artguy360

I'm only familiar with the prequel, "Presumed".

Funny how JW calls Thomas Newman Tommy Newman.

I wonder if those concert arrangements are basically what we hear in most of the prologue track.

I wonder if those concert arrangements are basically what we hear in most of the prologue track.

I wonder if those concert arrangements are basically what we hear in most of the prologue track.

Funny how JW calls Thomas Newman Tommy Newman.

Funny how JW calls Thomas Newman Tommy Newman.

I wonder if those concert arrangements are basically what we hear in most of the prologue track.

I would have given it to Joe Hisaishi for The Boy and the Heron which did win for animated film score, but I think also deserves overall score of the year.

One interesting tidbit is that JW initially wrote three concert arrangements, before he decided to take on the entire score: one for Helena, one for the Nazis, and one for Archimedes and the dial. This seems to confirm @Jay's speculation that "Nazis" on the GEMA cue list is a concert arrangement.

I'm interested in hearing the performance of The Rebellion is Reborn. I wish something from TROS would be played in concert conducted by JW.

I wish more people would watch this movie and post about the score in this thread! 
 
I feel like this score is truly unique among Joe Hisaishi's work for Studio Ghibli in that it has some elements characteristic of his past work, while also being pervasively contemplative, somber, restrained, ans striking in style while also being almost entirely devoid of the child-like, lyrical warmth of his past Ghibli works.

I just watched the movie subbed in earlier today. When I first listened to the soundtrack weeks ago, I didn't quite know what to make of it. The sparseness of the sound, the very piano-centric nature of the music (even for a Joe Hisaishi score), and some of the repeated motifs that seemed designed to startle, it was all a little odd to me.
 
Now, having seen the movie, the score is perfect. I wouldn't want it to be any different from what it is. Everything about it, the sparseness, the piano, the startling moments, all work to accompany the main character's journey perfectly.

Congratulations to John. Well deserved. A great new theme by JW.

Oh man, I so want to hear this music properly released!

Oh man, I so want to hear this music properly released!

There were new recordings made of the Star Wars music (1-6) using the London Symphony Orchestra in Abbey Road Studio 1 in 2013, conducted by William Ross. 
 
Confirmed what was recorded in this article: https://www.endorexpress.net/parks/disneyparks/tokyo-disneyland/2013/07/williamross/
 
Highlights; 
 
"We created a kind of 40 minute “suite” of music from the 6 films. We ran it by John Williams and got his approval." - William Ross
 
"It would be great to be able to hear this music somehow on CD or something…" - Interviewer 
 
Ross' reply, "I think that would be wonderful. It’s a beautifully recorded piece of music…Abbey Road, the London Symphony Orchestra playing that iconic music! The Star Wars music is in their DNA and they were very happy with it. I think there’s a wonderful degree of integrity to the music and personally believe it would make a wonderful CD…but who knows." 
 
So the question is, where the hell is the audio for this and can we have it!!!? 
 
You can hear a little of The Imperial March in this phone video at the beggining (It sounds so fresh!!!)
 

I loved this part. John Williams never ceases to amaze me:
 
And this too:
And I love the fact that JW helps raising money for orchestras because he feels indebted to them, that without the musicians that perform his music it would just be, as he puts it, "dots on a paper".
 
Truly a marvelous human being.

Tonight partner and I saw Joe Hisaishi live in concert with the Seattle Symphony! It was incredible! The first half was programmed with his minimalist contemporary concert music including music written during the pandemic, reflecting on the pandemic. Very cool stuff, very dramatic, lots of layered repeating figures, and some really fun, bouncy stuff. The second half was the revised Princess Mononoke suite which featured soprano voice in two pieces and had no breaks between movements. It was like a fast forward playthrough of the score. Lastly, there were 2 encores: Spirited Away theme on solo piano performed by Joe Hisaishi himself and Howl's Moving Castle theme with him on piano again! Seeing Joe Hisaishi play solo piano live rivals seeing JW conduct the Imperial March live. A great concert!

Thought I’d post the program since it’s now only available outside of JWFan.
 
Program
 
AlFRED NEWMAN, 20th Century Fox Fanfare ERICH WOLFGANG KORNGOLD, Main Title from Captain Blood MIKLÓS RÓZSA, Prelude (Main Title) from Ben-Hur FRANZ WAXMAN, Sunset Boulevard Suite BERNARD HERRMANN, Scène d’Amour from Vertigo ALEX NORTH, “Forest Meeting” and "March" from Spartacus ALFRED NEWMAN, Cathy’s Theme from Wuthering Heights (with Ms. Wang) MAURICE JARRE, Suite from Lawrence of Arabia Intermission DANNY ELFMAN, Main Title from Batman JOHN WILLIAMS, Excerpts from Close Encounters of the Third Kind JERRY GOLDSMITH, The Hunt from Planet of the Apes ENNIO MORRICONE, Main Title from Once Upon a Time in the West (with Ms. Newman) THOMAS NEWMAN, The Night Window from 1917 JOHN WILLIAMS, “Scherzo for Motorcycle and Orchestra” from Indiana Jones NINO ROTA, Suite from The Godfather ALAN SILVESTRI, Suite from Back to the Future

COMING SOON!
Composer and conductor David Newman returns on The Legacy of John Williams podcast for a special video episode discussing the upcoming concert "A Century Of Film Music," a dazzling program curated by John Williams featuring selections from landmark film scores performed by the LA Phil and conducted by David Newman (on Feb 2, 3 and 4 at the Walt Disney Concert Hall, link below).
The talk will feature an in-depth exploration of the challenges and the opportunities of presenting great film music in concert and how John Williams has been a trailblazer in making film scores widely accepted in the concert hall.
Joining David Newman is film music journalist and author of the upcoming John Williams biography Tim Greiving.
The episode will be available both as video and audio podcast. Get ready for another insightful episode!
--------
A Century Of Film Music
"John Williams Spotlight" Series
Los Angeles Philharmonic
David Newman, conductor
Diana Newman, soprano
Featuring music by Alfred Newman, Erich Wolfgang Korngold, Miklós Rózsa, Franz Waxman, Bernard Herrmann, Alex North, Maurice Jarre, John Williams, Jerry Goldsmith, Ennio Morricone, Nino Rota, Thomas Newman, Danny Elfman, Alan Silvestri
February 2, 3 and 4, Walt Disney Concert Hall
Info & tickets: http://laphil.com/.../2024-02-02/a-century-of-film-music
 
https://www.facebook.com/thelegacyofjohnwilliams/posts/pfbid038CNNP4UKKzkpgSrbe6XiUnfJrUdWL1VHFRWFakY7m9uL5me4oYy1Pz3htx3uLUrHl

Next up is 'Elfman' by Danny Batman. Elfman is a superhero a bit like Superman, for whom I wrote music that you may remember... but he is a different character. His costume has ears like an elf, and he was memorably played by... Buster Keaton. Anyway, here is the march from 'Elfman'.

I believe that John Williams recorded a concert arrangement of the various Nazi themes from the Dial of Destiny score, titled "Nazis", but then didn't include it on the OST album.
 
 
 
For a bit of background, there's a German publishing rights organization known as GEMA (Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte), who makes their list of entries public, via an online search:
 
https://online.gema.de/werke/search.faces?lang=en
 
There is lots and lots of music listed in there, from all genres, from all types of media.  Many films have their Cue Sheets uploaded into it, to officially secure the publishing rights for every film score composition that is in the film - often OST albums will also be uploaded separately, covering all music released in both places.
 
The nice thing when that happens is that it gives us all the original cue names (or at least, the names that they put on the cue sheet, which doesn't always match when was put on top of sheet music), though it hardly ever gives us the reel/part numbers.  Also the search results can be sorted by chronological appearance by copying the "Publisher Work Code" attached to each cue name and then sorting by that field.  Note that this only sorts the cues by their first appearance in the film - even if that appearance was tracked music.  @CGCJ already sorted them by that field when he posted the Dial of Destiny cue names found in GEMA here.
 
This chronological sort gives us a few pieces of information right off the bat - namely that Helena's first scene is entirely scored by tracked music ("Helena's Tutorial" from later in the film), same with Voller's first New York scene (more on that later), a bit of "Centipedes" is tracked in near "Eels", etc.

But one thing I also noticed is that it provides an additional note for all cues that appear in the end credits assembly. For example, if you click open  a cue that is not in the end credits looks like this:
 

 
While a cue that is in the end credits looks like this:
 

 
 
So overall, there are 6 cues listed as being in the end credits assembly:
Nazis To The Airport Raider's March - JR Edit Helena's Theme Rev 2 Helena's Theme Rev End Credits Part 3  
Now, the final 4 cues on that list are obvious.  In the film, the main credits are scored by "Raiders March -JR Edit" (which incidentally Williams conducted in New York before the film even came out), then the scrolling credits are scored by the piano intro of "Helena's Theme" (Rev 2), then the rest of "Helena's Theme" (Rev), then "End Credits Part 3" (the suite we hear in OST track 1 from 1:08-end).... right?
 
Well, it turns out yes, but actually no.
 
Many fans have noticed that the film features an "extension" in the "End Credits Part 3" part that isn't in the OST track.  Specifically, what you hear in OST track 1 from 2:30-2:37 is replaced in the final film by about 49 seconds of... something else:
 
 
Well what is this mystery music?  The logical guess was that it was music he simply snipped out of the OST version for an improved listening experience.  However, after a while it occurred to me that no, this is actually an alternate opening of the "Through The Airport" sequence!  This piece starts with about 8 seconds of racing strings that leads into Helena's theme, which gives way to a sort of wondrous moment, before snares lead us to Voller's theme.  The opening of the "Through The Airport" film version, by comparison, has 8 seconds of different racing strings that give way to a different performance of Helena's theme, which leads to timpani instead of snares, and then non-thematic passage instead of Voller's theme.  But the vibe is very similar between both pieces, so it seems pretty clear to me that's what this music is.
 
We know that the film version opening of the scene is actually the specific cue "To The Airport (Patch 2)" - we know this because a piece of it was tracked into the "Teddy Is Kidnapped" sequence, so it appears there chronologically in the GEMA list.  So when I finally remembered the whole GEMA end credits thing and I saw "To The Airport" listed the way it is, I realized that some piece of this version is still in the scene, and then another piece is inserted into the end credits to extend the run time, explaining why it isn't in the OST version.
 
 
OK, so that explains "To The Airport", but what is "Nazis"?
 
Well, due to its GEMA sorting order, we know it appears in the film after the tracked usage of "Voller's Interview" that scores the New York scene where the waiter brings him food.  Careful listening led to me realize that almost all of that scene is "Voller's Interview", so therefore only the very end could be "Nazis":
 
 
OK, well that bit doesn't appear in the end credits, right?  Well after listening to the end credits for a while, I had the realization that the opening 34 seconds or so of what we thought was "End Credits Part 3" is a different recording than the rest.  And then it dawned on me that THAT must be the START of "Nazis", and the bit tracked into the waiter scene is the end!
 
And luckily both parts of this lost concert arrangement are on the OST album too.  The start in OST track 1"Prologue" from 1:07-1:41
 
 
And the end in OST track 3 "Voller Returns" from 2:40-end.
 
 
 
The interesting thing is that the way "End Credit Part 3" starts after that opening taken from "Nazis" doesn't sound like a good opening on its own, so its likely that what happened is he wrote it knowing that the opening bars of "Nazis" would be re-used, instead of having to nail a performance of them all over again when everybody already liked what was already recorded.  And that also probably explains why this concert arrangement isn't on the OST album, it probably has a lot in common with the first half of "End Credits Part 3" that also covers all the Nazi themes.
 
Phew!
 
 
TL;DR: I think Williams wrote a concert arrangement called "Nazis", but we only have heard about a minute of it, the beginning part being in OST track 1 "Prologue", and the ending being in OST track 3 "Voller Returns"

Rey's theme played on piano by JW himself no less!