lairdo

Those are lovely.
 
4 Sea Interludes from Peter Grimes, Op. 33a is short but a wonderful experience. You don't need to know the opera to enjoy these.
The Violin Concerto is great. Lots of recordings of it too. (Love the timpani to start it too. Wonder if brother Williams has played that.)
 
I have seen Turn of the Screw (Seattle Opera) and Billy Budd (SF Opera) and enjoyed them both immensely. 
 
(I am also listening to a lot of Leonard Bernstein and Dmitri Shostakovich!)
 

Those are lovely.
 
4 Sea Interludes from Peter Grimes, Op. 33a is short but a wonderful experience. You don't need to know the opera to enjoy these.
The Violin Concerto is great. Lots of recordings of it too. (Love the timpani to start it too. Wonder if brother Williams has played that.)
 
I have seen Turn of the Screw (Seattle Opera) and Billy Budd (SF Opera) and enjoyed them both immensely. 
 
(I am also listening to a lot of Leonard Bernstein and Dmitri Shostakovich!)
 

The article is wonderful, and in The New Yorker style, almost more of a conversation than an interview. Ross not only raises interesting questions and gets interesting answers, but he also sets the scene for us in a way that invites us into the room. Perhaps because we on this site delve into all those micro edits, this is easier for us to imagine. Still, I think the average reader will also feel closer to Williams than they have in the past and know more about him beyond just the composer of big scores. It's been on my mind to re-read Ross's The Rest is Noise as I have been spending a lot of time listening to 20th century works. (Benjamin Britten and Mieczysław Weinberg have become fast favorites over the past year.) I guess I will follow my instinct.
 
Images has also been on my mind to watch (still have not seen it despite having the Blu-Ray and ripping that to my iPad), and I will listen to the score again today. (Is that perhaps on JW's mind because of some sort of release beyond the Prometheus one that is coming? Wouldn't think so, but who knows?) When you combine that with his comments on Andrew Norman (I like his recent piece with the LA Phil & Gustavo "Sustain" and just got the BMOP SACD "Play" which I have not  cracked open yet), there is some sense of the modern composer coming through. I wish Ross had connected those thoughts to the original Star Wars score that contains these elements and presenting Williams' work as more linked than different careers by the same person.
 
I do wonder if Anne-Sophie and JW mentioning the Violin Concerto over the past month in various interviews was because they (and their teams) knew it would show up in this article which is probably the widest circulation of this news?
 
On Herrmann: I have no question in my mind that Herrmann is one of the most talented and amazing composers of film music. Perhaps he was the most innovative too, but I think, without trying to bring in the obvious bias that comes with being a regular here, Ross might miss a key aspect of Williams (or Korngold or Goldsmith) that puts him ahead. Not only has Williams innovated and done amazing works even to lesser films, he has also done so in a way that is memorable. Sure, I can hear in my head many themes by Herrmann, particularly for his Hitchcock scores, but not as many as Williams and not ones I want to spend as much time with --- and ones that also work perfectly with the films and can be played in concert halls. Popularism is not a bad thing, particularly if it brings the artistry to people in a way they wish to engage with. We have no true measure of "best" in any evaluation such as this, but I do think the acceptance of works after a period of evaluation is part of a measure the greatness. 
 
Lastly, my congrats as well to Frank and Emilio.
 
(And upon going back through the comments, Ludwig made my last point so much more eloquently!)
 
 

The article is wonderful, and in The New Yorker style, almost more of a conversation than an interview. Ross not only raises interesting questions and gets interesting answers, but he also sets the scene for us in a way that invites us into the room. Perhaps because we on this site delve into all those micro edits, this is easier for us to imagine. Still, I think the average reader will also feel closer to Williams than they have in the past and know more about him beyond just the composer of big scores. It's been on my mind to re-read Ross's The Rest is Noise as I have been spending a lot of time listening to 20th century works. (Benjamin Britten and Mieczysław Weinberg have become fast favorites over the past year.) I guess I will follow my instinct.
 
Images has also been on my mind to watch (still have not seen it despite having the Blu-Ray and ripping that to my iPad), and I will listen to the score again today. (Is that perhaps on JW's mind because of some sort of release beyond the Prometheus one that is coming? Wouldn't think so, but who knows?) When you combine that with his comments on Andrew Norman (I like his recent piece with the LA Phil & Gustavo "Sustain" and just got the BMOP SACD "Play" which I have not  cracked open yet), there is some sense of the modern composer coming through. I wish Ross had connected those thoughts to the original Star Wars score that contains these elements and presenting Williams' work as more linked than different careers by the same person.
 
I do wonder if Anne-Sophie and JW mentioning the Violin Concerto over the past month in various interviews was because they (and their teams) knew it would show up in this article which is probably the widest circulation of this news?
 
On Herrmann: I have no question in my mind that Herrmann is one of the most talented and amazing composers of film music. Perhaps he was the most innovative too, but I think, without trying to bring in the obvious bias that comes with being a regular here, Ross might miss a key aspect of Williams (or Korngold or Goldsmith) that puts him ahead. Not only has Williams innovated and done amazing works even to lesser films, he has also done so in a way that is memorable. Sure, I can hear in my head many themes by Herrmann, particularly for his Hitchcock scores, but not as many as Williams and not ones I want to spend as much time with --- and ones that also work perfectly with the films and can be played in concert halls. Popularism is not a bad thing, particularly if it brings the artistry to people in a way they wish to engage with. We have no true measure of "best" in any evaluation such as this, but I do think the acceptance of works after a period of evaluation is part of a measure the greatness. 
 
Lastly, my congrats as well to Frank and Emilio.
 
(And upon going back through the comments, Ludwig made my last point so much more eloquently!)
 
 

The article is wonderful, and in The New Yorker style, almost more of a conversation than an interview. Ross not only raises interesting questions and gets interesting answers, but he also sets the scene for us in a way that invites us into the room. Perhaps because we on this site delve into all those micro edits, this is easier for us to imagine. Still, I think the average reader will also feel closer to Williams than they have in the past and know more about him beyond just the composer of big scores. It's been on my mind to re-read Ross's The Rest is Noise as I have been spending a lot of time listening to 20th century works. (Benjamin Britten and Mieczysław Weinberg have become fast favorites over the past year.) I guess I will follow my instinct.
 
Images has also been on my mind to watch (still have not seen it despite having the Blu-Ray and ripping that to my iPad), and I will listen to the score again today. (Is that perhaps on JW's mind because of some sort of release beyond the Prometheus one that is coming? Wouldn't think so, but who knows?) When you combine that with his comments on Andrew Norman (I like his recent piece with the LA Phil & Gustavo "Sustain" and just got the BMOP SACD "Play" which I have not  cracked open yet), there is some sense of the modern composer coming through. I wish Ross had connected those thoughts to the original Star Wars score that contains these elements and presenting Williams' work as more linked than different careers by the same person.
 
I do wonder if Anne-Sophie and JW mentioning the Violin Concerto over the past month in various interviews was because they (and their teams) knew it would show up in this article which is probably the widest circulation of this news?
 
On Herrmann: I have no question in my mind that Herrmann is one of the most talented and amazing composers of film music. Perhaps he was the most innovative too, but I think, without trying to bring in the obvious bias that comes with being a regular here, Ross might miss a key aspect of Williams (or Korngold or Goldsmith) that puts him ahead. Not only has Williams innovated and done amazing works even to lesser films, he has also done so in a way that is memorable. Sure, I can hear in my head many themes by Herrmann, particularly for his Hitchcock scores, but not as many as Williams and not ones I want to spend as much time with --- and ones that also work perfectly with the films and can be played in concert halls. Popularism is not a bad thing, particularly if it brings the artistry to people in a way they wish to engage with. We have no true measure of "best" in any evaluation such as this, but I do think the acceptance of works after a period of evaluation is part of a measure the greatness. 
 
Lastly, my congrats as well to Frank and Emilio.
 
(And upon going back through the comments, Ludwig made my last point so much more eloquently!)
 
 

I'm as floored as the rest of you! I knew from social media that Alex Ross had chatted w/ JW back in February, but had no idea about the content of their interview, or that the maestro himself apparently leafed through my catalogue. 
 
I can't imagine the "online fan sites" Ross says Williams is "delighted" by could be anything other than JWfan. It means a lot, even in just this small way, to know that JW is aware of all the passion and interest his music has inspired in this little community.
 

The track is on Tidal too, in Master quality.
 
https://tidal.com/browse/track/142439896
 
 

@TownerFan and @mahler3 have a new audio interview with Mike Matessino about this release (and Far & Away) on the Legacy of John Williams podcast feed!
 
https://thelegacyofjohnwilliams.com/2020/05/12/mike-matessino-far-and-away-the-river/

While I agree that order generally does not ultimately change the end experience since most of us (all?) will end up digitizing the release and therefore can have any and every combination of tracks we desire through playlists, we can think about possible reasons in categories.
 
1. Legal/Licensing
In this case, it might be that the ability for Intrada, La-La Land or any other label to release the expanded edition is because they have licensed the original album (or even had it previously) and are expanding this. As such, the license holders might require the album tracks to be sequenced first
 
2. Space/Logical placement
When the releases span more than one disc, this might play a factor as to where the tracks go so as to best utilize the disc layout. For example, in the case of Saving Private Ryan and Schindler's List, I am not sure another arrangement would have made much sense other than to sequence the OST first and the few extra tracks second.
 
3. Mike's preference
Even if we all rip the discs and combine the tracks as we see fit, I suspect Mike might have a preferred listening order. Or it might be that Mike (or the publisher) thinks the marketability of the disc(s) is better with the album first or last or in between.
 
4. The Maestro's preference
This one is probably a meta reason as I believe that John Williams, or at least his team, sign off on every aspect of these releases. Given that JW felt the materials for The River would allow for and be interesting as an album with its own arrangements, we can suppose that he likes the original presentation. And as such, this is what he feels is the best way to enjoy the themes and treatment of the music. Hence, put it first if he wants it. There may be other instances where he is less committed to that, and then the original album gets placed based on someone else's desire. (As a side note, recall that Superman's source music was relegated to the Superman II/III La-La Land release because presumably he or his team wanted only his music on that. In that release, while discs 1 and 2 focused on the score and alternates, the remastered OST had its own disc regardless of numbering.)
 
 
I think another, separate question is "why" did The River originally get this treatment of an extra recording day, and the work done to compose, orchestrate and ready the parts for recording them? We know from the linear notes that Universal was banking of the film being a big success: Mark Rydell coming off On Golden Pond, Sissy Spacek off of Coal Miner's Daughter, topical story, Mel Gibson's first US movie, and John Williams in the glow of successes (films and music releases) such as ET, Raiders, Superman, Star Wars and Jaws + his very visible Boston Pops appointment and broadcasts + his triumph at the LA Olympics. Were these factors enough to create what amounts to a special version of the score? Did JW push for it because of what it represented to him and showed his abilities in a different light than the summer blockbusters? Interestingly, as far as I can determine, The River's music only shows up in 3 groups of releases: 1. The OST/Expanded release; 2. A series of MCA Record compilations of JW's music for MCA/Universal that were released in various countries; and, 3. the 4-disc collection from Silva Screen and Silva's variants of their various re-recordings (such as a Mel Gibson's movie music).
 
I do not think JW ever recorded this with the Boston Pops. Did he play it at a concert though? I find trying to search the BSO/BPO old programs an exasperating experience, so I have not tried to find out.
 
Lastly, all this aside, I found listening to the whole album in sequence yesterday completely enjoyable. Both OST and score presentations are rewarding.
 
 
 
 

While I agree that order generally does not ultimately change the end experience since most of us (all?) will end up digitizing the release and therefore can have any and every combination of tracks we desire through playlists, we can think about possible reasons in categories.
 
1. Legal/Licensing
In this case, it might be that the ability for Intrada, La-La Land or any other label to release the expanded edition is because they have licensed the original album (or even had it previously) and are expanding this. As such, the license holders might require the album tracks to be sequenced first
 
2. Space/Logical placement
When the releases span more than one disc, this might play a factor as to where the tracks go so as to best utilize the disc layout. For example, in the case of Saving Private Ryan and Schindler's List, I am not sure another arrangement would have made much sense other than to sequence the OST first and the few extra tracks second.
 
3. Mike's preference
Even if we all rip the discs and combine the tracks as we see fit, I suspect Mike might have a preferred listening order. Or it might be that Mike (or the publisher) thinks the marketability of the disc(s) is better with the album first or last or in between.
 
4. The Maestro's preference
This one is probably a meta reason as I believe that John Williams, or at least his team, sign off on every aspect of these releases. Given that JW felt the materials for The River would allow for and be interesting as an album with its own arrangements, we can suppose that he likes the original presentation. And as such, this is what he feels is the best way to enjoy the themes and treatment of the music. Hence, put it first if he wants it. There may be other instances where he is less committed to that, and then the original album gets placed based on someone else's desire. (As a side note, recall that Superman's source music was relegated to the Superman II/III La-La Land release because presumably he or his team wanted only his music on that. In that release, while discs 1 and 2 focused on the score and alternates, the remastered OST had its own disc regardless of numbering.)
 
 
I think another, separate question is "why" did The River originally get this treatment of an extra recording day, and the work done to compose, orchestrate and ready the parts for recording them? We know from the linear notes that Universal was banking of the film being a big success: Mark Rydell coming off On Golden Pond, Sissy Spacek off of Coal Miner's Daughter, topical story, Mel Gibson's first US movie, and John Williams in the glow of successes (films and music releases) such as ET, Raiders, Superman, Star Wars and Jaws + his very visible Boston Pops appointment and broadcasts + his triumph at the LA Olympics. Were these factors enough to create what amounts to a special version of the score? Did JW push for it because of what it represented to him and showed his abilities in a different light than the summer blockbusters? Interestingly, as far as I can determine, The River's music only shows up in 3 groups of releases: 1. The OST/Expanded release; 2. A series of MCA Record compilations of JW's music for MCA/Universal that were released in various countries; and, 3. the 4-disc collection from Silva Screen and Silva's variants of their various re-recordings (such as a Mel Gibson's movie music).
 
I do not think JW ever recorded this with the Boston Pops. Did he play it at a concert though? I find trying to search the BSO/BPO old programs an exasperating experience, so I have not tried to find out.
 
Lastly, all this aside, I found listening to the whole album in sequence yesterday completely enjoyable. Both OST and score presentations are rewarding.
 
 
 
 

While I agree that order generally does not ultimately change the end experience since most of us (all?) will end up digitizing the release and therefore can have any and every combination of tracks we desire through playlists, we can think about possible reasons in categories.
 
1. Legal/Licensing
In this case, it might be that the ability for Intrada, La-La Land or any other label to release the expanded edition is because they have licensed the original album (or even had it previously) and are expanding this. As such, the license holders might require the album tracks to be sequenced first
 
2. Space/Logical placement
When the releases span more than one disc, this might play a factor as to where the tracks go so as to best utilize the disc layout. For example, in the case of Saving Private Ryan and Schindler's List, I am not sure another arrangement would have made much sense other than to sequence the OST first and the few extra tracks second.
 
3. Mike's preference
Even if we all rip the discs and combine the tracks as we see fit, I suspect Mike might have a preferred listening order. Or it might be that Mike (or the publisher) thinks the marketability of the disc(s) is better with the album first or last or in between.
 
4. The Maestro's preference
This one is probably a meta reason as I believe that John Williams, or at least his team, sign off on every aspect of these releases. Given that JW felt the materials for The River would allow for and be interesting as an album with its own arrangements, we can suppose that he likes the original presentation. And as such, this is what he feels is the best way to enjoy the themes and treatment of the music. Hence, put it first if he wants it. There may be other instances where he is less committed to that, and then the original album gets placed based on someone else's desire. (As a side note, recall that Superman's source music was relegated to the Superman II/III La-La Land release because presumably he or his team wanted only his music on that. In that release, while discs 1 and 2 focused on the score and alternates, the remastered OST had its own disc regardless of numbering.)
 
 
I think another, separate question is "why" did The River originally get this treatment of an extra recording day, and the work done to compose, orchestrate and ready the parts for recording them? We know from the linear notes that Universal was banking of the film being a big success: Mark Rydell coming off On Golden Pond, Sissy Spacek off of Coal Miner's Daughter, topical story, Mel Gibson's first US movie, and John Williams in the glow of successes (films and music releases) such as ET, Raiders, Superman, Star Wars and Jaws + his very visible Boston Pops appointment and broadcasts + his triumph at the LA Olympics. Were these factors enough to create what amounts to a special version of the score? Did JW push for it because of what it represented to him and showed his abilities in a different light than the summer blockbusters? Interestingly, as far as I can determine, The River's music only shows up in 3 groups of releases: 1. The OST/Expanded release; 2. A series of MCA Record compilations of JW's music for MCA/Universal that were released in various countries; and, 3. the 4-disc collection from Silva Screen and Silva's variants of their various re-recordings (such as a Mel Gibson's movie music).
 
I do not think JW ever recorded this with the Boston Pops. Did he play it at a concert though? I find trying to search the BSO/BPO old programs an exasperating experience, so I have not tried to find out.
 
Lastly, all this aside, I found listening to the whole album in sequence yesterday completely enjoyable. Both OST and score presentations are rewarding.
 
 
 
 

Mine is in my mailbox! Will my meetings ever end?

What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. 
 
And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us.
 
And then there are the Modal Nodes on the shelf as previously mentioned...
 
I mean, how lucky are we to get to have this music in our lives?

What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. 
 
And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us.
 
And then there are the Modal Nodes on the shelf as previously mentioned...
 
I mean, how lucky are we to get to have this music in our lives?

What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. 
 
And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us.
 
And then there are the Modal Nodes on the shelf as previously mentioned...
 
I mean, how lucky are we to get to have this music in our lives?

What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. 
 
And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us.
 
And then there are the Modal Nodes on the shelf as previously mentioned...
 
I mean, how lucky are we to get to have this music in our lives?

What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. 
 
And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us.
 
And then there are the Modal Nodes on the shelf as previously mentioned...
 
I mean, how lucky are we to get to have this music in our lives?

What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. 
 
And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us.
 
And then there are the Modal Nodes on the shelf as previously mentioned...
 
I mean, how lucky are we to get to have this music in our lives?

What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. 
 
And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us.
 
And then there are the Modal Nodes on the shelf as previously mentioned...
 
I mean, how lucky are we to get to have this music in our lives?

What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. 
 
And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us.
 
And then there are the Modal Nodes on the shelf as previously mentioned...
 
I mean, how lucky are we to get to have this music in our lives?

What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. 
 
And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us.
 
And then there are the Modal Nodes on the shelf as previously mentioned...
 
I mean, how lucky are we to get to have this music in our lives?

What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. 
 
And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us.
 
And then there are the Modal Nodes on the shelf as previously mentioned...
 
I mean, how lucky are we to get to have this music in our lives?

What an amazing treat to wake up to. Everything about this is top rate - the playing, the sentiment, the editing - and of course seeing two maestros - Keith Lockhart and the ultimate Maestro JW. 
 
And just hearing John Williams both play the piano and speak - looking fit and healthy - is a gift to all of us.
 
And then there are the Modal Nodes on the shelf as previously mentioned...
 
I mean, how lucky are we to get to have this music in our lives?

Great stuff.
 
I would point out their re-recordings of Spellbound and Dial M for Murder as worthy of sampling too.  
 
Broughton's Silverado too.
 
Oh, and ordered The River. I added in Intrada's re-recording of Julius Caesar too since I did not have that one (conducted by Broughton).

Awesome. Feels right now. Looking forward to all of us having the missing piece as soon as we can get it from Intrada.