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lairdo

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  1. Like
    lairdo reacted to Jay in Anne-Sophie Mutter to premiere new Virtuosi JW arrangements   
    Yeah, it's everywhere
     
     
  2. Like
    lairdo got a reaction from Amer in John Williams/Stéphane Denève to conduct the Saito Kinen Orchestra in Tokyo, Japan (Sept. 5, 2023)   
    Just finished watching the third broadcast, and my wife joined in. She is a fan too, and we both very much enjoyed the concert. 
     
    I agree with the comment that JW looks older than in Vienna or Berlin (but of course he is older!). Still, for 91 years of age to travel internationally to do 2 concerts and be out there for an hour each time, it's just amazing. My dad is 80, and he does not move as well as JW.
     
    Across the board, I felt the orchestra really gelled with the music. Deneve was quite good (he is a super fan in my opinion) and his energy was great with the orchestra. He was clearly having fun. (I saw on his website that he is again performing violin concert no. 1 with James Ehnes for a few concerts in Florida in 2024. He is also performing Just Down West Street, the Tanglewood piece.)
     
    The energy went up to 11 when JW came on stage. I loved his welcome words and then hearing the lovely Japanese translation. Everything flowed very nicely.
     
    I did not see or hear La Scala, but I did feel that the Saito Kinen Orchestra had an evenness across all the instrument groups. There really wasn't any weak area to my ears. And despite having the brass mic'd way too loudly for the start of The Raiders March, the balance and tone was good throughout. Tempi seemed very close to what I would expect from these pieces. 
     
    This would have been amazing to see live, but I am glad to have this artifact and great that it will be available on the Stage+ platform in the archive (which was posted after the concert ended). 
     
  3. Like
    lairdo got a reaction from Holko in John Williams/Stéphane Denève to conduct the Saito Kinen Orchestra in Tokyo, Japan (Sept. 5, 2023)   
    Just finished watching the third broadcast, and my wife joined in. She is a fan too, and we both very much enjoyed the concert. 
     
    I agree with the comment that JW looks older than in Vienna or Berlin (but of course he is older!). Still, for 91 years of age to travel internationally to do 2 concerts and be out there for an hour each time, it's just amazing. My dad is 80, and he does not move as well as JW.
     
    Across the board, I felt the orchestra really gelled with the music. Deneve was quite good (he is a super fan in my opinion) and his energy was great with the orchestra. He was clearly having fun. (I saw on his website that he is again performing violin concert no. 1 with James Ehnes for a few concerts in Florida in 2024. He is also performing Just Down West Street, the Tanglewood piece.)
     
    The energy went up to 11 when JW came on stage. I loved his welcome words and then hearing the lovely Japanese translation. Everything flowed very nicely.
     
    I did not see or hear La Scala, but I did feel that the Saito Kinen Orchestra had an evenness across all the instrument groups. There really wasn't any weak area to my ears. And despite having the brass mic'd way too loudly for the start of The Raiders March, the balance and tone was good throughout. Tempi seemed very close to what I would expect from these pieces. 
     
    This would have been amazing to see live, but I am glad to have this artifact and great that it will be available on the Stage+ platform in the archive (which was posted after the concert ended). 
     
  4. Like
    lairdo got a reaction from Jay in John Williams/Stéphane Denève to conduct the Saito Kinen Orchestra in Tokyo, Japan (Sept. 5, 2023)   
    Just finished watching the third broadcast, and my wife joined in. She is a fan too, and we both very much enjoyed the concert. 
     
    I agree with the comment that JW looks older than in Vienna or Berlin (but of course he is older!). Still, for 91 years of age to travel internationally to do 2 concerts and be out there for an hour each time, it's just amazing. My dad is 80, and he does not move as well as JW.
     
    Across the board, I felt the orchestra really gelled with the music. Deneve was quite good (he is a super fan in my opinion) and his energy was great with the orchestra. He was clearly having fun. (I saw on his website that he is again performing violin concert no. 1 with James Ehnes for a few concerts in Florida in 2024. He is also performing Just Down West Street, the Tanglewood piece.)
     
    The energy went up to 11 when JW came on stage. I loved his welcome words and then hearing the lovely Japanese translation. Everything flowed very nicely.
     
    I did not see or hear La Scala, but I did feel that the Saito Kinen Orchestra had an evenness across all the instrument groups. There really wasn't any weak area to my ears. And despite having the brass mic'd way too loudly for the start of The Raiders March, the balance and tone was good throughout. Tempi seemed very close to what I would expect from these pieces. 
     
    This would have been amazing to see live, but I am glad to have this artifact and great that it will be available on the Stage+ platform in the archive (which was posted after the concert ended). 
     
  5. Like
    lairdo got a reaction from AOP in John Williams/Stéphane Denève to conduct the Saito Kinen Orchestra in Tokyo, Japan (Sept. 5, 2023)   
    Just finished watching the third broadcast, and my wife joined in. She is a fan too, and we both very much enjoyed the concert. 
     
    I agree with the comment that JW looks older than in Vienna or Berlin (but of course he is older!). Still, for 91 years of age to travel internationally to do 2 concerts and be out there for an hour each time, it's just amazing. My dad is 80, and he does not move as well as JW.
     
    Across the board, I felt the orchestra really gelled with the music. Deneve was quite good (he is a super fan in my opinion) and his energy was great with the orchestra. He was clearly having fun. (I saw on his website that he is again performing violin concert no. 1 with James Ehnes for a few concerts in Florida in 2024. He is also performing Just Down West Street, the Tanglewood piece.)
     
    The energy went up to 11 when JW came on stage. I loved his welcome words and then hearing the lovely Japanese translation. Everything flowed very nicely.
     
    I did not see or hear La Scala, but I did feel that the Saito Kinen Orchestra had an evenness across all the instrument groups. There really wasn't any weak area to my ears. And despite having the brass mic'd way too loudly for the start of The Raiders March, the balance and tone was good throughout. Tempi seemed very close to what I would expect from these pieces. 
     
    This would have been amazing to see live, but I am glad to have this artifact and great that it will be available on the Stage+ platform in the archive (which was posted after the concert ended). 
     
  6. Like
    lairdo got a reaction from crumbs in John Williams/Stéphane Denève to conduct the Saito Kinen Orchestra in Tokyo, Japan (Sept. 5, 2023)   
    Just finished watching the third broadcast, and my wife joined in. She is a fan too, and we both very much enjoyed the concert. 
     
    I agree with the comment that JW looks older than in Vienna or Berlin (but of course he is older!). Still, for 91 years of age to travel internationally to do 2 concerts and be out there for an hour each time, it's just amazing. My dad is 80, and he does not move as well as JW.
     
    Across the board, I felt the orchestra really gelled with the music. Deneve was quite good (he is a super fan in my opinion) and his energy was great with the orchestra. He was clearly having fun. (I saw on his website that he is again performing violin concert no. 1 with James Ehnes for a few concerts in Florida in 2024. He is also performing Just Down West Street, the Tanglewood piece.)
     
    The energy went up to 11 when JW came on stage. I loved his welcome words and then hearing the lovely Japanese translation. Everything flowed very nicely.
     
    I did not see or hear La Scala, but I did feel that the Saito Kinen Orchestra had an evenness across all the instrument groups. There really wasn't any weak area to my ears. And despite having the brass mic'd way too loudly for the start of The Raiders March, the balance and tone was good throughout. Tempi seemed very close to what I would expect from these pieces. 
     
    This would have been amazing to see live, but I am glad to have this artifact and great that it will be available on the Stage+ platform in the archive (which was posted after the concert ended). 
     
  7. Like
    lairdo got a reaction from Amer in John Williams/Stéphane Denève to conduct the Saito Kinen Orchestra in Tokyo, Japan (Sept. 5, 2023)   
    When DG launched their online platform (then called DG Premium), they did have PPV. In fact, I watched Tanglewood's violin 2 concerto concert in 2021 that way as I recall. Earlier this year, DG switched to this Stage+ subscription model. Presumably the PPV was not working financially and they went the route of other streaming options in the classical and opera world. 
     
    Interestingly, they also provide audio only albums on the platform (typically in Atmos), especially with their new releases. I suspect they either see this as a way to get some of the Apple Music/Qobuz/Tidal/Presto business directly or perhaps even as a marketing tool for new releases. The difference is that premium content such as this upcoming Tokyo concert are not on demand. I suspect that after the album makes it to Blu-ray (and maybe even Great Performances) that the concert will quietly go back on Stage+ a few months later and then be up there. That is the case with Vienna 1, Berlin, the aforementioned Tanglewood concert and Tanglewood 75th. Also recommended is Waldbühne 2015 with the Rattle conducting the Berlin Phil in a film music concert. 
     
    One other oddity - the Tokyo concert listing does not show the encores in the track list. Just the published program. 
     
    Anyway, I have a sub to Stege+ but I have to say I don't watch it enough and will probably start to go monthly only when I want to watch something (such as this weekend). 
     
    My guess on any Tokyo physical releases is that we will see them around February for JW's 92nd birthday. 
     
    When DG launched their online platform (then called DG Premium), they did have PPV. In fact, I watched Tanglewood's violin 2 concerto concert in 2021 that way as I recall. Earlier this year, DG switched to this Stage+ subscription model. Presumably the PPV was not working financially and they went the route of other streaming options in the classical and opera world. 
     
    Interestingly, they also provide audio only albums on the platform (typically in Atmos), especially with their new releases. I suspect they either see this as a way to get some of the Apple Music/Qobuz/Tidal/Presto business directly or perhaps even as a marketing tool for new releases. The difference is that premium content such as this upcoming Tokyo concert are not on demand. I suspect that after this concert makes it to Blu-ray (and maybe even Great Performances) that the concert will quietly go back on Stage+ a few months later and then be up there. That is the case with Vienna 1, Berlin, the aforementioned Tanglewood concert and Tanglewood 75th. Also recommended is Waldbühne 2015 with the Rattle conducting the Berlin Phil in a film music concert. 
     
    One other oddity - the Tokyo concert listing does not show the encores in the track list. Just the published program. 
     
    Anyway, I have a sub to Stege+ but I have to say I don't watch it enough and will probably start to go monthly only when I want to watch something (such as this weekend). 
     
    My guess on any Tokyo physical releases is that we will see them around February for JW's 92nd birthday. 
  8. Thanks
    lairdo got a reaction from Mr. Hooper in John Williams/Stéphane Denève to conduct the Saito Kinen Orchestra in Tokyo, Japan (Sept. 5, 2023)   
    When DG launched their online platform (then called DG Premium), they did have PPV. In fact, I watched Tanglewood's violin 2 concerto concert in 2021 that way as I recall. Earlier this year, DG switched to this Stage+ subscription model. Presumably the PPV was not working financially and they went the route of other streaming options in the classical and opera world. 
     
    Interestingly, they also provide audio only albums on the platform (typically in Atmos), especially with their new releases. I suspect they either see this as a way to get some of the Apple Music/Qobuz/Tidal/Presto business directly or perhaps even as a marketing tool for new releases. The difference is that premium content such as this upcoming Tokyo concert are not on demand. I suspect that after the album makes it to Blu-ray (and maybe even Great Performances) that the concert will quietly go back on Stage+ a few months later and then be up there. That is the case with Vienna 1, Berlin, the aforementioned Tanglewood concert and Tanglewood 75th. Also recommended is Waldbühne 2015 with the Rattle conducting the Berlin Phil in a film music concert. 
     
    One other oddity - the Tokyo concert listing does not show the encores in the track list. Just the published program. 
     
    Anyway, I have a sub to Stege+ but I have to say I don't watch it enough and will probably start to go monthly only when I want to watch something (such as this weekend). 
     
    My guess on any Tokyo physical releases is that we will see them around February for JW's 92nd birthday. 
     
    When DG launched their online platform (then called DG Premium), they did have PPV. In fact, I watched Tanglewood's violin 2 concerto concert in 2021 that way as I recall. Earlier this year, DG switched to this Stage+ subscription model. Presumably the PPV was not working financially and they went the route of other streaming options in the classical and opera world. 
     
    Interestingly, they also provide audio only albums on the platform (typically in Atmos), especially with their new releases. I suspect they either see this as a way to get some of the Apple Music/Qobuz/Tidal/Presto business directly or perhaps even as a marketing tool for new releases. The difference is that premium content such as this upcoming Tokyo concert are not on demand. I suspect that after this concert makes it to Blu-ray (and maybe even Great Performances) that the concert will quietly go back on Stage+ a few months later and then be up there. That is the case with Vienna 1, Berlin, the aforementioned Tanglewood concert and Tanglewood 75th. Also recommended is Waldbühne 2015 with the Rattle conducting the Berlin Phil in a film music concert. 
     
    One other oddity - the Tokyo concert listing does not show the encores in the track list. Just the published program. 
     
    Anyway, I have a sub to Stege+ but I have to say I don't watch it enough and will probably start to go monthly only when I want to watch something (such as this weekend). 
     
    My guess on any Tokyo physical releases is that we will see them around February for JW's 92nd birthday. 
  9. Like
    lairdo reacted to Leitmotif in John Williams/Stéphane Denève to conduct the Saito Kinen Orchestra in Tokyo, Japan (Sept. 5, 2023)   
    And Milan is a huge missed opportunity...
  10. Like
    lairdo got a reaction from Amer in John Williams/Stéphane Denève to conduct the Saito Kinen Orchestra in Tokyo, Japan (Sept. 5, 2023)   
    I think there is a good chance we'll get this on CD (and SACD for Japan for that matter). I think Berlin and Vienna did well for DG - beyond their expectations - and while Vienna 2 was probably too much of a repeat and would eat into their sales of the various current releases from Vienna, adding the Japan venue and orchestra would be complimentary. It would also have greater appeal in Asia. 
     
     
  11. Like
    lairdo reacted to AOP in John Williams/Stéphane Denève to conduct the Saito Kinen Orchestra in Tokyo, Japan (Sept. 5, 2023)   
    Ok, I finally had the time to write up a mini review. Pardon the grammar mistakes, lapses of memory, mistaking of instruments, etc. (please correct me if you find any obvious mistakes 😅) I also added some random notes down the bottom that don’t fit neatly into my review.
     
    Mini review
     
    (review updated Sept 9 after viewing Stage+ recording! I made a few mistakes in my original review 😂)
     
    Having been extremely fortunate to see John Williams conduct live in concert three times in the last year (once in LA, once in Milan, and now in Tokyo), l’d have to say that last night’s concert was my favorite.
     
    As this was JW’s first visit to Japan in 30 years, excitement levels and expectations were understandably high. This was evident as soon as I arrived at Suntory Hall on a brutally humid Tuesday evening in Tokyo.  You could feel the anticipation in the air, and you could see, in each and everyone’s faces, that they knew they were here to experience something special and truly historic.  People certainly dressed up for the occasion (myself included!), so it wasn’t unusual to see people in kimonos and tuxedos despite the blistering hot summer weather.
     
    As the auditorium lights dimmed to signify the beginning of the concert, the conductor for the first half, Stephane Deneve, walked out onto the stage to rapturous applause.  He started off with an amusing joke – his interpreter (who was a cellist in the orchestra), opened in English with “Ladies and Gentlemen,” to which Deneve translated into Japanese!  After the laughter died down, Deneve switched to English (with his charming French accent!) and explained the program for the night as well as some brief thoughts on Seiji Ozawa and John Williams. 
     
    “Sound the Bells!” kicked off the concert with its rousing array of brass melodies and sounds.  From where I was sitting behind the orchestra, I could clearly see the tubular chimes which sounded crystal clear.  I honestly never warmed up to this piece until I heard it live last night.
     
    This was followed by “Tributes! (for Seiji),” a piece written by Williams for Ozawa.  This was a long and less melodic piece than JW’s more popular works, but it was great hearing this  rare piece live. It’s unfortunate that Ozawa was not on stage to enjoy the music.
     
    A suite from “Far and Away” came next with its jaunty Irish sounds and spirit.  It was an excellent performance that was well received by the audience.
     
    Then came “ET,” the music many people had been waiting for.  Starting with the piccolo solo in “Three million light years from home,” the audience was immediately spellbound by this masterwork of composition.  It was then that I heard a familiar but unexpected sound… the pipe organ!  I then turned to the huge pipe organ not far from me and I saw a young organist play the mysterious opening lines to this incredible piece.  I most certainly had the feels (as young people would say!), and was left fixed on the pipe organ parts for the remainder of the piece.
     
    Stunning is the only word that can be used to describe the night’s performance of “Stargazers.”  What an incredibly moving, incredibly perfect piece.  The delicate harp, the sweet caress of the strings, the yearning flute… it was gorgeously dream-like. The audience was dead quiet during the entire piece – in fact, it felt like we were all holding our breath, hanging on to every phrase and every gesture from the orchestra, not wanting to spoil the mood, the magic.  When the final notes played in to silence, the audience remained quiet for what seemed like minutes, but was in reality only a few seconds.  We then collectively wiped a tear (or two), cleared our throats, and got ready for the next assault on our emotions.
     
    The “Flying theme” is probably, next to the Star Wars theme, one of the most well-known JW pieces among Japanese fans.  And boy, did it not disappoint under the commanding baton of Deneve!  This piece just soared under the Saito Kinen Orchestra and had the audience in raptures during the finale.  And that ended the sensational first half of the concert.
     
    The feeling of anticipation had by now reached fever point with the knowledge JW would soon be gracing the stage.
     
    As the lights once again dimmed and the audience quietened down, the volume immediately jumped to 11 as John Williams, the undisputed GOAT of film music, stepped onto the stage to the adulation and applause of over 2,000 star-truck fans.  We were all on our feet cheering, professing our love for the man and his music, and hungry to hear his first piece at the podium.  Before that, JW quickly talked about how honoured he was to be there, how Japan had changed in the last 30 years, and how much love and respect he had for his dear friend, Seiji Ozawa.  He then explained that the Japanese translation of the word “Superman” was “Seiji Ozawa,” which drew thunderous approval from the audience.
     
    And thus began the second half with the iconic march from “Superman.”  Expertly performed with passion, it set the tone for the rest of the night.
     
    The “Harry Potter” suite came next, and I suspect many had come to hear this with JW at the podium.  The suite was beautifully  performed and didn’t sound too different from previous concert performances.
     
    Without any introductory words from JW, the familiar strains of “Schindler’s List” began to fill the auditorium and we were treated to a precise and impassioned violin solo.  From where I was sitting behind the orchestra, it was somewhat difficult to absorb the full sound and feel of the solo, but luckily it was well-captured in DGs video recording on Stage+.
     
    It was now time for select pieces from “Star Wars” to shine.  I honestly would have preferred “March of the Resistance” or “The Asteroid Field,” but we were treated to a fine performance of “The Rebellion is Reborn.”  This was followed by “Princess Leia’s Theme” which was one of the highlights of the evening for me.  The flautist absolutely nailed his solos which were gorgeously complimented by the French horn parts.  I get goosebumps just thinking about it!
     
    The final piece for the main program was the “Finale & Throne Room,” which was performed with such gusto and passion that it permeated an infectious energy and drive.
     
    This was followed by JW’s second standing ovation for the night before he signaled “one more” to the audience for his first encore, which was “Yoda’s theme.”  The “Raider’s March” came next with the night ending with “The Imperial March.”  Except JW didn’t call it that – he just turned to the audience and said, “Darth Vadar,” to which the audience went nuts!
     
    As soon as that ended, everyone in the audience got on their feet and gave JW the most enthusiastic standing ovation that I have ever seen… and I’ve been to a lot of film music concerts!  Surely, we were clapping away for close to 15 minutes – first for Williams, then the Saito Kinen Orchestra.  What was clearly apparent was the audience’s mutual love for John Williams and his music, and our deep appreciation to the Saito Kinen Orchestra for bringing his timeless music to life.  My hands were truly numb by the end of night, but I just didn’t want it to end…
     
    Going home that night and processing what I had just seen, heard, and experienced, only solidified my belief that John Williams is the GOAT of film music - I doubt anybody could argue with that.

    ***
     
    RANDOM NOTES:
     
    The ticket debacle
    I really must add a note about how bittersweet this experience has been.  While I had been ecstatic about seeing JW in the lead up to the concert, I had also felt extremely guilty knowing that my closest Japanese soundtrack friends, who are passionate JW fans, were not able to get a ticket despite their very best efforts.  It was good that concert organizers instituted a ticket lottery system because that was fair even if the chances of winning were low.  However, when general tickets sales opened for the remaining tickets, tickets pretty much sold out immediately with people left with zero chance of getting a ticket.  What boils my blood is that tickets started appearing online soon after at six or seven times the original prices (which were already extremely high to begin with) – and people were actually paying for them.  On Twitter in the lead up to the concert, people were practically begging for tickets.  And outside Suntory Hall on the day of the concert, there were scores of people holding up signs desperately looking for tickets.  The organizers should have put in place a system where the ticket holder’s name had to match their ticket – and if not, there had to be an official authorized resale system.  It was truly upsetting seeing the disappointment of so many people that could not get a ticket, especially those who were “true” JW fans and had waited to see JW their whole life.  Shame on you ticket scalpers, SHAME.
     
    JWFan meetup
    I met up with @Harry-Pot and @zhonghun1988 before the concert.  Two very friendly chaps who are deeply passionate about JW.  And they certainly travelled far for this concert!
     
    We ended up having Italian just in front of Suntory Hall… not the fancy Japanese food that I had promised (my bad!!! 😂)
     
    Sorry no pics - we are shy!
     
    Merch
    Surprised with the lack of merch on offer.  They sold:
     
    Commemorative DG booklets with a handful of pages about JW and the concert - in Japanese only Commemorative DG tote bags A bunch of Sony and Universal/DG CD reissues (including the postcard with the printed signature)  
    I was hoping for a poster to hang up on my wall, but nothing… oh well.
     
    Also, they were giving free single-sheet flyers with the setlist.  Very basic – surprised they didn’t bother to design something fancier.
  12. Haha
    lairdo got a reaction from Chewy in John Williams: Live in Vienna - Japan reissue with 3 bonus tracks!   
    Wow, completely missed this thread until now! Glad it was still active.

    Just ordered the Special Edition Vienna and the remastered Gerhardt's from CDJapan. Thanks for the finds.

    I believe this will give me every Vienna version out there including the LPs. (Pleased don't mention this to my wife! Although she knows I am sure.)
  13. Haha
    lairdo got a reaction from BB-8 in John Williams: Live in Vienna - Japan reissue with 3 bonus tracks!   
    Wow, completely missed this thread until now! Glad it was still active.

    Just ordered the Special Edition Vienna and the remastered Gerhardt's from CDJapan. Thanks for the finds.

    I believe this will give me every Vienna version out there including the LPs. (Pleased don't mention this to my wife! Although she knows I am sure.)
  14. Haha
    lairdo got a reaction from Amer in John Williams: Live in Vienna - Japan reissue with 3 bonus tracks!   
    Wow, completely missed this thread until now! Glad it was still active.

    Just ordered the Special Edition Vienna and the remastered Gerhardt's from CDJapan. Thanks for the finds.

    I believe this will give me every Vienna version out there including the LPs. (Pleased don't mention this to my wife! Although she knows I am sure.)
  15. Like
    lairdo got a reaction from Amer in Patriot Games & Clear and Present Danger coming from LLL, July 5 2022   
    I love the Clear and Present Score. One of my favorite Horner scores (which is saying something given how many great movies he composed). 
     
    I actually worked on the sound edit for about a week in June of 1994, moonlighting from Sony in the evenings to help a friend of mine get all the dialogue finished. I worked on the scene where the drug lord bad guy is in the batting cage and switches from Spanish to English dialogue. It was a lot of fun to be on the Paramount lot and to help on the movie in some small way.
  16. Like
    lairdo got a reaction from Goldsmithfan in Dial of Destiny: Cue-by-Cue Breakdown of the Score   
    In terms of "source" music cues, should we include Beethoven's 5th Symphony 1st movement as performed by Indy and Helena when they are in the cave?
     
  17. Like
    lairdo got a reaction from Andy in Did you get the Dial of Destiny soundtrack on the CD format before it sold out?   
    I ordered the CD and LP as soon as the preorder dropped. Then when the 1 day anniversary sale happened, I canceled that order and re-ordered to capture the discount. I do wish I had kept the original order too! But glad for what I have on the way at some point.
     
    No shipping notice yet though as I assume they will only send the complete order together in August although perhaps I am wrong and my CD order will ship tomorrow.
     
    For no other reason than very wishful thinking and with absolutely nothing to back up my idea, I am hoping there is a fairy tale developing here.
     
    Once upon a time, there is some very passionate soundtrack person behind this decision to go with the very small limited run. That person then will leverage the fact that it sold out before release of the demand for more, the outrage of the JW fans being intentionally. And from there, this saint/angel/fairy godmother will be able to convince the powers that be/evil prince/Bob Iger to allow an expanded complete release in the very near future. Like for the home video release.
     
    And we all live happily ever after.
     
    (In the sequel to this story, we get the other 4 Indy films and all 9 numbered SW films. And any Fox TV music Johnny did in the 60's we don't have.)
     
    One can dream.
     
     
     
     
  18. Haha
    lairdo got a reaction from ThePenitentMan1 in Dial of Destiny: Cue-by-Cue Breakdown of the Score   
    In terms of "source" music cues, should we include Beethoven's 5th Symphony 1st movement as performed by Indy and Helena when they are in the cave?
     
  19. Sad
    lairdo got a reaction from crumbs in John Williams & Gustavo Dudamel conduct the LA Philharmonic at The Hollywood Bowl, July 7-9 2023   
    Ah rats. (I hate rats.) I've come down with something and am not going to LA to risk the travel (or risk getting sick my 80+ year old parents who are going to the concert). 
  20. Really Sad
    lairdo got a reaction from karelm in John Williams & Gustavo Dudamel conduct the LA Philharmonic at The Hollywood Bowl, July 7-9 2023   
    Ah rats. (I hate rats.) I've come down with something and am not going to LA to risk the travel (or risk getting sick my 80+ year old parents who are going to the concert). 
  21. Thinking
    lairdo got a reaction from Martinland in Dial of Destiny: Cue-by-Cue Breakdown of the Score   
    In terms of "source" music cues, should we include Beethoven's 5th Symphony 1st movement as performed by Indy and Helena when they are in the cave?
     
  22. Surprised
    lairdo got a reaction from Pieter Boelen in Indiana Jones and the Dial of Destiny (Score in the film) - SPOILERS ALLOWED!   
    Yes. And maybe some of the Syracuse music too?
  23. Like
    lairdo got a reaction from Pieter Boelen in Indiana Jones and the Dial of Destiny (Score in the film) - SPOILERS ALLOWED!   
    One moment I really enjoyed both as cinema and musically is the shared flashback that starts from Indy’s POV on the plane and comes back as Helena’s. It’s a great bit of visual storytelling, it’s scored marvelously and give us a lot of character stuff. Probably in the script but Mangold shot it well. I also felt the editing of the Airport through to the end was quite good (but in that I might just be loving the music for the entire sequence).
     
    Overall, just came back from a my second viewing (1st was 2 weeks ago), this time with my wife. First off, she really liked the movie. She rates it way above Skull (which she rewatched this week at my suggestion to get the necessary info about Marion and Mutt) and maybe more than TLC and TOD. I could see that about TOD given that has some gruesome moments but not TLC. In any case, glad she liked it (and allowed me to drag her to a 9 am showing). 
     
    Focusing on the music and after many listens of the OST this week, I am super pleased with the music in the movie. On my first viewing, I was grabbed by all the familiar motifs and themes and styles from other Indy movies and other JW movies as noted throughout this thread. But on the second viewing, I was able to hear more of the new stuff and how it weaves together. I was also surprised by how many more moments of now music there was than I remembered on the first watch. The music 100% enhances and pushes the movie forward in ways that are right for the series, and if you back to skull and see how Marion’s theme is so key after she is introduced in the movie, I think Helena’s theme followed suit. Of course, Helena is a much more action character, and her theme morphs to her actions. It’s just so well done.
     
    I do miss the NYC stuff in not being on the OST. I loved the difference of it both for the sneaking music for Helena and the CIA agents and the horse ride through the parade. It works with the time period, the fractured nature of what is going on in the story and the ability to start and stop it for the diegetic music.
     
    The end suite - I wish we had all the pieces. I know it’s basically the back half of NYC + Helena’s Theme + Prologue but I still felt something was else was in there. Could be wrong. I am ok with the way it ends sentimentally and softly. 
     
    Overall, looking forward to seeing the movie again! (And getting all the music some day if I live that long or fine a dial of destiny to go forward in time and bring back the music after the copyright expires.)
  24. Like
    lairdo got a reaction from Cerebral Cortex in Indiana Jones and the Dial of Destiny (Score in the film) - SPOILERS ALLOWED!   
    One moment I really enjoyed both as cinema and musically is the shared flashback that starts from Indy’s POV on the plane and comes back as Helena’s. It’s a great bit of visual storytelling, it’s scored marvelously and give us a lot of character stuff. Probably in the script but Mangold shot it well. I also felt the editing of the Airport through to the end was quite good (but in that I might just be loving the music for the entire sequence).
     
    Overall, just came back from a my second viewing (1st was 2 weeks ago), this time with my wife. First off, she really liked the movie. She rates it way above Skull (which she rewatched this week at my suggestion to get the necessary info about Marion and Mutt) and maybe more than TLC and TOD. I could see that about TOD given that has some gruesome moments but not TLC. In any case, glad she liked it (and allowed me to drag her to a 9 am showing). 
     
    Focusing on the music and after many listens of the OST this week, I am super pleased with the music in the movie. On my first viewing, I was grabbed by all the familiar motifs and themes and styles from other Indy movies and other JW movies as noted throughout this thread. But on the second viewing, I was able to hear more of the new stuff and how it weaves together. I was also surprised by how many more moments of now music there was than I remembered on the first watch. The music 100% enhances and pushes the movie forward in ways that are right for the series, and if you back to skull and see how Marion’s theme is so key after she is introduced in the movie, I think Helena’s theme followed suit. Of course, Helena is a much more action character, and her theme morphs to her actions. It’s just so well done.
     
    I do miss the NYC stuff in not being on the OST. I loved the difference of it both for the sneaking music for Helena and the CIA agents and the horse ride through the parade. It works with the time period, the fractured nature of what is going on in the story and the ability to start and stop it for the diegetic music.
     
    The end suite - I wish we had all the pieces. I know it’s basically the back half of NYC + Helena’s Theme + Prologue but I still felt something was else was in there. Could be wrong. I am ok with the way it ends sentimentally and softly. 
     
    Overall, looking forward to seeing the movie again! (And getting all the music some day if I live that long or fine a dial of destiny to go forward in time and bring back the music after the copyright expires.)
  25. Like
    lairdo got a reaction from Joni Wiljami in Indiana Jones and the Dial of Destiny (Score in the film) - SPOILERS ALLOWED!   
    One moment I really enjoyed both as cinema and musically is the shared flashback that starts from Indy’s POV on the plane and comes back as Helena’s. It’s a great bit of visual storytelling, it’s scored marvelously and give us a lot of character stuff. Probably in the script but Mangold shot it well. I also felt the editing of the Airport through to the end was quite good (but in that I might just be loving the music for the entire sequence).
     
    Overall, just came back from a my second viewing (1st was 2 weeks ago), this time with my wife. First off, she really liked the movie. She rates it way above Skull (which she rewatched this week at my suggestion to get the necessary info about Marion and Mutt) and maybe more than TLC and TOD. I could see that about TOD given that has some gruesome moments but not TLC. In any case, glad she liked it (and allowed me to drag her to a 9 am showing). 
     
    Focusing on the music and after many listens of the OST this week, I am super pleased with the music in the movie. On my first viewing, I was grabbed by all the familiar motifs and themes and styles from other Indy movies and other JW movies as noted throughout this thread. But on the second viewing, I was able to hear more of the new stuff and how it weaves together. I was also surprised by how many more moments of now music there was than I remembered on the first watch. The music 100% enhances and pushes the movie forward in ways that are right for the series, and if you back to skull and see how Marion’s theme is so key after she is introduced in the movie, I think Helena’s theme followed suit. Of course, Helena is a much more action character, and her theme morphs to her actions. It’s just so well done.
     
    I do miss the NYC stuff in not being on the OST. I loved the difference of it both for the sneaking music for Helena and the CIA agents and the horse ride through the parade. It works with the time period, the fractured nature of what is going on in the story and the ability to start and stop it for the diegetic music.
     
    The end suite - I wish we had all the pieces. I know it’s basically the back half of NYC + Helena’s Theme + Prologue but I still felt something was else was in there. Could be wrong. I am ok with the way it ends sentimentally and softly. 
     
    Overall, looking forward to seeing the movie again! (And getting all the music some day if I live that long or fine a dial of destiny to go forward in time and bring back the music after the copyright expires.)
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