Marcus

This is a miraculous album. 
 
Imagine being able to craft such imaginative, vital and energetic new takes on this music at 87! 
 
There's incredible flair and elegance on display here, but also deep thought -and a simply stunning (and daring) command of how to pit a violinist against an orchestra. 
 
What a marvelous, generous gift.

This is a miraculous album. 
 
Imagine being able to craft such imaginative, vital and energetic new takes on this music at 87! 
 
There's incredible flair and elegance on display here, but also deep thought -and a simply stunning (and daring) command of how to pit a violinist against an orchestra. 
 
What a marvelous, generous gift.

This is a miraculous album. 
 
Imagine being able to craft such imaginative, vital and energetic new takes on this music at 87! 
 
There's incredible flair and elegance on display here, but also deep thought -and a simply stunning (and daring) command of how to pit a violinist against an orchestra. 
 
What a marvelous, generous gift.

This is a miraculous album. 
 
Imagine being able to craft such imaginative, vital and energetic new takes on this music at 87! 
 
There's incredible flair and elegance on display here, but also deep thought -and a simply stunning (and daring) command of how to pit a violinist against an orchestra. 
 
What a marvelous, generous gift.

This is a miraculous album. 
 
Imagine being able to craft such imaginative, vital and energetic new takes on this music at 87! 
 
There's incredible flair and elegance on display here, but also deep thought -and a simply stunning (and daring) command of how to pit a violinist against an orchestra. 
 
What a marvelous, generous gift.

That "clash"🤔😱is the whole point of that theme. Amazing theme. Wonderfully used in the Battle of the Crait
 
So much BS in this thread, kk again. You are boring. And Quint, but what else can you expectf from a brexiter. 
 
 

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The situation is roughly this:
All the new music is Williams.
All the old music repurposed from HP1 is Williams, but adapted (to fit the film) by William Ross. 

Wrong.
Ross composed all of it; Williams made the tea.

The situation is roughly this:
All the new music is Williams.
All the old music repurposed from HP1 is Williams, but adapted (to fit the film) by William Ross. 

It is amazing!! 
The fact people don't like it very much  is beyond my understanding. 

The genius of Rey's theme showed itself in the initial reaction to the score in 2015, and then the reaction to the marketing for The Last Jedi in 2017
 
Many people (maybe not as learned as the posters here, for what its worth) were sort of nonplused by the score to Force Awakens - I remember more than a few people regarding Williams' score as being sort of "there" and not much more than that at first. Also, despite the fact there was obviously a "Rey's Theme," it seemed like many people couldn't locate Rey's Theme if they didn't go out of their way to seek out the soundtrack to the movie and give it repeat listens. 

And then when it came time to market The Last Jedi, Rey's Theme was very often front and center in the commercials and trailers, and people reacted as if an old friend was visiting them. It wasn't just recognizable, it was carrying a huge amount of the marketing's emotional weight. Somehow, between 2015 and 2017, that theme opened up in people's brains like a rose blooming. 

I hope it will be as amazing as those 2 previous have been. 

This was a nice little insight into his writing process. 
 
“Oxygen is a wonderful thing”
- John Williams
 

Or for those for whom that is blocked...

 
 
Love it!

Only manuscript.
8 staves for smaller cues, up to 20 for the busiest ones:

Only manuscript.
8 staves for smaller cues, up to 20 for the busiest ones:

Only manuscript.
8 staves for smaller cues, up to 20 for the busiest ones:

I love the imperial march reference.

The music disappears when Gold Squadron's Y-Wings and Red Leader make the first trench run. Vader's small TIE squadron picks them off and their run fails. 
 
The music returns after about five minutes when Luke, Wedge, and Biggs reenter the story, and Luke's run is a success. 
 
Truthfully, music would have overwhelmed the first trench run because of all the screaming TIEs and nervous claustrophobic chatter. 
 
But more importantly, Luke wins because he has music on his side. No music, no success. 

I think it works very well. It's not until after the original SW that wall to wall scoring became the norm, both for all later SW films and for other action/adventure fare. Especially in the 70s, spotting was much more specific in where and where not to put music, and it could have a huge effect on the impact of the score when it appeared. Just think of Goldsmith's Coma, which has no score and hardly any incidental music in its first half and then goes all out with horror mode Goldsmith.
 
The Yavin battle is still the best of all SW battles, and I think the unscored sections add to that. It's not all fighting and chaos, there's also some genuine tension there. And the climax gets an extra boost not just the music narrates it so well, but also because it provides a strong contrast to what comes before.

Maybe the lack of music during the first trench run is supposed to highlight the fact that this run won't succeed. 
 
In the final cut of the film, once Biggs' scenes on Tatooine and his reunion with Luke on Yavin IV were cut, Luke is the only Rebel pilot we know. Wedge has a name, but we barely met him before this battle. The first trench run pilots are all new characters and Luke isn't in the sequence. If they succeed, then Luke flew with them for no reason. He's our main character and has earned the right to avenge his fallen friends and family by becoming the hero.
 
In retrospect, the lack of music underscores the first trench run as a dry run for the audience so they know what to expect. Then when Luke makes his run with music, we know it will succeed even as his technology falters. 

As someone who remembers seeing this at its theatrical release along with Jaws, you could also ask why wasn't this scored until -0:54 in this clip?
 
 
I really believe Jurassic "Shark" *cough* and @Brundlefly nailed it.  Silence proceeding maximum intensity is more effective and these films were locked so the composer could discuss with the director how music could support the maximum intensity by important use of non-scoring.  That approach isn't used today.  Test screenings/digital editing/temp scores/drop ins, etc. remove such silence.
 
Question:
Same question...Why is there no music here until 0:54?
 
The music was not scoring the action, it was scoring the subtext (character's point of view).  Luke and Brody's final desperate final attempt to defeat their foe against all odds and Marion Crane's successful escape until she realizes her getaway plan was at a poorly chosen venue. 

Nobody I care about.
 
Have to say, I dislike the majority of film music, but John Williams is an exception.
 
Would've been nice if JW, Spielberg, and Bruce Broughton collaborated more. Bruce Broughton is a good composer.