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rejected score?


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According to the official and known sources, Williams never had a full score rejected.

There are some apocryphal stories around about two or three cases where he had a score fully rejected, but nobody ever found real proof or evidence about it, so they're very likely bogus stories.

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No film score by Williams was ever rejected. What has happened, probably on most scores, is having cues rejected, and to have them redone, or edited, at the director/producer request.

The only film project were Williams worked that as was mostly rejected, was a André Previn later score for The Swinger (1968, I believe). Previn wrote the score and songs, of which only one song survived. Williams work on that one was that of conducting. So the rejection wasn't really torward his work.

Nevertheless, Williams did have a sort of a rejection, not on film, but rather on the concert hall. In the 90's he was comissioned by Leonard Slatkin and the National Symphony Orchestra a song cycle for Kathleen Battle. In 1997, when the score for "Seven for Luck", based on poems by Rita Dove, was ready for premiere -- the performance was scheduled and anounced -- the whole thing was cancelled because Ms. Battle thought the score was too dificult to be sung (she was likelly expecting some Hollywood piece of crap kind of song... surelly she lacks knowledge about Williams, the composer.)

The cycle, was premiered the following year in Tanglewood, with Williams conducting the Boston Symphony Orchestra, and young soprano Cinthya Haymon. The premiere received great reviews and both Williams and Sony producers expressed interest in recording it.

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No film score by Williams was ever rejected. What has happened, probably on most scores, is having cues rejected, and to have them redone, or edited, at the director/producer request.

The only film project were Williams worked that as was mostly rejected, was a André Previn later score for The Swinger (1968, I believe). Previn wrote the score and songs, of which only one song survived. Williams work on that one was that of conducting. So the rejection wasn't really torward his work.

And a song survived, so it wasnt a full reject :lol:

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No film score by Williams was ever rejected. What has happened, probably on most scores, is having cues rejected, and to have them redone, or edited, at the director/producer request.

The only film project were Williams worked that as was mostly rejected, was a André Previn later score for The Swinger (1968, I believe). Previn wrote the score and songs, of which only one song survived. Williams work on that one was that of conducting. So the rejection wasn't really torward his work.

Nevertheless, Williams did have a sort of a rejection, not on film, but rather on the concert hall. In the 90's he was comissioned by Leonard Slatkin and the National Symphony Orchestra a song cycle for Kathleen Battle. In 1997, when the score for "Seven for Luck", based on poems by Rita Dove, was ready for premiere -- the performance was scheduled and anounced -- the whole thing was cancelled because Ms. Battle thought the score was too dificult to be sung (she was likelly expecting some Hollywood piece of crap kind of song... surelly she lacks knowledge about Williams, the composer.)

The cycle, was premiered the following year in Tanglewood, with Williams conducting the Boston Symphony Orchestra, and young soprano Cinthya Haymon. The premiere received great reviews and both Williams and Sony producers expressed interest in recording it.

K. Battle didn't want to perform in the song because she believed that coordinating with "film composer" is not very well for her career!

I wonder how she accepted to team with Vangelis later :lol:

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No film score by Williams was ever rejected. What has happened, probably on most scores, is having cues rejected, and to have them redone, or edited, at the director/producer request.

The only film project were Williams worked that as was mostly rejected, was a André Previn later score for The Swinger (1968, I believe). Previn wrote the score and songs, of which only one song survived. Williams work on that one was that of conducting. So the rejection wasn't really torward his work.

And a song survived, so it wasnt a full reject ;)

I said "mostly"...

K. Battle didn't want to perform in the song because she believed that coordinating with "film composer" is not very well for her career!

I wonder how she accepted to team with Vangelis later ;)

How do you substatiate that statement? All I've read about "Seven for Luck" -- and I think I've read all that is out there -- state that this song cycle was composed for Miss Battle at her request and after her other colaboration with another "film composer" (to use your own poor choosing of words), André Previn on "Honney and Rue", with poems by Toni Morrison (recorded on DG 437 787-2). She refused to perform it because she felt it was to hard to be sung. If you read otherwise, please show me your sources before saying so. Uncofirmed rumours aren't a nice thing.

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In the emule there is some "rejected score" for movie Evolution and they say is from John Williams, but I think for sure is fake... Anyway is nice score, does somebody know which is real score there? ;)

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Just because you saw something in the emule, it doesn't mean it's legit.

John Williams wrote many scores that were in Napster that were a result of idiots mistagging their files, including Back to the Future and most Star Trek themes.

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Just because you saw something in the emule, it doesn't mean it's legit.

John Williams wrote many scores that were in Napster that were a result of idiots mistagging their files, including Back to the Future and most Star Trek themes.

Now you're going to tell me that Legend of Zelda isn't JW's either, are you?

did Williams have any rejected score?

Joey has rejected JW's Attack of the Clones if that counts.

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What I want to know is how much music did JW write for Harry Potter 2?

Did he really write anything?

You're 'aving a laugh, aren't you?! Of course he did. He wrote themes for Lockhart, Dobby, The COS itself, the spiders, Moaning Myrtle, and the Ford Anglia. I agree with Luke Skywalker's assessment: he wrote more than we believe, but less than we would like.

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What I want to know is how much music did JW write for Harry Potter 2?

Did he really write anything?

You're 'aving a laugh, aren't you?! Of course he did. He wrote themes for Lockhart, Dobby, The COS itself, the spiders, Moaning Myrtle, and the Ford Anglia. I agree with Luke Skywalker's assessment: he wrote more than we believe, but less than we would like.

:mrgreen:

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