scissorhands

Copland is uglier.

I find John Rutter QUITE boring. It's fun just for one listen, but there's not much else beyond that plain tonalism.
In my opinion

@Quintus and @scissorhands

Let's see.
You can hear Shmi's theme in the following tracks:
-end of Track 25 (CD1), Watto's Deal / Shmi and Qui-Gon Talk
-beginning of Track 27 (CD1), The Racer Roars to Life / Anakin's Midi-Chlorian Count
-and twice in Anakin is Free, Track 1 (CD2)

Since that article that I've thought about a Grubinger/Williams partnership as a likely thing to happen.

I thought it was quite obvious that what you call section C is actually based on the descending chord progression from Darth Vader's theme. Williams did the same in Anakin's theme.

http://filmscoremonthly.com/board/posts.cfm?pageID=6&forumID=1&threadID=104263&archive=0
Well, I've weighed in.
I hate FSM, which is why I rarely post these days - but sometimes it's worth diving in to take down some of its resident shitheads.

The most obvious influence is actually Steve Reich's Three Movements for Orchestra, more specifically the 3rd movement (13:19 onwards, and pay attention to 15:45).
 

The Cello Concerto is a must.
As are most of his concert works... but that's just me.
As for splitting them into more or less accessible groups, I think it all comes down to taste... Images is lesser accessible that most of his concert works if one tries to follow such a logic.

I really don't understand your point. "Serious" is just a word to describe music written for its own sake. You're just reading to much into it... and the opposite seems to also be the case, as many folks around here seem to have the same kind of attitude towards concert music (or serious or whatever one wants to call it)!

He wrote the oboe concerto for BSO principal oboist Wakao Keisuke (若尾圭介). Spanish guitarist Pablo Sainz-Villegas has premiered and championed Rounds for solo guitar, but the piece was originally written for Christopher Parkening. Quartet La Jolla is dedicated to Taiwanese-American violinist Lin Cho-Liang (林昭亮).我希望这个信息就够了。

The Münchner Philharmoniker has released this CD on Sony Classical, featuring JW's tuba concerto.

I found this picture on twitter:
The text at the bottom seems to be a message from Williams himself.

Maurizio is correct
Those rooting for another composer than JW to win are not true JWfans

The right thing is for the Oscar to go to the BEST score (whichever it is from the 5) at this moment, and not to serve as a consolation prize, or as a reward for a long-term career.
(I would support this view in all the categories)

I guess it was predictable ... John didn't win.
It irks me that he wrote such a complex, lyrical score for this beautiful film - only to lose again. And I have to say my perception of Alex Ebert as a great film composer wasn't enhanced by his appearance or speaking abilities at the podium.

I've become quite obsessed with this particular progression. Although it has a distinct JW trademark all the way, he goes beyond his own limits in this piece. Any guesses?

I'm sorry, but the arrogance of Publicist's response here is a bit too overwhelming not to comment on:
@Publicist: This is your point of view, and you can claim no more absolute objectivity in it than for instance those who would find this score positively brimming with fresh ideas.
Personally, I've already noted several fresh aspects to this score even from the snippets and those three full tracks; some hitherto unheard of, and others remarkable expansions upon techniques explored elsewhere. I have no idea what sort of knowledge you possess as far as compositional craft goes, but the bi-tonality of "Foot Race" was very striking to me, as are both the thematic and harmonic construction of the main theme, and the final "suite" is developed most unusually: Rather than merely a suite of material from the score, this particular piece is more of a kaleidoscope, with its recurring piano motif a sort of lens through which the music is observed (or "read"). I think there's much more to this score than meets the eye (or ear?), and I look forward to studying it very keenly.
Style is naturally a given, and the superficial similarities to previous efforts is in my view precisely a sign of originality, not lack thereof! The origin being a true and profoundly clear musical voice, and indeed one with an extraordinary range.
What really strikes me the most with Williams' score for "The Book Thief" so far, is the exact opposite of the sort of sedate attitude you seem to detect, Publicist. I don't hear stagnation. I hear an unyielding sense of wonder.

I gather your question is rhetorical, but Watson is typecast is in these sorts of Oscar-friendly period melodramas -- growing up in Western Europe amid turmoil and privation -- to which Williams seems to have a literary penchant.

I disagree. It's surely a sentimental scene, but it's heartfelt and sincere. It's a cathartic moment that is absolutely earned at that point of the narrative. Williams' music follows the scene accordingly with achingly beautiful sensibility.

That's what I though after the first listen. The main theme is at the core of Williams' most personal voice.

That's what I though after the first listen. The main theme is at the core of Williams' most personal voice.

Melodic comparison of Book thief theme (its first part anyway) and Angela's Ashes theme: