John Williams

[lis23]

To nie DVD, tylko Ultra HD Blu-Ray.
Ciekawe, czy wydanie będzie w Polsce?

[bartex9]

Rian Johnson o ulubionym fragmencie prac nad SW8:
https://twitter.com/Variety/status/8863 ... 28/video/1

[bartex9]

W ostatnią niedzielę w Tanglewood miała miejsca premiera najnowszej pracy koncertowej Williamsa - "Markings". Utwór napisany specjalnie dla skrzypaczki Anne-Sophie Mutter, wykonany przez nią wraz z Boston Symphony Orchestra. Dyrygował Andris Nelsons.


youtu.be/Xu452xs9QUc

John Williams’s new work is scored for solo violin with harp and strings, an ensemble that recalls Bernstein’s 1954 Serenade (after Plato’s Symposium), which is for solo violin with harp, strings, and percussion. Although the correspondence is coincidental—Williams didn’t have Bernstein’s piece in mind when he wrote Markings—it’s nice to think that both composers hit upon this idea independently, particularly since it was Williams who commissioned the sculpted bronze head of Leonard Bernstein that resides on the first floor of Tanglewood’s Highwood manor house. Williams’s piece contains a certain “American” gestural drama and lyricism in the violin solo part, and an episode of great rhythmic vitality that fits the tradition in which Bernstein worked, but overall Markings is music of very different scope and effect than the Serenade.

Markings opens with the hushed string orchestra creating an atmospheric foundation. The soloist’s opening gesture, marked “reflectively,” is like an intake and release of breath—a rising arpeggio (hinting at the central motif of Berg’s Violin Concerto, a piece significant in Mutter’s repertoire) followed by an accelerating/decelerating gesture mostly on the open G (the lowest string). The soloist’s series of fast, freely articulated arpeggios across the four strings of the violin lead to a glissando up to its highest range. After a pause, a defined but still introspective chordal figure in lower strings underpins a yearning melody for the soloist expanding over four octaves. Increased rhythmic activity in the string accompaniment, with an accelerando, leads to a dancelike episode. The harp is introduced finally as part of the ensemble texture, creating a sparkling aura. The initial alteration between 3/4 and 5/8 meter in this passage adds a destabilizing and energizing element. The solo violin part becomes more aggressive and syncopated, big leaps in register countering short bursts of scales. Following a climactic series of sforzando quadruple stops in tandem with the harp, the solo violin releases tension with rapid rising and falling scales and an unaccompanied, notated cadenza. A coda revisits the lyrical passage and takes us to an introspective close, the solo violin rising into the stratosphere.

Zdjęcie z próby:

[Adam]

Playera było robić a nie tracić czas na pińcetne utworki

[Wojteł]

Cudo. Szkoda, że nie dłuższe.

[Kaonashi]

Koncercik jak wiele innych.

[Adam]

dokładnie i to zbędny bo zamiast jakieś utworki pisać by poświęcił czas na scory a nie oddawał Alanowi

[Kaonashi]

Ale on to napisał pewnie już parę miesięcy temu, więc nadchodzące zobowiązania wobec Spielberga nie mają tu nic do rzeczy.

[Paweł Stroiński]

To nie jest wina zobowiąząń koncertowych, że nałożyły się na siebie postprodukcje dwóch filmów...

[Tomek]

Bucholc zaspał, więc muszę go wyręczyć. Kapitalny dizajn:



LP od Mondo, w sprzedaży w październiku 2017.

[Adam]

było dawno w dziale LP

[bladerunner22]

owszem było juz dawno

[Tomek]

To będzie i tu

[Wawrzyniec]

Williamsa nigdy za mało.

[Mystery]

Koncert "BBC Proms 2017: John Williams Film Prom"
https://www.youtube.com/watch?v=LtYfusYy2q0

Eh, żeby były takie transmisje z koncertów Hornera i Giacchino, plis!