Tom 4,640 Posted November 3, 2019 Share Posted November 3, 2019 7 minutes ago, Disco Stu said: I’m not sure I understand the distinction you’re making? I think the film version of Bike Chase / The Departure (I’ll exclude the The Escape for a direct comparison) is an obviously more satisfying standalone composition than the concert adaptation. The flying theme gets its big, full statement at the end of the concert version, while in the film version it is in the middle of the piece. I am guessing that is part of what Marian is referring to. Link to comment Share on other sites More sharing options...
Popular Post Fabulin 3,510 Posted November 3, 2019 Popular Post Share Posted November 3, 2019 . Jurassic Shark, crlbrg and Will 3 Link to comment Share on other sites More sharing options...
Will 2,215 Posted November 3, 2019 Share Posted November 3, 2019 Did anyone happen to record the broadcast of the Violin Concerto last night? I listened to the last movement live but missed the first two. Link to comment Share on other sites More sharing options...
Marian Schedenig 8,177 Posted November 3, 2019 Share Posted November 3, 2019 1 hour ago, Tom said: The flying theme gets its big, full statement at the end of the concert version, while in the film version it is in the middle of the piece. I am guessing that is part of what Marian is referring to. Exactly. If you're not used to it and have the film in mind "too much", it's confusing. But from a point of thematic development, the concert version makes perfect sense. Miguel Andrade 1 Link to comment Share on other sites More sharing options...
Holko 9,499 Posted November 3, 2019 Share Posted November 3, 2019 Yeah that big buildup to nothing right in the middle makes perfect sense, as does accelerating the rythm at the end for the big statement instead of calling back to it more in line with the context. EDIT: Just like dragging the unsure, unsafe Suburbia into the middle of the triumhantly, joyously clearly motivated and driven Bike Chase, which has already been robbed of most of its impact by starting outright with it instead of having it burst forward almost unexpectedly from the darker and more "aimless" Rescue. Disco Stu and Mattris 2 Link to comment Share on other sites More sharing options...
Popular Post Ricard 2,244 Posted November 3, 2019 Popular Post Share Posted November 3, 2019 Disco Stu, Will, Muad'Dib and 1 other 4 Link to comment Share on other sites More sharing options...
Marian Schedenig 8,177 Posted November 3, 2019 Share Posted November 3, 2019 2 hours ago, Holko said: Yeah that big buildup to nothing right in the middle makes perfect sense, as does accelerating the rythm at the end for the big statement instead of calling back to it more in line with the context. Building up to a sudden nothing in the final movement of a symphony to prolongate the development save the big climax for the end is not unusual. Bruckner used it to great effect, for example. Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,033 Posted November 3, 2019 Share Posted November 3, 2019 Apparently, JW would be blessed if someone here called him and taught him how to properly do his concert arrangements. Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted November 3, 2019 Share Posted November 3, 2019 1 hour ago, Marian Schedenig said: Building up to a sudden nothing in the final movement of a symphony to prolongate the development save the big climax for the end is not unusual. Bruckner used it to great effect, for example. I don’t really see this as an argument for it being somehow more appropriate as a symphonic movement. There are thousands of variations on these kinds of movement structures and I don’t really see the film version of that cue as invalid in that context just because the structure was based on what the film required. It’s what Williams has so often excelled at, writing music that both fits the film and works 100% as concert music when divorced from that context. And I’d argue that this is the ultimate example of that idea! Basically, the film cue didn’t need any messing with to work in a symphony hall! Holko and Mattris 2 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,033 Posted November 3, 2019 Share Posted November 3, 2019 5 minutes ago, Disco Stu said: fits the film It didn't really fit though, just ask Steven. Link to comment Share on other sites More sharing options...
Popular Post lairdo 726 Posted November 3, 2019 Popular Post Share Posted November 3, 2019 7 hours ago, Will said: Did anyone happen to record the broadcast of the Violin Concerto last night? I listened to the last movement live but missed the first two. Yes, I have it. I am still doing my usual clean up on the audio and breaking it into tracks (removing long pauses, promotional spots etc, adjusting volume). I did listen live as well, and then I listened to the raw capture (and most of the concert) on my long run today. Overall, I really enjoyed the performance of the Williams' concerto as well as the others (Barber's Adagio, Saint-Saëns Organ Symphony + 2 encores from soloist James Ehnes). I want to go through the concerto again and really focus on the violin playing and how the orchestra is working with (and at times purposefully in counterpoint). A nice treat of the concert broadcast was that the intermission featured interviews with Stéphane Denève (conductor), Beth Guterman Chu (principal viola) and Ehnes. They all shared some insights of working on the piece (which Ehnes has only played with Denève conducting) and that John Williams came to the entire rehearsal of the piece. He however did not seem to be in the audience last night, so this was even more gracious given he was not going to be present to hear the final output. He spent time together with Ehnes as well 1:1. Multiple people mentioned the timing of the concerto's composition with Williams' late wife, Barbara Ruick, and her tragic passing in 1974. Here is a link to the program notes for those interested. https://www.stlpublicradio.org/programs/symphony/docs/20191102 - Saint Saens Organ Symphony.pdf Will, pete and Disco Stu 2 1 Link to comment Share on other sites More sharing options...
Ricard 2,244 Posted November 5, 2019 Share Posted November 5, 2019 Does anyone know the full program of the Nov. 1 concert? Link to comment Share on other sites More sharing options...
TownerFan 4,983 Posted November 5, 2019 Share Posted November 5, 2019 Stéphane Denève conducting: Hooray for Hollywood The Cowboys overture Two pieces from Jane Eyre: The Reunion; To ThornfieldSuite from E.T. the Extra-Terrestrial: Three Million Light Years From Home; Star Gazers; Adventures on Earth John Williams conducting: "Flight to Neverland" from Hook "Dartmoor, 1921" from War Horse Theme from "Jurassic Park" "With Malice Towards None" from Lincoln "The Adventures of Han" from Solo: A Star Wars Story "Rey's Theme" from Star Wars: The Force Awakens "Princess Leia's Theme" from Star Wars: A New Hope Main Title from Star Wars Encores: Yoda's Theme & The Imperial March (Darth Vader's Theme) Ricard 1 Link to comment Share on other sites More sharing options...
Ricard 2,244 Posted November 5, 2019 Share Posted November 5, 2019 Thanks, Maurizio! Link to comment Share on other sites More sharing options...
SyncMan 314 Posted June 21, 2020 Share Posted June 21, 2020 On 11/3/2019 at 5:58 PM, lairdo said: Multiple people mentioned the timing of the concerto's composition with Williams' late wife, Barbara Ruick, and her tragic passing in 1974. On the back disc jacket of the 1983 Varese Sarabande Vinyl-LP release for Williams' Violin Concerto, JW said this in the jacket’s liner notes. Quote I began composing the concerto in 1974, finishing it October 19, 1976. It is dedicated to the memory of my late wife. Link to comment Share on other sites More sharing options...
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