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

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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.  

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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.

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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.

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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.

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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!

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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)

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