Tema: John Williams y Star wars en directo

Exacto. Para mí los "end titles" de las tres películas son PERFECTOS pero a mí, personalmente, me gusta más el del Imperio Contraataca que, como dices, condensa muy bien los tres grandes temas de la película; me encantan los tres, no hace falta decir nada sobre el "Imperial March", tema que trasciende la saga (igual que el de Superman) pero el tema de Yoda tengo que decir que se me ponen los pelos de punta, además sonando de una manera mucho más acelerada que en la película, buff, BRUTAL!!!

Iniciado por Synch

la verdad es que me sorprende la ausencia del tema de Han Solo y la Princesa, ya que forma parte de los más conocidos de la saga. No al nivel del principal y de la Marcha imperial, pero si es muy conocida y además es clave en el Imperio contraataca.

Synch

Lo mismo le pasa al "luke y leia" de El retorno del Jedi, a nivel romantico en general esos temas siempre han estado algo eclipsados por el tema de Leia de A New Hope a nivel de interpretaciones en directo.

Y la verdad, es que Williams se supero en los 2 temas mencionados, mejores incluso que el de Leia en mi opinion.

Iniciado por Bud White

Lo mismo le pasa al "luke y leia" de El retorno del Jedi, a nivel romantico en general esos temas siempre han estado algo eclipsados por el tema de Leia de A New Hope a nivel de interpretaciones en directo.

Y la verdad, es que Williams se supero en los 2 temas mencionados, mejores incluso que el de Leia en mi opinion.

Opino igual. Tanto Han Solo and the Princess, como Luke and Leia, me parecen superiores al tema de Leia del IV. De hecho, acabo de caer en lo que tal vez sea el motivo de lo que preguntaba: según la wiki no sólo tocaban el de Leia sino Luke and Leia, así que ya eran 2 piezas lentas en la 2a parte del show (sumado a que Across the stars estaba en la 1a).

No sabía que Han Solo and the Princess estuviera algo eclipsado en las interpretaciones. Es una pena pues el del Episodio V es bastante conocida, es más, lleva a los fans instantáneamente a la película (al igual que el tema de Yoda, y no tanto la Marcha, que como decimos, ya es más otra cosa más grande). El de Leia en el IV tendría varios temas más preferidos por los fans por encima (el principal, Fuerza/Throne Room, Cantina) mientras que el de Han y la princesa tendría, en su película (la V) por delante sólo uno (Marcha imperial) y en igualdad otro (Yoda), incluso diría que algo por encima de este.

Synch

Es curioso pero el único final no feliz de la saga es el del Imperio y para mí es dónde la música de Williams más fuerza emocional tiene, más emotiva y más épica. Quizá ese plus hace que para mí sea un pelín superior la BSO del Imperio sobre La Guerra y el Retorno.

http://www.editorialberenice.com/inicio.php?libro=374

La lista de "Schlinder"?

Iniciado por Halloran

La lista de "Schlinder"?

dicen que se corregira antes de editarlo.

¿Saldra a la venta en librerias o esta editorial unicamente vende a traves de la web?

Iniciado por popolac

¿Saldra a la venta en librerias o esta editorial unicamente vende a traves de la web?

saldra en librerias.

John Williams receives AFI's Life Achievement Award - Full coverage:
http://www.jwfan.com/?p=9031

Desconozco si este tipo de eventos terminan colgándolos completos, pero me haría ilusión verlo.

Por cierto, primer compositor que recibe tal homenaje, y mas que merecido. Este hombre es una leyenda.

Iniciado por Zack

Desconozco si este tipo de eventos terminan colgándolos completos, pero me haría ilusión verlo.

Por cierto, primer compositor que recibe tal homenaje, y mas que merecido. Este hombre es una leyenda.

Que Dios nos le conserve muchos años, porque una vez ya no esté con nosotros, no va a haber otro como él.

(por si me lee algún moderador: y si cambiamos el nombre de este hilo por el de "John Williams" o algún título más genérico sobre el compositor? Así podríamos hablar aquí de toda su obra).

A raíz del AFI que le han dado:

http://www.hollywoodreporter.com/new...ebook_20160609

Steven Spielberg and Fellow Directors Reveal the Stories Behind John Williams' Iconic Scores

Ahead of the 50-time Oscar nominee's Life Achievement Award from the AFI on Thursday, his frequent collaborators tell THR why they love working with him. Says Spielberg: "I made myself a promise that if i was ever lucky enough to make a feature film, this was the man I would try to hire."

The 44th recipient of the American Film Institute's Life Achievement Award, John Williams, 84, is the first composer ever to be so honored. With 50 Oscar nominations and five wins, Williams — who began as a session musician (working for such composers as Henry Mancini) before moving into TV and then film composing himself — has provided musical signatures for everyone from Luke Skywalker and E.T. to Indiana Jones and Harry Potter. No slacker, he also served as principal conductor for the Boston Pops from 1980 to 1993, and his most recent work, for Steven Spielberg's The BFG, his theaters July 1.

CHRIS COLUMBUS

"We were having some screenings of Home Alone around town, and the word got out that people were enjoying the movie, and so John's agent said, 'I'd like to show it to John Williams.' Now, at the time this was a tiny movie, and we didn't expect to do huge business. I thought it was a long shot, but we'd show John the movie and see what he thought of it. So I got a call from John telling me how much he loved the movie, how emotional he thought it was. He decided he wanted to write the score. Shocking to me because I never in a million years expected to get somebody who was a personal hero of mine. If he's not the greatest composer who's ever written for film, he's the greatest living composer.

"I was shooting a film called Only the Lonely in Chicago, and I couldn't leave the set to go to the scoring session for Home Alone. Back then, pre-internet, the scoring session would happen and I would sometimes listen over the phone. So I really didn't know what we were getting. So we got the first-day scoring FedEx-ed to us on cassette tape. We were having lunch, and I popped it into the old boom box and played it for the crew. People had tears in their eyes. We were amazed by the beauty of the score coming out of these little, tinny speakers. When we put the score up against the film, it just elevated the movie in a big way. That's the power of John's music. He can take something that's good and make it great.

"One of the things we were struggling with when we were adding temp music to the movie is having a comical score. A comical score is one of the most difficult things to write, because composers tend to overwrite for comedy. If you write something comedic for a comedy scene, it basically kills it. You have to know when to stay away from the moment and let the comedy play. With John, it was amazing how subtle it was. You don't have an overbearing comedic score. That taught me a lot. You have to let comedy breathe and accentuate just those special moments. When we first heard the movie's theme, I just thought, 'This is one of those special themes that will hopefully live forever.' And the theme carried over into the final moments in the movie, which are extraordinarily emotional. John's score beautifully accentuates the moment without making it overly sentimental.

"John was my immediate first choice for Harry Potter [and the Sorcerer's Stone]. He had also done Stepmom for me at that point, and I loved working with him. I though he'd be the perfect person to do Harry Potter, and he agreed to do it. He flew to England at one point, and I showed him a rough cut of the movie and we talking about the score. It was a slightly darker score at times because we talked about the evolution of all the movies, and J.K. Rowling had told us the books were getting progressively darker. So we wanted to plant that seed early on in the first picture. John then went off to Boston to write for the film, and I flew to Boston to hear snippets of the score on the piano. When I first heard the Harry Potter theme, I thought it was one of the most amazing pieces of music in its simplicity. Now they're playing it with the Universal theme park ride. It's really remarkable how with those first notes, John reaches out and brings you into the world with that haunting theme. Even after other composers came in, they still had to use that theme. It's been in all eight Harry Potter movies.

"John always feels extraordinarily youthful to me. He's never lost that excitement or the love of film and making movies. It's very contagious. When you see someone who's been working as long as he has and who has so many Oscars and awards, it's really amazing how down to earth he is. How it's all about the movie. It's not about anything else."





STEVEN SPIELBERG

"Over the years, I had collected hundreds of movie scores from Bernard Herrmann to Max Steiner, but one of my favorite scores was from The Reivers, by a composer named John Williams. I made a promise to myself that if I was ever lucky enough to make a feature film, this was the man I would try to hire. So I showed John the rough assembly of The Sugarland Express. He liked it, said he'd write the music and, until now — on the eve of his AFI Lifetime Achievement Award — the two of us have never looked back."



RICHARD DONNER

"We had a completed version of Superman, and much like you do with any composer, we ran the picture and spotted it, deciding where the music should be. But John was so far ahead of us after seeing it just once that he kind of took charge emotionally. He read so much into the picture, almost more than we did.

The first recording session for Superman was the opening reel of the movie, and those brilliant titles that were done by Richard Greenberg came flying onto the screen. It demanded special music, but you didn't have to say that to John because when the title 'Superman' came flying in, John made the music say, 'Su-Per-Man!' If you listen to just that one little piece, you can literally hear the music say, 'Superman.' It brought tears to our eyes.

When he's conducting, you're usually looking at his back, because you are looking at the orchestra much like he is. But I would often go on the music stage, up behind drums and the top instruments, and watch John like the orchestra was watching him, and his face conveyed the whole movie. He must have studied acting because it was like he was living the entire piece. Very beautiful. It ended with this truly happy expression on his face as if to say, 'Oh my God, that was good, and I did it.' "



A (Very, Very) Select Sampling of Williams' Work

Having written music for 138 films and TV shows, he is not done yet.

Daddy-O, 1958
Drag racing and drug dealing figured in this B-movie on which he earned his first big-screen credit.

Fiddler on the Roof, 1971
He won his first Oscar for best music, scoring adaptation and original song score for adapting this Broadway musical.

The Long Goodbye, 1973
He wrote the title tune with Johnny Mercer, and it repeats throughout Robert Altman's detective tale in various orchestrations.

The Sugarland Express, 1974
This chase movie, starring Goldie Hawn, became the first of 28 movies that he has scored for Steven Spielberg.

Jaws, 1975
The ominous theme that signals each scary shark attack contributed to his second Oscar victory.

Star Wars, 1977
The thrilling fanfare welcomed movie fans into a faraway galaxy that he would revisit six more times over the years.

Raiders of the Lost Ark, 1981
With a flourish, he summoned up the spirit of Saturday matinee serials in the first of the four Indiana Jones movies he composed.

Schindler's List, 1993
Violinist Itzhak Perlman performed on the emotional soundtrack for which Williams won his fifth Oscar.

Harry Potter and the Sorcerer's Stone, 2001
He scored the first three films, and his magical motif has appeared in all eight.

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Iniciado por Synch

A (Very, Very) Select Sampling of Williams' Work

Having written music for 138 films and TV shows, he is not done yet.

Daddy-O, 1958
Drag racing and drug dealing figured in this B-movie on which he earned his first big-screen credit.

Fiddler on the Roof, 1971
He won his first Oscar for best music, scoring adaptation and original song score for adapting this Broadway musical.

The Long Goodbye, 1973
He wrote the title tune with Johnny Mercer, and it repeats throughout Robert Altman's detective tale in various orchestrations.

The Sugarland Express, 1974
This chase movie, starring Goldie Hawn, became the first of 28 movies that he has scored for Steven Spielberg.

Jaws, 1975
The ominous theme that signals each scary shark attack contributed to his second Oscar victory.

Star Wars, 1977
The thrilling fanfare welcomed movie fans into a faraway galaxy that he would revisit six more times over the years.

Raiders of the Lost Ark, 1981
With a flourish, he summoned up the spirit of Saturday matinee serials in the first of the four Indiana Jones movies he composed.

Schindler's List, 1993
Violinist Itzhak Perlman performed on the emotional soundtrack for which Williams won his fifth Oscar.

Harry Potter and the Sorcerer's Stone, 2001
He scored the first three films, and his magical motif has appeared in all eight.

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No puede ser tan selecto si no está Drácula .

Iniciado por Jane Olsen

No puede ser tan selecto si no está Drácula .

Yo añadiría también JFK

Iniciado por Synch

Yo añadiría también JFK

Y siguiendo con siglas, A.I.

Hoy el maestro cumple 85

Si hay una persona que represente lo mas cercano a la divino y celestial ese es John Williams. Felicidades MAESTRO!!.

https://www.abc.es/cultura/abci-enni...0_noticia.html

Desde hoy a la venta

2cd+ 2 blu ray

El vídeo comienza con la tóxica traidora.

Williams tiene 90 años. Y ahí sigue. Currando como un campeón.


Tu centrate en eso. Que a saber donde estamos tu y yo a los 90, si es que estamos.