In ANY other year in Academy history, this would win the Oscar for best score. It is a masterwork. In 1977, What film won? Star Wars. Only John Williams can lose to himself and it be okay.
Over 40 years ago my theory and composition professor put this on a turntable and told the class "Now, we're going to listen to the greatest orchestral composition of the 20th century" Astounding how Williams migrated from 12-tone chaos to the beautifully orchestrated ending.
I totally agree with you. This is absolute GENIUS composing. I think THIS is his greatest composition. I love Star Wars, Jaws, Jurassic Park,,,,,,,,,,,,,, But THIS is an BRILLIANT composing. I can't even imagine having all of this in my brain.
I think that's the beauty of this piece. The serialism and atonality truly resolving. A wonderful intro to atonality and how it can establish moods and textures while still providing people with expectations
Williams has certainly not written any twelve-tone music here, but he has made extensive use of György Ligeti's compositions. Perhaps the professor wanted to put Ligeti's "Atmospheres" on the table. ^^
And they say film music can't be in the classical canon. This is not just great film music; this is some of the best symphonic music I've ever heard, period.
What's truly amazing, besides the progressions themselves and all the incredible fill that the winds are doing (sheesh...what a bear to play), is how he decides on what notes to put in the bass. It's often not the root of the chord. There is SO much going on here. I'm glad I came across this site to view the actual score - even in reduction it's so revealing of his genius. Stuff I never knew was in there.
Gobsmacked. John Williams is the absolute best composer of the 20th century. Period. His contributions are inestimable. I love the When You Wish Upon a Star quote! So touching. This score may be his best. Under appreciated for sure.
@@mrtchaikovsky Perhaps I got carried away with a bit of hyperbole. I dearly love his film scores and I think he should be appreciated as a composer not just a scorer of films. How about “one of”? Who is your pick then?
@@cgaskill Apologies for coming across as a bit aggressive. I love many of his film scores too, and his technical skill is beyond reproach. The trouble is that the 20th century was filled to the brim with great composers, especially if we include people like Schönberg, Strauss, Mahler, Ravel, Stravinsky etc., who were born in the 19th but produced many, if not the majority, of their important works in the 20th, which is some pretty stiff competition. That being said, as far as film music composers are concerned, he may very well be at the top. I've yet to find anyone being his match in terms of consistency, sophistication, and prolificness.
I learned a lot from this track alone. Harmony, voicings, techniques of orchestration and instrumentation, combinations, colour... Plus all of this came out from his head to a marvellous film scoring; using pencil and paper. CRAZY!
i score study and study and study and have yet to come across a composer with the combined language of J Williams - harmonic, melodic, contrapuntal, orchestration, etc. My favorite piece of his man!!
This is a fabulous reading of a difficult score. And it reminds me why John Williams, himself, recalls it as one of his own personal favorites. The studio orchestra did a fine job on the original soundtrack. but the more substantial National Philharmonic (itself established as a "recording" orchestra consisting of members of various London orchestra members) really brings it to life. Gerhardt has always had a fine sensibility for film music, and is one of the few conductors who's work rivals - if not surpasses at times - the interpretations of the original film composers. His interpretation of this work is simply wonderful. Great job condensing a complex score. I saw the original (Herb Spencer?) manuscript many years ago, and condensing certainly would not have been a simple task. I found myself pausing it for analysis over a nearly hour long listen. Thank you!
What I like about this third act piece is it's has a touch of horror, a fair amount of tension, and slips into something peaceful and beautiful. Great contrast.
On his 92nd birthday I find this magnificent piece of music. Happy birthday, sir! This is a most magnificent score and it was an absolute delight to follow along. Stunning presentation. THANK YOU!
For me: Everything about this movie was a Masterpiece. I remember this moment, I could not close my mouth. It was gaping and I kept saying to myself: Oh My God, over and over again so much that my sister told me to shut up! 🙂 Now I can finally see - the GENIUS of John Williams and my admiration only increases. Thank you! ♥♥♥♥ (I am incorrigible gusher... ) 🙂
Unbelievably emotional piece by John Williams. I didn't realise until recently, the influence he has had on my musical taste. I miss this in movies....cinematic symphonic music that creates a really strong emotional connection with the story, characters, themes and importantly the audience / listeners. This will sound perfect for many many years and generations to come.
This score is an absolute masterpiece. As much as i love many of Williams' other scores, this one I feel is on another level. Thanks for posting, looked like a lot of work lol, great job.
Superclear transcription of a supercomplex masterpiece. It's amazing that all of that sound design can happen live in the room along with the gorgeous melodies. Great job! (This is William's personal favorite film)
He wouldn't even use a piano to compose mostly. Just sit at his desk with a pencil and paper, writing out orchestral sketches in about 6-8 staves, depending on complexity. Orchestrators for Williams have said his original sketches are detailed enough that most of their job amounted to transcription.
I've always loved the score to Close Encounters. I'm an old trombone player and being able to follow through the score here was an amazing experience. It left me in tears.
Gerhardt's recordings of film scores are the best. By the way, I saw what you did with the first page of "The Pilot's return". ;) To this day I think that Williams never before or after this score went so far out. It is by far his boldest work. From the very first moment the music sets in, to the last bar. Too bad that modern film composers shy away from such complexities. I mean look at the orchestration alone, that is ten times more inventive than anything modern blockbusters are scored for.
Film composer here. It's not that modern film composers shy away from complexities, it's that our filmmakers are heavily influenced by modern trends that don't involve this complexity in many cases. Even though, yes - we give our expert opinion and advice on direction, ultimately we are hired contractors. :)
@@matthewjames3553 Its a chicken and egg question who is responsible for those trends. If composers had not started to score less complex, no director had an idea how that would sound. 😉
Quotenwagnerianer Sure, there’s been many changes and trends throughout music history, minimalist movement is in now, for many reasons. Complex isn’t always correct, nor is simplicity. It’s more about the “correct” score for the picture. John Williams is my hero, as is Goldsmith, Herman et al, but I even look back to some old films and feel the music to be a bit over the top , campy or wall to wall. It’s a matter of taste - there’s plenty of modern film scores that are completely wild and over the top complex - see Powell, Giacchino, Elfman, Silvestri etc etc
@@matthewjames8125 I used to be a big fan of Silvestri but I blame him for two of the things that I dislike so strongly about the modern filmmusic: a) The brass ostinato that creeps up everywhere and drowns out all subtleties. b) The simple scoring for piano and strings and sometimes a single oboe when it's supposed to be romantic, sombre or sad. (A trend he started with Forrest Gump). Especially b) is what really riles me up. It's like since he came up with that combination the "real" scoring for a group of woodwinds died in filmmusic. Compare that for example to the opening of John William's cue "Halloween" from E.T. There was a guy who knew how to write for a full symphony orchestra. Something that is totally lacking in modern scores.
@@Quotenwagnerianer Eh, it's just changing. Doesn't mean it's less valuable nor does it mean that people can't write for a full symphony orchestra, it means that new waves of directors/producers/studios have come in and changed.
Wow thank you so much for putting this video together. I have been on record for a long time that this is John Williams' most underrated work, likely because it came out the same year as Star Wars. Walking through the intricacy of this orchestration, it's impossible not to acknowledge his genius.
John Williams is the age, the story, the Bible in music, the unprecedented peak, still alive to face the truth, but in this world, talent comes from God!
This is an exceptionally good condensing of an exceptionally virtuosic score by Williams and one of my favourites - the incredible string passage in the Arrival of the Mothership (beginning at about 7:23, later with polytonal woodwind, brass, and choir) is for me, one of the most viscerally exciting moments in film music, in a score bursting with amazing sounds. Hearty congratulations to you on making it so easily comprehensible to the eye! (May I ask, what software do you use to time displaying the pages of your score to the music? I am thinking of doing something similar with one of my own arrangements but have no idea what is the simplest way of doing this.)
You have to take it for what it is. Film music is not meant to be concert music, it's just background music to supplement the visuals or a movie, but when done well, as John Williams most often does, it can be an art form in itself. This is to say, I would not want to listen to this music in a concert, standalone, by itself, especially if I hadn't watched the film, it would have no context or meaning for me. But at the same time, I cannot imagine the movie without this music, the score greatly enhances and elevates the movie, and that is the job of the film composer, a job which John Williams does exceedingly well.
@@mydogskips2 I also would not want to listen to the majority of operatic repertoire standalone, without knowing its original context. Both film and opera music are virtually inseparable from their contexts; it is what gives them life.
I don't know if Penderecki have heard this music (may his soul rest in eternal peace), but I'm pretty sure he would be proud of Williams, if he would hear "Arrival of The Mothership". I don't think I ever saw so many of another composer's compositional techniques (clusters, glissandos, flutters, etc.) utilized in a single piece of music (to a degree that it becomes clear who could have composed this music instead). Also, in my opinion, this is as far into the atonal kingdom that Williams ever got in his career (this also counting scores for "Jaws", and "The Empire Strikes Back"). He is always faithful to that characteristic, American sound of music that I love him for.
Interesting that you mention that symphony, as Williams also borrowed some of the orchestration for the "carbon freeze" scene in Empire Strikes Back from it (2:49 of the Gergiev/LSO performance on TH-cam). Prokofiev was certainly a big influence on Williams back in the day!
@@tomekkobialka Yes, definitely! The part that struck me was the section just after 18:46 here with reprisal of the theme (27:35 in the LSO video) - there's a particular augmented chord that gives both a really otherwordly feel - also the clever use of Xylophone and the brasses / strings. I started a piano transcription of Close Encounters a while back, never got around to finishing it
#SEMPER FIDELIS #QUA PATET ORBIS #JE MAINTAN DRAI ! ♫♪ great ♫♪♫♪♫♪☺ BRAVISSIMO @/bisbis 🎶🎵🎼 great music! a well tuned ensemble that sounds like an organ ! Fabulous banding! Compliments! #SEMPER FI #QPO #JMD🎵🎼🎼🎶🎵🥁🎺👌🙏🎺
Even though I have the full orchestral score in front of me, it is very difficult to discern the 12 tone aspects, but thanks to this score reduction analysis of this masterpiece is much easier.
I don't know if it's fact or apocryphal, but I had read somewhere (I think it was my original soundtrack LP) that Spielberg had not finished the cut on these last minutes of the film, and, simply with the script and other materials, Williams composed this score.
Full film scores are not available for purchase, for some reason- same with musical theatre scores ( although that's because there rarely actually IS one; even the conductor often has to work from a cued piano score) all the more reason to be grateful for these great condensed versions.
Online is available, if someone REALLY put effort in the search, a description of "note for note" of the first 6 minutes of this pieces made by a student who wrote a sort of thesis on the score. I don't have it anymore, but years ago I wrote down EXACTLY what he described and I came up with basically the score you can see here. Then, a couple of years ago, I found some handwritten cues of the score online ( including the cues up here). Write me privately your Email and I'll send them to you!
@@piccolofederico Hi Federico, I have been extensively looking for this score for weeks now, I’m so thankful to have finally come across this comment to at least get some cues. My email is mferrante@go.pasadena.edu Thank you so much! (I really hope you see this!)
And Ligyeti at 8.23 ( Lux Aeterna and sections of the Mass, as used brilliantly by Kubrick in 2001 A Space Odyssey). And the first 40 seconds are very reminiscent of the opening pages of Ravel's Piano Concerto for the Left Hand. But all composers borrow or are influnced by other composers' music. And there is no doubt that Williams is a master.
Ligeti meets Ravel with a dash of Debussy and Stravinsky...yet all sounding totally new !.....................his finest work....Thank You !
More Pendereki than Ligeti 😉
Mahler as well
I can hear Strauss in there too.
Mahler, Strauss, Penderecki, Ligeti, Debussy, Ravel, Stravinsky, Liadov.
In ANY other year in Academy history, this would win the Oscar for best score. It is a masterwork. In 1977, What film won? Star Wars. Only John Williams can lose to himself and it be okay.
Over 40 years ago my theory and composition professor put this on a turntable and told the class "Now, we're going to listen to the greatest orchestral composition of the 20th century"
Astounding how Williams migrated from 12-tone chaos to the beautifully orchestrated ending.
I totally agree with you.
This is absolute GENIUS composing.
I think THIS is his greatest composition. I love Star Wars, Jaws, Jurassic Park,,,,,,,,,,,,,,
But THIS is an BRILLIANT composing. I can't even imagine having all of this in my brain.
@@directorman153 I know. I listen to this and wonder "How did he hear this in his head?"
I think that's the beauty of this piece. The serialism and atonality truly resolving. A wonderful intro to atonality and how it can establish moods and textures while still providing people with expectations
Williams has certainly not written any twelve-tone music here, but he has made extensive use of György Ligeti's compositions. Perhaps the professor wanted to put Ligeti's "Atmospheres" on the table. ^^
We are lucky to have this man alive and active, no other film composer gets even close to this man's feet
And they say film music can't be in the classical canon. This is not just great film music; this is some of the best symphonic music I've ever heard, period.
a sad, disgusting, mindless, stigma on film classics!
gatekeeping ignorami
@@geoffstemen3652 gAtEkeEpiNG igNoRaMi
@@johns.8220 dude. i’m agreeing. i’m calling the elitists ignorami
Couldn’t live by this comment any better. One of my favorite rn
It's so baffling and so beautiful that John Williams was able to imagine these sounds.
What's truly amazing, besides the progressions themselves and all the incredible fill that the winds are doing (sheesh...what a bear to play), is how he decides on what notes to put in the bass. It's often not the root of the chord. There is SO much going on here. I'm glad I came across this site to view the actual score - even in reduction it's so revealing of his genius. Stuff I never knew was in there.
Gobsmacked. John Williams is the absolute best composer of the 20th century. Period. His contributions are inestimable. I love the When You Wish Upon a Star quote! So touching. This score may be his best. Under appreciated for sure.
"The absolute best composer of the 20th century" Don't be ridiculous.
@@mrtchaikovsky Perhaps I got carried away with a bit of hyperbole. I dearly love his film scores and I think he should be appreciated as a composer not just a scorer of films. How about “one of”? Who is your pick then?
@@cgaskill Apologies for coming across as a bit aggressive. I love many of his film scores too, and his technical skill is beyond reproach. The trouble is that the 20th century was filled to the brim with great composers, especially if we include people like Schönberg, Strauss, Mahler, Ravel, Stravinsky etc., who were born in the 19th but produced many, if not the majority, of their important works in the 20th, which is some pretty stiff competition. That being said, as far as film music composers are concerned, he may very well be at the top. I've yet to find anyone being his match in terms of consistency, sophistication, and prolificness.
19:24 is truly one of the most moving and beautiful climaxes in film music! Wonderful score reduction, as always!
TIMECODES:
0:02 - Barnstorming
5:07 - Arrival of the Mothership
8:21 -The Pilots' Return
11:55 - The Visitors
17:28 - Finale
Thank you so much for sharing this, especially for including the score 🎼
Amazing job! Where did you get this score from, that you’ve edited?
I'm just so grateful to have been alive to hear this masterpiece.
This movie is one of my favorite soundtracks as well as John Williams, one of the greats!
I learned a lot from this track alone. Harmony, voicings, techniques of orchestration and instrumentation, combinations, colour... Plus all of this came out from his head to a marvellous film scoring; using pencil and paper. CRAZY!
i score study and study and study and have yet to come across a composer with the combined language of J Williams - harmonic, melodic, contrapuntal, orchestration, etc. My favorite piece of his man!!
This is a fabulous reading of a difficult score. And it reminds me why John Williams, himself, recalls it as one of his own personal favorites. The studio orchestra did a fine job on the original soundtrack. but the more substantial National Philharmonic (itself established as a "recording" orchestra consisting of members of various London orchestra members) really brings it to life. Gerhardt has always had a fine sensibility for film music, and is one of the few conductors who's work rivals - if not surpasses at times - the interpretations of the original film composers. His interpretation of this work is simply wonderful. Great job condensing a complex score. I saw the original (Herb Spencer?) manuscript many years ago, and condensing certainly would not have been a simple task. I found myself pausing it for analysis over a nearly hour long listen. Thank you!
What I like about this third act piece is it's has a touch of horror, a fair amount of tension, and slips into something peaceful and beautiful. Great contrast.
On his 92nd birthday I find this magnificent piece of music. Happy birthday, sir! This is a most magnificent score and it was an absolute delight to follow along. Stunning presentation. THANK YOU!
SUPERLY done!!!
Thank you for your kind words!
Austin Wintory Great to see an amazing composer like yourself around these parts!
This is some of the most exceptional music in the ancient history of music. A masterpiece.
For me: Everything about this movie was a Masterpiece. I remember this moment, I could not close my mouth. It was gaping and I kept saying to myself: Oh My God, over and over again so much that my sister told me to shut up! 🙂 Now I can finally see - the GENIUS of John Williams and my admiration only increases. Thank you! ♥♥♥♥ (I am incorrigible gusher... ) 🙂
Unbelievably emotional piece by John Williams. I didn't realise until recently, the influence he has had on my musical taste. I miss this in movies....cinematic symphonic music that creates a really strong emotional connection with the story, characters, themes and importantly the audience / listeners. This will sound perfect for many many years and generations to come.
This score is an absolute masterpiece. As much as i love many of Williams' other scores, this one I feel is on another level. Thanks for posting, looked like a lot of work lol, great job.
I’ve looked and looked for this score. Thank you
I'm still looking for the full score!
@@Piratebreadstick same here
@@Piratebreadstick how can we get it? I found the concert except available for purchase, but I don’t know if this is it....
Now all you have to do is take a bunch of screenshots. XD
Superclear transcription of a supercomplex masterpiece. It's amazing that all of that sound design can happen live in the room along with the gorgeous melodies. Great job! (This is William's personal favorite film)
I love this so much! Ever since I heard this since I was child. I was three and loved this since. ❤
...how does one even write this back in the 70s?! lol like...with just a piano and a pencil and paper??? it's mind boggling...so good so good
He wouldn't even use a piano to compose mostly. Just sit at his desk with a pencil and paper, writing out orchestral sketches in about 6-8 staves, depending on complexity. Orchestrators for Williams have said his original sketches are detailed enough that most of their job amounted to transcription.
Williams at best of his best.
The passage at 2:49 still gives me shivers right into my soul.
I wish I could like this a million times - thank you so much! ❤
Create 1,000,000 accounts.
Thank you very much for this stunning music, I also remember the film, one of the more remarkable of my youthness.
I've always loved the score to Close Encounters. I'm an old trombone player and being able to follow through the score here was an amazing experience. It left me in tears.
Gerhardt's recordings of film scores are the best.
By the way, I saw what you did with the first page of "The Pilot's return". ;)
To this day I think that Williams never before or after this score went so far out. It is by far his boldest work.
From the very first moment the music sets in, to the last bar.
Too bad that modern film composers shy away from such complexities. I mean look at the orchestration alone, that is ten times more inventive than anything modern blockbusters are scored for.
Film composer here. It's not that modern film composers shy away from complexities, it's that our filmmakers are heavily influenced by modern trends that don't involve this complexity in many cases. Even though, yes - we give our expert opinion and advice on direction, ultimately we are hired contractors. :)
@@matthewjames3553 Its a chicken and egg question who is responsible for those trends.
If composers had not started to score less complex, no director had an idea how that would sound. 😉
Quotenwagnerianer Sure, there’s been many changes and trends throughout music history, minimalist movement is in now, for many reasons. Complex isn’t always correct, nor is simplicity. It’s more about the “correct” score for the picture. John Williams is my hero, as is Goldsmith, Herman et al, but I even look back to some old films and feel the music to be a bit over the top , campy or wall to wall. It’s a matter of taste - there’s plenty of modern film scores that are completely wild and over the top complex - see Powell, Giacchino, Elfman, Silvestri etc etc
@@matthewjames8125 I used to be a big fan of Silvestri but I blame him for two of the things that I dislike so strongly about the modern filmmusic:
a) The brass ostinato that creeps up everywhere and drowns out all subtleties.
b) The simple scoring for piano and strings and sometimes a single oboe when it's supposed to be romantic, sombre or sad. (A trend he started with Forrest Gump).
Especially b) is what really riles me up. It's like since he came up with that combination the "real" scoring for a group of woodwinds died in filmmusic.
Compare that for example to the opening of John William's cue "Halloween" from E.T.
There was a guy who knew how to write for a full symphony orchestra.
Something that is totally lacking in modern scores.
@@Quotenwagnerianer Eh, it's just changing. Doesn't mean it's less valuable nor does it mean that people can't write for a full symphony orchestra, it means that new waves of directors/producers/studios have come in and changed.
One of the most incredible things I've ever heard
Wow thank you so much for putting this video together. I have been on record for a long time that this is John Williams' most underrated work, likely because it came out the same year as Star Wars. Walking through the intricacy of this orchestration, it's impossible not to acknowledge his genius.
Heavens, this is so well done. Congratulations.
INCREDIBLE stuff!
Greatest soundtrack ever!!!
John Williams is the age, the story, the Bible in music, the unprecedented peak, still alive to face the truth, but in this world, talent comes from God!
This is an exceptionally good condensing of an exceptionally virtuosic score by Williams and one of my favourites - the incredible string passage in the Arrival of the Mothership (beginning at about 7:23, later with polytonal woodwind, brass, and choir) is for me, one of the most viscerally exciting moments in film music, in a score bursting with amazing sounds. Hearty congratulations to you on making it so easily comprehensible to the eye!
(May I ask, what software do you use to time displaying the pages of your score to the music? I am thinking of doing something similar with one of my own arrangements but have no idea what is the simplest way of doing this.)
♥♥♥♥♫♥
I just listened to, and enjoyed, the entire piece.....thank you, Tom. "Attempted" to follow the score as well !
I've never been a fan of film music, but I now got the seemingly overdue respect for this guy. Still not my cup of tea, but I am impressed.
You have to take it for what it is. Film music is not meant to be concert music, it's just background music to supplement the visuals or a movie, but when done well, as John Williams most often does, it can be an art form in itself.
This is to say, I would not want to listen to this music in a concert, standalone, by itself, especially if I hadn't watched the film, it would have no context or meaning for me. But at the same time, I cannot imagine the movie without this music, the score greatly enhances and elevates the movie, and that is the job of the film composer, a job which John Williams does exceedingly well.
@@mydogskips2 I also would not want to listen to the majority of operatic repertoire standalone, without knowing its original context. Both film and opera music are virtually inseparable from their contexts; it is what gives them life.
This version seems to have entirely cut out "The Conversation", although it does contain the references to "When You Wish Upon a Star."
I don't know if Penderecki have heard this music (may his soul rest in eternal peace), but I'm pretty sure he would be proud of Williams, if he would hear "Arrival of The Mothership". I don't think I ever saw so many of another composer's compositional techniques (clusters, glissandos, flutters, etc.) utilized in a single piece of music (to a degree that it becomes clear who could have composed this music instead). Also, in my opinion, this is as far into the atonal kingdom that Williams ever got in his career (this also counting scores for "Jaws", and "The Empire Strikes Back"). He is always faithful to that characteristic, American sound of music that I love him for.
Amazing is the only word that can describe this.
Thank you for this, very great! Please upload more John Williams.
Certains passages font fortement penser à "Atmospheres", de Ligeti. Ce John Williams est vraiment génial...
Wow amazing job! Great textures and orchestration at the atonal part and then that big and wonderful finale! Thank you for making this!
Listen to the 4th movement of Prokofiev's Symphony no 7, some shared inspiration there! Fantastic piece, so evocative
Interesting that you mention that symphony, as Williams also borrowed some of the orchestration for the "carbon freeze" scene in Empire Strikes Back from it (2:49 of the Gergiev/LSO performance on TH-cam). Prokofiev was certainly a big influence on Williams back in the day!
@@tomekkobialka Yes, definitely! The part that struck me was the section just after 18:46 here with reprisal of the theme (27:35 in the LSO video) - there's a particular augmented chord that gives both a really otherwordly feel - also the clever use of Xylophone and the brasses / strings. I started a piano transcription of Close Encounters a while back, never got around to finishing it
I just added the recording, it's pretty scrappy, the last bit probably gives the best idea ;)
th-cam.com/video/1nyjLmdVjZU/w-d-xo.html
John Williams' favorite score with Jane Eyre. Thanks for the upload.
Aw damn, that ending…🥲🥲🥲🥲
#SEMPER FIDELIS #QUA PATET ORBIS #JE MAINTAN DRAI ! ♫♪ great ♫♪♫♪♫♪☺ BRAVISSIMO @/bisbis 🎶🎵🎼 great music! a well tuned ensemble that sounds like an organ ! Fabulous banding! Compliments! #SEMPER FI #QPO #JMD🎵🎼🎼🎶🎵🥁🎺👌🙏🎺
Ein Heldenleben (A Hero’s Life)
Even though I have the full orchestral score in front of me, it is very difficult to discern the 12 tone aspects, but thanks to this score reduction analysis of this masterpiece is much easier.
This is amazing.
I believe Speilberg owes his career to John Williams.
I don't know if it's fact or apocryphal, but I had read somewhere (I think it was my original soundtrack LP) that Spielberg had not finished the cut on these last minutes of the film, and, simply with the script and other materials, Williams composed this score.
@tomekkkobialka can you please make this available as a pdf? i'll pay for it even. Thanks. Amazing!!!
Masterpiece
14:12 when you wish upon a star, woodwinds.
I play it live on the piano or organ at Walt Disney World THIS particular way (those actual chord changes). Love it !!!
That was Spielberg's original intention for the movie. Until people in a preview laughed at it, then it was removed/altered.
Also 12:51, 13:27, and 13:41 ! Just more hidden, and not the completed phrase :)
One of his finest works! 18:00 is when it really hits me =)
Fantastic! I've never heard this isolated from the movie. Reminds me of The Matrix score at times.
Similar techniques...
Imagine if all the great composers that weren't around could hear this.
Dear tomekkobialka do you have the full score os thid selections? Thankas...
thank you very very much!!
Never realized how complicated it was!
I don't know if this is a *Concert Score* or a *Session Score* (the *Session* scores are the ones I prefer). Regardless, well done.
Very nice!
Stockhausen is thinking “did I write this?”
how does one obtain the full score to this?
Full film scores are not available for purchase, for some reason- same with musical theatre scores ( although that's because there rarely actually IS one; even the conductor often has to work from a cued piano score) all the more reason to be grateful for these great condensed versions.
Online is available, if someone REALLY put effort in the search, a description of "note for note" of the first 6 minutes of this pieces made by a student who wrote a sort of thesis on the score. I don't have it anymore, but years ago I wrote down EXACTLY what he described and I came up with basically the score you can see here.
Then, a couple of years ago, I found some handwritten cues of the score online ( including the cues up here). Write me privately your Email and I'll send them to you!
@@piccolofederico kryskeys@hotmail.com - I do have a full score for "Excerpts From Close Encounters Of The Third Kind", 162 measures by Warner Bros.
But Tomekkobialka here has 402 measures of full score reduction. I don't know where this is available.
@@piccolofederico Hi Federico, I have been extensively looking for this score for weeks now, I’m so thankful to have finally come across this comment to at least get some cues. My email is mferrante@go.pasadena.edu
Thank you so much! (I really hope you see this!)
Those notes make Mahler look like a baby.
What are "Space Discs"??
Hi，Thanks very much. How can you make this cut score? What software do you use?
Where can I find the score ?
Where did you get this score from?
Mahler on LSD
Jocelyn Joss Sheehy was thinking Ravel
More like Ligeti in places.
How about John Williams?
JJay Berthume yeah I can hear his influence too lol
♥☺§♫♀♂♫♦♣♠♥♫
The little alien motif could be called a precis of Western tonal music
Einstein was right.... Einstein was probably Williams.
Ook! [He wrote all these notes... ho lee ook...]
The first bars sound a bit like "Salome" when Jokanaham curses the princess
Neoromanticism at its best ❤
Mind you, he wrote all this by hand
Very nice👌may I ask are you planning on doing parsifal?
13:55 !
Kodaly’s turmoil ?
Wonder!
Wild Signals??
14:30 Pure Beauty
13.57 1st violins. :)
Quand je pense qu'il a composé en même temps la musique de Star Wars ...
I didn't know John Williams had this in him lol
@@Gordontrek I always thought he was only Hollywood bombast. This proved me wrong.
@@nicholas72611 J.W. has EVERYTHING in him. He is "Mahler of our modern times".
Walter Benjamin is not dead. It's gorgeous.
Yeah, he's OK.
How dare you tube drop in random ads in a piece like this. Totally disgusting and uncalled for.
AdBlock is the way.
19:24 is greatest
Ah
Try to make a mock-up of this piece and you will see my frustration with non real orchestral instruments a 🤣
who are the 4 assholes that didn't like this?
way to rip off Firebird in the first 10 seconds!
And Ligyeti at 8.23 ( Lux Aeterna and sections of the Mass, as used brilliantly by Kubrick in 2001 A Space Odyssey). And the first 40 seconds are very reminiscent of the opening pages of Ravel's Piano Concerto for the Left Hand. But all composers borrow or are influnced by other composers' music. And there is no doubt that Williams is a master.
"Good composers borrow; great composers steal." (Igor Stravinsky)
@@paulybarr Definitely the Ligeti. There's a lot of Debussy and some Respighi in these harmonies too.
I don't think Stravinsky cares or Williams.
It's vaguely similar but idk how you can go as far as calling it a "rip off."
Walter Benjamin is not dead. It's gorgeous.