Little moments of pure Williams bliss

[TownerFan 4,983]

The other day I was listening to the Complete Edition of Star Wars Episode I: it was a long time since I listened to the whole score in its entirety (and I almost forgot how freakin' good it is!). However, I really fell in a sort of rapture during "Anakin is Free", particularly in the moment when the reed flute enters and plays that melancholic, wistful melody (from 2:12 to 3:30). This is one of those moments which I like to call "pure Williams bliss": a small fragment of music that really captures me in an almost magical way. It's hard to explain this kind of feel just with words... but I'm sure every JWfan has experienced these kind of moments and every one of you has his/her favourites. It's maybe just a few minutes or even a few seconds of music... but it's something that grabs you and stays with you forever.

So, pick your favourite moments of pure Williams bliss and share them with us

[Red 75]

Wow. What a hard choice.

[robthehand 3]

The Fury film recording, "Gillian's Power" 0:54-1:39. Though it's hardly "little"...

[Morlock 11]

1960 something to the present.

Morlock- who's not sure if that counts

[tuneman_21 0]

Geez, that's an easy one. Star War: ROTJ the Vader vs. Luke que that occurs after Vader taunts Luke about turning Leia to the Dark Side and Luke duels with Vader, eventually slicing off his hand. JW could have done a traditional bellaqose score there, but instead writes a heart wrenching theme that so well describes the tragedy of a father fighting his son. That que was just pure genius.

[Red 75]

You mean, "The Dark Sides Beckons". And yes, it is a great cue.

[King Mark 3,631]

Yoda lifts the X wing

The moment when Han is lowered into the carbonite (Han solo and the Princess theme)

[Mr. Breathmask 555]

Those are more entire cues than little moments, though.

[TownerFan 4,983]

Exactly. I was talking more about little moments, maybe even few seconds of music that are meaningful and special for you... if you know what I mean.

[Jeshopk 8]

The few bars of music when ET and Elliot see the deer in the woods. Somehow heartbreakingly beautiful, even alone on album.

The Intersection Scene from WOTW, when the schorus starts whisper screaming "yyyyyyah!!" and the frenchhorns start their 4 note motif wit the 3rd note accented.

The music when Ms. Tessmaker kisses Superman.

The glissando string music when Culkin sees his hotel room in Home Alone 2.

The unreleased opening to "the Big Fight" from Far And Away.

The harp solo when the priest is praying for the astronauts at the end of Close Encounters.

The "Bad Dates" crescendo with the ceiling fan shot in Raiders.

The atonal clarinet, brass and percussion piece accompanying the "crop dusting" helicopter taking off toward the end of Close Encounters.

Han Solo being lowered into Carbonite

The introduction of the soprano voice in "The Blue Fairy"

The "mickey mousing" punches in the airplane battle from Raiders.

The bongos and synth pad from an unused cue in Sleepers giving way to a totally new color afterward.

The music for the children returning to their mother in Hook.

[Josh500 1,615]

Way too many! Can't just pick one!

[TownerFan 4,983]

The music for the children returning to their mother in Hook.

Uuh, this brings to mind another favourite of mine: the mesmerizing and heart-wrenching flute solo in "Farewell Neverland" (4:13 - 4:43), coupled with harp and tremolo strings, which underscores Peter's awakening in the garden.

Way too many! Can't just pick one!

You don't have to pick just one. Choose how many you want, start with the ones that pop up to your mind at first. I know it's hard, since there are literally hundreds of those kind of moments in many JW scores...

[Red 75]

Speaking of Hook and flute solos, the flute solo in "The Face of Pan" ("You are the Pan" on the OST) is mezmerizing.

I'd also like to mention "Into the Trap" (the entire cue) from Return of the Jedi.

[scissorhands 16]

"Ryan? I don't know anything about Ryan. I don't care. The man means nothing to me. But if... if finding him so he can go home and that earns me the right to get back to my wife, well, then... that's my mission"

And so and so, until the end of the sequence. One of those "Williams bliss" moments.

[Ollie 1,059]

Those final notes as Elliot watches E.T.'s ship leave.

[gkgyver 1,645]

For me, that pick is easy.

In Close Encounters, "False Alarm", when on top of the deep orchestral rumbling the tuba and the horns come in, which leads to the bright choral statement of the main theme.

That moment is just so overwhelming. It has that understated grandiosity to it, if you know what I mean. It captures everything: the sheer weight of the image of an UFO appearing, elegance, mystery ...

There's a similar moment later in the score, in "The Mothership", but it's not nearly as powerful.

[Quintus 5,399]

For me, that pick is easy.

In Close Encounters, "False Alarm", when on top of the deep orchestral rumbling the tuba and the horns come in, which leads to the bright choral statement of the main theme.

That moment is just so overwhelming. It has that understated grandiosity to it, if you know what I mean. It captures everything: the sheer weight of the image of an UFO appearing, elegance, mystery ...

I know EXACTLY what you mean. There is just something so tangible and magical about that moment in music. The facial expressions on that elderly couple, especially the man are heightened even further by the music - an almost childlike sense of awe for the two of them. Williams at the top of his game.

[Unlucky Bastard 7,782]

JFK soundtrack - anywhere in the first four tracks.

[Ollie 1,059]

The lighting of the Tower from The Towering Inferno.

Boba Fett's motif when we see the bounty hunters from the first time.

[odnurega1 0]

"Ryan? I don't know anything about Ryan. I don't care. The man means nothing to me. But if... if finding him so he can go home and that earns me the right to get back to my wife, well, then... that's my mission"

And so and so, until the end of the sequence. One of those "Williams bliss" moments.

Is this on the "Saving Private Ryan" soundtrack? What track, and if you know, what time?

[Joni Wiljami 1,206]

A.I. The Mecha World 5:23-6:00 oboe and piano unisono

[Elmo Lewis 6]

There's a very sugar-coated melody in "Among the Clouds" (from Always) at about 2:33-2:43, that never fails to grab my attention for some reason.

[MrScratch 294]

The 30-35 second string rendition of the Lowood theme in the "Overture" to Jane Eyre.

[Morlock 11]

Don't have the scores with me....but two the come to mind are the great chattery brass motif from RoTJ. IIRC, it's about ten minutes in to a certain track (don't remember offhand which one). Also the wonderful little section at the end of 'My Friend, The Brachiosaurus'. There's that wonderful melody in there near the end that makes the track for me.

Oh, also from Catch me if You Can, in 'Learning the Ropes', when (about 5 minutes in, IIRC) the Sax take off on an airy riff.

[Datameister 2,044]

That crescendo in ROTS's "Lament" ("Anakin's Betrayal") to that huge Dm chord in the full orchestra and choir, with the French horns playing that powerful melodic line. First time I heard that on the OST, I was blown away, totally and completely, in a way I may never have experienced before, though I've had similar musical experiences. (The finale from "The Firebird" isn't Williams, but it's certainly good enough to be.)

A very fun moment in the Star Wars saga is the transition into the end credits in the original film. It's so lighthearted, adventuresome, and...I dunno, honest-feeling. I absolutely love the use of trombone for Luke's theme at the beginning of all the other films' credits, but the high French horn version from ANH is certainly nice, too. A few minutes later, the transition out of Leia's theme into another Luke's theme section is great, as is the similar segue from Leia's theme into BOTH from ROTS. In a similar vein, the Yoda's theme to Imperial March transition from ESB's credits is so much fun, although the strange edit detracts from its impact.

And then another great moment of vintage Williams--the repeated sixteenth notes in the trumpets for the rolling ball in Raiders of the Lost Ark. Great composition meets great performance in a dazzling display of embouchure acrobatics. So much fun to listen to--and then the low brass starts its nice little running line. Then there's the Raiders' march making its big entrance as the seaplane departs from Peru. It's so big and so fun and so thrilling, and the playful section that accompanies the scene with Reggie the snake is great. I giggled like a little boy when I heard that whole section.

Oh, there are so many more...

Ooh, a random one--I generally don't like Williams' concert works, from what little I've heard of them. However, the concerto he wrote for Yo-Yo Ma (there isn't more than one, is there?) has some great tom-tom licks in the first movement.

[WellOfSouls 1]

One of my "bliss" moments is in E.T. during the cue "At Home." About two and a half minutes into the cue after some menacing low brass statements of Keys' theme, the harp accompaniment suddenly shifts gears and we're taken into the Elliot/E.T. harp love theme. It's such a gorgeous moment. Later, in the same cue, Keys' theme is heard briefly again played by solo flute, reminding us of the family's surveillance. Amazing, subtle moments.

[Genius_Gone_Insane 5]

Rebel Fanfare during Episode III, "Get em R2".

Those final notes as Elliot watches E.T.'s ship leave.

errr...I'm not so sure that's a LITTLE moment there.

[TownerFan 4,983]

Another superb moment of pure bliss:

from The Empire Strikes Back, the final moments of the "Snowspeeders to the Rescue" cue: the airy, gorgeous, infectious melody played on strings when the pilot finds Han and say "I found 'em! Repeat, I found 'em!". This few seconds up until the end of the cue always give me goosebumps and make me giddy.

[Trumpeteer 302]

Three moments I could listen to over and over and over. I think if I had to pick three musical moments to explain John Williams, these would be it:

The bridge in the opening titles of "The Empire Strikes Back" between the string section and the second rendition of the main theme. Great orchestration.

The moment after "I'll be right here" in "ET."

The moment in "AI" when Monica abandons David in the woods, starting when she says "I'm sorry I didn't tell you about the world." On CD, it's best represented in "Rogue City." That piano still astounds me.

[Ray Barnsbury 8]

Just a few:

The resolute and whimsical final statement of Hedwig's Theme in HP:SS (from "Leaving Hogwarts").

The combination of male vocals, percussion, driving low brass, and ethnic flute, leading into a fantastic choral presentation of Cinque's Theme, in Amistad ("Sierra Leone 1839 and the Capture of Cinque").

The opening 10 seconds of "Back to America" from Angela's Ashes, with the clarinet line.

E.T.'s opening solo flute.

The exuberant horn rips from Far and Away's credits.

The buildup to and release of the Star of Bethlehem theme as Kevin hides from the crooks in the nativity scene in Home Alone ("Follow that Kid!")

The bird flute in PoA ("Secrets of the Castle").

Ray Barnsbury

[Datameister 2,044]

The resolute and whimsical final statement of Hedwig's Theme in HP:SS (from "Leaving Hogwarts").

Definitely! One of my very favorite Williams moments.

Ah, another ROTLA favorite is the great, over-the-top horn melody in the middle of "The Basket Game," when the thug is brandishing his sword at a very worn-out Indy. So much fun...

E.T.'s opening solo flute.

Yes!

the airy, gorgeous, infectious melody played on strings when the pilot finds Han and say "I found 'em! Repeat, I found 'em!". This few seconds up until the end of the cue always give me goosebumps and make me giddy.

Ain't it the truth? I'm so glad that part of the cue wasn't replaced with tracked music in the film.

[Ollie 1,059]

Another superb moment of pure bliss:

from The Empire Strikes Back, the final moments of the "Snowspeeders to the Rescue" cue: the airy, gorgeous, infectious melody played on strings when the pilot finds Han and say "I found 'em! Repeat, I found 'em!". This few seconds up until the end of the cue always give me goosebumps and make me giddy.

I agree.

[Ray Barnsbury 8]

Ah, another ROTLA favorite is the great, over-the-top horn melody in the middle of "The Basket Game," when the thug is brandishing his sword at a very worn-out Indy. So much fun...

I actually thought of that one too...definitely a great moment, wonderful horn writing there!

Ray Barnsbury

[Datameister 2,044]

Yeah, I almost feel like it has to be a reference to something, but I can't put my finger on it. It just fits the scene so perfectly, which is funny, since to my knowledge, the French horn is neither French nor Egyptian...so why the heck does it fit that moment so well?!

Ooh, another one from E.T. This one has always perplexed me with its genius--those sliding string chords as Elliot and E.T. are growing sleepy. How in the freaking world did that man write something so simple that so perfectly sums up the feeling of being a sleepy as a child? Listening to it on the soundtrack makes me feel like yawning myself, and not because I'm bored!

Any time Hedwig's theme--the second part of it, not the first--comes blazing through on the French horns in HP:SS, I go crazy. It has a wonderfully dark sound. Williams could have written something in a major key, something lighthearted, maybe more along the lines of "Harry's Wondrous World" (what a stupid title), to set the mood of that score, but I like the somewhat darker approach he took. Having the main theme set in a minor key and hinting at dominant seventh chords in there did wonders for the score's overall tone, I think. Those big horn statements are great.

[Red 75]

I have a soft spot for the opening of "Window to the Past" from POA.

[BLUMENKOHL 1,068]

"Fox Is Reborn" there is this really beautiful moment in the opening statement of the (already) fantastic theme where the strings just oh so subtley hesitate or prolong the preceding note before moving on to the next note....and it does wonders

around 15-16 secs in.

I still believe that the Fawkes theme is the greatest theme Williams has ever written. It's a shame it wasn't given a better treatment.

[Morlock 11]

The bird flute in PoA ("Secrets of the Castle").

Oh, definitely. Also the wonderful playful version of 'Double Trouble' immediatly preceding it.

[Ray Barnsbury 8]

Indeed, a great use of bassoon there, and it works perfectly in the film.

Ray Barnsbury

[BigKenLittle 6]

For me... it is the specific rendition of the Superman theme as Superman catches the helicopter in "The Big Rescue" on the Rhino soundtrack. That particular arrangement and first full rendition of the theme (since the main title obviously) stands out for me as an iconic marriage of music to a moment in film. Also, still in superhero mode, is the moment of the cymbal crash and key change in the performance of the end credits used in the film and never duplicated since. Every time I hear it (even to this day) I still gasp a little as I catch my breath. I was so happy that Rhino included this performance in the spectacular CD they produced that on the very first performance in my home CD player, I actually screamed like a little school boy and was immediately thrown back to the Metropolitan theatre in Winnipeg, December 1978... An unequalled experience.

BKL

[Datameister 2,044]

I still believe that the Fawkes theme is the greatest theme Williams has ever written.

Really? I love the first five notes, but it loses all semblance of structure or direction for me after that. So sad...it has such promise.

Indeed, a great use of bassoon there, and it works perfectly in the film.

YES.

Also, the actual "Hedwig's Theme" track on the HP:SS OST has some great chill inducers. He more or less wrote that for the movie's trailer, and it works so well as a standalone. Earlier on that soundtrack, the huge statement of the flying theme at the start of the Quidditch match (as well as the preceding seconds) is so great. I love the orchestration in that whole score; it's some of the best Williams orchestration I've heard.

[Farawyn 0]

The first minute of "The Mountain" in CEot3K. Makes me smile every time.

"The Magic of Halloween" from E.T., 0:55 to 1:50 : absolutely gorgeous.

"Escape/ Chase/ Saying goodbye from, 9:50 to 10:30.

"Secrets of the Castle" from PoA, 1:30 to the end : the fastest and most thrilling flute tune I've ever heard !

The first minute of Mischief Managed (especilly the exhilarating orchestral rendition of Double Trouble).

"Harry's Wondrous World", 2:00 to 2:55.

The very end of the last track of HPaPS, starting from 4:00.

The first minute of "Sean's theme" from MR : maybe my all-time favorite.

"Remembrances" from S's L, 0:55 to 1:45 : one of JW most beautiful cues ever according to me.

"The Asteroid Field"... of course, especially 2:00 on. I always wondered why JW didn't use the wonderful brass melody as an actual theme for the Millenium Falcon.

"The Clash of Lightsabers" 2:00 to the end. Ultra epic !

"The Battle of Endor II (Leia is Wounded)" from RotJ, 4:50 to 5:35 : heartbreaking.

The first minute of "Anakin's Dream" in RotS.

"The Raider's march", 2:00 to 3:30 : beautiful version of Marion's theme.

And so many more…

[King Mark 3,631]

Adventures on Earth (original) from 10:50 to 11:50

In return of the Jedi,that statement of Leia's theme on strings when Luke guesses she's his sister on Dagobah

The unused statement of Luke's theme on solo trumpet in Ice Planet Hoth followed by Leia's theme

[Datameister 2,044]

I don't think that statement of Luke's theme is unused, KM. Could be wrong...but yeah, it's always struck me as rather cool.

On another topic but in the same movie, I can think of one case in which tracked music resulted in the so-called bliss we're talking about--the Imperial March's world debut in the scene that first shows the Executor. It's just part of the concert suite tracked into the middle of a horribly disfigured cue that was quite good to begin with, but I love it in that context. It feels very ominous, and the edit back into the cue as-written isn't terribly jarring for me.

Ooh...another great moment is the rather fast French horn statement of Marion's theme in the middle of the suite. (Not sure what it's called...I have a re-recording from that old CD "Star Tracks." Not a bad recording, though I haven't yet had the pleasure of owning the Rhino OST. Need to get my paws on it!)

[Josh500 1,615]

Right now, I can't get enough of the Force Theme from RotS, the first track. When I turn it on full-blast, I feel exhilarated and awed at the same time--in fact, I love that whole track. John Williams waging a war and the orchestra is his troops--haha. I have always loved the Luke Skywalker theme more than the Force Theme, but when I hear the way the Force Theme is played in that track, I'm inclined to change my mind!