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  1. Indeed, I don't consider it a valid substitute of the whole work.
  2. Well, then even a single piece can be a valid listening experience on its own. What I meant is that, if I can get the whole thing, I don't need having a compilation of chosen "best pieces", because I prefer to judge on my own what my favourite pieces are, in a large multi-movement work. In almost all the ballet suites that I can think of (e.g., Tchaikovsky, Prokofiev, ...), many of my favourite pieces were left out in favour of things that I would have dropped, and this applies also to many OSTs. My OCD is certainly much more valid than yours!!
  3. Well, I cannot think of a single example of a ballet suite that I consider a valid substitute for the whole work, if that was the meaning of the question.
  4. As far as I am concerned, no, they aren't! They could have made sense before the recording age: when people could listen to music only at live concerts, I can see why composers had the need to make short presentations that could be inserted in concert programs (also as an advertisement for the larger work). But not nowadays, no.
  5. Of course it is, and I was dramatizing on purpose. I should have placed some smiling icons to convey the tone I had in mind.
  6. I was in the denial stage as well, until yesterday. Then I decided to re-watch the last two episodes. I felt a bit better, afterwards. I have realized that the part that I consider really bad, beyond any possibility of a justification, is just the last 35 minutes or so of the last episode (I would be a very benevolent judge). And I'm not going to allow those 35 minutes to cancel the many good memories I have associated with the whole show. Plus, the actors really delivered great performances, despite everything (especially Emilia Clarke and Peter Dinklage were spectacular). I guess I'm in the acceptance stage now. Next should come the enlightenment stage, when I'll believe that what we saw was the only possible conclusion to the show.
  7. Is there a concert arrangement from Mr. Chips?
  8. Exactly and, to be completely fair, orchestrators should take some decisions sometimes, even with JW. It is possible for two different orchestrators to interpret some details of the sketches in slightly different ways, although they would sound almost identical when played by the orchestra. Anyway, the issue that triggered these reactions was the old version of Han Solo and the Princess, which is for sure "composed by John Williams, orchestrated by Herbert Spencer". Gerhardt had no involvement in the creation of the piece (that legend pops out here every now and then). Then, nobody could know for sure how much was done by Spencer in this particular case, unless we could see JW's sketches. We also cannot know for sure if JW treats all his concert arrangements exactly like his film cues, or if in (some of) those cases he leaves some more relevant creative tasks to the orchestrators. I have no idea about the "Adventures on Earth" situation mentioned by @Tom , it's the first time I hear this... who knows. But we are going out of the main topic of this thread!
  9. Old Han & the Princess > Rey's theme > new Han & the Princess. The old version (also my favourite one) was written 100% by JW, just like all the other concert arrangements!! Gerhardt only conducted the first recording!
  10. "The Jedi Steps", followed by "The Rebellion is Reborn". At the third place I would perhaps put "Scherzo for X-Wings". I'm not a big fan of the other pieces in the list.
  11. The only weapon you have is to... edit the jokes! But it would require a concerted effort.
  12. Very well said. I always wonder how much of the evolution of music before the mass media / recording era was possible thanks to the fact that composers simply had much less music from their peers to listen to, than we have nowadays. In a sense, it's easier for a creative mind to find his/her own way if there are just a limited number of good models, rather than the whole production of every major composer of the past within a click's reach. Avoiding the feeling that "somebody has already done this in the best way that I can imagine" is essential even to start a creative effort.
  13. So, if I understand correctly, you and @Loert are referring to the fact that JW basically does not experiment very much with orchestration and/or unconventional techniques? And, because of that, his works consistently sound very good (i.e., they run along established lines), but not "surprising". If this is the point, I understand it and agree to some extent. In fairness, the other composers that you mentioned experienced rather different working situations. For example, Morricone has hundreds of titles to his name, but many of them are rather small-sized scores, compared to an average JW one (in terms of the amount of music that needs to be physically written down). Then, Morricone had more time and possibilities to do unconventional stuff, and even some of his techniques in this regard allowed him to save further time. One of the techniques he experimented with, consists in a sort of modular composition, where he writes down a score for, say, three or four different ensembles that can play all simultaneously, or two at a time, or three at a time, etcetera. Then, he gets many different cues (or possibilities for the same cue, among which the director can choose) by just combining the ensembles in different ways (e.g., one cue will be that score played by ensembles 1 and 4, another cue the same score played by ensembles 2 and 3 and 4, and so on). An example is this piece, where he applied that principle sequentially: Of course, such an approach would not work if the request is to write 2 hours of symphonic poem that should also match the action in the movie in some detail. It's just a different world of scoring and, indeed, I don't see much room in Hollywood for these things, at least nowadays. It's already amazing that JW has managed to write so much top quality stuff in such a relatively little amount of time.
  14. What do you mean with "packaged"?
  15. Thank you Maurizio, I really look forward to listening to this!
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