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  • Birthday 12/06/1984

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  1. Treesong, the Violin Concerto and the Horn Concerto!
  2. Williams confirms EPISODE IX !!

    The only ones that come to my mind are (maybe) Powell and Arnold. There are of course other relevent composers, but I don't think they can write something of that caliber in that language (and I'm not even enthusiastic about TLJ compared to the other SW scores). There are surely composers who would give equally interesting approaches in the future, but in different styles. Ok, so "spin-off" here just means that the focus is not on the Skywalker family, right?
  3. Williams confirms EPISODE IX !!

    In general, if they organize the episodes in trilogies as they have done up to now, they can tell a longer story and, most importantly, introduce characters that get some development (compare Jyn Erso to Rey). And there is a very simple marketing strategy: if you tell a story in 3 episodes, people will be eager to see all of them, to see how it will end (for example, we all watched ROTS, despite TPM and AOTC). So, I don't think they will drop the episodes, although it would be nice if they could switch to stories that do not involve the Skywalker family so heavily.
  4. This debate will never end, but let's at least avoid over-analysis. The following piece opens with the same interval (a major sixth) and the melody also has several similarities to the melody of "Han Solo and the Princess" (more than Leia's Theme): But of course nobody (?) would claim that JW took this as a model. The fact that Han & Princess and Leia's Theme open with the same interval does not mean that one is a variation of the other! Of course they are also in the same style, but it's because it's the same movie (and the characters, of course, are related). I surely see more differences than similarities between the two themes, musically.
  5. Let me get this straight: these are supposed to be real opinions of real voters, right? Not a joke?
  6. As King Mark has replied, there is absolutely no doubt that Han Solo and the Princess (old version) was composed by John Williams. The following post includes a list of all the concert cues from the Star Wars saga (except those included only in "Star Wars: A Musical Journey") that were undoubtedly written by John Williams: Since the Han Solo & Princess issue comes out very often, what about placing a list like that in some place that can be clearly seen by everyone?
  7. Star Wars Concert Suites

    I have updated my list at the beginning of this thread to add the new Han Solo & Leia arrangement. I also included a clarification about the two versions of Yoda's theme.
  8. ... which makes your comment out of place (as well as contradictory). Also, check on the dictionary the meaning of "boasting". I cannot imagine a word which is less appropriate to describe anything JW has ever said in his life about his own work. Sometimes you have a point in what you say (sometimes you don't), but you almost always use disparaging words when you refer to JW, especially in comparison to your beloved Shore. This will not help your cause (if you have one). Also, you often make these such disparaging observations based on what you think JW meant, or what you think he said, or what you think he should have done, with absolutely no concrete basis. If you want to make a case about precise statements, it is your duty to provide your sources, not just "I think he said". And anyway, it is a fact that JW writes new material that co-exists with the previous themes, he did it in TLJ as well (although we might be more or less pleased than with other scores of the franchise), so I don't understand what you want to imply.
  9. The Best Star Wars Soundtrack

    Indeed, there is no overarching main theme in ROTJ, but the Emperor's theme gets quite some memorable statements (I think much more worthy of attention than the Ewok material). The cue for the Emperor's Death has some outstanding writing and shows a very intelligent use of dissonance. The episodic nature of the movie greatly affects, for example, the possibility to use the beautiful theme for Luke and Leia, which appears only in two cues and does not get the development that it deserves. Fortunately, JW made one of the best concert arrangements of the saga out of it.
  10. The Best Star Wars Soundtrack

    1-2) TESB, SW 3) TPM 4-5) ROTS, ROTJ 6) TFA 7) TLJ (based on album only) 8) AOTC
  11. Happy 86th Birthday, Maestro Williams!

    Very nice. I particularly like this passage:
  12. I have not seen TLJ yet, unfortunately, so I have to postpone giving my opinion on this, however "it scoring Leia’s attempts at retrieving Han’s effigy" and "her distraught when it is taken at the end of Empire" are exactly instances of what I was saying: even when Han is not there, it scores stuff that has something to do with Han. Always (at least, in the movies that I've seen). From a certain point on, you just cannot distinguish the two applications. I'm not saying that this theme has nothing to do with the love affair, of course it has, I'm saying that it makes no sense to distinguish the two functions as a theme for Han and as a theme for the love relation. It would make sense only if there were two different themes, one used for Han before the love relation, and one after it starts. Or if Han was not scored at all with a specific theme before the relation. As a matter of fact, he was scored with this theme. ANH of course, does not count, since JW had not established yet a more systematic leitmotivic structure for the saga (even Darth Vader gets his full individual theme in TESB, which replaced the smaller motives used for the Empire in ANH). But this is your opinion. What is it based on, since there is no other theme for Han? Saying that the theme has nothing to do with Han is logically equivalent, in this case, to saying that you would have scored Han in a different way. Honestly, I'm quite happy about how JW handled it (it's one of my very favourite themes from the saga). ... because both characters are there! Or, because JW is foreshadowing the yet-to-come love relation! As you prefer, but there are no "right" and "wrong" interpretations about this. You see what I mean? Almost any instance of that theme can be interpreted in both ways, so the distinction does not exist in JW's mind. Otherwise, there would be two different themes. What matters is how the theme is used, and it is used in both ways.
  13. As far as I remember, Chewie is nearly always seen with Han (they form a sort of "a single character") and, when he is not with him, he is together with other more important characters (Leia, Luke) trying to save Han. So, there is nothing that identifies him enough as a separate entity to warrant him a theme of his own. In the case of Han, this theme we are talking about works as both his own theme and the theme for his love relation with Princess Leia, since most of times they appear together (so, there is no need to use two separate themes), or Leia is trying to save Han (so, it's appropriate to use this theme, whatever we want to call it), or else Han is displaying his skills independently of the Princess (escape from Hoth, end of Asteroid field - after that, the love relation starts and there is no more distinction). It just makes no sense to consider this theme as either Han's theme or the love theme, since the two functions cannot be distinguished from a certain point on. If one really wanted to make this pointless distinction for the sake of giving a single name to this theme, then in my opinion it should be Han's theme, since it is sometimes used independently of the Princess, but never independently of Han, as I have expressed in another thread.
  14. Happy 86th Birthday, Maestro Williams!

    A toast to the Maestro! Here's to many more years of wonderful music!