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No no this needs to end where it all began. A Trade Federation ship, some Neimoidians, and a perfectly legal blockade situation.

As a violinist that haven't practiced in a few years, this was a dream album for me. Hearing Anne-Sophie Mutter gracefully and skillfully play some of these themes in Paganini style makes me very happy and motivated. A true union of classical virtuoso violin and contemporary orchestral styles. For me, I enjoyed "Night Journeys" the most because of how concert-like it sounded. The main theme was already very concert-like among John's movie themes. Combine that theme with Mutter's cadenzas and it sounded like a movement from a violin concerto in the classical repertoire. But later in the piece, it always switches back to the familiar sweeping Hollywood romantic strings as if to remind you that no matter how concert-like it sounded, it was born from a movie cue. It's just pure brilliance to me. Other stand out tracks for me was "Hedwig's Theme", which clearly wanted show off Mutter's virtuosity as much as possible. Mutter's version of "Theme from Schindler's List" was taken at a slower tempo than I prefer, but still incredibly well played. It does not top Itzhak Perlman's faster version in "Cinema Serenade" or the slower version on the OST. Finally, the title track "Across the Stars" and "Rey's Theme" are likely the most well arranged pieces with great balance between flashiness and beauty. But honestly, I can say that for almost every piece in this album. I just love it so much. Shout out to the "Luke and Leia" and "Yoda's Theme" arrangements, which are both top tier beautiful Star Wars themes. Can't wait to hear the deluxe version. Rating: 5/5

Isla Luka

Over the years, Williams has treated film music with utmost care so as to make it more respectable in the Concert hall. Since the start of the millennium he has invoked special concert versions of the main themes of most scores. The main themes in the OST albums are written and structured that way and it's pure Williams genius as well as his embodiment of the craft that he has developed over the decades to optimise the life of his musical creations. So it's no surprise that since past few years he has been revisiting many of his themes including forgotten ones and reclaimed them back in New concert arrangements. This collaboration with the violin is a love letter to the concert hall and the remarkable induction of Anna Sophie Mutter in Williams own reportire will surely bring a long health perspective for a long time. I can see the Grammy on this already.

Not sure which video it was - I must have found it on YouTube, because here are the screencaps I took. My favorite part is that Williams seems to be referring to R2 as C-3PO here, unless there was some alternate early version where C-3PO was the one who shut himself down till the end of the film... I keep screencaps of that "Kylo Ren Arrives at the Battle" bit, too.

It would have to be a set. About a month or two ago is when Kevin Smith visited the set and got to see where the very last scene was shot and said it will "melt your mind". Obviously a "twin sun" scene would just be green screen. https://screenrant.com/star-wars-9-final-shot-kevin-smith-reaction/

Theme from Star Wars: Galaxy's Edge (David Newman conducting): Excerpts from Jurassic Park (David Newman conducting): Star Wars Lego introduction / Star Wars Main Title (partial) (John Williams conducting): The Adventures of Han from Solo: A Star Wars Story (John Williams conducting): Luke and Leia from Return of the Jedi (John Williams conducting): Williams talks The Rise of Skywalker, introduces the Star Wars Main Title (August 30): Williams talks The Rise of Skywalker - Star Wars Main Title (August 31) (John Williams conducting): The Raiders March from Raiders of the Lost Ark (John Williams conducting):

Yep, I prefer the sound of ROTJ-ROTS more than SW/ESB/TFA. TPM is as close to a perfect recording as I've heard (as heard on the UE, not the muddier OST). A shame all the scores have been treated so poorly on album when it comes to AQ. Hopefully I'll be able to re-evaluate my stance once I hear SW and ESB more accurately (please help us, Mike). TFA is probably my least favourite recording & mix of the lot. I'm not sure if that's just Sony (TLJ is a huge improvement in the same room) or was a creative choice, but it doesn't work for me on the OST.

Ending with the binary sunset would definitely be a bit boring. Maybe that’s the answer after TLJ though to satisfy the masses. Safe and fan servicey.

There's no chance in hell Rose's Theme began as a new theme for Leia. Rose's Theme is ok. Simple, optimistic, childlike, and lacking any interesting development. I LOVE The Rebellion is Reborn and I think it is the best way to show off 2 separate themes that don't have enough to stand on their own. Thematically it is a hot mess, but musically, I love it.

I've never much preferred the solo violin, either, but Mutter's playing and Williams' arrangements have really made me appreciate the instrument in a way which I haven't before. The Harry Potter piece is perhaps my favourite arrangement on the album; the energy that Williams has written into the piece, and the vivacity which Mutter can wring from it is amazing, it's like Williams is breathing life back into that world again and reasserting his command over his work!

Fantastic analysis! Stoked they managed to fit that into the episode. Their thoughts completely align with mine on the revised HS&TP suite. It definitely feels like Williams revisiting the theme for narrative closure. There's a melancholic longing for happier times, representative of their doomed romance -- and the tragedy that would follow in its wake (not only the destruction wrought by their son but the death of Han at his hands and, indirectly, Luke's as well). It's hard not to think Williams was influenced by Carrie's passing as well. Perhaps the concert suite of Leia's Theme didn't carry the musical weight he felt Carrie deserved, opting to write a new arrangement of her love theme as a more fitting tribute.

The film also has that awful music edit at the end of the Rey meets BB8 scene (to the very prequel-esque fanfare over the Star Destroyer), further evidence it was probably a late tracking decision JW didn't re-score. Would be great to hear JW's original intentions there, if that fanfare was the climax to his original cue. Clearly he was happy with the tracking idea though, carrying it over to his OST (and appending it with a short little cue from later in the film, also BB8 related).

Where will it put us, John

To my knowledge, no, he hasn't been forthright in coming out and verbally saying he was bothered by them. However, given that he was spotted wandering the grounds at Tanglewood prior to the most recent concert dressed as pictured below, I think we can make an educated guess as to where he stands on things.

In my spare time, I enjoy scanning in scores of classical music by my favorite composers and creating videos following the scores to upload to Youtube. I only do chamber/small ensemble music, as following an orchestral score in a Youtube video requires the eyes of an eagle. It's patient, slightly tedious work, but I enjoy the end result. Plus, with the Pistons I'm working on these days, it's often putting the music on Youtube for the first time, so hopefully it will help in a small way bring the attention of a few people to music I think is still vital and alive in 2019. I know this is beyond even a niche of a niche, but I thought I might as well promote these here just in case anyone's interested. Here's my newest: Walter Piston - String Quartet No. 1 (1933) Aaron Copland loved this piece of Piston's, praising its "acidulous opening movement, the poetic mood painting of its second, and its breezy finale", all of which "sets a superb standard of taste and of expert string writing."

I was waiting until I'd listened to the whole album a few times to offer my thoughts - here they are... This is an incredible album. I'll admit that on first (even second) listen I was a bit disappointed - Williams' quasi-concert piece style cadenzas, etc. in the arrangements were a bit less "accessible" (to me) than his full-orchestra film cues. Yet as I listened a few more times, I started to appreciate the album more and more, until I can now say I thoroughly enjoy it from start to finish. The frantic interplay between Mutter and the orchestra in "Donnybrook Fair" and "The Duel" is tremendous fun. "Sayuri's Theme," meanwhile, contains this lovely passage (until 2:50) which I'm fairly certain is new: Reminds me of Yoko Kanno's Onna Joshu Naotora, which was itself a score clearly influenced by JW. I also adore the extensions of "Hedwig's Theme" as compared to the cut single version, particularly this bit concluding on the triumphant, expectant chord: "Sabrina" is of course gorgeous, although seemingly the same arrangement as Perlman. I will say I vastly prefer the Mutter recording of the climactic lead-in to Perlman's, though! .... With respect to "Rey's Theme," I have probably already mentioned this, but the new arrangement really revitalized the piece for me (it had become a bit stale), particularly this passage (until 1:35): Superb contrapuntal writing - I like this version even better than the original TFA soundtrack one. "Night Journeys" and "Luke and Leia" really soar in their latter halves, but I also really like this quiet moment from the second of those two pieces: Additionally, "Nice to Be Around" was a piece I hadn't heard before, but it's just sublime, particularly this passage (until 2:10):

Ok, just saw the film. I liked it for its revenge fantasy heapings. Sometimes a guy needs to get his revenge fix...*cough* John Wick *cough*. They did a good job of building that up to the point of ridiculousness but I expected that right away from the opening pacifist Mel and kids wanting to go to war sequence and it certainly delivered on that revenge fantasy theme. Music was definitely good and exciting, moving when it needed to be. Sort of reminded me of War Horse and Far & Away musically which is not a bad thing. This is definitely not a gritty, lived in version of history but a polished, Hollywood entertainment version and that is what was expected and it delivered on that. @SteveMc see bold.

It's better than Braveheart.

It's not poetry, for god's sake. After 9 bloody movies, it's a damn running gag.

You're not alone. I don't know the movie and have no interest in checking out, let alone buying, this release. Give me Hook or Far and Away already.

But didn't the prologue state that the Skeksis were an alien race that befriended Aughra or something? And from my memory, the crystal became "corrupted" the moment it cracked...and I assumed the crystal was all well and good when they were left to the Skeksis. So something about the prologue didn't add up with all that. But I'm sure the series will address this in some form or another... Lovely theme, that gets recycled a few times by Jones in his later scores. But to answer your question, no. All we hear is a 30 sec flash of the original theme with the title card.

Underrated in an artistic sense, not commercial, obviously.

When I was there, almost ten years ago, the CD album selection was indeed good, but the prices weren't competitive at all. About 38 USD, which you'd know if you cared to google it.

I mean, going from the Harry Potter Collection to this... I can't help but feel that the 30 bucks are somehow better spent than on the complete Monsignor. I'm in Tokyo right now on vacation. I found this in the Tower Records store... Among these....

I'm completely sorry, blame the madman above for putting the image in my head!

He says “The ending, I think, will just put you all away”

I dutifully listened to this much-touted new Williams release and while re-arrangements of famous Williams tunes for virtuoso solo performers is low on my agenda, i will say that JW put a lot of effort in the new arrangements. Some of them just not work ('Cinderella Liberty'), some others (Potter, Sabrina, Dracula) really shine. Recording quality is also very good!

Checked out the first episode. I liked it. Some ugly TV digital sheen aside (especially in the CGI), it's pretty impressive to look at. But also, it's amazing how much fuller the Dark Crystal world feels with a more committed, seasoned acting ensemble and better characterization. And I like how they've handled the world-building and mythology so, despite the somewhat didactic prologue. I do miss the Mystics though. Part of what made the original film kind of interesting was the idea that the Skeksis and the Mystics were two sides of the same coin, and together, flawed cosmic beings. Maybe they'll address that near the end. But it appears the Skeksis are their own thing and just generally evil. I do like seeing them as the entitled, but venerated bourgeoisie and monarchs of the realm. Looking forward to the rest of the series.

I'm in same boat with solo violin stuff

I hope the the last reel gives Williams the opportunity to do his "final reel SW thing," for one last brilliant time.

I’ve never understood why some people seem to like “Swing Swing Swing” so much. I love “Sing Sing Sing” and I hear no reason for Williams’ imitation to exist. It’s not doing anything interesting with the source material IMO. Oh wait should’ve posted that in the unpopular opinions thread.

If it's not Williams, it's one of the finest JW impersonations I've ever heard! Details in the orchestration, little melodic and harmonic turns--esp. after the 40sec mark--are hard to imagine anyone else doing. You should listen to it some more. Even if you think it's the weakest of the 8 so far, it's an enormously rich and wonderful score, and really rewards re-listening.

Hell yeah. Maybe you are not the best person to review this album. And I will not review any Hanz Zimmer's horrible album. Deal?

The ending version has more music in that section, while the version in that Rey and BB8 scene doesn't have that extra bit (ala the OST version)....

This is the cue. Was it ever confirmed this music was intended for Rey meeting BB8, or is that speculation? Lovely music, harmonically similar to Rose's motif though I wouldn't say it's necessarily the source for the new TLJ theme. The melody and chord progression is fairly stereotypical, at least at first. (Check out Patrick Williams' theme for Earth Day, conducted by JW, for another "model" -- right down to that #4/nat4 clash in the melody that irks me so..)

None. Many years ago, I had the opening brass statement of Oingo Boingo's "Dead Man's Party" as a ringtone, but I eventually found it diminished my appreciation of the song whenever I played it "for real" (I was looking at my phone during the opening riff). I really don't want to do that to my favourite music, so I disbanded the idea altogether.

Another fan of this album! Years ago, I was browsing one of the piano anthologies and I remember noticing what a well-crafted piece "Nice to be Around" was, but I was never really a fan of the song as it appeared on the soundtrack and I never really warmed to the harmonica renditions. So glad to have a this lush version for violin. We're lucky Andrea Previn suggested it and Dracula. Here's to more new arrangements of older gems. And I think the Star Wars pieces with perhaps the exception of Rey's Theme will become my versions of choice. Nothing against this new version of Rey's Theme, I just love the original. I also was never that much a fan of the original Across the Stars, but I sure like this new version. I'm dying for the recorded Princess Leia and am holding on to a faint hope of a volume 2 with Han Solo and the Princess. Also hoping the world tour Ms Mutter mentioned comes to my neck of the words - Korea. It would be amazing seeing all these pieces and more performed live.

Well, the magic is also in his 2010's scores, it just isn't so obvious and underlined. Wonderful stuff.

My phone shuffled 'Lionheart' quite a lot recently - my 63 minute selection, which is sufficient - and even after all these years and the rightful complaints about the sometimes-dodgy playing by the Hungarian State Opera Orchestra (this was a job made for a top-notch London session orchestra), distracting synth work and a dismal movie nobody ever saw, it remains my favourite knight score - probably because the children's crusade angle inspired a lighter approach than, say, Rózsa's equally splendid score for 'Ivanhoe' that shares the same DNA but is comparably heavy (but also because Goldsmith's distinctive, unmannered imprint has the tendency to appear modern, even after all these years). A big romantic tableau it may be, though what makes it outstanding is - no surprise with this composer - the compositional discipline involved. Goldsmith doesn't shove dozens of leitmotifs at the listener, but intelligently builds the thematic base around the young knight Robert Nerra (an unmemorable Eric Stoltz) and how the story relates to his quest of joining Richard Lionheart for the crusades with a bunch of ragtag children. Like in his more cerebral work, a simple three-note call is endlessly altered into, i . e. a long-lined, noble hymn, a purposeful heralding brass call, a contemplative medieval motif, and a bittersweet love theme. A dancing woodwind figure, representing the traveling children and a Rambo-like all-purpose rhythmic punctuation bracket this journey and it's a textbook example how to manipulate those distinctive ideas into virtually everything from hard-hitting action pieces ('Failed Knight') to gentle, lilting reflections. ('The Lake') Outside this side reflective of Nerra, there is a sinister Orff-ian chanting motif for a dark prince (Gabriel Byrne, promising but under-utilized) and a jaunty english folk tune for tomboy Mathilda as outside intrusions and thus, the only deviations form the three-note approach (the 'jousting' scene between Robert and Mathilda is a joy of virtuoso orchestral writing; the cue 'Mathilda' belongs in a Goldsmith Top 30, even within his hard-to-pin-down oeuvre). Due to the comparably light nature of the story the orchestration is kept airy and agile, though we still get impressive cues like the above-linked finale, 'King Richard' where the most important strains coalesce into a big showpiece. It remains on my bucket list for a good re-recording by, i. e., the Pragues or even in Intrada's Excalibur line, though its relative availability and digital recording make it an unlikely candidate. Still crosses fingers.

Great post, @David Story It feels like Williams is embracing a new stage in his career, which actually feels like a surmation of his evolving style over half a century of writing. It's fascinating to hear vintage pieces in new arrangements, containing fragments of stylistic changes Williams has had over the years. I can't help but wonder if the surplus of fantastic Mike Matessino expansions, specifically tailored to revisiting his catalog from decades past, has helped inform this shift? Either way, it's glorious.

He's one of the best actors of his generation and he's staring to build a fantastic career. He always does interesting work

If the five extra tracks are a game-changer, I will spend an entire night meticulously going over the advantages and disadvantages of buying this product. I will then come to a decision and act accordingly.

I had this for all but half a year back in the early 2000s before I sold it. I've always had trouble understanding why people who generally like expanded/C&C releases, don't care for this. From what I've gleaned, it seems to be something with the fact that it doesn't contain the recording sessions tracks as they are, but that these tracks have been socalled 'micro-edited' in line with the film? I think I understand the difference between the two, but at the same time -- you who want ALL the music from a film, in the film's order, isn't this the best possible presentation, sticking as closely to the music of the film as possible?

For the SW and IJ scores with the money of Disney behind them, Mike would be able to do whatever he wants and not have to worry about the things he has to when making a product funding by a boutique label with limited budget. And also for these scores the same entity owns the film music and the mechanical rights so that issue doesn't exist either

2 bars as a menu transition just to tease us

I can just picture Williams sitting at a piano trying to recall Jane Eyre's theme by playing notes..... "Yes Jane Eyre what a lovely theme. I'll play it for you.... oops hold on that's Jaws....here we go....no....Princess Leia's theme....wait I got it...what the hell is this??? Oh it's Born on the 4th.......Jane Eyre, Jane Eyre...hmmm.....dah dah da dadah...."