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Did Williams compose this piece from Fiddler On The Roof?


Sandor
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I'm not very familiar with Fiddler On The Roof and only know a couple of the most famous songs. 

 

Recently I read John Williams wrote the main title sequence all himself. Is it true? Is it somehow based on the existing song material Williams had to work with or is this 100% a John Williams composition? Thanks for the answer.

 

 

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Yes, the violin cadenza is JW's own composition. Of course it's molded after Jerry Bock's original material from the musical, but it's more a composition job than an arranging one.

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8 minutes ago, TownerFan said:

Yes, the violin cadenza is JW's own composition. Of course it's molded after Jerry Bock's original material from the musical, but it's more a composition job than an arranging one.

 

Thanks. So there are direct melodic references to Bock's material? 

 

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57 minutes ago, Sandor said:

Thanks. So there are direct melodic references to Bock's material? 

 

If you listen to the album, you'll quickly realise that the opening titles quotes themes and motifs from Bock's material. :)

 

 

 

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22 minutes ago, Jurassic Shark said:

 

If you listen to the album, you'll quickly realise that the opening titles quotes themes and motifs from Bock's material. :)

 

 

 


Ok clear and thanks for answering.

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I hate the dream sequence in Fiddler. There is no more annoying and ittitating sequence in all the cinematography world.

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I mean, it's sort of a battle of semantics. In my opinion, Williams' Fiddler is not simply a re-orchestration and putting in a few transitions; it even presses the boundaries of arrangement into "reinterpretation" at times. That being said, all of the source material is from the original score with all melodies and vocal lines preserved 99% of the time. It's really the supporting material in the background that is the most different and adds a lot more virtuosity and he changes some keys. A simple crescendo in the broadway book gets incredible treatment from woodwind runs and miracle of miracles turns into this incredibly sweeping piece that puts the broadway version to shame from an orchestration standpoint. Everything from the original score is just brought to a different level of life with his additions, but Williams is tasteful and rarely alters the work structurally. Dances may be the exception to this, but the original book had TONS of dance music that isn't on albums that he may had pulled from. Been a while since I've played the show.

The violin melody is from the original show, but he takes a lot more liberty with the development. As karelm mentioned, the entre'acte also has a lot of material that isn't necessarily composed, but has really imaginative combinations as well.

 

The show has so many great classic melodies and motifs, you don't really need to "compose" much.

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It definitely bears Williams' stamp through and through, but there isn't as much incidental/original music as in, say, TOM SAWYER.

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