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I'm not actually a massive fan of the SW Main Title. That being said I really enjoyed assembling my personal playlist of TLJ which starts with The Rebellion is Reborn, which then leads to... well, here you go. 😄 https://drive.google.com/file/d/1c7_drpSdTytWvespnxgWYuCLO0AU2stc/view?usp=sharing

Dude. You came into the thread and told people to stop having the discussion they were having. (Or, as you just put it, "get the hell outta here.") Then you said it again just now, while incorrectly claiming that I've been focusing on the release's shortcomings. (I've been extremely complimentary.) Not sure what to tell you, bud. Anyway, I'm sorry if you're annoyed by me; not my intention. Feel free to avail yourself of the forum's "ignore" functionality; I think I may explore it myself.

Anyone who develops the impression that this set is "deeply flawed" needs to have both their hearing and their reading comprehension checked, haha. I'm not aware of any members that are disappointed with this set in the slightest; it's obviously been crafted with great care, and the results are incredible. Also, some people have noticed some small hiccups in the source recordings. It's possible to love something while also noting its minor shortcomings. If you prefer an "ignorance is bliss" mindset - not entirely unreasonable! - I'd recommend you don't participate in discussions about the release. Or perhaps create your own "positive comments only" thread. But this is a discussion board. Generally speaking, people are gonna...you know...discuss.

The standard OST should have been 1 disc, very much like the LOTR ones. The deluxe fancy editions should have been 2 discs. Its so simple!

Has this been posted? Desplat: John Williams' Catch Me If You can should have won everything. His opening titles is forever. Just for that he should have had the oscar. Done. Genius.

Disc 3: my thoughts. Opening with the children's suite is a great idea. Hearing the entire thing as a whole for the first time in ages was really refreshing. Though I don't like Fluffy's harp, those violins in Diagon Alley are such a delight, Quidditch is wonderful and Harry's Wondrous World at the end works so well, especially because it references previous movements. I do think that including HWW on disc 2 was a bit superfluous/overkill: I know that's how it is in the credits, but now it's a little repetitive and we have HWW in Chamber of Secrets again too. I would also have preferred the pub music to come first, because that flute solo is Hedwig's theme yet again. The vocal Hogwarts forever versions is great, Hedwig's theme for harp is a little weird but great fun, the coke ad is as magical as ever, but the teaser music is rather redundant. The trailer is interesting because it was seemingly recorded in a smaller studio or by a small/inexperienced orchestra and given the short running time of this disc, I think it would have been nice to have Owl's Flight at the end of a Dumbledore's Advice reprise. It would have given Hedwig's theme a well-deserved break and casual listeners might have had a better idea about where the cue belonged.

OSTs from: 😍

Return to Oz by David Shire

Really? I've come around. I love this score! Tons of great themes, setpieces, and cues! Many have such negative feelings towards this score because of WR! I blame WR!

Disc 4: my thoughts. The difference in sound quality between the OST, sessions and this one is striking. What a detailed and crystal-clear mix. Having said that, there were a few minor issues. The Escape From The Dursleys was a little too quiet. The beginning was certainly okay, but the action material could have been a tad louder. I'm beginning to understand most of the track combinations now and it's clear to me that Williams or Matessino don't like to end tracks with 'cliffhanger' endings. While I totally support that decision, Flourish and Blotts - Harry Meets Lucius Malfoy doesn't make much sense to me. The transition between The Train Station and The Flying Car isn't done very well, which surprised me a little because I managed to make a better edit (in my opinion, of course) two years ago by just crossfading the two sessions cues and my editing skills aren’t the best. The biggest problem here is that I can hear the end of Train Station suddenly fading out, The Flying Cr starts a little too early and is too soft as well. This change in volume doesn't really make much sense to me and Whomping Willow is way too quiet too. Harry Is A Parselmouth is a really interesting little cue, but if they don't like 'cliffhanger endings', wouldn't it have been great to combine that cue with Petrified Justin?

I think this set is the holy grail for most of us JW fans! The problem is, if all of us start pointing out the tiniest flaws, the rest of us cannot unhear them (or start noticing them as well), and before we know it, we might get the feeling that this set is deeply flawed and riddled with glitches. There really should be a separate thread just to discuss the flaws and glitches and whatnot!

My piano concerto album is finally out on youtube/itunes. Recorded at Abbey Road - hope you enjoy.

Hello folks, Was going to put this in the Composer’s Thread, but I really want to bring the film to your attention and not just the score! Fog on the Barrow Downs is a new Tolkien “fan film” which is currently in post production. “Fan Film” really sells it short I feel, as the quality and passion that has gone into this film is extremely impressive. It’s an original story set in Middle Earth, written and directed by my friend Patrick Robinson, who is also undertaking acting, costume and prop design, cinematography, sound design and visual effects and almost everything else. I will be composing the score, and have written the cue for this trailer. I told him he really needed a better composer than me, but he’s quite insistent that they’re all dead! Without further ado, here it is! I hope this whets your appetite for an interesting little excursion into Middle Earth!

Well now you know that's not the reason. But don't worry, your nightmare will be over before New Year's Eve

I thought Double Trouble March is 1:04-1:31, with the podcast/film version replacing 0:54-1:04 of Dumbledore's Warning with either 1:14 or 1:27 of DTM

No there is no difference between the theatrical or Extended version.

Had to order this, such an amazing score.

Pretty sure you’re just hearing a written break in the music. It does that in the film too (except the part before the break was replaced with an edit of the second part) Nah. I need to listen to this again to explain what’s going on better. I’m Jay can though.

Of course it is. And the makers knew that exactly well. It was the price to put on the screen what they put on the screen. But let's not clutter this thread, there are - god knows - enough threads about bad 80's action movies and the lack of variety here is really driving me nuts.

I have an idea the entire movie of CoS was temp tracked with the score of PS!

So it was recorded that way, repeating the cue in a single take? Interesting. I assumed it was two different takes - the one heard in the film, and then one that matches the sheet music (with the extra ornaments on the harpsichord part).

That's fun! A shame we don't have the TLJ recording to use instead, but that's surprisingly good.

Red Sparrow - James Newton Howard Silverado - Bruce Broughton Valerian and the City of a Thousand Planets - Alexandre Desplat

Rambo: First Blood Part II is a superb action film!

Doesn't it contain two different takes of "Double Trouble March"?

RIP June Whitfield.

It has the most badass theme. I'm usually not one of those people because I'd just prefer the music be good regardless of the presence of any melodic themes. However, in Rambo III Goldsmith introduced an entirely new theme (It's musically related to the original) and puts it through various permutations. It reaches peak badass in tracks such as Under and Over, Night Fight, Final Battle and I'll Stay.

Are you this obnoxious in real life too? I made a suggestion, that's all, and told how I personally felt. You can disagree with me, but don't tell me right away what basically amounts to "Get the hell outta here!" This thread is titled MUSIC discussion. If you don't want people here who prefer to discuss just the MUSIC (instead of focusing on glitches and flaws and shortcomings, like you), then you should create your own thread.

Actually I cannot imagine an official release just for this. If it is officially released, then probably as a part of a compilation, or maybe as a bonus track.

The HP1 OST version is on disc 2, just without the bars cut

That's my pleasure! Visit my website now: http://www.goplanete.com/johnwilliams/music/disco/albums.htm. 😁

I just received the new Harry Portter set the other day so I’ve been listening to those scores off and on. Someday soon I will sit down and listen to them all in their glory! I’m very happy to see that the new set includes the children’s suite, I’m a huge fan of Williams’s chamber works. I can’t get enough of the wonderful counterpoint and his rich harmonies in the Quidditch piece! Also, I’ve been really into Hook lately. The arrival of tink track (specifically in the extended release edition) always manages to bring a beaming smile to my face!

Thanks everyone for your replies! This piece played on the organ would be magnificent!! I am sad sad that there is no plan (thus far) to record/release it. I can’t get enough of his lush Americana orchestral pieces! Hopefully someday! Hope you all have a good day!

Sorry @Josh500 I guess it's because these scores were my holy grails, I love the music, but I thought I would share the only few flaws I've found with it. 99.99% of the set is amazing!!

I understand, but i hadn't watched any before. Maybe one or two eps in Sky Channel in the 80's. Might have been season -4 or -5.

5 years today. He was a quintessentially Polish composer. His music really captures what this country is about. No one else could quite evoke its soul with as much ease and elegance. Karol

As a huge fan of the maestro, you should be able to tell immediately that the trailer music is modern trailer house fare and not Johnny Dubs.

The Polar Express by Alan Silvestri He really went all out with this one - such a beautiful score. Fingers crossed for an expanded release one day.

Black Panther...and both Creed scores. The latter ones show that he can write and really properly develop a theme. I think the main Creed theme consists of no fewer than 3 sections. It's first rate stuff and he runs with it. Karol

I don't see any problem with it. His Black Panther score was great

La-La Land Records was right on the money when, in their birthday wish to the Maestro, they teased on working with him on upcoming projects and that 2018 would be "a year for the books." With Land of the Giants, the 20th anniversary of Saving Private Ryan, the 25th anniversary of Schindler's List, and the Harry Potter 7 CD set, 2018 certainly was just that. As we approach 2019, what upcoming expanded, remastered and definitive releases of the Maestro's work do you think will happen? I predict a remastered, expanded and definitive release of the Maestro's score to Superman in commemoration of the 40th anniversary of the film. I also predict that the Maestro's score for Amistad will get the remastered, expanded and definitive treatment. In the meantime, I am enjoying the releases that happened this year, as well as all of the Maestro's music, and I look forward to what the Maestro will bring in 2019. Merry Christmas, and have a Happy New Year.

This is just anal minutiae/semantics, but has MM, MV or someone with their status, abilities and knowledge confirmed definitely and indisputably that Jane Eyre was lost? If they have, the colour should be red, if not, maybe the wording should be "Session tapes believed to be lost to time" - you know how it went with Dracula!

Alexander Bernstein, Nina Bernstein Simmons, Andris Nelsons, Jamie Bernstein, John Williams, Steven Spielberg, and Bradley Cooper.

Cheers mate! A clip of the performance:

I like you.

The problem with Yates' films isn't that they're too dark, it's that they're dull and dreary.

Ugh, I hate that scene so much. It's kind of amazing how Yates turned one of the most coolest moments in the books into something so lame. Even Christopher Columbus could have made that scene awesome.

That's the weird contradiction of the later Potter movies is that they tried their damndest to make the threat dark, gritty, and real, and yet they were perfectly willing to trade a gruesome death scene for a notable character in exchange for a bit of slapstick. David Heyman claimed they thought it would look silly, so I guess they just decided to go even sillier? Maybe it was a studio note in reality, who knows. David Yates, Steve Kloves, and their biggest fans claim those later movies prize character above all but then you look at some of the stuff they invented for Part 2, the time spent on blowing a bridge up with really no insight into Neville's leadership in the process, or elaborate battle scenes with no palpable sense of fear (except comically, like Flitwick hopping around), or extending the Harry/Voldemort duel into several nonsensical action beats that for me aren't especially exciting and really dilute what should be the intense emotion and revelation of their final conflict. Bellatrix and Voldemort don't die, they explode into puffs of confetti. Oh, but it's grey, not multi-colored, how dark! Where's the humanity? When Molly says "Not my daughter, you bitch" you can barely even tell Bellatrix went after Ginny and you certainly don't see Molly take notice so the line has no power and just amounts to fan service. Then it's a bit of silly mickey-mousing action music, boom, pow, Molly wins in about 10 seconds and it's done. Where's the character? Where's the struggle?

This sounds like it comes from someone who hasn't a clue what the Wizarding world is about, and I doubt you know a lot about it. JK Rowling, in the first book alone, included an 11 year old boy burning a man to death with his bare hands, a double murder, tales of war and torture, a man being possessed by another, his head grafted onto the back of his head, the consumption of animals for power...the books are dark. The source material is certainly darker than any entertainment brand today. Star Wars and Marvel are both "fluffy and light" in comparison to Potter. Again, I really can't lay a finger on what exactly you mean by "how little was actually there" when they turned dark. They were dark from the beginning, and it was apparent she was building up to something. You keep on inventing your own weird names and mentioning organizations of Quidditch leagues, except...since when has that been the limits of Rowling's political relevancy when she's literally written about war crimes, geonocide, mass murder, mudblood death camps, kangaroo courts, torture, assassinations, human trafficking, prohibition, the murder of children...like, at least try to care. Your justification for calling it "light and fluffy" seems like a mindless attempt to trivialize the series. This woman wrote an 8 installment series about a boy coming to terms with the increasingly violent world around him and the losses he had to go through to mirror her own experience with the death of her mother, suicidal thoughts, and depression and it's told really quite excellently. The fact that an entire generation clung to it more voraciously than any generation has before to a story, and have come to Rowling to tell her how her books got them out of depression, gave them the strength to confront abusers, accompany their child as they died from cancer...to say it has no substance and is light and fluffy is an insulting, patronizing, bald faced lie, and it flies in the face of everything the books stood for. The books never attempted to be "light and fluffy" outside of a few irrelevant world building details. They were dark books. No ones claiming it's the greatest piece of literature ever, but for highly commercial fantasy, it's really quite mature, and lying about its tone and patronizing it to disclude it from the creative conscious is really disrespectful. This is the forum that will praise Star Wars and Jurrassic Park, both of which are much lighter and fluffier than JK Rowling's Wizarding World, (particularly the former: Ewoks, Jar Jar Binks, farting aliens, come on people,) so I don't really understand the voracious hatred and dismissal of her work. Basically, the Potter stories are dark and tragic. They're not light and fluffy in any significant way, and you're not going to find many people who will agree. The "heart of the story" as Jo claims, is the scene where Harry walks into the forest and uses the resurrection stone to confront the murdered loved ones he's lost, and use them to comfort him will he died for the community that took him in and gave him a family. Cursed Child sees him bonding tearfully with his son at the gravesites of everyone he lost. And at the end, he built a family. Something that was ripped away from him at age 1. For something so commercial, that really is quite mature and tragic. Cultural elitism doesn't get people anywhere. Sorry.