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Uh...what the heck?!? Just saw this on the Entertainment Weekly site!! https://ew.com/movies/2018/11/17/john-williams-new-music-disney-star-wars-theme-parks/

Disney Executive: Mr. Williams, we'd love to have you write some music for our new theme park! You can write anything you want, so long as it sounds like Star Wars... Williams: Music for a theme park? Oh, I... think I'm much too busy with concerts to help you with that, I'm terribly sorry... Disney Executive: Oh that's a shame, but no worries. Michael Giacchino has already offered to assis-- Williams: You know, now that I think about it, I have a gap in my schedule next week! I'll do it.

Giacchino is the leverage Disney holds onto to make sure Williams keeps writing Star Wars music Tuesday: “Oh, you don’t want to score this commercial for Eggo Star Wars waffles, Mr. Williams? Maybe GIACCHINO will do it!” Wednesday: Entertainment Weekly is excited to premiere John Williams’ brand new score for Eggo’s exciting new Star Wars frozen waffles: “Syrup of the Fates!”

Oh wow! That was one of the better concerts. The brass, man! And percussion too! It also helps that this is the least meddled with score in the series and it is allowed to really shine. And boy, it certainly did last night! I hope LSO does Empire too. I also surprisingly enjoyed watched the film itself. It has been a while and it was never my favourite. But by having experienced it with enthusiastic audience at the RAH with LSO playing made it really special. I can now sort of understand why people went crazy about it when it first came out 41 years ago. Oh and it was great to see @Marian Schedenig @ChrisAfonso and @Bilbo for a couple of drinks as well. And @Jim Ware briefly as well. Karol

It would be so easy to just recycle old motifs. It might even be more "popular" for the park visitors. But this is absolutely wonderful. It's fresh and exciting, and it is undeniably Star Wars music. I can't believe we are so lucky that he is still doing this sort of thing. Bravo, Maestro!

*theme plays* This is a Galactic Breaking News Update "Good Evening. This report is just in. Emperor Palpatine had dissolved the Imperial Senate. We go live now to our reporters on the ground in Coruscant."

5 years ago, I never fathomed that over the course of 4 years we would be getting more John Williams Star Wars music than we ever did during the OT and PT eras. Great to see the man continuing to fill this universe with his musical sensibilities. Thanks for the scoop, Tranders.

Yes, sources tell me that Williams marked the score ‘sine vestibus’. He is always pushing the envelope.

I reckon we need to have a referendum and settle this once and for all. Because that's what referendums do! Karol

You missed the opportunity to say "a surprise to be sure, but a welcome one."

I think it got lost in all of the drama of reporting defective Dracula discs before ripping in EAC. True, but I also think it's disingenuous for some here to either implicitly or explicitly devalue the perspectives of those who are not big fans of this new piece. There was a fair amount of Star Wars music from the last few years that I really got a kick out of when I heard it...this piece, not so much. Not to say my feelings can't change, but ultimately my feelings on this one are very much in line with how I feel about the middle stuff from the recent Star Wars scores. Like you, though, I do appreciate the sound of this one; I've been saying for months that with 2015 and 2017's scores, I can barely hear those great harmonies that John Williams has always spewed out like sweet nectar juice, it all sounds so...opaque...everything is so much more clear in this tune; I'm sure the recording plays a huge role.

I couldn't agree more. It was the first thing I noticed, the recording...it sounds how I wish the sequel scores sounded.

next thing we know he'll be scoring the next Battlefront game himself

What a cool surprise! I like it quite a bit! Can't wait for the Mike Mattesino expansion of Galaxy's Edge! Will be much easier to locate than Botanicus.

Scheduling. The scoring sessions for episodes 7 and 8 took place over many months. It just wasn’t possible even if Williams was willing to spend numerous months in London and make repeated trips there.

If the dubbing actor beats the original, I take the dub.

Jane Eyre by Bennie Herrmann Karol

Hedwig's Theme at 0:07 Thats it.

Lucky for me that I've never cared much for these scores.

Without me, there is no site!

Hook and 1941 by LLL are very pricy meanwhile.

I doubt it Joe, only because the video was obviously recorded several months ago in the summer. Many of the musicians are wearing shorts (and some are even barefoot!), so I guess that John Williams must have written this music several months ago. We had a very hot summer in London but late October is not really shorts weather in the UK, unless you are in Newcastle.

We decided that it’s officially pronounced “Stiff”

Let’s hope for a full concept album of Star Wars theme park music!

*pushes up glasses* Actually, Poe's theme, the new Solo themes, and much of today's Galaxy's Edge material are in minor keys. But technicalities aside, they certainly are more optimistic-sounding than a lot of the post-TPM material. That being said, don't forget that (entirely unreleased) melody that Williams used for the arrivals on Coruscant and Utapau in ROTS - it's made up entirely of major chords!

You ought to start the 'Harry Potter/Fantastic Beasts Disenchantment Thread'

Those are two separate themes. The theme that you link above and call their love theme is their love theme. And it is reprised in Grindlewald in a choral version in the track below (0:12 - 1:12). The Queenie theme (that I quoted above from Spread the Word) is also heard on flute in the track from the original film that you quoted but starting at 9:37 (9:37 - 10:07). So there are two separate themes I think (Queenie/Jacob theme and Queenie theme) and both are reprised in Grindelwald. I think the main Grindlewald theme is heard here from 2:24 - 2:36. This theme was played whenever he appeared, kinda how Williams plays the Kylo Ren theme whenever he appears. I distinctly remember this theme being played when Grindlewald appears for the finale but I can't find it on the album I think. It should be between Leta's confession and Visions of War. Or maybe it was tracked in the film.

Which is funny, because Haab somehow evokes Williams style so well, especially Prequel-esque moments, and now this. It's no Adventures of Han, but we just got another John Williams work and it was pretty well out of the blue. A great surprise and it's pretty good. Does sound a bit like a newsreel, but I think I like it. Looking forward to more material. It really goes to show you how versatile JW is.

I can understand why casual Potter fans, or non Potter initiates would find this film problematic because it is so dependant upon exposition and callbacks to Deathly Hallows (the book especially) that the film feels over-stuffed and convoluted if you aren't invested in every little detail. As a self-professed Potter devotee, I loved this film, moreso than the first, I think they did a great job of building from the strong foundations of the first film whilst being respectful to the wider universe. The acting, the effects and score are all superb. Yates hasn't been my favourite director of the any of the Potter films though, all of the Potter films and these Beasts films are grey, dull, drained looking things that feel like all the magic has been sapped out of the world. I think people need to be patient and wait to see how this story plays out, because, more than anything this series is a vehicle for Rowling to broaden the backstory of Potter, and perhaps the development of Newt, Tina and the gang can occur best over a series of films... @Matt C Who's to say Kloves etc. didn't give Rowling a few pointers? The screenplay wasn't weak and all props to Rowling for pulling off two films this far that have screenplays more competent than the most recent bout of Marvel films. The film's box office has already assured the continuation of the series. I think you're being a bit over dramatic.

I guess we're lucky to be "old", getting the limited releases like TOWERING INFERNO right when they were released.

For sure. Some of my favorite music has taken years for me to start to appreciate, and I won't pretend to know what I'll think of Williams' current output in 30 years from now. I'm simply commenting that my particular brain at this particular moment in time gets more pleasure out of some of his old stuff than his new stuff. It's like comparing a delicious, familiar home-cooked favorite straight out of your childhood to an interesting new dish you try at a restaurant. One may be legitimately better than the other, but there's no avoiding the fact that our preferences are molded by the passage of time - and that early experiences can have a profound effect on what you enjoy later in life. I wonder, for example, what my musical tastes would be like now if not for the early exposure to Williams that I was fortunate enough to experience.

I love it too. It's my favorite "sequel" concert version

Mike Zeroh didn't see this coming

John Williams - Rosewood (C&C Playlist)

It reminded me of The Mission and Great Performances more than anything.

I think he's just writing as much as he can while he still can .He can't wait several years for Spileberg to make a movie anymore

It's a bit like Gordy Haab's Battlefront - gets across the atmosphere but doesn't dig deeper into memorable melodies or have too much heart.

"Disney tells EW there will be even more music for the 14-acre park expansions from Williams, who is also working on director J.J. Abrams’ Episode IX for next December."

It’s currently 40% on Rotten Tomatoes, which is pretty dreadful. This could be the wake up call WB needed.

Yep, if things come to pass as we hope (Superman + Schindler's List + all 3 Potter scores), I'll be getting all 3 releases. My poor wallet. Still, better to just rip the bandaid off. Shipping will be cheaper in the long run.

That's nice.

Nom de Dieu de putain de bordel de merde de saloperie de connard d'enculé de ta mère!

Scan it with EAC before complaining, for fuck's sake!!!11

Looks like a little road trip to Tanglewood to see SW live. Since I hadn’t had the chance to see it yet.

Chose an avatar or shut up.

...or...don't buy the faulty CD. Instead, send your cash to me, so I can buy some food. Potatoes are nice, you know, boil 'em, mash 'em, stick 'em in a stew.

The suddenness of this handheld sequence (and a few later on) after the otherwise static camerawork in the film produces a quite urgent, immediate feeling. It's certainly an experience in 70mm. Sadly, there were audio issues at first; they started later than planned, then had no sound over the main titles, stopped, continued after a break, still had no sound during the early scenes, then took a longer break and finally continued with sound one hour after the scheduled start time. After the intermission, the projectionist apologised and explained why they couldn't simply start over from the beggining, which I think was fair enough. It wasn't the cleanest copy, although considering the film's age, I don't know how pristine analogue prints can get. Plus I was sitting rather close (10th row) to the huge screen. Still, I think technically a good home theatre setup with a huge screen (basically filling a whole wall, possibly with 4K) and no neighbours so you can turn up the volume could be comparable to a 70mm screening, perhaps even superiour in quality to the print I've seen (which had the occasional scratch, and wasn't too sharp in some of the details - perhaps that's the source material, but at least it shouldn't lose anything in a high res scan). But short of that, even a 2m+ wide screen at home coupled with a reduced audio volume cannot compare to the impact and immersiveness of seeing it on a huge screen with an audio volume that comes close to splitting your ears with the shrill alarm signals and the wilder Ligeti bits.

So here it is: my "Magnum Opus" so far. The alternate Chamber of Secrets OST. @Smeltington sparked an idea back in February of a presentation which focuses more on the new material, so I thought it would be fun to try and assemble one that's a pleasant listening experience. 6 hours of mind-racing, 8 hours of sleep and a whopping 3 hours of actual work later, I already had the finished 79 minutes through 18 tracks, and I had a blast! I deliberately moved out of my comfort zone to create a non-chronological presentation (which I succeeded in, for the first half at least), and it was surprisingly liberating and refreshing. Focusing on new material meant throwing out cues from the word "go" (bye, Aragog and Flying Pixies!), removing sections of old material from otherwise fine cues, or isolating little stretches of goodness and finding a way of inserting them elsewhere. Thankfully I did this bleeding craziness last year, that helped speed up my work enormously. There may be some wonky edit there - some come from the concept itself, some from necessity and some I didn't bother much to clean up - this is only temporary form the 128kbps session leak, anyway, I'll redo it better when I'll have the Matessino'd edition in lossless. Tracks: I will heavily appreciate literally ANY feedback! Track-by-track description: (I recommend not reading it at first, just trying it blindly as a listening experience, I also placed a number of intentional surprises in the tracks) Overall, the percentage of new material may be pretty close to the OST, but I skewed the Old-Adapted ratio pretty hard in favour of the latter, so it doesn't feel that way. Also 9 minutes longer, yaay! (Don't ask me about the exact percentages, I did this 5 months ago. My analysis is there, suit yourself to piece it together! )

I got this CD yesterday and cannot recommend it highly enough. I count this as one of the best film scores ever written and this new recording elevates my opinion of it even further. Despite the fact that a lot of the cues are quite short, the album works really well as a cohesive listening experience from start to finish, including many cues reconstructed from Vaughan Williams' original manuscripts and recorded for the first time. The music is unmistakable Vaughan Williams but several cues have always sounded quite Herrmannesque to my ears. There is a wonderful clarity in the recording that improves on the sound of the excellent Chandos suite from a few years ago. If any film music fans are unfamiliar with this score and have avoided it because they think the music of this 1948 film might sound old-fashioned, they couldn't be more wrong and I would urge them to take a listen to this magnificent score. I would love to hear this as a live to projection concert with the film!