WilliamsStarShip2282

This is more accurate and what I was talking about, though with the pieces written for Yo Yo, all of them are TECHNICALLY available, especially now that JoAnn Kane took over his library. I believe only the three solo pieces and Heartwood are not directly available, and require and inquiry with the maestro. It has been like this for a long time with him where it was his choice not to publish, and not an exclusivity issue. But I feel that ASM would absolutely push for it. I wonder if she actually commissioned all of those or he just did them all as a gift, since that totals to a very large amount of music for one person.

How does ASM own the arrangements? I find that highly unlikely, though he probably hasn't published them out of courtesy. On the other hand, certain pieces that were not published for a long time, supposedly for that reason, either only very recently were published or still haven't. Conversations is one of those pieces I am surprised hasn't been released.

Though I have to agree with the concerns about his state in the video, I remember what Boulez (and others from the same age group) looked liked towards the end and it was far worse than this. Williams looks worn out in an appropriate way for his age, and even still looking good. Don't forget too, a nasty nasty flu is going around the states right now, and everyone who had it said they felt worse than covid. When work burns me out, which is frequently, everyone I work with experiences brain fog, memory lapses and sometimes odd speech abilities, and I'm 32. Which is fairly common among people I work with or know. I don't know about the whole concern about this sitting thing. I can't recall any interview or video he sent in like...ever, where he was standing, except when he was outside walking around.

No, not QUITE on that level of terrible It's in his own daughters biography of him. Go have a read instead of saying people don't know jack

Not off the top of my head, but it has been in many biographies about him, including the one by his daughter. This is not some kind of hidden secret. I like Barenboim as a pianist, I don't really see a problem with him, I've seen him a couple times live it was great. But as a conductor in my opinion.....very different story..... I think he had something like 50 of his own albums of his own. In full disclosure, I discovered looking it up that I don't actually have them all, just all the major ones which is maybe half. Some I could only find on ancient original printing vinyl. Its too bad he never played outside of a certain group of people though, would have been interesting. I think doing that show with Oscar Peterson was the closest he got to performing with another jazz legend, aside from Ray Brown.

I will agree with that one thing, Previn was an incredible jazz pianist. He never re-invented the wheel but he was one of the best. I have all of his albums. The playing on King Sized! is insanely difficult, especially with all the fast octave work.

The program note for this album is actually very interesting. The Porgy and Bess fantasy was done by Sandy Courage, and Williams, for I feel the only Tim I have ever seen, was not overly flattering about it. You are talking about the Prokofiev sonata recording right? He has played his own pieces live though, some of which are quite challenging, much more than that Mozart concerto. The piano reductions (but more like straight its own version) of his concerti can also be quite challenging to play. I think he and Previn were about the same level as pianist, except Previn performed much more than Williams, which kept him in better shape to do more. It is funny to me though that Andre Previn was given a lot of garbage until his days with the LSO, JW similarly until the last couple decades, about being too "pop" and not classical and not "serious" music, and probably not considered serious pianists either. But all of their records, live and studio, of all kinds are really clean and put together and wonderful, great compositions from both obviously, and great pianists. Leonard Bernstein is someone who was idolized and he has so many recordings that are sloppy, a lot of his works (the famous ones) were mostly written by other people, and was a terribly sloppy pianist.

Yes, I liked that there was a lot of footage from the recording and a lot of them speaking, instead of just random montage or obsessing over oscars and the usual none sense.

I am HOPING for something a lot more, like the bonus DVD that came with the Sony box set a few years back (I feel like that is already like.... 8 years ago). But I think the above statement is probably more accurate.

Because France, considering things before covid, has/had many many orchestras, mainly financed by the government and some local sponsors. Being the case, there are a lot of orchestras that play seldom, instead of a few orchestras that play/played often and therefore very well. Paris alone has more than can be counted. There are a few exceptions, like l'ensemble intercontemporain, which has strong backing and was Boulez passion project for a very very long time, which was established by Pompidou. Being a smaller group they can get away with many performances, but alas they only perform the most "contemporary" music, which is not for everyone. France has produced many many incredible composers, conductors, soloists, and musicians, however most of them sustained their careers outside of France.

It was awesome, the mixed was all over the place, at least inside the shed. But I enjoyed every second! BSO was excellent as always.

Both Film Night and Tanglewood on Parade were well attended, but especially on parade was far less people because of the rain. But both concerts were excellent, especially on parade. The tribute to Seiji was really nice, and excellent performances of all the pieces, really enjoyable if you got lucky and in the shed. There was a video narrated by JW about Seiji's life, but it was clearly done a long time ago, no indication of when though, most likely around the time he last conducted there. James Taylor and his wife were special guests, and his wife told some old Tanglewood stories, including a time when there used to be a "Tanglewood Train" for Tanglewood on Parade that went from the Lenox square to Tanglewood, and JW's first year with the Pops he went on it with Seiji. I guess going down the hill to Tanglewood the train started to really pick up speed and JW asked Seiji "does this thing have breaks?" and Seiji said "No! isn;t this exciting?". She told it much better of course, hopefully there will be a broadcast of it.

I would say I am shocked that they would want to tear it down, but then again Carnegie was nearly torn down as well. No respect for the arts in the USA.

The lady kept saying she came all the way from Brazil. First she tried to literally force her way through the inside stage door and the guard had to get physical (she put herself inside the door frame so the door couldn't close). Then she tried the same with the outside stage door, then when they had him leave through the musicians entrance, she tried to get in his car and the guard had to drag her away.

That was my guess as well. But as I have recounted a couple of times on the forum, I've seen fans yell that he (Williams) owes it to fans to come and meet and greet, and one woman tried to get into his car. Can't blame him for keeping his business to himself.