that broadens their minds to the rest of orchestral music. In some ways, I like that the first movement of this new concerto starts a bit tough because it is so interesting but there are tons of what makes Williams amazing to also find along the way. Truly a great combination of his talents. We all owe Ms. Mutter a huge thanks for her inspirational personality. 
 
Anyway, random thoughts after a wonderful concert. 
 
 
 
 
 
 

Every once in a while, deep down, I think there really is nothing new to add to the existing musical literature (classical, pop, whatever).  It is just new spins on old material.  But then Williams brings me back.  He did it six years ago with Rey's theme and now, in terms of contemporary classical, this concerto--particularly the second and third movements.  I am warming to the first as a true "prologue" and really like the fourth, but my goodness are those middle two just perfect.  

I second your recommendation of Robert Greenberg who has sly humor too but I think the courses a bit too pricey for most but are EXCELLENT traversal of the complexity of the topic.  The topic is sort of equivalent to "I don't get literature".  It's not a quick topic.  Anyway, I totally second the Greenberg recommendation!  He's a fabulous educator.

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 to them.) 

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. 
 
 
I've been spending a lot of time with Stravinsky's music as of late. (The 50th anniversary of his passing has caused labels to put out much of his work again.) The above point is very apt in another way as it relates to good old Igor and maybe even to Arnold. The radio announcer alluded to this point as well but in the context of the lucrative nature of the Firebird. Stravinsky is widely known and played for just a few of his works - Firebird, The Rite of Spring, Petrushka. All of those are from the earliest phases of his work. He composed another 50 years after those were released. Other pieces such as The Solder's Tale Suite, The Violin Concerto, Dumbarton Oaks and a few others do get played too, but much less frequently. Bernstein recorded a number of them. Schoenberg is really only remembered for 12 tone writing and not even so much for specific pieces (Verklärte Nacht and  Pierrot Lunaire are examples that are played - and those are really pre the twelve-tone method).  
 
Williams too is known, widely, for a handful of pieces. That group is larger than IS and AS given the films he has scored and their mass popularity and the subsequent concert arrangements. However, when an orchestra does a Williams program, they do 10 pieces, most of which are the same from concert to concert. Of course, we've been fortunate to get gems from Lockhart that are outside the standard range but that is unusual. Stravinsky was always annoyed by the fact that he was known and played for just those few early works. I wonder if Williams thinks about this at all. I sense he does not, but I still wonder. He truly has a range that is in rarified air.
 
I find it a real miss that orchestra do not program one of his concertos during their "film" concerts. They could have their own principal section leaders or bring in a guest. Of course, as we heard in Violin Concerto No. 2, some of his concert works are just not going to be doable by more than a handful of the best violin concertmasters or equivalent players for viola, trumpet etc. (I think the Trumpet Concerto could be played more. Maybe the Oboe one too.)
 
Many people have written that film music (and live to picture concerts particularly) brings new audiences into the concert hall - particularly younger people. However, then they do not hear anything that broadens their minds to the rest of orchestral music. In some ways, I like that the first movement of this new concerto starts a bit tough because it is so interesting but there are tons of what makes Williams amazing to also find along the way. Truly a great combination of his talents. We all owe Ms. Mutter a huge thanks for her inspirational personality. 
 
Anyway, random thoughts after a wonderful concert. 
 
 
 
 
 
 

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. 
 
 
I've been spending a lot of time with Stravinsky's music as of late. (The 50th anniversary of his passing has caused labels to put out much of his work again.) The above point is very apt in another way as it relates to good old Igor and maybe even to Arnold. The radio announcer alluded to this point as well but in the context of the lucrative nature of the Firebird. Stravinsky is widely known and played for just a few of his works - Firebird, The Rite of Spring, Petrushka. All of those are from the earliest phases of his work. He composed another 50 years after those were released. Other pieces such as The Solder's Tale Suite, The Violin Concerto, Dumbarton Oaks and a few others do get played too, but much less frequently. Bernstein recorded a number of them. Schoenberg is really only remembered for 12 tone writing and not even so much for specific pieces (Verklärte Nacht and  Pierrot Lunaire are examples that are played - and those are really pre the twelve-tone method).  
 
Williams too is known, widely, for a handful of pieces. That group is larger than IS and AS given the films he has scored and their mass popularity and the subsequent concert arrangements. However, when an orchestra does a Williams program, they do 10 pieces, most of which are the same from concert to concert. Of course, we've been fortunate to get gems from Lockhart that are outside the standard range but that is unusual. Stravinsky was always annoyed by the fact that he was known and played for just those few early works. I wonder if Williams thinks about this at all. I sense he does not, but I still wonder. He truly has a range that is in rarified air.
 
I find it a real miss that orchestra do not program one of his concertos during their "film" concerts. They could have their own principal section leaders or bring in a guest. Of course, as we heard in Violin Concerto No. 2, some of his concert works are just not going to be doable by more than a handful of the best violin concertmasters or equivalent players for viola, trumpet etc. (I think the Trumpet Concerto could be played more. Maybe the Oboe one too.)
 
Many people have written that film music (and live to picture concerts particularly) brings new audiences into the concert hall - particularly younger people. However, then they do not hear anything that broadens their minds to the rest of orchestral music. In some ways, I like that the first movement of this new concerto starts a bit tough because it is so interesting but there are tons of what makes Williams amazing to also find along the way. Truly a great combination of his talents. We all owe Ms. Mutter a huge thanks for her inspirational personality. 
 
Anyway, random thoughts after a wonderful concert. 
 
 
 
 
 
 

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. 
 
 
I've been spending a lot of time with Stravinsky's music as of late. (The 50th anniversary of his passing has caused labels to put out much of his work again.) The above point is very apt in another way as it relates to good old Igor and maybe even to Arnold. The radio announcer alluded to this point as well but in the context of the lucrative nature of the Firebird. Stravinsky is widely known and played for just a few of his works - Firebird, The Rite of Spring, Petrushka. All of those are from the earliest phases of his work. He composed another 50 years after those were released. Other pieces such as The Solder's Tale Suite, The Violin Concerto, Dumbarton Oaks and a few others do get played too, but much less frequently. Bernstein recorded a number of them. Schoenberg is really only remembered for 12 tone writing and not even so much for specific pieces (Verklärte Nacht and  Pierrot Lunaire are examples that are played - and those are really pre the twelve-tone method).  
 
Williams too is known, widely, for a handful of pieces. That group is larger than IS and AS given the films he has scored and their mass popularity and the subsequent concert arrangements. However, when an orchestra does a Williams program, they do 10 pieces, most of which are the same from concert to concert. Of course, we've been fortunate to get gems from Lockhart that are outside the standard range but that is unusual. Stravinsky was always annoyed by the fact that he was known and played for just those few early works. I wonder if Williams thinks about this at all. I sense he does not, but I still wonder. He truly has a range that is in rarified air.
 
I find it a real miss that orchestra do not program one of his concertos during their "film" concerts. They could have their own principal section leaders or bring in a guest. Of course, as we heard in Violin Concerto No. 2, some of his concert works are just not going to be doable by more than a handful of the best violin concertmasters or equivalent players for viola, trumpet etc. (I think the Trumpet Concerto could be played more. Maybe the Oboe one too.)
 
Many people have written that film music (and live to picture concerts particularly) brings new audiences into the concert hall - particularly younger people. However, then they do not hear anything that broadens their minds to the rest of orchestral music. In some ways, I like that the first movement of this new concerto starts a bit tough because it is so interesting but there are tons of what makes Williams amazing to also find along the way. Truly a great combination of his talents. We all owe Ms. Mutter a huge thanks for her inspirational personality. 
 
Anyway, random thoughts after a wonderful concert. 
 
 
 
 
 
 

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. 
 
 
I've been spending a lot of time with Stravinsky's music as of late. (The 50th anniversary of his passing has caused labels to put out much of his work again.) The above point is very apt in another way as it relates to good old Igor and maybe even to Arnold. The radio announcer alluded to this point as well but in the context of the lucrative nature of the Firebird. Stravinsky is widely known and played for just a few of his works - Firebird, The Rite of Spring, Petrushka. All of those are from the earliest phases of his work. He composed another 50 years after those were released. Other pieces such as The Solder's Tale Suite, The Violin Concerto, Dumbarton Oaks and a few others do get played too, but much less frequently. Bernstein recorded a number of them. Schoenberg is really only remembered for 12 tone writing and not even so much for specific pieces (Verklärte Nacht and  Pierrot Lunaire are examples that are played - and those are really pre the twelve-tone method).  
 
Williams too is known, widely, for a handful of pieces. That group is larger than IS and AS given the films he has scored and their mass popularity and the subsequent concert arrangements. However, when an orchestra does a Williams program, they do 10 pieces, most of which are the same from concert to concert. Of course, we've been fortunate to get gems from Lockhart that are outside the standard range but that is unusual. Stravinsky was always annoyed by the fact that he was known and played for just those few early works. I wonder if Williams thinks about this at all. I sense he does not, but I still wonder. He truly has a range that is in rarified air.
 
I find it a real miss that orchestra do not program one of his concertos during their "film" concerts. They could have their own principal section leaders or bring in a guest. Of course, as we heard in Violin Concerto No. 2, some of his concert works are just not going to be doable by more than a handful of the best violin concertmasters or equivalent players for viola, trumpet etc. (I think the Trumpet Concerto could be played more. Maybe the Oboe one too.)
 
Many people have written that film music (and live to picture concerts particularly) brings new audiences into the concert hall - particularly younger people. However, then they do not hear anything that broadens their minds to the rest of orchestral music. In some ways, I like that the first movement of this new concerto starts a bit tough because it is so interesting but there are tons of what makes Williams amazing to also find along the way. Truly a great combination of his talents. We all owe Ms. Mutter a huge thanks for her inspirational personality. 
 
Anyway, random thoughts after a wonderful concert. 
 
 
 
 
 
 

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 the performance in late September to kick off the Boston Symphony season when they play this again will be the one that gets released. Perhaps they can record VC1 too to fill out the album or a few of the missing arrangements from Across the Stars (that are not on the Live in Vienna) - aren’t there 1 or 2 left?

Definitely.
Loved the concerto! Need to listen to it a few more times, but loved the typical Williams touches along with the newer stuff. Sublime playing by ASM - she always performs at the highest level to the point where it's easy to take it for granted. Amazing stuff!

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 the performance in late September to kick off the Boston Symphony season when they play this again will be the one that gets released. Perhaps they can record VC1 too to fill out the album or a few of the missing arrangements from Across the Stars (that are not on the Live in Vienna) - aren’t there 1 or 2 left?

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 on their calendar is listed as 8 pm central European time on July 25. So, not sure what this means given the concert is July 24 (at 8 pm EDT I believe). Perhaps since that time would be the middle of the night in Germany, they are just holding it to go up for viewing the next day at a featured time. Or maybe since Tanglewood is also selling digital subscriptions, the BSO retained exclusive "live" coverage. I think it will also stream live on WCRB radio.
 
In any case, it's great there are a few platforms available to see and hear the debut.

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 on their calendar is listed as 8 pm central European time on July 25. So, not sure what this means given the concert is July 24 (at 8 pm EDT I believe). Perhaps since that time would be the middle of the night in Germany, they are just holding it to go up for viewing the next day at a featured time. Or maybe since Tanglewood is also selling digital subscriptions, the BSO retained exclusive "live" coverage. I think it will also stream live on WCRB radio.
 
In any case, it's great there are a few platforms available to see and hear the debut.

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 on their calendar is listed as 8 pm central European time on July 25. So, not sure what this means given the concert is July 24 (at 8 pm EDT I believe). Perhaps since that time would be the middle of the night in Germany, they are just holding it to go up for viewing the next day at a featured time. Or maybe since Tanglewood is also selling digital subscriptions, the BSO retained exclusive "live" coverage. I think it will also stream live on WCRB radio.
 
In any case, it's great there are a few platforms available to see and hear the debut.

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 on their calendar is listed as 8 pm central European time on July 25. So, not sure what this means given the concert is July 24 (at 8 pm EDT I believe). Perhaps since that time would be the middle of the night in Germany, they are just holding it to go up for viewing the next day at a featured time. Or maybe since Tanglewood is also selling digital subscriptions, the BSO retained exclusive "live" coverage. I think it will also stream live on WCRB radio.
 
In any case, it's great there are a few platforms available to see and hear the debut.

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 on their calendar is listed as 8 pm central European time on July 25. So, not sure what this means given the concert is July 24 (at 8 pm EDT I believe). Perhaps since that time would be the middle of the night in Germany, they are just holding it to go up for viewing the next day at a featured time. Or maybe since Tanglewood is also selling digital subscriptions, the BSO retained exclusive "live" coverage. I think it will also stream live on WCRB radio.
 
In any case, it's great there are a few platforms available to see and hear the debut.

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 on their calendar is listed as 8 pm central European time on July 25. So, not sure what this means given the concert is July 24 (at 8 pm EDT I believe). Perhaps since that time would be the middle of the night in Germany, they are just holding it to go up for viewing the next day at a featured time. Or maybe since Tanglewood is also selling digital subscriptions, the BSO retained exclusive "live" coverage. I think it will also stream live on WCRB radio.
 
In any case, it's great there are a few platforms available to see and hear the debut.

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 on their calendar is listed as 8 pm central European time on July 25. So, not sure what this means given the concert is July 24 (at 8 pm EDT I believe). Perhaps since that time would be the middle of the night in Germany, they are just holding it to go up for viewing the next day at a featured time. Or maybe since Tanglewood is also selling digital subscriptions, the BSO retained exclusive "live" coverage. I think it will also stream live on WCRB radio.
 
In any case, it's great there are a few platforms available to see and hear the debut.

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 on their calendar is listed as 8 pm central European time on July 25. So, not sure what this means given the concert is July 24 (at 8 pm EDT I believe). Perhaps since that time would be the middle of the night in Germany, they are just holding it to go up for viewing the next day at a featured time. Or maybe since Tanglewood is also selling digital subscriptions, the BSO retained exclusive "live" coverage. I think it will also stream live on WCRB radio.
 
In any case, it's great there are a few platforms available to see and hear the debut.

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 on their calendar is listed as 8 pm central European time on July 25. So, not sure what this means given the concert is July 24 (at 8 pm EDT I believe). Perhaps since that time would be the middle of the night in Germany, they are just holding it to go up for viewing the next day at a featured time. Or maybe since Tanglewood is also selling digital subscriptions, the BSO retained exclusive "live" coverage. I think it will also stream live on WCRB radio.
 
In any case, it's great there are a few platforms available to see and hear the debut.

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 on their calendar is listed as 8 pm central European time on July 25. So, not sure what this means given the concert is July 24 (at 8 pm EDT I believe). Perhaps since that time would be the middle of the night in Germany, they are just holding it to go up for viewing the next day at a featured time. Or maybe since Tanglewood is also selling digital subscriptions, the BSO retained exclusive "live" coverage. I think it will also stream live on WCRB radio.
 
In any case, it's great there are a few platforms available to see and hear the debut.

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 on their calendar is listed as 8 pm central European time on July 25. So, not sure what this means given the concert is July 24 (at 8 pm EDT I believe). Perhaps since that time would be the middle of the night in Germany, they are just holding it to go up for viewing the next day at a featured time. Or maybe since Tanglewood is also selling digital subscriptions, the BSO retained exclusive "live" coverage. I think it will also stream live on WCRB radio.
 
In any case, it's great there are a few platforms available to see and hear the debut.

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 chunk of Star Wars themes from a New Hope up to through sequel trilogy. I loved that a theme from Temple of Doom followed after that, and, not surprisingly, there was a big chunk of Catch Me If You Can (since Martin played on that piece for the Spielberg/Williams III album). Various other themes such as Saving Private Ryan and Harry Potter (with a nice piano intro) were heard. The suite closed with a relatively big rendition 1984’s Olympic Fanfare.
 
Clearly, some of the John Williams themes lend themselves to extensive percussive elements, and when these argument the brass (which sounded great to me - always wonderful to see Sarah Willis blasting out JW notes), they combine quite naturally. I found the results less satisfying when the Percussive Planet band just took over completely from the orchestra. The playing was great - and from the sweat dripping off Martin’s nose clearly they were playing all out. I just found it hard to follow the theme variations and feel connected to the original music in a way that the variations should illuminate the original music. There was one long session that just seemed like percussion riffing. Nothing wrong with this, but given JW’s jazz background, I thought that Martin might take a clearer arrangement path than he did. I think back to Stan Kenton’s work (with whom John Williams collaborated in the 60’s) and what he did with things like West Side Story and even Richard Wagner. Subsequent listenings to this piece, however, might make some of the intention clearer to me. The piece is close to 30 minutes in length which is pretty amazing in itself.
 
The Berlin Phil always sounds wonderful, and I happen to love conductor Wayne Marshall. I’ve seen him play the organ live with the Seattle Symphony, but alas COVID cancelled a follow up Gershwin concert he was going to lead from the piano (as he is doing now in the 2nd half of this concert as I type this). I have a number of his conducted and performed recordings.
 
As always, having John Williams so prominently featured with an orchestra like the Berlin Phil is a treat. Simon Rattle conducted his music a few years ago, and that was fun. And of course, we know the JW is leading the orchestra himself in the fall. Plus, I love the indirect statement of having Bernstein, Gershwin and JW in a concert together. I wish they had programmed a Copland piece too for the perfect American Quartet. Overall though, not a bad American Trio.
 
In summary, I would say that the Grubinger arranged piece was “fine.” At times, quite enjoyable for the treatment of classic themes and at times somewhat lost in the countryside around the Waldbühne. 
 
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One additional note now that the concert has ended. (The encores were Bernstein’s Candide Overture and the always final piece Paul Lincke's Berliner Luft). I noticed in the credits that EuroArts had done the filming and owned the copyright. My guess is that the concert will be made available outside of the Digital Concert Hall platform either in other streaming services such as the Apple video store or even on Blu-Ray. This has been done for other concerts they produce from this venue with the Berlin Phil. 

I nearly commented on that in the other thread when it was announced. Funny enough, you could argue that the Beethoven piece is the "popular", "easy" piece in that programme, because it was commissioned for the inauguration of Vienna's Theater in der Josefstadt. In that regard, it has much in common with Williams concert fanfares, although the Beethoven piece is more of a processional and not an actual fanfare (but it is technically march, and it does contain a fanfare). And I don't mean to imply that this is planned as a slight - I don't think Beethoven's piece would be lumped in the same (unfair) category as Williams "pops" fanfares. In any case, it's definitely a cool programme.