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Sleepers, by John Williams Now, this might come across as an hipster declaration, but this might actually be my favorite JW score. It contains a sonic environment totally of its own (I would reckon it's one of JW's score with less relatives) and allows us to trully comunicate with the music, in a similar fashion of what TheWhiteRider described concering the Brian Eno album. It's not that the music is nondescript (far from it), but conveys such an array of complex, undefinable and even paradoxal emotions, that the music needs the input of the listener to actually make some sort of sense. It's a score that sounds Autumnal. It sounds urban. It sounds innocent. It sounds desperate. It sounds violent. It sounds spiritual. It sounds triumphant. It's one of the most encompassing scores ever written. As fantastic this score is when the full OST is heard (and that's the only way the score actually comes to fruition and makes sense), I adore so many individual moments in this thing: The dreary, frightful ostinato (is it really an ostinato?) heard in the first track and at Last Night at Wilkinson (the first part of that track is alto terrific): The wonderful dissonance on the brass on Hell's Kitchen: The fury and propulsion of The Football Match (best appreciated in this video with the remaining audio removed): And so many others, like the full Saying the Rosary, or the theme that opens both Father Bobby's Decision and Last Night at Wilkinson. This score is an absolute gem. Regardless of me highlighting several passages, the OST must absolutely be heard in full. I hope somebody picks up this post and elaborates on this score in a much more thoughtful and eloquent way than I could ever be able to

A composer never sets the tempo too slow, nor too fast, he sets it precisely as he means to!

I've had fun transcribing odd bits and pieces of the score today. And I have to repeat myself: This really is a remarkable score. I can't for the life of me understand the negative reaction among some of the posters here, but then again, I never understood the initial negativity towards Williams' TFA score either. The main theme (which I think was, rather charmingly, conceived as a menuet, as heard in "Building Trust", and again in the end titles) is so beautifully constructed, its harmonic structure actually relatively unique among Williams' themes for its quaint and sweetly nostalgic sounding secondary dominants. I know I've said it before, but I also love how it sort of spells out 'BFG' (1-5-6; there's also an inversion of this in some of the B theme variations). For all its energy and brilliance, there's also a restraint to the writing befitting a mature master, and yet there's a freshness to the textural and timbral ideas that just baffles me. I really hope the more compositionally minded people on here continue to explore this score for all of the many rich lessons it has to offer...

FYI Disco Stu, the Alexander Nevsky cantata will be performed at the opening night of the BBC Proms season next Friday. The concert will also be on TV so might show up on YouTube at some point with a bit of luck. One of my all-time favourite film scores is of a similar vintage and was, I believe, the first film score recorded by the London Symphony Orchestra: Things To Come (1936) by Sir Arthur Bliss, undoubtedly the first great British film score. Legend has it that H. G. Wells asked if Bliss could score the film after attending a lecture the composer gave at the Royal Institute. Bliss delivered some magnificent music that immediately developed a life of its own outside the film - indeed, a suite of music from the film was conducted by Henry Wood at the Proms before the film was even released, to great popular acclaim; audiences just had not heard anything like it written for a film before. The score later became a favourite of Bernard Herrmann, who liked it so much that he recorded several selections for one of his albums after he moved to England. For many years the original score as Bliss intended it was believed lost. After Bliss recorded the score with the LSO, the film was recut and edited so much that the score had to be re-recorded under the baton of Muir Mathieson, with much of the great music that Bliss had written ending up truncated or cut from the final version of the film. Fortunately a number of shellac discs containing versions that Bliss had recorded were discovered in the late 1990s, enabling almost the complete original score to be reconstructed and heard for the first time. The march from the soundtrack is fairly well known, but I never see the rest of the music discussed anywhere. I am sure that film music fans who like the big orchestral scores of the modern sci-fi blockbusters would find much to enjoy in tracking down the modern recording with the BBC Philharmonic conducted by Rumon Gamba. In the clip below can be heard the cues Excavation, Building the New World, Machines and the wonderful Epilogue, the latter one of my favourite pieces of film music ever. The complete version clocks in at nearly eight minutes and is a glorious example of English music at its best. Not included in the suite is a fine medley of Christmas Carols arranged by Sir Arthur Bliss and immediately following the prologue. It's quite frightening to watch now, knowing what would happen in Europe just a few short years later.

Another one time a great proof of legendary Maestro. I'm sure of a thing: when John Williams write scores for Spielberg's movies his inspiration goes at highest levels. We all can hear in The BFG far echoes of "E.T", "Hook", "The Adventures of Tintin" (and also of Harry Potter's!)...all in the solid, great and immortal John Williams' style. A great Maestro remains a great Maestro for ever! Long life to John Williams, the most authentic and genuine Artist of our times.

The Matrix Reloaded and The Matrix Revolutions. It's been a while. I was worried that we overestimated Don Davis slightly and that his music might weaken over time. But a careful listen of these two sequels reveal his abilities way exceed those of other modern contemporaries, even if it loses some of its edge by expanding the concept. Yes, the two scores are decidedly more Hollywood in their broad epic scope and increased levels melodrama. Yes, they do abandon the anxious horror-like tension of the original and its excellent spotting. But as far as blockbuster music goes, this is about the last true attempt at creating something memorable in the massive budget cinema. Along with Shore's Middle-earth music, this is as good as it gets in the 21st century. It's instantly recongnisable as The Matrix music and that's something rarely achieved these days. The Ghost and the Darkness Karol

Yeah it's probably one of the most amazing arrangements of a song I've ever heard ! Not only is it extremely fun to play on the horn, but it also shows how good an arranger JW is

Oh I thought of one. Any time I get new speakers or headphones or a new receiver or anything like that, the first thing I play is the Star Wars main title ( doesnt matter which film)

I don't care what Bill Bailey says, I don't skip when the fanfare is playing...

Here are mine: - When I am at Midway Airport in Chicago, I always listen to the "Midway March." - When my flight is taking off, I listen to "I Can Fly Anything." Also, I'll be on vacation for a while starting soon and I'm not sure whether I will be on the forums quite as much during that time. So if you have a question for me or want to contact me (not that I'm expecting you would) and want to increase the chance of a response, please quote one of my posts or send me a personal message so I get a notification. I will probably still read the threads, but I might not post as much -- or maybe I will, we'll see.

pontification redacted

Is that really much of an accolade?

TFA is weirdly Horner-esque in how Williams repeats himself a lot of the time. Still, it's damned entertaining. The BFG has some of that repetition and ironically some Horner-ish sounding music (IMO), but it's mostly just boring. This thread reminded me to delete it from iTunes.

I knew TFA was special from the outset. To ensure that I wasn't missing anything as people did on that, I've now heard this new score probably ten times. I've picked things apart as you have, all that. Of course it's well-written. It remains "not my kind of thing" and I can still find new things in a Williams score from 15 years ago that are more salient lessons for me than what's present here. That's simply the way it is. Not everyone can be enamored of the same things. Need this even be said?

I tried watching it several times and fell asleep every time.

Space, the final frontier. Where the hand of man has never set foot. Sorry, I just saw the Start Trek poster and I tilted. The more I get old... and the more I love this score. All of it. The dryness of the desert scenes, the Binary Sunset, the Cantina Band, the love theme between Luke and Leia, the music inside the Death Star, the action cues, the Throne Room. For me it's a hell of a score... Every scene seems to have it's own colour, it's own theme. Probably because Lucas wanted a classical score and knew exactly what he wanted for each scene. Anyway, That's my best of the best. Both now and always, and unto the ages of ages. Amen.

It doesn't belong on any playlist. Save for maybe a "Never Listen to This" playlist.

ID4.

The Rock

Let's all just be grateful we got both versions regardless.

Braveheart

A few random thoughts and impressions I had of BvS. To me, it actually felt more like a Nolan film than MOS. Not in amounts of plot, but in its tone. It reminded me of Nolan's Batman trilogy but with less dialogue. There's a lot of just visual scenes and I don't mean action scenes. While I did not hate Eisenberg's Lex Luthor, I did find his "Mmm" a bit annoying. However, the big positive thing about this Lex Luthor is that you actually don't like him, you know, like an old-fashioned, traditional villain. Instead of being the one who steals the show or the cool dude that happens to be bad, you feel his negative presence. Finally villains are unlikable again. Will he make it into the best villain's of all time list? Nope! Not a chance. I don't know why but I'm so Amy Adamsed out! The big buildup is easily the best part of the movie. They don't throw in an action scene every 5 minutes to feed the audience. No, the movie takes its time to show each perspective. In fact, the buildup is so long, the hate was so strong, that it was an anti-climax to see Batman coming to his senses so quickly. That was a huge 'Huh?!' moment for me. Batman's long post-apocalyptic desert dream/vision sequence looked downright incredible. Weird and incredible ... Yeah! Gal Gadot as Wonder Woman pulls it off with much ease. See! Snyder can create characters! I dunno about the final act which to me almost felt like a different movie. BTW, I was never a fan of these superfights where characters are being kicked through buildings in a straight line. Oh, I almost forgot, I sorta liked the score. How about that? The sad Krypton theme, the heavenly choir voices, ... Overall, I thought it was very colorful. Must be Junkie's contributions, right? There's a scene where many people wanna touch Superman with their hands and it was very reminiscent of a scene with Jesus and the lepers in Jesus Christ Superstar. Is Snyder a fan? Just like me? As you have guessed by now, I was entertained but it's not a great movie. Maybe not even a good movie but it easily held my interest. Like Steef, I prefer this one over Man Of Steel. Alex

I prefer Horner on this one.

I a Will,gree with. It sounds like slow and tell.

You never listened to the Today Show opening, even when you were a schoolboy.

Certainly because the tune has been arranged by John Williams even if it's a Cole Porter song.

1:26-1:36 in "The Queen's Dream" kicks ass.

These are awesome. My horn teacher showed me your cover of the Asteroid Field which then introduced me to these. I wish I could play horn this good.

Seriously? I know you're an American, but jesus!

Marc, I just listened to all 4 parts this morning while working. Bravo, sir! The video montages are really neat; It's fascinating to see all the productions Williams has scored all together like this.... all the different major actors he's written music for, all the different eras and places the films have been set. The only thing I found curious about your selections was the extensive run-through of Anything Goes, since that wasn't written by Williams but by Cole Porter?

Rebecca by Christopher Gunning: Old fashioned and utterly gorgeous melodrama with excellent set of themes of which Rebecca's lyrically tortured one is the most memorable. Polyanna by Christopher Gunning: Simple, charming and sunny this album does not overstay its welcome at brisk 25 minutes and features an adorable upbeat theme full of childish innocence. Agatha Christie's Poirot (all available music from the series + concert suites) by Christopher Gunning: My own playlist gathering up all of Gunning's available music into a nearly two hour Poirot concert. A lot of variety, charming melodies, dramatic denouments, suspense and of course the classic theme make for a superb listening experience. This is the composer at his inventive best as he wrings most out of his chamber sized ensemble and really defines the TV show and its time, place and characters and most of all Poirot.

How good is The Queen's Dream? I can't get over how good parts of that track are, especially when that gorgeous piano section comes in. Short but sweet, one of those great little Williams touches.

Thank you again for all of it! I like the fact that it has action cues and lesser known pieces, I liked it back in the day, I haven't changed that much since

Horner. It has this magical and whimsical "we're at the movies" (as Terry Gilliam once pit it) vibe. Goldsmith's is great but it feels like it could be used for anything - sport event, coronation ceremony. Doesn't feel specific enough. Karol

OK I listened to a personal "top favorite" on my evening commute today. In my opinion one of the most essential film score recordings ever is Prokofiev's Alexander Nevsky full score performed by the St. Petersburg Philharmonic from the mid-90s. It's the only recording of the full score (as opposed to Prokofiev's cantata arrangement) that I've ever heard and it's glorious. I was lucky to see the movie in a college class many years ago and it remains one of my favorite Russian movies I've seen. Just listen to 3:10 to end here. Here's another favorite track: If you are so interested you can see the moment from the first highlight above in its original film context below. It's a non-Hollywood movie from the 30s so needless to say the sound quality isn't amazing.

Listening to Star Trek: The Final Frontier for the first time, and was captivated by this moment Especially the beauty of 2:48 and 3:00. Right on Mr. Goldsmith.

I listened to AI today, its a freaking masterpiece, that's all I have to say!

The Prestige is his best

Gerard Grisey: Les espaces acoustiques: Partiels