Tanglewood 2021 season includes several Williams concerts

[Miguel Andrade 1,462]

@Smeltington @Jay @rpvee What about the Overture to the Oscars?

[crumbs 15,365]

3 hours ago, rpvee said:

He also made a couple funny digs at Spielberg - one being that not many people went to see B.F.G., and the other that the sound mix of the Last Crusade motorcycle chase buried his music, so he made a suite of it so it could be heard properly.

 

Hah, oddly specific thing to remember! Wonder if he re-watched the Indy films for the 4K remasters? I remember him saying he rewatched Jurassic Park with Spielberg when it was converted to 3D, so maybe he does revisit these older films occasionally. If he thought the Scherzo from TLC was buried, I'd hate to know what he thinks of TROS

 

No mention of working on Indy 5 in the near future? I have a suspicion he might start receiving sequences to score far earlier than expected, due to Harrison's injury (seems production has been postponed 2 months, giving Mangold a few months to start assembling what they've shot).

 

I know Mike mentioned in the Eiger podcast that the plan was to start Indy 5 after returning from Berlin, but that seems unlikely with production resuming from October through December.

[multisonic 11]

First time poster here - I agree, last night's concert was magical.  A highlight for me was John and Keith sharing the baton for the second encore of The Flying Theme! There was so much palpable joy between the two of them. 

 

@Miguel Andrade, the Overture to the Oscars was not A Tribute to the Film Composer like I had anticipated.  I wasn't familiar with the piece.

 

[WilliamsStarShip2282 326]

5 hours ago, Miguel Andrade said:

@Smeltington @Jay @rpvee What about the Overture to the Oscars?

 

Never heard it before. But he absolutely wrote it. Similar sounding to the fanfares he wrote for the Pops in the 80's. It was nice though.

[Tom 5,410]

Was it this piece?

 

[WilliamsStarShip2282 326]

No no, quite familiar with that one. Never heard it before.

That is why I was hoping somebody uh... DIDN'T **cough** rip the WGBH broadcast if there is once.

[Tom 5,410]

Maybe a new piece after all--cool.  

[Jay 41,649]

5 hours ago, crumbs said:

I know Mike mentioned in the Eiger podcast that the plan was to start Indy 5 after returning from Berlin, but that seems unlikely with production resuming from October through December.

 

That's not what Mike said in the podcast. He said the plan was to score Indy 5 after Carnegie Hall

 

Since Spielberg will be done shooting Fabelmans before Mangold is done shooting Indy 5, I could see JW finish recording Fabelmans before Carnegie Hall, then starting Indy 5 after Carnegie Hall, but I suppose it all depends what part of 2022 The Fabelmans is releasing in. 

 

I could also see a world where Spielberg whips through post production of The Fabelmans at super speed to get it out as a 2021 Oscar contender. 

[SilverTrumpet 645]

Yeah. Overture to the Oscars sounded familiar? But I don’t know if it’s just because it sounded very Williams. It didn’t sound like he just wrote it this past year.  I’m surprised nobody has recognized it yet.

 

Then he just didn’t talk about it at all and went straight on to the olympics music. Not even a mention. 

[crumbs 15,365]

17 minutes ago, Jay said:

 

That's not what Mike said in the podcast. He said the plan was to score Indy 5 after Carnegie Hall

 

Since Spielberg will be done shooting Fabelmans before Mangold is done shooting Indy 5, I could see JW finish recording Fabelmans before Carnegie Hall, then starting Indy 5 after Carnegie Hall, but I suppose it all depends what part of 2022 The Fabelmans is releasing in. 

 

Oh you're totally right, I confused Carnegie Hall with Berlin.

 

Surely that's only for the recording sessions though? There's not enough time for JW to write and record an Indy score before mid-July if he only starts writing in late April.

 

Thanks to Ford's injury, it does seem increasingly likely he will write and record Fabelmans before the year is out, then move onto Indy 5 after shooting wraps in December. Interesting turn of events, but I'll just be thrilled if he manages to score both films.

[Jay 41,649]

6 hours ago, Miguel Andrade said:

@Smeltington @Jay @rpvee What about the Overture to the Oscars?

 

I didn't recognize it, but it was nice! 

 

8 minutes ago, crumbs said:

Surely that's only for the recording sessions though? There's not enough time for JW to write and record an Indy score before mid-July if he only starts writing in late April.

 

Yea, good point, he'll probably have a rough cut of the film at his house before Carnegie Hall. But I don't think he'd do any serious writing for it until his Fabelmans duties are over. 

 

Once again, Spielberg has a film abutting a Star Wars/Potter/Indy type film... 

[crumbs 15,365]

17 minutes ago, Jay said:

Yea, good point, he'll probably have a rough cut of the film at his house before Carnegie Hall. But I don't think he'd do any serious writing for it until his Fabelmans duties are over. 

 

Wild speculation but I wouldn't be surprised if Mangold handed JW a few standalone sequences to start scoring over the next few months, while filming is postponed. They'll be looking for ways to bring forward post production, instead of sitting on their hands.

 

The

Spoiler

action-heavy parade sequence in Glasgow/New York

seems a good candidate. Makes sense to hand JW one of the bigger action sequences to start working on now, in the same way VFX-heavy sequences are usually shot first to give ILM more time to work on the effects.

 

17 minutes ago, Jay said:

Once again, Spielberg has a film abutting a Star Wars/Potter/Indy type film... 

 

Heh, well ordinarily an Indy film wouldn't be conflict with a Spielberg film

 

I'm happy to see him working with other directors though. You never know when the next Azkaban might come along.

 

Back on the concert -- did anyone notice cameras or microphones that might have been recording the event? By all accounts, it seems JW was in fine form. Hopefully it gets broadcast in some form eventually.

[Jay 41,649]

I don't think it's been mentioned yet, but the two encores were Imperial March then Flying from ET.

 

And for Flying, JW brought Lockhart on stage with him, and they took turns conducting it! It was the strangest and most amusing thing! 

[Steve 648]

I found this on YouTube from the concert last night.

 

[Tom 5,410]

6 minutes ago, Steve said:

I found this on YouTube from the concert last night.

 

Always SW with these videos.  Give me the Overture or Give Me Death.  

 

On second thought, I guess I am okay with the other videos as well.  

[lairdo 906]

I was checking the CRB stream and site throughout yesterday, but they do not seem to broadcast the Friday concerts. This was true in the past too, so I guess no change even with COVID. I think the only video concerts are the Saturday and Monday ones that end up live and then are sometimes shared a week later for a few weeks. The July 24 concert was not shared after the fact though. 

 

I suspect every concert is recorded that happens at Tanglewood (and Symphony Hall). But just for the reference of the BSO/Pops.

 

There is a small hope, but it's hard to catch them, that the WCRB rebroadcasts it at some point in the future. I have caught past concerts even a year later. 

 

I foresee the BSO moving to extend BSO Now as the Berlin Phil has done with the Digital Concert Hall. Doesn't help us today though!

 

So glad for everyone who got to attend and enjoy. What a treat!

[eitam 376]

It's great to hear those good news about JW !

Curious about the overture. I guess there is no relation with the upcoming fanfare for the Hollywood Bowl that was anounced last year..? 

[Smeltington 1,720]

I didn't recognize the overture either! It is a mystery...

[Tom 5,410]

My guess is that it is a new piece.  I think, ironically, if it was an old piece from the 80s he would have talked about it (and the program notes would have mentioned it as well).  Maybe just a product of Covid boredom.  Most of us overate and drank; Williams wrote overtures.  

[Will 2,292]

Good news -- it appears that WCRB will be broadcasting this concert on August 29 at 7 p.m. Eastern Time!! 

 

Spoiler

 

https://www.classicalwcrb.org/show/the-boston-symphony-orchestra/2021-08-13/film-night-with-the-pops-and-john-williams-2021 

 

So excited to hear this new overture!

[SteveMc 2,678]

1 hour ago, Tom said:

Most of us overate and drank; Williams wrote overtures.  

[crumbs 15,365]

45 minutes ago, Will said:

Good news -- it appears that WCRB will be broadcasting this concert on August 29 at 7 p.m. Eastern Time!! 

 

  Reveal hidden contents

 

https://www.classicalwcrb.org/show/the-boston-symphony-orchestra/2021-08-13/film-night-with-the-pops-and-john-williams-2021 

 

So excited to hear this new overture!

 

Fantastic news!

[SilverTrumpet 645]

I really should have snuck a recording of it. It really didn't feel like something from this decade of Williams, but it was SO him. A really easy listen.

 

Even googled the title the night before the concert and nothing came up. 

 

Would he really forget to mention that it's a brand new piece? 

[Tom 5,410]

Idle speculation: the overture came from the process of writing the Hollywood Bowl fanfare.  He came up with an idea for a theme but decided to go in a different direction for the latter. But he like the former version enough to make a full piece out of it.  

[SilverTrumpet 645]

 

 

Was it this part at the beginning? 

 

EDIT: Just got to hear someone's recording. It's definitely not. The mystery continues.

 

 

What if it's his symphony? 

[TownerFan 5,554]

Perhaps it was composed for the 2002 Academy Awards ceremony where he was music director, but then he or the producers decided to use that section from American Journey instead? Very curious to know more about this one!

[Will 2,292]

WOW -- just got to hear a recording, and this piece is amazing! A classic Williams fanfare, the likes of which we haven't heard from him in years. Very much looking forward to hearing this in better sound quality soon on the radio broadcast. 

 

It reminds me somewhat of Galaxy's Edge from 2019, which may suggest that this is in fact something JW composed very recently, perhaps during pandemic quarantine. 

[WilliamsStarShip2282 326]

Funny that there was nothing at all about it in the program either. Not that there would be but sometimes when he does stuff like "Hymn for New England"(which he changed the name), it was mentioned at least for a sentence or two in the program.

[Tom 5,410]

Perhaps this is Williams' way of trolling us.  

[lairdo 906]

1 hour ago, TownerFan said:

Perhaps it was composed for the 2002 Academy Awards ceremony where he was music director, but then he or the producers decided to use that section from American Journey instead? Very curious to know more about this one!

 

I like this theory.

[Jay 41,649]

Friday, August 13th was an incredibly hot, humid day in Massachusetts.  As pleasant as it was - as always - driving westward through seemingly endless patches of green trees with more and more mountain ranges peeking out behind them, checking out the Berkshire Botanical Gardens (highly recommended to anyone traveling to the area!) as an afternoon adventure was dampened somewhat by the pervasive heat and humidity.  Luckily our hotel room provided the adequate cool down time before departing again for dinner at Cafe Adam (also highly recommended!) before heading to Tanglewood!

 

We arrived at Tanglewood about an hour before the scheduled start time, and would have loved to have enjoyed a walk around the whole property, but the humidity was still quite unpleasantly high even this late in the day.   We decided to sit down and grab drinks at one of the designated outdoor areas, but even that didn't provide the respite we were hoping for.  Before long we headed to our seats, only to find it even more unpleasant there, due to there being even less of the minimal breeze than there was in the more open areas and the new proximity to so many other people.  I think due to the new covid protocols, they made sure to leave empty chairs between each group of tickets sold, but that was sort of made irrelevant by having people seated directly in front or behind of you.  So, at this point I was mentally preparing myself for an hour and a half of increasing discomfort, and wondering how the musicians on stage would fare...

 

Shortly after the second second set of bells rang out a little after the 8:00 scheduled start time, Keith Lockhart took to the stage to a round of exuberant applause, and quickly began the first selection of the night:

 

Hooray For Hollywood (Richard Whiting, arr. John Williams)

 

This is a terrific concert opener, which I have experienced live a few times before.  The melody is timeless and instantly recognizable, and Williams' arrangement makes it come alive in so many different ways for its succinct runtime.  The three giant screens positioned around the Koussevitzky Music Shed showed closeups of various musicians throughout, which is always welcome in my book.  Though in this case, you could visibly tell some of them were struggling with the weather conditions, as was Keith Lockhart, made more noticeable as he grabbed the microphone to speak to the audience for the first time

 

 

"Hello friends!  Thank you, welcome to Film Night at Tanglewood!  We started out appropriately with "Hooray for Hollywood" because that's what we are saying here tonight.  Tonight we explore the wonderful world of film music, the most recent genre of the music that we play on up here on this stage.  When you think about it, the talkies started in 1929, it's not even a century yet, and what a rich legacy we already have.  A lot of that rich legacy is due to a man who will be following me later on the podium tonight, you may have heard of him - John Williams

 

<massive audience applause>

 

I just like saying his name because I like getting applause <audience laughter>

 

But, I'd love to start out with some great, classic movie scores from a little bit earlier on.  First up is the epic 1962 Lawrence of Arabia.  One of Maurice Jarre's first film scores, his first collaboration with director David Lean.  That movie clocks in at 3 hours and 48 minutes.  It had an intermission.  And you can't say "Look on the bright side, it's 10 minutes shorter than Gone with the Wind".  <audience laughter>

 

Lean first tried to hook up with William Walton, the British film composer, and Malcolm Arnold, before settling on the relatively unknown Jarre.  And the result of course was a 30 year relationship between Lean and Maurice Jarre that resulted in such great movies as Dr. Zhivago, Witness and Ghost.  Here is some great music and great scenes from Lawrence of Arabia."

 

 

I could tell Lockhart was struggling with the weather conditions, At this point the screen behind the musicians lowered to show synced film footage, which was also shown on all three screens instead of the musician closeups

 

Suite from Lawrence of Arabia (Maurice Jarre)

 

Though this is a film I have still not seen and score album I have yet to check out, the music is beginning to make a lasting impression on me due to its frequent concert appearances, not to mention all the homages in other media.  The main theme is so evocative, and when seeing all the epic footage from the movie really made me want to check out this film finally more than ever.  After applause, the next piece begin, with all the screens again showing a medley of footage from the associated feature:

 

Excerpts from An American In Paris (George Gershwin)

 

This music was not my cup of tea, and the film looked like it wouldn't be up my alley either.  However, it was during this part of the night that something magical happened.  First I noticed one of the screens blowing upward strongly, then another, and then I finally felt an amazing cool breeze coming through the shed.  This great breeze continued consistently, and ny the time this selection was over, the weather conditions had completely flip-flopped, all humidity was completely gone, and the temperature was extremely pleasant!  This seemed to have created an unspoken boon to the entire audience and everyone on stage, including Keith Lockhart as he took to the microphone again to say

 

 

“Don’t you just love that musical?  1951, An American in Paris directed by Vincente Minnelli, choreographed by Gene Kelly, and starring Gene Kelly of course.  There's nothing to say about that, it's just the most perfect dancing and the most perfect music.

 

You know, the way we’re attracted to film, it’s not just about great scores, it’s not even just about great pictures, it’s also about the stars, these luminaries who light up our lives. We have a little tribute now, that was put together by Susie Dangle and Dick Bartlett, to one of the most radiant stars of any generation, the great Audrey Hepburn <audience applause>

 

You'll see her in many different things, but I should point out to you that towards the end you’ll see her dancing with Fred Astaire, that’s from 1957’s Funny Face, and when John saw this montage, he looked at it and he said “Hey, I played piano on that movie!” <audience laughter> So there you go, a bit of Hollywood history.  Featuring our concert master Alexander Velinzon and set to the music of John’s score to the revival of Sabrina in 1995, this is a tribute to Audrey Hepburn.”

 

 

Theme from Sabrina (John Williams)

 

I was really looking forward to this piece in particular, as I finally saw the film earlier this year and that led to a new admiration for Williams’ score.  This arrangement did not disappoint, it was performed exceptionally well, and paired nicely with the accompanying montage of Audrey Hepburn (which was more or less an endless series of close-ups and medium shots from across all her work - though I noticed 1989’s Always was not included at all).  A short applause break separated it from the next piece:

 

Suite from The Godfather (Nino Rota, arr. John Mauceri)

 

Less than 5 notes into this, something that seems to be common in film music concerts I’ve attended, which is that the audience seemed to recognize that this was Godfather music around this point and started laughing subtly, which quickly turned to more raucous laughter when the first shot of Marlon Brando was shown, then quickly turned into a round of applause as The Godfather title card was shown.  It was around here that I thought about how when I attended the premiere of Williams’ Violin Concerto #2 at Tanglewood less than a month prior as part of a night of classical music, that audience never applauded over any of the music, and in fact waited for the piece to completely conclude and the conductor to lower his baton before applauding.  But throughout this night, the audience would begin applauding as the final notes were finishing, or even sooner, just about every time.  Anyway, this suite was a nice summary of the original music for the first film, set to a montage of footage from all three films.  After it ended, Keith Lockhart grabbed the microphone again:

 

“Nino Rota’s mesmerizing score to 1972’s The Godfather.  But you knew that. <audience laughter> I’d like to end my portion of the program with a truly extraordinary score by the Viennese war-time refugee Max Steiner, for the 1939 film Casablanca.  <audience applause>

 

Who would have thought that a movie made from an obscure never-produced play called “Everybody Comes to Rick’s” that was made as a war-time propaganda film and happened to be, also, the first romantic lead by a relatively unknown actor named Humphrey Bogart would turn out to be one of the immortal romances of all time.  I’d like to leave this portion of the program with some great music from Casablanca."

 

 

Opening and Finale from Casablanca (Max Steiner)

 

More music that is not my cup of tea (though La Marseillaise and As Time Goes By are always fun), and while Casablanca is a movie I’ve seen, it’s not a favorite.  This montage also did something I’m not a fan of, which was playing the actual audio from the movie at three different points (“Play it once Sam, for old time’s sake” “here’s looking at you, kid” and the later “here’s looking at you, kid”).  The audience began applauding long before the music was finished, which turned into an extended applause as Lockhart waited to take the microphone one final time

 

 

“Thank you ladies and gentleman and may I say, this is such a privilege to make music with this wonderful orchestra in front of this wonderful crowd, and really go down memory lane with so many great films.  Now comes the next problem of how you introduce the person that I’m supposed to introduce... I could go over a list of awards but that doesn’t seem to do justice to someone who has so transformed and fulfilled the medium of film music.  It’s been my honor and pleasure for now going on 26 years to be a colleague of this man, and I’ve learned so much over that period of time.  But I'd say the greatest thing about John Williams, ladies and gentlemen, at least in this case, is that I don’t have to follow him. <audience laughter>  Ladies and gentlemen, John Williams!”

 

 

I should have mentioned before that due to the new covid protocols, Tanglewood is doing shorter shows without any intermission at all the whole season.  So while the standard procedure through most recent Film Night concerts would have been to have the intermission here in between conductors, in this case Williams was waiting right at the side door and as soon as Lockhart exited, Williams entered to the largest applause of the night so far!

[SilverTrumpet 645]

A couple notes on your great (as usual) summary. 

 

I love the theme from Sabrina soooo much as a piece. I thought Velinzon's violin playing BARELY kept up with the rest of the orchestra. He doesn't sound like he has the presence of a soloist at all. At least not outside of short passages in a regular, non-solo piece. It was still beautifully performed by the orchestra.

 

The wind was SO nice, made for an absolutely perfect summer night. You mentioned about the heat so much, and my wife was talking about how freaking hot it was there, but I mostly remembered the amazing breeze. She was freezing by then, I was super comfortable. But heat wise? I think it was after the first or second piece that Lockhart had to wipe his face down with a towel.

 

Regarding the undesired audience participation during Godfather, yep, that's a thing that happens these days from casual concert goers. It's really bad and I wish venues would discourage it, but they usually do the opposite. You can barely hear the music during a live to projection concert because people are screaming and hollering every time they recognize a scene or character.

 

I think the last one we went to before lockdown was Return of the Jedi in New Jersey and I think that was the one that openly encouraged you to make noise when you liked something. I think we stopped going to live to projection concerts after that one. We both agreed we wish they would just perform the score without picture, or at least without dialogue and sound effects if they really felt it necessary to have the screen. We also recognized that the truth normal people who wouldn't go to a classical music concert wouldn't go if it wasn't a fancy version of going to the movies, and the venues and program runners know this for sure.

 

It's also way too common during every game music concert I've been to. I think a big problem with it is the screen. You're in many ways forced to not focus on the screen but on the picture instead. Then people see a character they like and start screaming their heads off in the middle of a quiet part of the music.

 

It really has a rock concert vibe to it. I can't remember if it was Godfather or Casablanca where after a soloist played (not the violin soloist, just a regular soloist in the piece), the audience cheered like a guitar solo just ended. 

 

Maybe I'm just a classical music snob but this sort of thing really bothers me during a concert and I wish they'd say something during something like film night where they know the crowd is much different than almost every other Tanglewood or classical concert crowd. Teach people a little concert etiquette.

 

I'm surprised you don't like Casablanca at all, speaking of. I think it's such a lovely score. 

[Tom 5,410]

On 8/16/2021 at 7:17 AM, SilverTrumpet said:

Maybe I'm just a classical music snob but this sort of thing really bothers me during a concert and I wish they'd say something during something like film night where they know the crowd is much different than almost every other Tanglewood or classical concert crowd. Teach people a little concert etiquette.

 

 

[Will 2,292]

The new overture also reminds me a tad of "The Rebellion is Reborn" from TLJ, in addition to "Galaxy's Edge." I feel like it has to be a very recent composition. 

[SilverTrumpet 645]

 

 

Well.....

[Tom 5,410]

Has there even been a planned premiere that was not listed as such by the BPO on the program (at least in the Williams's era)?  

[WilliamsStarShip2282 326]

The first time I heard it thought he absolutely wrote this, but he mentioned nothing about it during the concert or in the program which is so strange!

[Tom 5,410]

The program at least bothered to list him as the composer, so that was assured, but why stop there? 

[aescalle 123]

On 8/14/2021 at 3:33 PM, multisonic said:

 

JW ET Finale.mov 103.16 MB · 0 downloads

JW Fist Bump.mov 11.99 MB · 0 downloads

Can't see the two files ! :-(((

 

Update:

I see it on the Firefox browser not whith Chrome

 

Thank you for your shares!!!

[Miguel Andrade 1,462]

From CRB newsletter... they are clearly aware of our worries 😝

 

Quote

Today, I bring you a mystery.

Last Friday evening at Tanglewood, the Boston Pops played their well-loved annual “Film Night” concert, conducted by Keith Lockhart and legendary film and orchestral composer John Williams. Williams conducted his own music, including pieces from Star Wars and Indiana Jones -- and, quite possibly, an unannounced world premiere.

As I write this, debate is unfolding across social media about what that piece might have been. Listed in the program as Overture to the Oscars, several astute John Williams fans suggested that it might be the music he wrote and conducted for the Academy Awards in 2002. Not so, others said: they would recognize that piece, and Overture to the Oscars was something they had never heard before. Then, some listeners hypothesized, was it Williams’s Tribute to the Film Composer? But this, too, was quickly shot down by others in attendance Friday night.

So what was it? Did John Williams conduct an older, more obscure piece that people simply didn’t recognize? Or did he drop something brand new, without announcing it, at a live event, leaving the news to spread only by word of mouth?

Well, if you want to hear what the debate’s all about, you’re in luck, because we recorded the whole concert. Join us on Sunday, August 29 at 7pm to hear it for yourself.

 

[pete 1,061]

It’s a new piece. Confirmed by Boston Symphony Orchestra on Twitter and shared by Legacy  of John Williams on Facebook.  
 

But is it his new Hollywood Bowl piece or something related? It would be pretty strange to premiere it in Boston. I’m assuming it’s totally unrelated and he’s been a busy boy. 

[Ricard 2,282]

Two nice photos by BSO's Hillary Scott (from Steven Ledbetter's review of the concert):

 

 

 

 

And a VIDEO of Williams and Lockhart taking turns at the beginning of Flying from E.T.:

 

https://www.berkshireeagle.com/video-john-williams-conducts-the-bso-during-tanglewoods-annual-film-night/video_4a3d98c6-fea5-11eb-b716-3331566abec1.html

[Tom 5,410]

The second picture of Williams and Lockhart has an iconic, bittersweet feel to it.  

[JohnnyD 1,474]

On 8/14/2021 at 11:36 PM, Will said:

Good news -- it appears that WCRB will be broadcasting this concert on August 29 at 7 p.m. Eastern Time!! 

 

  Reveal hidden contents

 

https://www.classicalwcrb.org/show/the-boston-symphony-orchestra/2021-08-13/film-night-with-the-pops-and-john-williams-2021 

 

So excited to hear this new overture!

Sweet! Can’t wait to listen! Overture to the Oscars, a new piece by the Maestro? AWESOME!

[Martinland 371]

9 minutes ago, JohnnyD said:

August 29 at 7 p.m. Eastern Time!!

Sweet indeed.

 

Trouble is: I will be returning from an open air screening of "Cinema Paradiso" 250 km away, with the gorgeous music of Ennio Morricone and his son Andrea around 2am at the earliest. Around here the broadcast will start at 1am; and next morning will be Monday. /o\

 

[thx99 1,928]

Short video of Williams conducting E.T.:

 

https://bloximages.newyork1.vip.townnews.com/berkshireeagle.com/content/tncms/assets/v3/editorial/4/a3/4a3d98c6-fea5-11eb-b716-3331566abec1/611a826f0087f.video.mp4

[Martinland 371]

4 minutes ago, thx99 said:

Short video of Williams conducting E.T.

Very sweet how he passes on the baton. Nice gesture!

 

This could be akward, but here it radiates ... sympathy and joy. <3

[Ricard 2,282]

33 minutes ago, thx99 said:

Short video of Williams conducting E.T.:

 

https://bloximages.newyork1.vip.townnews.com/berkshireeagle.com/content/tncms/assets/v3/editorial/4/a3/4a3d98c6-fea5-11eb-b716-3331566abec1/611a826f0087f.video.mp4

 

4 hours ago, Ricard said:

And a VIDEO of Williams and Lockhart taking turns at the beginning of Flying from E.T.:

 

https://www.berkshireeagle.com/video-john-williams-conducts-the-bso-during-tanglewoods-annual-film-night/video_4a3d98c6-fea5-11eb-b716-3331566abec1.html

 

[thx99 1,928]

Oops, @Ricard!!  Saw the images in your post but not the text below them.

[JohnnyD 1,474]

On 8/16/2021 at 10:37 AM, Tom said:

 

Classic series, as is Cheers. You made my day!