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Helena's Theme (for Violin and Orchestra) performed by Anne-Sophie Mutter released as a single


sulix

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7 hours ago, Richard Penna said:

 

I'm afraid even that doesn't help - it's not forming that earworm that all of the big, classic JW themes manage to do for me. Even the Fabelmans theme did that after a handful of listens.

 

I'm sorry I couldn't help. But to clarify, did you mean you still can't identify what the theme/melody is? Or did you mean it's just not catchy/hummable/earworm?

 

If it's the latter, then I'm afraid I can't help you with that. That's completely subjective. If it's the former, then yes that piano mockup should help since it isolates the melody and strips it of all the orchestral textures that might be confusing you. Also that "basic ascending figure" that you refer to is pretty much all you need to know about this theme. This is the A part of the theme in my original post. Williams has already used it in an action sequence in that featurette video. I think we'll hear it repeatedly in the score. So I predict it'll hammer home once you hear it in different variations in the score.

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I can latch on to what I think is the main idea, but unfortunately I think it's more the latter. I played through most of that YT video and it just comes across as a pleasant but not very remarkable golden-age inspired piece.

 

It might be that more concentrated statements in action cues will help, but as a piece by itself, it have it for me. I know many here really go for the pure, orchestral golden age sound, but it usually takes something a bit more inventive to get me excited.

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2 hours ago, King Mark said:

 Not exactly. I like it , but  if he wrote it for a horn solo instead I'd be all over it. I feel violin can get "distracting"

 

In other words,I wish he picked another solo instrument to do all these arrangements of late.Even cello would have been awesome

Ah I get it. Thanks for explaining.

 

Karol

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@Richard PennaAnother factor is that maybe you're suffering from WES(Williams Earworm Syndrome). It's the idea that every theme Williams writes will be an instant earworm on the first listen. It's an unrealistic expectation. My opinion is that when Leia's Theme or Marion's Theme were first heard back in the day, they were not hummable except for the first two notes, which were major sixths. It's not fair to compare it to those themes now, because we've been listening to those for decades now. Only the big fanfares had the highest chance of being memorable like Star Wars Main Title or Raider's March, because they were loud and bold. It usually takes some time for the slower romantic themes to take hold. Some examples are: Rey's Theme, Anakin's Theme, The Rise of Skywalker, Sayuri's Theme, A Window to the Past, The Reunion(from A.I) etc. So just give it some time to sink in. And technically there's no studio recording of the concert version released yet, so it's reasonable to not be able to "grasp" the theme yet without a good quality recording.

 

I truly believe that after hearing the theme used in the score in different ways, it's gonna click for you. I believe in you. :thumbup:

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I have to say hearing this version I was so convinced I had heard this on one of the cinema serenade albums, it sounds just like those arrangements of the old golden age scores. It is so convincing it sounds like it actually came from that period I would never question it. I actually really really like this version much better than the orchestra, which is pretty much never the case, as lovely as all those arrangements are. This one actually sounds like it was more intended for this version first, and the orchestral version was extracted from it.

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It's not as overwrought or annoying as the other ASM arrangements, but the orchestral version is indeed still better.

 

The JW/ASM relationship is clearly mutually beneficial and advantageous to both of their brands at this stage of their careers...but not every theme needs to try so hard to be a concerto. The superfluous tropes start to become exhausting.

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16 hours ago, KK said:

It's not as overwrought or annoying as the other ASM arrangements, but the orchestral version is indeed still better.

 

The JW/ASM relationship is clearly mutually beneficial and advantageous to both of their brands at this stage of their careers...but not every theme needs to try so hard to be a concerto. The superfluous tropes start to become exhausting.

 

I think some of the arrangements are really good, and some are good but not super, and thats kind of what gets grating to listen to with them one after the other. I will say that when I heard them at Tanglewood when the album came out they would play three and then do some orchestra pieces, that made for a really enjoyable show of it. I think I've only ever listened to the album in one sitting once.

The only thing is, I have to disagree about this being mutually beneficial. JW just seems to be enjoying it, whereas ASM is hugely benefiting, as well as DG and whoever else, and this is what will hugely preserve her legacy, not any of her other recordings.

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  • 2 months later...
On 27/6/2023 at 1:30 AM, p0llux said:

WES(Williams Earworm Syndrome). It's the idea that every theme Williams writes will be an instant earworm on the first listen.


Recently, Helena's Theme has burrowed deep into my brain. When I'm brushing my teeth, it's playing. When I'm pinching one out, it's playing.
 

Kinda nice, actually. lol

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On 08/09/2023 at 7:37 AM, BB-8 said:

Thought this is worth mentioning in the appropriate thread:

 

ASM performed Helena's Theme with BSO/Nelsons on tour through Central Europe (Hamburg confirmed).

 

Salzburg confirmed:

 

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