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

Mickey-mousing is a sometimes derided art, but it requires all the timing and craft of a composer and a comedian. A favorite bit of mine from TPM
 
Such a fluid, rounded sound from the horns here. This era of LSO is one of the greatest horn sections of all time, and this score is full of great writing for them.
 
This moment is pure opera; anger and tragedy. With a great build up until the big hit at 3:30, an all-time Star Wars moment for me.
 
Such a great build-up and use of rhythm. That brass! Maurice Murphy played orchestral trumpet like the lead in a jazz band.
 
Needlessly complicated brass writing that kicks ass.
 
I've always loved the flute trio that opens this suite, followed by the beautiful solo horn. An underrated theme.
 
A nice little callback to the Rite of Spring desert music in ANH with the solo bassoon.
 
Some great motivic writing between 3:00 and 5:00. Williams' gift is melody. His genius is transitions.
 
The whole first minute or so of this cue is lovely, with a nice callback to the Order 66 music, and the piano chime for Rey's Theme.
 

My dude, Enguerrand Etc. Etc., is back! Looking rather like an Indy villain himself, here he is with a rather slickly shot Motorcycle Scherzo!
 
 

Gordy is the go-to video game composer for a JW soundalike. If the music played under the featurette is his music, then he's done a very good job.

It's an underrated film and score.  The anguish of the mom is heartfelt because of her loss.  I think this film is a nice bookend to CEOTTK with its Pinocchio overtones.  In that film, Roy wished to be an eternal child despite his adult responsibilities.  Here, David is literally an eternal child because he was built that way though wished to be real and grow.  I thought the score was a real departure and full of unrequited longing.  

Has this breathtakingly impactful moment been discussed yet? I'm talking about the devastating piano at 4:20, but you really need to watch the whole buildup to that moment to get the proper impact. I was watching A.I. on Paramount+ and that moment hits like a gut punch.
 
 
 

TROS soundtrack album is missing music like this that flows and tells a story. I think including more of these musical moments and stuff like all the redeemed Ben renditions would dramatically improve the album.

You gotta hand it to Johnny: when Rose's theme appears one last time at the end of The Rebellion is Reborn it's like
 

@Bellosh Are you listening to the OST, the Anthology, or the SE? The ROTJ SE is missing the higher frequencies, resulting in a muffled sound. I don't know that a definitive, detailed explanation for this has ever been given.

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!

I don't hear anything fugal in Asteroid chase. There's lots of counterpoint, but it's not a fugue.

The latter half around the 2 minute mark sounds a lot like Book Thief. In general this track is reminiscent of JW's drama film scoring style, stuff like Seven Years in Tibet, Book Thief, Angela's Ashes, etc. The main melody is knocking at the door of the Seven Years in Tibet theme.

The latter half around the 2 minute mark sounds a lot like Book Thief. In general this track is reminiscent of JW's drama film scoring style, stuff like Seven Years in Tibet, Book Thief, Angela's Ashes, etc. The main melody is knocking at the door of the Seven Years in Tibet theme.

During my first uninformed screening of Girl With A Pearl Earring, I found the opening theme very Williamsesque, almost like a plag.
 
 

TROS soundtrack album is missing music like this that flows and tells a story. I think including more of these musical moments and stuff like all the redeemed Ben renditions would dramatically improve the album.

TROS soundtrack album is missing music like this that flows and tells a story. I think including more of these musical moments and stuff like all the redeemed Ben renditions would dramatically improve the album.

TROS soundtrack album is missing music like this that flows and tells a story. I think including more of these musical moments and stuff like all the redeemed Ben renditions would dramatically improve the album.

TROS soundtrack album is missing music like this that flows and tells a story. I think including more of these musical moments and stuff like all the redeemed Ben renditions would dramatically improve the album.

TROS soundtrack album is missing music like this that flows and tells a story. I think including more of these musical moments and stuff like all the redeemed Ben renditions would dramatically improve the album.

What a treat. Only strengthens my opinion that TROS is the best musical entry in the sequel Trilogy. Not just the thematic variants (though those are great too). It's all about the transitions!:
 
*The way the Force theme in Dm is flanked, first by that beautiful dissonant texture that seems to coalesce on a E♭-maj pandiatonic cluster, then a post half-cadential sustain on the ♭II(ma7) chord (also E♭). Both bookending sections have a nice rising line [G3-C4-D4-G4 before, G3-A3-D4-Eb4 after]. Kind of Mountain Motif from CE3K-esque.
 
*The little idea starting at 0:28 in B-major. That quick progression, B to Bdim7 back to B, is a crucial harmonic ingredient in the Friendship Theme that comes a few minutes later.
 
*The interstitial material after Rey's theme gives us, for the first time I think in a long while in Star Wars, that wonderful Waltonian harmonic sensibility. Chords are Bma7/A♯ <=> D♭/G♭ => E♭ma7/B♭ => D♭ma7/B♭ => C/G. There are a few other patches where Williams re-channels Walton in TROS and it's just so satisfying to hear that sound return.

Great discovery of the weekend!
While remembering the Blu-Ray menu gave us the clean version of the "Rey Training" cue which is unreleased, I wanted to see what the DVD menus had since those usually contain additional screens for the "Scene Selection" and "Language/Subtitles".
 
The amazing @crumbs found a complete DVD rip and we were able to find another previously unreleased cue, not featured on the Blu-Ray!!
 
It is the "Meditation" cue, featured in the "Scene Selection" menu:
 
tros-amp.mp3
 
 
Another DVD exclusive menu for the language setup comes with the section of "Reunion" that contains Rey & Yoda's Theme, which is on the OST, so no other unreleased music there.
 
This is all new information, right?

I don't like this idea at all. 

That is, what I call his sugar plum phase, and I would count in there Hook and the first two Harry Potters.

If I were Steven Spielberg, I would consider a sequel movie project involving John Williams, such as 'Schindler's List 2', or 'Close Encounters of the Third Kind 2: Alien Karaoke Night'.

Oh, please let it be a chance for JW to revisit his jazz film style. It’s been far too long…
 
Mark