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NEW Concert work: "Highwood’s Ghost", a fantasia for cello, harp and orchestra for cellist Yo-Yo Ma and harpist Jessica Zhou (Premieres August 19th at Tanglewood)

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Hello everyone, I wanted to show you and share the covers I made:   For "A Premiere with Yo-Yo Ma" complete concert:     For "Highwood's Ghost" only:  

For those of you who missed it, here it is: https://youtu.be/S2E-PHhxtYg    Listen quick, I'll be taking this down in a day or so, unless YouTube beats me to it, as they've done quite quickl

I came to film music from classical so the opposite of you.  What is your take on the Japanese composer, Takemitsu or Philip Glass?  These are composers whose film and concert music are indistinguisha

On 8/25/2018 at 6:06 PM, KK said:

Lovely piece. I might agree that it becomes a little less interesting once the horns draw the piece away from the airy Takemitsu-esque opening, but I don't think it's as meandering or even "film-ic" as some suggest here. 


The polyphonic descending motto on the winds around 11:30 is lovely stuff. And those closing trills...*chills*


I would definitely rank it among his finer works!


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Just now, KK said:


Sublime stuff. It's a real treat hearing Williams continue to refine and push the applications of his technique, even as he's nearing his 90s. This is top tier Williams. Just wish it was longer!


Thank you for answering my question directly rather than shoving a quote in my face. Thats very kind of you.


I agree that its a great little piece. Detailed and technical, but whimsical.

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After only a second listen, this is definitely among my top concert works of his. It's a breakthrough. He's on a level few will reach after him already, and bar just raised.


Also, is there a thread addressing weird pairings? By chance I imported the Highwood mp3 after having listened all the way through LLL 1941 for the first time the night before. It's the same composer, with eerie echoes in the present piece, gestures in search of long lost or forgotten chapters. And there are lots of abstract episodes among all the representational pastiche in 1941 (sometimes in the pastiche itself) which foretell things to come.

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1 hour ago, Thor said:

I'm sure this has been mentioned before, but why was Bradley Cooper there? Was he the host? Or just a guy who "crashed the party"?


On 8/28/2018 at 11:55 AM, Jurassic Shark said:

Why Bradley Cooper? Was he the host or something?


On 8/28/2018 at 11:55 AM, Disco Stu said:

He's making a movie about Bernstein I think.


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14 minutes ago, Jay said:

That looks terribad


9 minutes ago, Stefancos said:


I just threw up in my mouth a little.


For some reason, there is a cadre, a faction if you will, of critics who are stanning hard for that movie.  I think it's viewed as such a swing for the fences that it will either be so terrible it's entertaining or somehow genuinely great.  Either way, grab the popcorn.

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7 hours ago, crumbs said:

I didn't even realise Matessino/LLL had done a 2CD expansion of that score! Oops.


It's a wonder they didn't crumble to ashes because of your cruel indifference to support the cause! You must buy four copies of Saving Private Ryan with no bundle savings on shipping to Australia! Repent, and show your allegiance!

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On 8/30/2018 at 10:20 AM, Jay said:

That looks terribad


On 8/30/2018 at 11:05 AM, Stefancos said:

No thanks!


Not really the thread for it, but the Variety review isn’t just a rave, it’s practically giving the movie sexual favors



“A Star Is Born” is that thing we always yearn for but so rarely get to see: a transcendent Hollywood movie



Metascore of 88 so far



Bradley Cooper’s winning an Oscar!

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