Rebuilding the filmographies section of the main page - Week 4: Witches of Eastwick

[Jay 37,355]

Continuing along, who has any information about The Witches of Eastwick?

Editing guides, complete cue lists, reviews, interviews, etc?

[Incanus 5,714]

Cue List:

The list contains Reel and Part numbers but the source is missing a couple of cues, namely the cue names of the Children's Carousel track from the OST and End Credits (Dance of the Witches).

 

The reel and part numbers also contain some overlap for some reason, perhaps due to the changed edit of the film I would guess.

1. R1P1 The Township of Eastwick

2. R2P2 It's Raining

3. R2P3 Darryl's Entrance

4. R2P4 Must Have Been Dreaming

5. R3P1 Dropped Flower Pot

6. R3P2 Shop Lady Forgets

7. R3P4 What's In a Name

8. R4P1The Seduction of Alex

9. Dvorák No. 1

10. R4P2B Felicia in Hospital

11. R4P3A Suki Buys Flowers

12. Dvorák No. 2

13. R6P2 The Tennis Game

14. R7P2 The Seduction of Suki

15. R7P3 The Balloon Scene

16. R7P2A Felicia Flips

17. R8P3 Have A Cherry!

18. R9P1 Have Another Cherry!

19. R8P3 The Earth Erupts

20. R9P1 Darryl in the Rain

21. R10P2 The Reconciliation

22. R11P? Maleficio

23. R10P2 Inflicting Pain

24. R10P1Relief for Suki

25. R10P4 Playing in the Kitchen

26. R11P1 Sticking Pins

27. R11P2 Darryl Chokes

28. R11Px "I Wish I Knew" The Wild Ride Home

29. R?P? The Destruction of Darryl

 

An editing guide for the OST album:

1. The Township of Eastwick (Track 1)

2. Daryl Arrives (track 7, 0:00-1:35)

3. Seduction of Alex (track 4)

4. The Tennis Game (track 8)

5. Seduction of Sukie and the Ballroom Scene (track 6)

6. Have Another Cherry! (track 9)

7. Daryl Rejected (track 10, 0:00-1:14)

8. Maleficio (track 3)

9. The Witches Arrive at the Manor (track 10 1:15-end)

10. The Witches at Work (track 7, 1:35-end)

11. Daryl's Secrets (track 5)

12. The Ride Home (track 11)

13. The Destruction of Daryl (track 12)

14. The Children's Carousel (track 13)

15. End Credits (The Dance of the Witches) (track 2 / 14)

[Jay 37,355]

Incanus, I converted your list to the traditional "m" format

1. 1m1 The Township of Eastwick

2. 2m2 It's Raining

3. 2m3 Darryl's Entrance

4. 2m4 Must Have Been Dreaming

5. 3m1 Dropped Flower Pot

6. 3m2 Shop Lady Forgets

7. 3m4 What's In a Name

8. 4m1The Seduction of Alex

9. Dvorák No. 1

10. 4m2b Felicia in Hospital

11. 4m3a Suki Buys Flowers

12. Dvorák No. 2

13. 6m2 The Tennis Game

14. 7m2 The Seduction of Suki

15. 7m3 The Balloon Scene

16. 7m2a Felicia Flips

17. 8m3 Have A Cherry!

18. 9m1 Have Another Cherry!

19. 8m3 The Earth Erupts

20. 9m1 Darryl in the Rain

21. 10m2 The Reconciliation

22. 11m? Maleficio

23. 10m2 Inflicting Pain

24. 10m1 Relief for Suki

25. 10m4 Playing in the Kitchen

26. 11m1 Sticking Pins

27. 11m2 Darryl Chokes

28. 11mX "I Wish I Knew" The Wild Ride Home

29. ?m? The Destruction of Darryl

Anyone want to do the work of lining this up with OST and bootleg tracks?

[SF1_freeze 131]

Review from the old filmography page and an interesting newspaper article including background info on Witches of Eastwick

PRIDE AND THE POPS

A GALA OPENING TONIGHT By Richard Dyer, Globe Staff

The Boston Globe, page 65, May 5th, 1987

Last Tuesday night, well after 11 o'clock, John Williams recorded the final notes of his score for "The Witches of Eastwick." "The last musical chore," he said, "was to record two Presbyterian hymns with a church choir -- remember, this story takes place in New England."

By Thursday he was in New England, and Saturday he began rehearsals for his eighth season as conductor of the Boston Pops, which opens tonight with a gala concert featuring Tony Bennett.

Before the first rehearsal, Williams energetically paced the Green Room upstairs as he had his picture taken, exchanged pleasantries with Boston Symphony assistant conductor Carl St. Clair, and talked about "Witches" and the forthcoming season.

" 'The Witches of Eastwick' will be out late in June, and I'm very taken with it. The script simplifies the novel -- there are fewer characters and a different ending -- but it is beautifully written. Jack Nicholson is the leading man and the three women are Michele Pfeiffer, Susan Sarandon and Cher, who is a deeply good actress. Part of my job was to write different kinds of music for three large-scale seduction scenes. One of the women is a cellist, and at one point the climax of the Dvorak Concerto sweeps into the Love Theme from 'The Witches of Eastwick.' I hope Tony Dvorak won't mind!"

Williams will be with the Pops for two months, including a cross-country tour with the Boston Pops Esplanade Orchestra to be underwritten by Nabisco. In the fall, he goes to work on a new Steven Spielberg film, "Empire of the Sun," which will have a script by Tom Stoppard. "It's a story about the Japanese capture of Singapore, and we will record the score in London the last week in September."

After that, he dreams about doing a big musical with Spielberg. "I have the feeling there is a huge public waiting to stand in line to see a beautifully mounted movie musical with gorgeous tunes. I think this is the right time to do it. Steve is certainly the right person for it, and I hope I am."

In the meantime Williams has his hands full with the Pops. His achievements with the Pops have been considerable, but he seems proudest that this season will mark the orchestra's 18th season on television. "That is a sign that there has been no diminution of the appeal of the Pops and that its place in the affection of the public is secure." Not all of the television dates are set, but Sammy Davis Jr. will appear on one program and Metropolitan Opera mezzo-soprano Frederica von Stade on another. Negotiations are under way with a famous violinist, a pop singer who is an American legend, and a puckish jazz pianist. Johnny Cash will appear with the Esplanade Orchestra in the Hatch Shell -- "on the Fourth of July, our fans will be happy to know," Williams says, alluding to the controversial decision for the orchestra to perform on the holiday in the Statue of Liberty celebrations last year.

Williams' records with the Pops are consistent best-sellers, and he is proud of them. " 'Pops in Love,' our current release, is not just a symphonic mood album," Williams says. "Seiji Ozawa's choices of personnel have been felt. The special quality of the playing of flutist Leone Buyse and oboist Al Genovese and the other principals puts it on another level. The brass playing on our Bernstein album is hair-raising, and I think our recording of 'The Planets' is quite splendid."

This year there will be two new recordings -- "which is all there will be time for. One will be a 'digital jukebox' of Pops classics, most of them in new arrangements. The other album I want to call 'On The Village Green' because I think everyone is unconsciously looking for air. It will be a bucolic record, with music by Delius, with a dash of Yorkshire flavor in the music I composed for 'Jane Eyre,' and 'An Orkney Wedding,' the piece that Peter Maxwell Davies composed for the Pops. That closes with a bagpipe climax, and I want to end the record with a full band of pipes and drums making the most deafening noise imaginable in something like 'Scotland the Brave' or 'Loch Lomond.' This will really test the transistors of everyone's home equipment."

There will be some new repertory for the Pops this year: The Oregon-based Childs Foundation has imaginatively supported the Pops by underwriting new arrangements. "This year a new Jerome Kern medley is coming in, and a selection of spring tunes like 'April Showers' and 'June is Bustin' Out All Over,' and an amusing medley of train songs -- 'Sentimental Journey,' 'Take the A Train,' 'Alabamy Bound,' and 'The Atchison, Topeka and the Santa Fe.' I'm also particularly happy that this year for the first time we will have a collection of country tunes, a Nashville medley. This is a whole rich vein of American music, some of it transplanted from Scotch and Irish music. Our arranger, Joe Reismann, produced many records in Nashville and he has an intimate knowledge of this field. He is also an expert orchestrator for symphonic ensembles, so I think this will be something special. I think the public will be happy to hear it when we introduce it on the Esplanade on the Fourth of July."

The season's other conductors will include Harry Ellis Dickson, Carl St. Clair, Max Hobart, Michael Lankaster, Erich Kunzel, Bruce Hangan, John Mauceri and, making his debut, British film composer Bill Conti ("Rocky"). "Harry Ellis Dickson is officially retiring this year, but he will be conducting quite a bit and helping out the way he always does. He doesn't need any accolades from me, but everyone should know that he has contributed more to the Pops than anyone who is still with us. I want his help for as long as he wants to help us."

Williams is candid about saying that many of the problems that have troubled the Pops during his tenure have not yet found solutions. "The best I can say is that some kind of process is under way. I am not satisfied, and I feel we need to do more. We have had a number of new pieces composed for us, for example. Some of them were good, some less interesting, but we need to have more of them, and we need more success with the whole idea of new pieces. There are still too many concerts, I think, and not enough rehearsal time. One way around the problem of inadequate rehearsal is to cut down on the diversity of the programs. But too many repetitions of the same material is also demoralizing. Finding the right mix, the right balance, is a never-ending challenge, and our popularity is sometimes not helpful. After 18 years on television, everything we play has been on, so we need new material. We also need it for the records. But that leads to overwork. We should never do more than we are able to do well. No matter how difficult the situation is, we have to insist on quality."

Asked about the continuing controversy about the role of the second Pops orchestra (the Esplanade Orchestra, which spells the BSO during the first few weeks of the season and takes over completely when the BSO heads for Tanglewood), Williams says, "I have a very simple philosophy about this. It can be proven that the activities of the Esplanade Orchestra are beneficial to the BSO, and therefore the Esplanade Orchestra is a positive thing. The success of the Pops has created a larger public demand than the BSO itself can meet. Quality control is certainly enforced in the Esplanade Orchestra; many of the players are regular substitutes in the BSO and the Pops. The management has not turned it into a purely commercial enterprise, and the Esplanade Orchestra has a limited season -- I can't, and don't want to, work with the Pops all year, and I don't think there should be constant quickie jobs and runouts. Of course the BSO and the Pops should retain their identity for recordings, but frankly I don't see anything wrong with the status quo. Our Fourth of July Statue of Liberty Show with the Esplanade Orchestra had the strongest ratings of anything from that weekend of television coverage, and the director of our show won an Emmy -- in L.A. he took out an ad to thank the orchestra."

While Williams won't say that many of the problems he has faced have gone away, he is proud of some things he has achieved with the Pops. "We have refreshened the repertory, and I am proud of the sound we make. There is a problem with the richness of Symphony Hall and the type of orchestrations we use. When I came, there was a weightiness I have tried to streamline. I've tried to resist the fat bel canto sound, and we have worked towards something leaner and more incisive. I know it will be politically difficult, but now we need to experiment with electronic enhancement of the sound. In the ambient atmosphere of Symphony Hall, and with an audience that is eating and drinking and having a good time, there's a real lack of control over the way we sound, and some experiments with electronics might give us some of that control."

Williams is characteristically guarded when it comes to discussing his plans for a future with the Pops. Asked if he finds his job with the Pops rewarding, he says, "This is a very complicated assignment. A lot of it is pleasurable and some of it is difficult. I will be here a lot this season, 10 weeks, counting the tour and the Christmas Pops, but I haven't organized a schedule beyond that into next year. I need to get to know the new manager, Ken Haas, and find out his plans and see how well they coincide with my own. I need to see how he picks up on my feelings about what we need to do. Like any job, this is a gratifying and exciting opportunity. It is also a responsibility full of burdens, choices and problems. I'm doing the best I know how to do with it."

The Witches of Eastwick (1987)

Review by Jeff Commings

Many years ago when I started gaining an interest in movie music and, in particular, the scores of John Williams, much of my focus was on the big action scores of Star Wars, The Empire Strikes Back, and the Indiana Jones series, as well as a few simpler scores of Williams'. So naturally when I came across The Witches of Eastwick among the list of Williams' accomplishments, I was almost dumbstruck. I had remembered this score being so light and airy that it could not have come from the composer of many grand orchestral wonders. But Witches is just another testament to the chameleon-like efforts of John Williams.

This Academy Award-nominated score begins very inauspicious, with a very spry string quartet and very light instrumentation to show the innocence and familiarity of Eastwick. Right away we are led to believe this town has no dark secrets, no skeletons in the closet. But instantly the town's population is raised by one when "Daryl Arrives." Right away his entrance is grand, with regal horns and percussion, but soon turns playful with the passage of light woodwinds. The two sections take turns introducing us to the idea of Daryl as the three leading ladies, Alex, Jane and Sukie, suggest what type of man he should be: understanding, regal, and playful -- "a foreign prince on a dark horse." Soon this stranger enchants half the town and soon his "Forgotten Name" becomes a mystery, underscored by an introduction of Daryl's theme: dark synths and spacy strings.

What follows in the film and on CD is basically a long suite where Daryl draws the three women into his circle and, in turn, arouses suspicion from the town crier, Felicia. In "The Seduction of Alex," the music is very yearning as Daryl tells Alex that her life needs a little lift from the boring sculpting and home life she leads. At first, Daryl is playful (accompanied by his theme, very dark and mysterious) but soon plays on Alex's emotion, and finally Alex is swept away and along with swelling strings kisses Daryl.

After conquering Alex, the shy Jane is next. By teaching her to play a passionate part in a classical piece, Daryl forces out Jane's fiery passionate side and literally causes her cello to burn. Williams composes a short piece here which compliments the classical piece, full of fire, passion and strong brass. After seducing two of the girls, Daryl invites all three over for a light afternoon tennis match. Though the girls have just noticed that Daryl is wooing all three, the game is light when it turns to the surreal. "The Tennis Game" underscores the magical part of the scene, where the ball floats on air and moves in slow motion. This is one of the best cues in the film, as it almost seems as if the orchestra gets swept up in the fantasy of the moment. Most of the action is scored second by second. The movement of the ball and the hits on the racquet are accompanied by rising woodwinds and cymbals. Caught up in the magic, the girls join in the fun, until Daryl steps in and blasts the ball into the air, causing a crash of thunder (accompanied by a crash of cymbals) and a violent rainstorm.

Daryl's plan to seduce Sukie is to appeal to her romantic side. Her scene is scored by a beautiful flute and then romantic strings as Daryl shows his sensitive side. This cue is less urgent, but just as powerful as Alex and Jane's scenes.

"The Ballroom Scene" is probably one of the most romantic cues Williams has ever written. While the girls float through Daryl's elaborate hall among a sea of balloons, the swirling strings add more passion to the scene, sounding almost like a waltz.

My most favorite part of the film has to be after Felicia embarrasses herself in the church and reveals Daryl's exploits in the mansion with Alex, Jane and Sukie. Though we never see it, we know soon that Daryl is on to her and plans to get rid of her or make the town see her as a lunatic. in "Have a Cherry," Williams composes a theme for a fruit - yes, a fruit! - as he offers the girls a large bowl of cherries. The theme, played on celli, can be interpreted as sinister but when looked at from Daryl's point of view, is extremely fun and exciting. When Felicia has her major spewing fits in "Have Another Cherry" the orchestra becomes urgent, but is interspersed by Daryl's dark theme as he turns up the heat (and the force on the orchestra -- notice how the orchestration changes through the scene). When Felicia's husband gets the hint, the orchestra acts as a sound effect as he whacks Felicia with a fire poker.

Once the girls hear of the death, their rage manifests an earthquake under their feet. A rise in brass and then a mysterious string motif accompany their surprise and fear as they begin to see Daryl's effect on them and the town.

Now the film and its score turns very sinister. In "Daryl's Call," the orchestra feels Daryl's pain and his sudden rage. "Daryl Rejected" uses Daryl's theme and the witches' theme as he goes to the girls and tries to win them back. Both themes work well together, a common practice in many of Williams' scores, going back to the intertwining of The Force theme and Luke's theme in the Star Wars series.

Once the girls decide on a plan to get rid of Daryl using his own medicine the music turns urgent. "Voodoo Witches" reintroduces us to the main theme as they rush to get prepared for his torture. "Daryl's Secrets" turn on him when he enters an ice cream store (notice how he whistles part of his own theme in the film! [actually whistled by Williams!]) and the girls stick his voodoo doll with needles. After he spits feathers, he realizes the plan, but not before he is blown across town in a windstorm. We hear the witches' playful theme amidst the colorful string variations of the windstorm, since it is the witches who are now having fun! The last 20 seconds or so is cut off in the film when Daryl closes the door to the church, turns around and sees the astonished people.

Immediately we hear the cherry theme as Daryl coughs up cherry pits on innocent parishioners. This time, the music accompanies the campiness well (we can tell the vomit isn't coming out of his mouth), and the joy of seeing Daryl get his due. "The Ride Home" has a lot of urgency, as Daryl rushes home to take care of the girls, and the girls rush to clean up before he arrives. Interspersed with Daryl's theme this takes on a very sinister tone but never escapes the comedic edge. Finally, the score turns dark with "The Destruction of Daryl." It is nice to hear this on CD since in the film most of the final seconds isn't heard among the onscreen sound.

The film ends with a rendition of the witches' theme, arousing and playful pass through the orchestra. Titled "The Dance of the Witches," It can be interpreted as a celebration of the witches' triumph over the "horny little devil." It ends as it begins, with a light comedic edge and a sense of accomplishment. It really does have a Williams stamp on it, even if it doesn't sound like his more popular pieces. His use of themes and orchestration is virtually unmatched in many of his other comedic scores (save maybe Home Alone). For those of you lucky to own the CD, you may find it is a CD that enhances the feel of the score, and, in many ways, is superior to the music tracked in the film.

[Incanus 5,714]

Here is a preliminary list of correspondences between the cue titles and tracks on OST and boot.

1. 1m1 The Township of Eastwick (OST track 1, Bootleg track 1)

2. 2m2 It's Raining

3. 2m3 Darryl's Entrance (OST track 7, 0:00-1:35, Bootleg track 2 0:00-1:35)

4. 2m4 Must Have Been Dreaming

5. 3m1 Dropped Flower Pot

6. 3m2 Shop Lady Forgets (Bootleg track 3)

7. 3m4 What's In a Name (Bootleg track 4)

8. 4m1The Seduction of Alex (OST track 4, Bootleg track 5)

9. Dvorák No. 1 (the source music for Jane's concert?)

10. 4m2b Felicia in Hospital (Bootleg track 6)

11. 4m3a Suki Buys Flowers

12. Dvorák No. 2 (Bootleg track 7?)

13. 6m2 The Tennis Game (OST track 8, Bootleg track 8)

14. 7m2 The Seduction of Suki (OST track 6, 0:00-3:03, Bootleg track 9 0:00-3:03)

15. 7m3 The Balloon Scene (OST track 6, 3:04-end, Bootleg track 9 3:03-end)

16. 7m2a Felicia Flips (Bootleg track 10)

17. 8m3 Have A Cherry! (Bootleg track 11)

18. 9m1 Have Another Cherry! (OST track 9, Bootleg track 12)

19. 8m3 The Earth Erupts (Bootleg track 13 and 14?)

20. 9m1 Darryl in the Rain (OST track 10, 0:00-1:15, Bootleg track 15)

21. 10m2 The Reconciliation

22. 11m? Maleficio (OST track 3, Bootleg track 16)

23. 10m2 Inflicting Pain

24. 10m1 Relief for Suki

25. 10m4 Playing in the Kitchen (OST track 7, 1:36-end?, Bootleg track 2 1:36-end?)

26. 11m1 Sticking Pins (OST track 5, Bootleg track 19)

27. 11m2 Darryl Chokes (Bootleg track 20)

28. 11mX "I Wish I Knew" The Wild Ride Home (OST track 11, Bootleg track 21)

29. ?m? The Destruction of Darryl (OST track 12 (Alternate), Bootleg track 22)

In addition there are several rewrites and inserts Williams had to accomodate for the above cues. At least The Destruction of Daryl found on the OST is an alternate. The music for the church choir which Richard Dyer mentions in that above Boston Globe article is not among the cue titles I have.

[Jay 37,355]

Excellent! And there is a DVD with an isolated score as well, isn't there?

[Incanus 5,714]

Excellent! And there is a DVD with an isolated score as well, isn't there?

Yes at least the US version contains an iso score. Sadly the European version does not. I believe the bootleg is a combination of the DVD isolated score and the OST. That is what I used for the bootleg track numbers. There are several of these floating around containing more or less the complete score as heard in the film but they come with varying bonus tracks.

[Omen II 1,235]

This is more of an anecdote - I originally posted it last year after the City of Birmingham Symphony Orchestra's Nightmare on Broad Street concert - but it may be of interest / relevance to this topic.

A very nice anecdote about John Williams was related by presenter Tommy Pearson (for whom a knighthood for services to film music is surely long overdue) at yesterday's concert. The Devil's Dance from The Witches of Eastwick had long been one of Pearson's favourites and he had wanted to programme it in a concert for years. Unfortunately, when he tried to track down the music parts for the concert version it seemed that nobody had them or knew where to find them. He knew they must exist somewhere (as he knew of a performance conducted by John Mauceri) so in desperation he contacted John Williams's assistant who promised to get in touch with the great man himself. It turned out that Williams's own library copy was the only one in existence but, when he heard that the CBSO wanted to play it, he let them have the parts for free! When the audience at the concert heard this yesterday a spontaneous round of applause broke out, which was very nice. I had only heard the concert version performed once before (by Williams himself with the London Symphony Orchestra) and it was such a blast to hear it live again yesterday, as it is one of my favourite Williams concert arrangements.

No doubt this is old news for any percussionists here, but it was also nice to find out at last the name of the percussion instrument that makes that metallic rasping sound in the Devil's Dance - it is called a vibraslap, essentially a modern version of the jawbone. The percussion section also included not one but two thunder sheets for the piece.

=

[Incanus 5,714]

I do not know if it is right to post bootleg info here but here is the one that utilizes both the OST album and the DVD isolated score. I have marked comparison's to the OST in there as well.

Tracklist:

1. The Township Of Eastwick (2:49) (OST track 1)

2. Daryl Arrives (2:46) (OST track 7 0:00-1:35. the Bootleg retains the OST edit and does not separate these two cues of which the latter (1:36-end) goes to a scene much later in the film where the witches prepare the voodoo doll in a hurry after Daryl leaves for town.)

3. Forgotten Name (0:33)

4. Daryl Van Horne (1:58)

5. Seduction Of Alex (2:40) (OST track 4)

6. Insane Felicia (2:59)

7. Seduction of Jane (0:41) (Dvorák Cello Concerto?)

8. The Tennis Game (2:50) (OST track 8)

9. Seduction of Sukie

10.The Ballroom Scene (7:08) (OST track 6)

11. Scandal In The Church (0:52)

12. Have A Cherry! (0:50)

13. Have Another Cherry! (3:52) (OST track 9)

14. The Witches Quarrel (0:42)

15. Devil's Call (0:42)

16. Daryl Rejected (3:03) (OST track 10 0:00-1:15, Bootleg retains the OST edit and does not separate the two cues. The latter one (1:16-end) would follow immeadiately track 18 Alex and Daryl on the Bootleg)

17. Maleficio (3:22) (OST track 3)

18. Alex And Daryl (1:35)

19. Voodoo Witches (0:22)

20. Daryl's Secrets (2:54) (OST track 5)

21. Spitting Cherries (0:41)

22. The Ride Home (3:34) (OST track 11)

23. Destruction Of Daryl (3:35) (Film Version)

24. The Children's Carousel (1:53) (OST track 13)

25. Dance Of The Witches / End Credits (4:46) (OST track 2 and 14 (Reprise))

The original bootleg contains also a few bonus tracks:

26. The Ballroom Scene (Alternate) (4:57) (A concert arrangement called Balloon Sequence from the Boston Pops album Salute to Hollywood)

27. Destruction Of Daryl (3:39) (OST track 12). A true alternate.

28. The Dance of the Witches / End Credits (Alternate) (4:55) (A concert arrangement named Devil's Dance from the Boston Pops album Salute to Hollywood)

Chronologically two cues should follow the track 18 called Alex and Daryl (track names invented by me here):

Witches' Reconciliation with Daryl (OST track 10 1:16-end)

Witches at Work (OST track 7 1:36-end)

There are several iterations of the bootleg with varying bonus tracks but none of them present more of the actual score.

The Isolated Score contains all the music as presented in the film, edits and all. It naturally contains all the source music present in the film as well.

[Jay 37,355]

We are welcome to talk about bootlegs, no worries.

Thanks for all your work you've put into breaking WOE down for us! Much appreciated!

[Incanus 5,714]

Well it is one of my favourite Williams scores so it was a pleasure.

Shame that we do not have a complete cue list though. And someone should check the sheet music to the music to confirm which track on the release corresponds to what exactly.

[Jay 37,355]

I thought that was exactly what you just did?

[Incanus 5,714]

I thought that was exactly what you just did?

Well there are a few cues and few tracks on either bootleg or OST that I can't connect with full certainty. Someone who can read music should go through the Witches of Eastwick sheet music and the boot/OST stuff to make certain what's what.

[Jay 37,355]

So read the sheet music, man!

[Incanus 5,714]

So read the sheet music, man!

I would if I could, man!

[Jay 37,355]

Ah, gotcha!

I'm currently learning myself. All you have to really do is start the music while looking at the page, and follow which instruments are playing and it if seems to match up then you have your match

[Gruesome Son of a Bitch 6,488]

Maleficio! I mean, bump.

This is what I came up for the expanded score based on the provided cue titles in this thread:

Thoughts? Is there anything that seems off here?

(sorry this is in General, but then here it was)

[Bespin 8,481]

I've finally decided to rip the isolated from my old DVD... do you have a list I can use to name the tracks?

 

Once separated, I got this.

 

I've put an "S" in front of what I consider to be "source music" tracks.  Like this, they appear at the end.

 

[Jay 37,355]

The names are in the first post of this thread!

[Bespin 8,481]

The names are here, but this is not the same cutting at all. Anyway... I can live with the track numbers.

[Incanus 5,714]

I'll get back to you on this once I get back home from work.

[Incanus 5,714]

The way you have ripped the music produces tracks that do not correspond in length to the edits of the isolated score I know, nor the bootleg so it is very difficult to provide with a list fitting your particular track list. E.g. you have a track 10 which runs for 8:22, which means that there are several pieces there back to back as no cue in the score is that long so I would be guessing what it consists of. I can certainly guess some of the tracks/cues based on the track lengths and their chronological position but I would basically have to hear the music to be able determine what goes where exactly and what would need to be separated and edited.

 

Also the iso score is hardly complete, missing probably the actual Ballroom Scene music replaced by Nessun Dorma etc. Such things are luckily found on the OST album.  

[Bespin 8,481]

This is not important... after all it's ony while we are waiting for an official expanded set!

[Incanus 5,714]

Hopefully they release something like that soon.  

[Jay 37,355]

Bespin, do you know how to read sheet music?  If so, you can just use that to name everything exactly right

[Bespin 8,481]

1 hour ago, Jay said:

Bespin, do you know how to read sheet music?  If so, you can just use that to name everything exactly right

 

Yes of course I can read music. But I don't have time for doing that hehe, thanks.

 

I just quickly separated the tracks from the big WAV it gave me when I ripped the DVD. I don't have time to make montages and all the fade-in fade-out....

 

This was funny to do and I did it because I have the DVD since it came out, and I neer listened the isolated score before!

[Pat_S 69]

On 12/10/2011 at 7:29 AM, Incanus said:

Here is a preliminary list of correspondences between the cue titles and tracks on OST and boot.

1. 1m1 The Township of Eastwick (OST track 1, Bootleg track 1)

2. 2m2 It's Raining

3. 2m3 Darryl's Entrance (OST track 7, 0:00-1:35, Bootleg track 2 0:00-1:35)

4. 2m4 Must Have Been Dreaming

5. 3m1 Dropped Flower Pot

6. 3m2 Shop Lady Forgets (Bootleg track 3)

7. 3m4 What's In a Name (Bootleg track 4)

8. 4m1The Seduction of Alex (OST track 4, Bootleg track 5)

9. Dvorák No. 1 (the source music for Jane's concert?)

10. 4m2b Felicia in Hospital (Bootleg track 6)

11. 4m3a Suki Buys Flowers

12. Dvorák No. 2 (Bootleg track 7?)

13. 6m2 The Tennis Game (OST track 8, Bootleg track 8)

14. 7m2 The Seduction of Suki (OST track 6, 0:00-3:03, Bootleg track 9 0:00-3:03)

15. 7m3 The Balloon Scene (OST track 6, 3:04-end, Bootleg track 9 3:03-end)

16. 7m2a Felicia Flips (Bootleg track 10)

17. 8m3 Have A Cherry! (Bootleg track 11)

18. 9m1 Have Another Cherry! (OST track 9, Bootleg track 12)

19. 8m3 The Earth Erupts (Bootleg track 13 and 14?)

20. 9m1 Darryl in the Rain (OST track 10, 0:00-1:15, Bootleg track 15)

21. 10m2 The Reconciliation

22. 11m? Maleficio (OST track 3, Bootleg track 16)

23. 10m2 Inflicting Pain

24. 10m1 Relief for Suki

25. 10m4 Playing in the Kitchen (OST track 7, 1:36-end?, Bootleg track 2 1:36-end?)

26. 11m1 Sticking Pins (OST track 5, Bootleg track 19)

27. 11m2 Darryl Chokes (Bootleg track 20)

28. 11mX "I Wish I Knew" The Wild Ride Home (OST track 11, Bootleg track 21)

29. ?m? The Destruction of Darryl (OST track 12 (Alternate), Bootleg track 22)

In addition there are several rewrites and inserts Williams had to accomodate for the above cues. At least The Destruction of Daryl found on the OST is an alternate. The music for the church choir which Richard Dyer mentions in that above Boston Globe article is not among the cue titles I have.

I came across this thread just today, and thought I'd quickly correct a few things with this - no idea if anyone cares, but here goes. (Let me know if something doesn't make sense or is incorrect).

 

9 - this is the music that Jane practices on the cello before we transition to Felicia in hospital. The orchestra is mostly tracked out but enters briefly at the end (you can hear it at the very beginning of Bootleg track 6, from 0:00-0:23, which is the last 3 bars, the rest of track 6 is Felicia in hospital)

12 - yes this is 'The Seduction of Jane' track. 
15 - technically the Balloon Scene starts at ~2:50 of the OST. This also uses '7m3 New Ending' (6:32 onwards)
19 - yes this is correct. Track 13 is bars 1-10 with the last bar repeated several times for fade out. Track 14 is from bar 29-end. There is a written pause between 28-29, so it is reasonable that the two parts would be recorded separately, but it is a bit strange that some bars weren't recorded at all. It must have been decided while recording that the transition to Darryl worked better without music. 

21 - this is the second part of OST Track 10 and the corresponding bootleg. 

22 - This is actually incorrect. Confusingly, the cue titled Maleficio is not the same as the CD track. The cue titled Maleficio comes later before Playing in the Kitchen, and is the second half of OST track 7. 
23 - this is the OST track 'Maleficio'. 

24 - this is bootleg track 17. 

25 - see point 22. This is actually bootleg track 18.

28. Includes 11mAx New Start on the bootleg (first 10 seconds)

 

29 - now The Destruction of Darryl is a bit confusing. The version in the sheet music is the original (not the alternate as labelled on the bootleg). There is additional music written for the brief scene where Jane falls and levitates - which is a separate unnumbered cue (another ?m?), called 'Levitation'. The bootleg uses just the film edit though, so there are lots of bars missing. It is strange that it is not labelled as an insert, but instead a separate cue (this may not actually mean anything) - I have no idea what this scene was like when Williams originally scored it.

To break down the bootleg version of 'Destruction of Darryl': 

00:00-00:39 - Destruction of Darryl (bars 1-28)

00:40-1:16 - Levitation (bar 1 is played for about half a second before it cuts to part way through bar 8. Then played as written until partway through bar 33)

1:16-1:34  - Levitation (bar 42-end)

1:35-2:35 - Destruction of Darryl (bars 29-68)

2:35-3:09 - Destruction of Darryl (bars 79-98)

3:10-end - Destruction of Darryl (bars 130-end)
The music cut from bars 98-130 doesn't fit with the scene anymore, since the scene is longer, but there is a brief silence in the film. It's likely that lots of stuff was cut because of special effect stuff, but I still would like to know what the sequence originally looked like.

Needless to say, the version on the OST is just Destruction of Darryl.

So, reworking the list (correcting a few minor errors and ordering): 

1. 1m1 The Town of Eastwick (OST track 1, Bootleg track 1)

2. 2m2 It's Raining (unreleased)

3. 2m3 Darryl's Entrance (OST track 7, 0:00-1:35, Bootleg track 2 0:00-1:35)

4. 2m4 Must Have Been Dreaming (unreleased)

5. 3m1 Dropped Flower Pot (unreleased)

6. 3m2 Shop Lady Forgets (Bootleg track 3)

7. 3m4 What's In a Name (Bootleg track 4)

8. 4m1 The Seduction of Alex (OST track 4, Bootleg track 5)

9. Dvorák No. 1 (mostly unreleased, Bootleg track 6 (0:00-0:23))

10. 4m2b Felicia in Hospital (Bootleg track 6 (00:23-end))

11. 4m3a Suki Buys Flowers (unreleased)

12. Dvorák No. 2 (Bootleg track 7)

13. 6m2 The Tennis Game (OST track 8, Bootleg track 8)

14. 7m2 The Seduction of Sukie (OST track 6, 0:00-2:50, Bootleg track 9 0:00-2:50)

        7m2 New Ending (unused)

15. 7m3 The Balloon Scene (OST track 6, 2:51-end, Bootleg track 9 2:51-end, original ending unreleased)

        7m3 New Ending (6:32-end)

16. 7m2a Felicia Flips (Bootleg track 10)

17. 8m3 Have A Cherry! (Bootleg track 11)

18. 9m1 Have Another Cherry! (OST track 9, Bootleg track 12)

19. 8m3 The Earth Erupts (Bootleg track 13 and 14 (missing bars that were seemingly not recorded))

20. 9m1New Darryl in the Rain (OST track 10, 0:00-1:15, Bootleg track 15 (0:00-1:15))

21. 10m2 Inflicting Pain (OST track 3, Bootleg track 16) 

22. 12mA Relief for Suki (Bootleg track 17)

23. 12mX The Reconciliation (OST track 10, 1:15-end, Bootleg track 15 (1:15-end))

24. 11m? Maleficio (OST track 7, 1:36-end, Bootleg track 2 1:36-end)

25. 10m4New Playing in the Kitchen (bootleg track 18)

26. 10m4/11m1 Sticking Pins (OST track 5, Bootleg track 19)

27. 11m2 Darryl Chokes (Bootleg track 20)

28. 11mX "I Wish I Knew" The Wild Ride Home (OST track 11, Bootleg track 21 (0:10-end))

       11mAx New Start (Bootleg track 21 0:00-0:10)

29. ?m? The Destruction of Darryl (OST track 12, Bootleg track 22 (0:00-0:39, 1:35-end, partial))

30. ?m? Levitation (Bootleg track 22, 0:40-1:34, partial)

31. End Credits (OST Track 14)

 

-P

 

 

[Incanus 5,714]

4 hours ago, Pat_S said:

I came across this thread just today, and thought I'd quickly correct a few things with this - no idea if anyone cares, but here goes. (Let me know if something doesn't make sense or is incorrect).

 

9 - this is the music that Jane practices on the cello before we transition to Felicia in hospital. The orchestra is mostly tracked out but enters briefly at the end (you can hear it at the very beginning of Bootleg track 6, from 0:00-0:23, which is the last 3 bars, the rest of track 6 is Felicia in hospital)

12 - yes this is 'The Seduction of Jane' track. 
15 - technically the Balloon Scene starts at ~2:50 of the OST. This also uses '7m3 New Ending' (6:32 onwards)
19 - yes this is correct. Track 13 is bars 1-10 with the last bar repeated several times for fade out. Track 14 is from bar 29-end. There is a written pause between 28-29, so it is reasonable that the two parts would be recorded separately, but it is a bit strange that some bars weren't recorded at all. It must have been decided while recording that the transition to Darryl worked better without music. 

21 - this is the second part of OST Track 10 and the corresponding bootleg. 

22 - This is actually incorrect. Confusingly, the cue titled Maleficio is not the same as the CD track. The cue titled Maleficio comes later before Playing in the Kitchen, and is the second half of OST track 7. 
23 - this is the OST track 'Maleficio'. 

24 - this is bootleg track 17. 

25 - see point 22. This is actually bootleg track 18.

28. Includes 11mAx New Start on the bootleg (first 10 seconds)

 

29 - now The Destruction of Darryl is a bit confusing. The version in the sheet music is the original (not the alternate as labelled on the bootleg). There is additional music written for the brief scene where Jane falls and levitates - which is a separate unnumbered cue (another ?m?), called 'Levitation'. The bootleg uses just the film edit though, so there are lots of bars missing. It is strange that it is not labelled as an insert, but instead a separate cue (this may not actually mean anything) - I have no idea what this scene was like when Williams originally scored it.

To break down the bootleg version of 'Destruction of Darryl': 

00:00-00:39 - Destruction of Darryl (bars 1-28)

00:40-1:16 - Levitation (bar 1 is played for about half a second before it cuts to part way through bar 8. Then played as written until partway through bar 33)

1:16-1:34  - Levitation (bar 42-end)

1:35-2:35 - Destruction of Darryl (bars 29-68)

2:35-3:09 - Destruction of Darryl (bars 79-98)

3:10-end - Destruction of Darryl (bars 130-end)
The music cut from bars 98-130 doesn't fit with the scene anymore, since the scene is longer, but there is a brief silence in the film. It's likely that lots of stuff was cut because of special effect stuff, but I still would like to know what the sequence originally looked like.

Needless to say, the version on the OST is just Destruction of Darryl.

So, reworking the list (correcting a few minor errors and ordering): 

1. 1m1 The Town of Eastwick (OST track 1, Bootleg track 1)

2. 2m2 It's Raining (unreleased)

3. 2m3 Darryl's Entrance (OST track 7, 0:00-1:35, Bootleg track 2 0:00-1:35)

4. 2m4 Must Have Been Dreaming (unreleased)

5. 3m1 Dropped Flower Pot (unreleased)

6. 3m2 Shop Lady Forgets (Bootleg track 3)

7. 3m4 What's In a Name (Bootleg track 4)

8. 4m1 The Seduction of Alex (OST track 4, Bootleg track 5)

9. Dvorák No. 1 (mostly unreleased, Bootleg track 6 (0:00-0:23))

10. 4m2b Felicia in Hospital (Bootleg track 6 (00:23-end))

11. 4m3a Suki Buys Flowers (unreleased)

12. Dvorák No. 2 (Bootleg track 7)

13. 6m2 The Tennis Game (OST track 8, Bootleg track 8)

14. 7m2 The Seduction of Sukie (OST track 6, 0:00-2:50, Bootleg track 9 0:00-2:50)

        7m2 New Ending (unused)

15. 7m3 The Balloon Scene (OST track 6, 2:51-end, Bootleg track 9 2:51-end, original ending unreleased)

        7m3 New Ending (6:32-end)

16. 7m2a Felicia Flips (Bootleg track 10)

17. 8m3 Have A Cherry! (Bootleg track 11)

18. 9m1 Have Another Cherry! (OST track 9, Bootleg track 12)

19. 8m3 The Earth Erupts (Bootleg track 13 and 14 (missing bars that were seemingly not recorded))

20. 9m1New Darryl in the Rain (OST track 10, 0:00-1:15, Bootleg track 15 (0:00-1:15))

21. 10m2 Inflicting Pain (OST track 3, Bootleg track 16) 

22. 12mA Relief for Suki (Bootleg track 17)

23. 12mX The Reconciliation (OST track 10, 1:15-end, Bootleg track 15 (1:15-end))

24. 11m? Maleficio (OST track 7, 1:36-end, Bootleg track 2 1:36-end)

25. 10m4New Playing in the Kitchen (bootleg track 18)

26. 10m4/11m1 Sticking Pins (OST track 5, Bootleg track 19)

27. 11m2 Darryl Chokes (Bootleg track 20)

28. 11mX "I Wish I Knew" The Wild Ride Home (OST track 11, Bootleg track 21 (0:10-end))

       11mAx New Start (Bootleg track 21 0:00-0:10)

29. ?m? The Destruction of Darryl (OST track 12, Bootleg track 22 (0:00-0:39, 1:35-end, partial))

30. ?m? Levitation (Bootleg track 22, 0:40-1:34, partial)

31. End Credits (OST Track 14)

 

-P

 

 

Thank you for the corrections!