Williams to co-conduct St. Louis Symphony, November 1

[Tom 4,631]

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.  

[Fabulin 3,506]

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[Will 2,215]

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. 

[Marian Schedenig 8,158]

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.

[Holko 9,491]

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.

[Ricard 2,242]

 

 

[Marian Schedenig 8,158]

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 12,008]

Apparently, JW would be blessed if someone here called him and taught him how to properly do his concert arrangements.

[Disco Stu 15,495]

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!

[Jurassic Shark 12,008]

5 minutes ago, Disco Stu said:

fits the film

 

It didn't really fit though, just ask Steven.

[lairdo 726]

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

 

 

[Ricard 2,242]

Does anyone know the full program of the Nov. 1 concert?

[TownerFan 4,983]

Stéphane Denève conducting:

Hooray for Hollywood
The Cowboys overture
Two pieces from Jane Eyre: The Reunion; To Thornfield
Suite 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 2,242]

Thanks, Maurizio!

[SyncMan 313]

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.