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I’ll bring this back to the “OSTs vs Expanded” topic; as I said before, this LLL boxset confirms what I already thought.

I actually updated the sheets for 1 & 2 this weekend Harry Potter 1 Harry Potter 2 I added tabs to HPCOS covering the recording session leak, and I put a new "Chronological Order" tab on both as well Of course the LLL editions of each of these are only barely out of chronological order, and I don't personally feel the listening experience is improved by going into these tracks and editing them, but for those who want to, now you know how!

Please refrain from personal insults gentlemen. And discuss the music of Harry Potter here in a respectful manner. Isn't there enough in the music of John Williams to celebrate without this constant petty bickering.

Josh, he's talking about Williams' score, not the actual Holocaust.

It's interesting how some segments of Azkaban seem to have more in common with Empire of the Sun, A.I. and Close Encounters of the Third Kind rather than with the previous two Harry Potter scores. And even Jane Eyre in more pastoral passages. It's actually a very chamber-like, quiet and creepy score for the majority of its running time. Doesn't quite flow as well as the other two but it's stylistically more interesting. Some of it is really chilling. Like this bizarre shakuhachi-like wailing in The Crystal Ball. For a fantasy film, this is really bleak scoring. Karol

Apparently so did you.

Got home to open my set! This was my reaction: EDIT: Thanks to Mike Matessino, @Jay and JWFan community for this set, it's been a long wait to officially get this and the magic that went into it, that I'm sure our other grails (The Star Wars Prequel scores) will one day receive this truly exalted treatment! @crumbs two individual teeth in two of the sets were broken, but not inside the set, i.e. they were probably broken during manufacturing. The rest of the set was in perfect condition. I'm just ripping the CDs now, so who knows, there might be a problem, but here's hoping not!

Hey gang! I decided to perform a little magic. It's the film version of Double Trouble WITH TOADS (and no sound effects):

hey guys releasing my orchestral suite and piano concerto this week here is a peak at the suite first to post at jwfan

Yes

Sounds NSFW

How dare you not compose a great score for an ugly awful movie, Danny you monster!

Finally finished a CoS suite of unreleased music, using Appendix E from Holko's Analysis:

Woohoo! Gonna make this a verrrrry long afternoon until I can get home 😫 Any luck with yours, @Arpy?

@Josh500, could you please stop these imputful, reproachful, statement-twisting comments. It is not a rare scenario that you twist somebody's words, comment them disdainfully and a few posts later you state the exact same thing that you just a few minutes ago critiziced populist-style. The offensive tone doesn't improve on the affair. And all that is just in addition to your arrogant comments which I'm not sure, whether they are serious or not. I hope your view on Germany and America is not really that one-dimensional as you often blatantly imply.

OK now I'm about to finish this album. I'm glad to report this was very much worth the purchase, at least from my perspective. I was worried it was going to be too repetitive and unlistenable in expanded form. As the liner notes explain, this music was written as a collection of 12 or so pieces and was never conceived as a Hollywood type of score with cues and thematic development. Once they realised they don't have enough music to cover the film Kilar quickly made so changes to orchestration here and there and recorded the same pieces time and time again. Kilar is known to be very fast so I bet he improvised a lot of stuff then and there. So yeah, as a complete listen it might not quite fly for a more Hollywood-minded soundtrack fans. But some of these variations are quite interesting and there is some new material sprinkled across the album. If anything, this set is a perfect opportunity to assemble your own perfect playlist from this score. I never liked the distant/thin sounding album so this gives me more to work with. It sounds SOOOOO much better on this album. I can hear new details and stuff like that. The liner notes are very good and feature information about the making of the film and the approach to music. Doug Adams offers quite extensive quotes that explain the uniqueness of this score in American context (not so much in Europe). It's interesting that he suggests this is the score that paved a way to a lot of what Zimmer is doing these days with Nolan. And he does offer nice analysis of the composition. He even compares the love theme to Williams' love theme and how they tackle the same subject matter differently. Most interesting. So yeah, at 195 minutes, it is very much an overkill. But it's also a perfect "toolbox" to assemble your own definite playlist. The no choir version of The Storm alternate is a terrific highlight actually. Much more brutal than the choir version. So a winner all the same. By the way. the suites at the very end of the album are really gorgeous. Karol

The Reivers 50th Anniversay Edition 🙏

December 15, 1978 what a day. Its Friday, my first emester is over. I was able to catch a ride home with my college roommate Jim. On the way to my house we stopped and got 4 tickets to tonight 7pm showing of Superman the Movie. I have been so excited since I saw the previews last summer. Most exciting is John Williams has composed the score. Well there was no disappointment. All I can say is wow, absolute wow. First the movie opens with a child talking about the Daily Planet which we see. The camera pans upwards to the moon. As it zooms past the credits start to roll. The music swells. I have goosebumps all over. Suddenly the Superman S explodes on the screen. I swear it was orgasmic. This may be John's very best score ever. I predict an Oscar nod for sure.. The film starts on the planet CRI KRYPTON. This is Kal-El's origin story. Marlon Brando is stoic as Jor-El. The lovely Susannah York is Kal's mom Lara. The two have appear briefly because Krypton is dying and the two must send their son to fulfill his destiny. I have to say the cinematography was SUPERb. The film appears to have two looks. The looks changes when the film shifts to Metropolis. There are some hilarious moments involving baby Clark when he arrives on earth. Again the time is Kansas is short but this portion is epic building. John's music tugs at the heart very hard. Clark is called by a glowing crystal that has him start his journey to his future Fortress of Solitude. There he learns his identity and meets his father. He begins his training which lasts for 12 years. Upon his completion understand the tagline you will believe a man can fly we're here. We see Superman for the first time as his fly at the screen and past it. The film switches to Metropolis and we met Lex Luthor and his two henchmen Otis and Ms. Tessmacher, Ned Beatty and the lovely Valerie Perrine. We're formally introduced to Lois Lane, Jimmy Olsen, and Perry White. Clark gets as job with the Daily Planet in some truly funny sequences. One of ny favorite parts of this movie or any movie in my 18 years is the Superman reveal. It is so exciting and funny. So much more happens in a series of highlights. Suffice it to say. The movie is great. I will be seeing it again soon. I can honestly say this is one of my all time favorite films. Its right up there with Jaws. What can I say about John Williams score? Its epic, it loud, its quiet and so much more. Richard Donner has assembled a film that is destined to be a classic. It will be a template for future superhero films. The effects in the movie are incredible though not perfect. The miniature work isn't the best. But the flying sequences are excellent. There is a sequence involving Superman and Lois Lane that is so romantic. The chemistry between actors Christopher Reeve and Margot Kidder is perfect. Reeve in his first starring role is going to have a great career in film. When the film was over the audience stood and cheered. My family stayed for the entire credit sequence. Jeez they are long these days. It seemed to go on for at least 5 or 6 minutes but it finished with the line that evoked another cheer. Coming Soon Superman 2. I can hardly wait.

Of all the musical ideas that did make it to all three films (apart from Hedwig’s theme), who’d have thought that the Invisibility Cloak would be it? Just listened to “The Three Broomsticks” again and noticed that it’s not just the ghostly synth gesture that makes a return but the whole harmonic/melodic idea. I’m guessing this has been known since the sheet music leaked but I wasn’t really around for that so this is news to me!

Someone needs to make a spreadsheet of all this!

My holy grail cue!

Oh yes! I think I prefer it to the original from HP1. I mentioned it earlier, but CoS just feels so much more raw and loose in the performance and makes it more fun and powerful sometimes to listen to. This is especially evident in the Quidditch cue. They just go wild! Yes it's always nice to make those multipart cues stitched together as they were intended. As far as combos I don't think there are a whole lot in the first two. I do enjoy little things like that new bit in the beginning of the Diagon Alley cue though, if that counts.

Oh wow! I can't believe it's coming today, it only got shipped on the weekend! EDIT: While this was uploading IT CAME!!!

If you check out the session leak you can see (well, hear I guess) that they just kept re-recording The Money Exchange over and over again, with subtle changes to the orchestration in every take (and they didn't do the entire cue from start to end in every take either). Recruiting is way more straight forward; They seemingly nailed this almost 9 minute cue in 2 takes! Anyway, the OST combined a different set of takes, edited in different places, than the final film did. The only thing that seems to have been recorded specifically for the album is Jewish Town (Krakow Ghetto - Winter '41) aka The Journey To Krakow (Introduction And Theme). Even the Remembrances (With Itzhak Perlman) track one would assume was an album-only concert arrangement was clearly intended for the film originally as the sheet music has "20M4 End Credits" right on top. Here's some more detail I found, if you're interested: Remember the cues in question are 2M3/3M1 The Money Exchange 3M1B Recruiting And here's what's in the leak (on disc 1) 08 2M3-3M1 Take 36 (Original) (5:53) 09 2M3-3M1 Take 37 (New) (3:34) 10 2M3-3M1 Take 63 (Rev) (1:55) 11 2M3-3M1 Take 64 (Rev) (1:54) 12 3M1 Take 38-39 (New) (4:09) 13 3M1 Take 40 (New) (3:43) 14 3M1B Take 41 (8:41) 15 3M1B Take 42 (8:39) Here's some old notes from @Henry Buck on how they were edited together

I think the sound effects guys added that

I'm curious to see Azkaban in 4K! I must admit, when I discovered the only real 4K HP movies are the first two, and the others are just upscaled ('cause their digital master is in 2K), I was disappointed so I never bought the UHD boxset, and chose the Bluray one instead. But I bet Azkaban in 4K still has bonkers colors and detail!

Three things I love about Italy! Pizza, pasta, and Italian girls! Not necessarily in that order. 😂🇮🇹

Thats honestly one of my favorite parts about expanded releases. Everybody discovers something new.

I think he's always felt a certain company with it...from his background, of course he listened to and probably played with many black musicians, holding many of them as heroes. His flute concerto was even written as a tribute to then recently deceased Eric Dolphy. Beyond that and what you mentioned, his pieces for solo cello, found on the Yo-Yo Ma album, also use African-American history as its lifeseed... I wanna say there might be other similarly inspired pieces later, but I can't remember. Overall, of course, his musical language has been heavily, and organically, shaped by 20th century black musicians; his music has a hipness to it you don't often hear in the orchestral world. This gives him, in my and other's experiences, a good amount of street cred in certain musician circles, that is _very_ rare for orchestral composers to receive.

Not officially, no. I want to say there were excerpts of it broadcast by PBS back in the day, which I believe some have access to and have never shared, for lord knows what reason. Being familiar with the piano version, I can say that it's not a major missing hole in Williams' oeuvre in terms of listener enjoyment. It's not a bad composition, and you can hear many classic and cool Williams devices on display (there's one movement--can't remember the name--that's absolutely gorgeous), but on the whole, Williams by his own admission has a hard time with vocal, lyrical writing...I think he's so instrumentally attuned, he writes vocal lines like they're instrumental parts! I would say that it's interesting in light of its subject matter...second to trees and nature, the African-American experience is probably Williams' strongest and most prevalent musical inspiration.

No idea where it is. Worst tracking ever!

What kind of movies would he have scored? Probably only a handful, mainly for producers and directors he previously was associated with, with regular calls for less than-respectable sci-fi/fantasy/adventure or thriller stuff What would have been his regular collaborators? More producer types, young-ish directors seem not to have much use for traditional movie music, exceptions How could his style have developed? Much like JNH's, away from heavy ornamental stuff but with a more refined, minimalist, elegant soundscape (The SUm of All Fears already points in such direction) Would his style have developed at all? Certainly not compared to the huge leaps of the 60's/70's/80's What would he have said about the filmmusic of our age? It's shite, mainly (viewed from within his sheltered Hollywood community) Would he have adopted to the current requests of directors and producers or would he have only collaborated with those people that still respect the traditional production of a film score? Yes, but there wouldn't have been much overlap with the kind of projects the younger crowd does, he would have scored a few movies with more old-style sensibilities How popular would he be by now? Would he have become a living legend like John Williams or be some random composer that scores shitty movies for over 30 years? He is a living legend even 15 years after his death. There probably would be more concerts and public appearances, but of course, without a thousand blockbusters and Oscars in tow, he still would have occupied a space below Williams or Zimmer, more like later Horner when the Titanic rose wore off.

@Josh500. When a person claims he doesn't feel certain music in a certain way or doesn't understand why many people react to it in a different manner isn't a reason to basically accuse them of trivializing the holocaust or II World War. Which is what you basically said: You don't see this as being at least a bit offensive on a personal level to Brundlefly? I don't think you can just say "Oh I didn't mean that with what I wrote. You should have asked for clarification before getting all upset." But let's get back to discussing the music itself now. Respectfully Your friendly neighbourhood Moderator

The '80s cinematic universe look that took into account that films (due to the huge success of home video) were more and more being discovered and viewed on a tiny TV screen and therefore actors were filmed in true TV style, meaning, much more closer (close-ups without surroundings) than was customary in the '70s, for example. TV dramatically changed the look of film in the '80s.

Doyle’s attempt > Gia’s I’m scared by that awful Force Theme Quote that sounds like the orchestra flubbed the notes 🤮

Nice @TSMefford! Despite loving the work that MM has done with the programme for Azkaban, I also couldn't help but create an edit of the film version of Double Trouble. Mine lacks the toads though hehe https://drive.google.com/file/d/1qSACGKeWHX2fayhKQk_qm1sfIYDnyIML/view?usp=drivesdk

Depending on who owns the rights, sometimes they will just slap information about the music used in the video description.

Agreed! I loved that track even on the OST album, but on this new set, it's even better!

Mine just arrived in Melbourne! Fingers crossed it clears customs quickly!

Can we just take a minute to appreciate the remastering of "The Werewolf Scene"? it's just such a change with all the drums and I love the melody that the strings are doing in that early bit.

@crumbsIt's arriving today!

Gold contraire?

Fixed

I don't think Arnold could have come up with anything quite as good as the solo violin lines that Williams wrote for the score.

Don't feel dumb, only something like 30 seconds was actually used there (don't quote me on the exact figure). While it's possible he scored some radically longer version of the scene that later got cut down, that doesn't seem too likely because there can't really be too much that more that can happen in that part of the movie . Honestly, in my personal opinion, I feel like he knew he just needed a little bit of the stone motif for the scene, and when writing he just got carried away and ultimately wrote basically a concert arrangement of the stone motif in the process. In my personal playlist, I prefer it in the children's suite instead of in the main program.

I'd like to see the Oliver Stone trilogy: Born on the Fourth of July, JFK, and Nixon. A 6-CD boxset. That's unlikely to happen, since all three movies were made by different studios, but I guess one can always hope. JFK is slated to happen soon anyway, so why not make a three movies deal out of it?

I did this list of all the songs that have been published. There's a list by lyricist at the bottom: https://sites.google.com/view/johnwilliamspiano/home/songs

Back when LLL's Hook came out, I remember we went through the exact same thing as we did just now with the HP set. Ordering the minute (hell, the second!) it went online, wondering whether it'll sell out within hours, days, or weeks, getting furious and impatient over the postal service being unacceptably slow and generally ineffective, agonising over what might be missing or what might have been screwed up on the album, almost insanely exhilarated and happy when it finally arrived.... Talk about deja vu! 😂

I've gone ahead and created a new spreadsheet from scratch for this score. So far, it only includes information about the SCORE cues, nothing about any source music. https://docs.google.com/spreadsheets/d/1tjZ3in_WVERGW9Kk6IcH3UqG002yv-oU6hJVU6Lv28o/

Pretty soon the Oscars will have only 3 people in the audience and 1 person nominated , because everyone else will have been disqualified or have their membership revoked for saying something 10 years ago that was politically incorrect or offended some minority