Leaderboard

Here's my crack at it.

(Source: Soundtrackboard, Alfred Hitchcock papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences)

Description for the Music as promised [In reply to] Edit | Delete | Quote | Reply To This Post Ok, here are story points for the Four pieces, it may make the listening a more interesting experience. Crickhollow: 0:00-0:20 The hobbits arrive hastily at Crickhollow After being chased by the wraith, their doom still lingers in the music 0:20-1:10 Frodo explains Gandalf set him on a mission. Ring and Gollum theme sound in the oboe as subtext, though laced with major chords, the peril is not yet clear to all of them 1:10-2:00 Frodo speaks of the riders, where they may come from 2:00-2:25 they argue about the dangerous journey, and that Frodo doesn't want his friends there 2:25-3:00 they speak about having to pass through the old forest. The Withywindle and Old Forest theme sounds for the first time, but in major. Merry and Pippin want to come 3:00-3:35 Frodo is Glad, and they convince him 3:37-4:03 Frodo can't sleep, hears noises, afraid of the rider 4:03-end Frodo dreams of a high tower and the sea. Journey Back sounds in fragments. The Withywindle: 0:00-0:12 They approach the hedge, Shire theme in low registers, this is a treacherous part of the Shire. 0:12-0:22 they pass through the hedge 0:22-0:54 they gaze at the forest with awe, slowly begin to press forward 0:54-1:47 the journey begins, changing between being afraid, and jovial chatting 1:48-1:55 they come to the Open area in the forest, it spooks them. 1:55-2:37 journey Takes a darker turn 2:37-3:08 they arrive at the shores of the Withywindle. It's a gorgeous view at first 3:10-3:50 they smell something in the air, the Feet and eyes become tired 3:50-3:59 the old willow comes into play 3:59-4:27 the Willow's lullaby based on its theme introduced before on trombone. Frodo faints. 4:28-5:00 Frodo and Sam in panic try to free Merry and Pippin from the willow 5:01-5:13 they hear singing in the distance 5:13-5:21 Bombadil arrives 5:21-end Bombadil commands the willow. Intentional nod to the same moment with Treebeard in Two Towers The House Of Bombadil: 0:00-0:20 Bombadil leads them to his House, Bombadil's song 0:21-0:31 Bombadil's house reveal. Inversion of nature theme in major 0:31-0:59 The hobbits carefully enter the house, enter the main room 1:00-1:21 Goldberry reveal, the melody is part of her song ("Let the song begin, let us sing together, of sun, stars, moon, and Mist, rain, and cloudy weather ") 1:22-1:37 Bombadil shows them around 1:40-2:12 Bombadil speaks of himself 2:13-3:12 Bombadil first speaks of Goldberry, River daughter, then of the Barrow-downs, and finally, hints at the Ring. Frodo hands it to him 3:13-3:24 Bombadil fondles the ring, there is tension 3:25-3:37 he slowly slides it on his finger 3:38-3:59 Tom does not disappear, the seduction theme cries shortly in the violins, then calms down. Goldberry's theme sounds tellingly in the harp as she smiles. 3:59-4:26 the Ring theme interacts with Bombadil's song in the violins. Tom calms the hobbits down 4:27-5:25 Tom tells stories about ancient times in this land, and how evil will always at some point replaced by good 5:26-5:44 Frodo lies in bed, looks out the window, sees the dark forest, a choral rendition of the willow theme sounds 5:45-6:04 the feeling of comfort takes over, Frodo dreams 6:04-end they spend a day or two in the house, collage of moments. The first pitches of Ring and Mordor theme sound, in combination with the Forest and finally Mordor's theme, it overtakes Frodo's mind again.

Hobbit Symphony in four parts confirmed by Doug on Twitter.

Here is a program that I was more than honoured to be apart of. A programme researched and written by Jason Drury. Jason once again presents a superbly written programme with intimate detail written with a passion for his subject of film music. aided and abetted by by two colleagues Roger Allen and Jan-Clare Side. Listeners will find this programme a fascinating insight into one of the worlds great film music composers. Listen and enjoy Thanks to Nick Redman, Conrad Pope, Chris Malone, Dirk Wickenden, Jeff Bond, Jason Needs, Steve Bramson, Tim Greiving and David Hocquet. Special Thanks to Erik Woods, Robert Daniels, Roger Allen, Jan Clare-Side and Kent Atelier Sound productions and archive recordings (Kaspaar) Programme includes excerpts from BAFTA’s interview with James Horner as part of their Conversations with Screen Composers series at the Royal Albert Hall. https://www.mixcloud.com/Kaspaar/the-life-and-music-of-james-horner-part-1/ Enjoy! -Erik-

Just for fun I made a sort of pianistic compendium of the themes present in ID4: Your browser does not support the audio element. Russell Casse's theme - introduced in track 3's "Russell Casse - Pilot" cue, and then returns at the end of the film/score for "Just In Case / Attacker Fires Up", "Russell's Packin'" and "Victory". Its the theme that opens the End Credits suite and then returns at the end to close it out. Your browser does not support the audio element. "Independence Day" theme - Introduced at 0:18 "1969: We Came In Peace" , pops up in "Evacuation", "Aftermath", "Alien Ship Powers Up", "International Code", "The President's Speech", "Virus Uploaded", "Russell's Packin'", "The Day We Fight Back", "Jolly Roger", "Victory", etc. Its in the End Credits suite from 0:42-1:44, 4:50-5:20, 6:30-8:14. Your browser does not support the audio element. "Darkest Day" theme - introduced at 0:37 of "S.E.T.I. - Radio Signal", big statements throughout "The Darkest Day", big statement at 3:45 of "Target Remains / Rescue", appears in "Mutha Ship", etc Gets a spot in the End Credits from 3:07-4:01. Your browser does not support the audio element. Alien theme - appears at 1:46 of "1969 (Film Version)", "Satellite Destroyed", "The Destroyers Detach", 2:19 of "The Darkest Day" (Destroyer reveal) Your browser does not support the audio element. Hiller's theme - Introduced in and used throughout "Cancelled Leave", it gets a sweet fanfare version in the final minute of "Base Attack / Canyon Chase", sad version in "El Toro Destroyed", its used in "Wedding", at the end of "Attacker Fires Up", at the beginnings of "Launch Tunnel" and "Jolly Roger", etc. Its in the End Credits from 1:44-2:55, 4:01-4:40, and 5:20-6:30. Your browser does not support the audio element. First Lady theme (though I think this is only the B section...it's hard to tell. It appears towards the end "The First Lady ____", in any case) Any obvious ones I'm missing? But yeah, it'll be interesting to see if any of Arnold's themes make it through, and if so, in what way they are used. But I doubt that will happen in the end. EDIT: Added Hiller's theme and The First Lady theme. Jay, I may have stolen some of your timecodes!

Very cool news! Now I am dying to know the exact content of the movements.

I have deleted them unheard from my playlist. Not yet really listened to Wintory's latest, but a quick run through the brittle, barren musical landscape confirms this composer's remarkable ability to deny his bosses the same old same old and come up with something that at least tries for something unique though it sure isn't an easy listen.

People will deny the CRs right up until they have them in their hands too.

Woah, coooooool. So much for all the "mimimi, it will probably not happen, mimimi, Shore is done, mimimi."

Been listening to a lot of A.I. Artificial Intelligence lately, the LLL release. This is a score I actually continue to like more every time I hear it; it's a freaking masterpiece.

That does look pretty fantastic!

Let the puns begin!

Wow! Excellent work!

If Williams doesn't score Episode XV, I'll riot. Nobody but him can complete the Star Wars quinceantillogy

Dude! JW could have another 20 years of scoring films in him! Don't say that!

How can you not remember the awesome moment when the Resistance X-Wings first appear on Takodana to rescue Han, Finn and Rey.

Glad it sounds like we'll be ending with a rendition of the TOS theme once more.

Definitely not vain . Reading a score is as close as you can get to talking with the composer himself. I am convinced that the benefit of reading a score, for someone who loves music, would be enough to justify the process of learning to read music, even for people who do not play an instrument (although in this case it is more difficult). Of course, the problem is that it takes time, effort, and to invest some money to buy the scores, so it is always a matter of priorities and possibility to balance with the other aspects of life. The latter problem can be in part avoided by studying public domain scores, most of which can be downloaded for free at www.imslp.org . And definitely, John Williams' scores are not the way to go for beginners, since the orchestra is always big and one should start with smaller ensembles, just to learn to read several staves simultaneously. Besides piano music, the first scores that I read with the intent of "understanding everything" were rather simple pieces, like Mozart's "Eine Kleine Nachtmusik" and Vivaldi's "Four Seasons". Only strings (so, no transposing instruments), just a few lines to be read at the same time, and simple harmonies, rather easy to grasp after some training. Williams' scores are much more complex from every point of view.

7:23 onwards. Or "What Is Your Wish" on the La-La Land set for unabridged/uncut version. One of the most poignant passages of Williams' career.