Hearing this at the age of 14, when it was brand new, and then imagining playing in the symphony orchestra double bass section, a dream that came true. Much study in high school and then university made it happen. Living the dream! Playing John Williams’s music in a professional symphony orchestra!
I recently passed a test to study and focus on a professional Orchestra, I'm excited and anxious. Really like you said, who could imagine one day realizing this dream?
i wanna achieve that on the clarinet! started playing in grade 3 of school. unfortunately i stopped playing when i was abt 15 years old so now i have a lot of catching up to do (no playing for 6 years lol)... But i don't know where can you study to become part of a professional orchestra??
5:29 As a Star Wars and music fan, this gets me every time, sometimes I even wanna cry. This might be one of my favorite recordings of this piece, the sound quality of the Vienna Philharmonic here is unmatchable, at least to me.
Thanks to John Williams! He made this so good, that, if there wasn’t a film, this would have been a masterpiece in the classical world (which i really love)!
5:21 - Shostakovich, "Festive Overture" 5:47 - Bernstein, "The Ten Commandments: Finale." And everybody recognizes the Holst when it appears. I love that this was basically the first modern movie with a temp track.
those staccato chords are taken almost directly from the ending from Mars, The Bringer Of War, one of the songs in the suite by Gustav Holst. A lot of Star Wars' soundtrack are inspired by works from The Planets.
@@redfiretf2 In my opinion, that Holst moment in Mars also sounds really similar to Gustav Mahler’s 2nd Symphony, 16 mins and 22 seconds in: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-sHsFIv8VA7w.html All sound really similar.
@@emilalfaro2800 agreed, but it's not just that specific part of mars that Williams is inspired by in comparison to mahler. While mahler is so grandiose you definitely hear more stravinsky and holst in his music.
@@aliciadalbey1201 Yes, you are definitely right. Coming back to this reply I kinda don’t think it sounds that similar anymore, just a similar chord but lighter orchestration in a way that doesn’t really compare to the heavier Holst or Williams. I’d also add Ravel to that list, his treatment of brass sound like stuff out of Indiana Jones
No - its actually the lower parts of the orchestra dragging for which I do not know why - trumpets maintain the tempo set in the first couple lines so its a bit odd
@@jackalpaugh7426 nah i think it's the trumpets playing the first semibreve of the main theme for just a fraction too long. But i can't 100% tell. Either way this tiny section doesn't sound right
I think actually they were so early it made the trumpets sound way off but you can tell how everyone hits that last cadence so hard together that where they knew to get back on track. Actually listening to it again, its an individual trumpet that gets off in the section, still something off with the trombones though
Totally agree. Particularly the first page, lol, which is just an insane couple of bars. I don't hate Hans though... he's capable of surprises, and I think he's always a very effective film scorer; but, on the whole, his writing is usually really elementary. He's a composer whose lack of education shows.
@@DavidRLentzHe means the level of orchestration, instrumental colors and textures, time signature changes, etc. Nothing against Zimmer, but Zimmer’s music pretty much bland compared to John Williams. Zimmer is more electro-acoustic soundscapes versus Williams classical orchestra setting. However, Zimmer’s music for Interstellar ranks higher than some Williams score. Check out Flight To Neverland by Williams. It’s a masterclass on orchestral writing.
@@nicholaswheeler8038 , thanks. Your musicological wherewithal far exceeds mine. I do have an extraordinarily wide vocal range that enables me to sing all eight registers of the classical chorus. A friend I had known whilst at university, a piano performance major of considerable ability, told me that I could sing from the fifth ledger line below the bass clef to the D above high C (and once an A)! Unfortunately, due to physical disabilities, I cannot work, so I lack the resources to train my talents into marketable skills that I could earn a worthy income from my own abilities.
Well, it was conducted by John Williams, a very fine conductor for sure, but not the greatest, and there's lots of rallentando, and perhaps even rubato, something which is tricky for any orchestra to handle, even the very best. We also don't know how long Williams had to rehearse with the orchestra, to get them all together in terms of interpretation. But frankly, in my opinion, the whole disc is just a bit over-wrought, John Williams is perhaps a bit self-indulgent here (he is conducting one of the world's greatest orchestras after all, so that might be understandable and worth forgiving) and the music/performance comes across as somewhat melodramatic/over-the-top when a more straightforward reading would have probably worked better. Here everything is drawn out, and the time stretched to the maximum, something which could be akin to "dragging" the music, and to me, that's the worst thing you can possibly do to a piece of music, drag it. Fortunately, it never comes apart, but the stretching does create numerous issues. As I said, the whole thing is just a bit overwrought, rather overdone in my opinion, but that's probably more on John Williams than on the orchestra. But... it is his music, and he is conducting one of the world's most preeminent orchestras, so I suppose he can do what he wants and the critics be damned, he's earned it.
Yes, something was off in relation to the motion picture's beginning. But as much as I love motion picture scores in the classical style, I am no trained musicologist. Please elaborate.
