I'd like to expand upon what you said at 0:20 under "A Military Band" in regard to the C trumpet. The use of the C trumpet in the American orchestra came from the French trumpet tradition migrating to Boston. Starting mostly after WWII, its profile especially raised when the Chicago Symphony mandated the use of C trumpet in its orchestra. When the CSO brass section became arguably one of the best brass sections in the country and their students started winning more orchestral positions, C trumpet pretty much became a requirement to be an orchestral player in the US.
In the UK, this music was used to accompany a yearly tv event called Sports personality of the year and it was spine tingling as they profiled each nominee with this in the background. They don’t do it anymore and it’s worse off because of it.. 😢 Really hope this used as podium music for the medal ceremonies at LA28
David R Lentz, Columbus, Ohio, USA (Friday, 6 September, 2024) Mr. Suiter, my first love musically is motion picture scores in the classical style, much as we long have heard from Mr. Williams, John Barry, Jerry Goldsmith, Howard Shore, Patrick Doyle, and a dozen or so others. I also enjoy the symphony in the classical repertoire. More on these and others later. I so wish that I could demonstrate for you in person not merely my heart-swelling joy of hearing this contemporary mæstro of melodic fineness, but also, in singing along with the chorus (choir?) in many of these pieces. I am a vocalist and a voice artist (though untrained) of extraordinary vocal range, enabling me to sing in all eight registers of the chorus. Years past whilst at university, a friend who was a piano performance major had told me that I could reach the D above high C (and once an A), down to the fifth ledger line below the bass clef. I can sing Schubert’s “Ave, Maria” (I have yet to learn all the words in the original Latin, their proper pronunciation, the musical intonation, etc., of these), the “Alleluia Chorus” from Händel’s Messiah, “O mio babbino caro” (though to most who understand the lyrics, my rendition probably would strike them as absurdly incongruous; I enjoy it for its musical elegance, how it flows through my vocal apparatus!), Allegri’s “Miserere Mei, Deus,” Barber’s “Agnus Dei”, amongst a few other selections from the Classical repertoire (though the scope of my repertoire is sparse). I also enjoy performing some of the easy listening standards and love songs of my mother’s music, and the grand melodies of stage and screen: Andy Williams, “The Love theme from Love Story”, “A Time for Us (the Love Theme from Romeo & Juliet)”, etc.; Frank Sinatra, “All the Way”, “Strangers in the Night”, etc.; Nat King Cole, “That Sunday, That Summer”, “L-O-V-E”, etc.; Johnny Mathis, “Stardust”; Giorgio Tozzi, “Some Enchanted Evening” (from the motion picture, South Pacific), and hundreds more. I require training, though . . . . I also must note my keen regret that watching your video is terribly difficult for me, as the white screen is too painful for my eyes. I wish I could arrange for such material to be made into videos for the computer, with the scoring, the lyrics (if any), etc., all synchonised with each other; the background would be black, with the notation, text, etc., in a cool green, quite as how it now is as I type this message to you.
I have to know your music background. How on earth…???? This is so cool. John Williams is my favorite movie composer, and Hook is my favorite movie score of his. Has a lot to do with why this is one of my all time favorite movies. A classic case of the music making the movie! Great stuff dude.
Also, you should do more from Hook! Or…Aunt Marge’s Waltz from Harry Potter and the Prisoner Of Azkaban has always been one I would LOVE to see dissected.
Thanks for the comment! To be honest, I don’t have a huge music background, I’m currently a uni student that just makes these videos for fun on the side. As you can tell if you look at my older videos, I’ve kind of just learnt as I go! There’s a huge amount of resources online, and a little bit of imagination helps too. I would absolutely love to do more Hook - and I definitely will at some point, as it’s in my top 3 scores of all time! So be on the lookout for that :)
where is the classic Arneaux bugle bit? in recordings i hear it in the beginning -- the very classic one you think of when you think olympics? did he or didn't he include it?
There are two versions of the piece - one with the Arnaud bugle bit and one without. This one is the one without obviously, it was the only one I had the sheet music for, and is the one that is more often performed in concert.
@@patricksuiter I see, thanks for the explanation. Bugler's Dream (the classic part by Arnaud) has separate sheet music I seem to see online. Would love an analysis of that + olympic fan fare, perhaps combined. To me, that bit is inspiring and i've often seen people claim it's the "earth anthem", which is fitting, imo. Thanks for your work regardless.
Like any good fanfare, this tune re-imagines what its like to have donosaurs participating in the Olympics; here comes the Brachiosaurus marching in....
...that rude person with the voiceover is the legendary Jim McKay of ABC's Wide World of Sports, followed by ABC newsreader Peter Jennings on the outro.
I had no idea - I’m from Australia so have never watched a US broadcast in my life. I don’t blame him - I blame the producer or director that asked him to speak over it!
@patricksuiter ...fell in love with the AFL back when ESPN was born (it was the VFL then on a two week broadcast tape delay). Nowadays you could put the best of the NFL on one side and the best of the AFL on the other, and the AFL would run them into the ground. Richmond Tigers here...yellow and black!
As a trumpet player, John william's music is amazingly satisfying to play. He understands brass instruments like few other composers do, and brings out the best each brass instrument is capable of.
I’m glad to hear you say that. He has a great understanding of the capabilities of the whole orchestra - a lot of his music is really tricky but it’s always right in the realm of satisfying playability.
This is some of the most detailed, thoughtful and well-presented analysis (along with your other vids) I've ever encountered in RU-vid-Land, and I watch A LOT! I'm fortunate to view this on a giant screen, but even so, much pausing is needed to take in the loads analysis; that's not a criticism: it's quite worthwhile to slow down and to really consider the music moment by moment, chord change by change, mood by mood. I hope John Williams has found your channel and that he's offered his thanks, and maybe a scholarship or cash! You deserve it!
Thank you so much for the kind words - it is truly appreciated. Sometimes I wonder whether John Williams or his manager have ever come across any videos like this - I highly doubt it, he has much more important things to do!
@@patricksuiter Well, there are no other "videos like this" -- none so detailed, as far as I've seen! The only question is whether his team has found your channel -- I really hope so!
I have been watching the Olympics since 1960, since Abebe Bikila won the men's marathon running barefoot through the streets of Rome. We have all seen hundreds of thrilling athletic moments over the years. However, None of that evoked the emotional response I still get from hearing this theme at the Closing Ceremonies of the 1984 Olympics when Williams' fanfare played and the majestic horses and riders who won medals in Individual Jumping entered the LA Coliseum. It was so beautiful, so unexpected, so stunning, and so magnificent that I gasped and cried then, imagining how those riders felt as the crowd figured out what was happening and 90,000 cheers rose from the stands. Just watched those moments again on RU-vid and cried again.
Sad to not hear this in NBCs telecast of the 2024 Paris games. Just not the same. The secondary theme gets to me every time and the awesome triple tonguing by the brass. Just awesome.
I don’t recall any memorable music being used in the Aus coverage of the Olympics at all. Very surprised to hear it’s not being used this year in the US too.. very strange decision.
I apologise - I should have been more clear. I meant this statement more in terms of Williams’ view on the subject. For example, in an interview about the Born on the Fourth of July score he talks about how he uses an ‘American Trumpet’ to represent Kovic’s youth - and he uses a C Trumpet in that score - so he seems to associate the C Trumpet with American life. Not sure whether he got that association from his time writing for the military in his earlier years or with the Boston Pops - as you can probably tell I’m neither American nor a trumpet player. I can definitely see how that comment could be interpreted as weird without justification - so I apologise! This video was fairly rushed, hence it’s a bit baffling that it’s doing so well. Anyway, thanks for watching and commenting.
@@patricksuiter Dont even listen to that guy, he is a known Troll who comments under almost every classical composers music how garbage it is. Doesnt matter if its Rachmaninoff or Brahms or Williams. He has some wierd, in his mind "objective", requirements for Music that almost no composer adheres to, And every composer that doesnt adhere to these foundationless, ill-founded Standards is unredeemably garbage. And he sees his Opinions as absolute undisputable Facts. He is either a Troll or completely delusional.
