Marian Schedenig

That was my first thought, as it seems to fit the description exactly. That would be wonderful news!

He's been doing Big Finish Doctor Who stuff for quite a while I believe.

Can this please become a common budgetary decision? And for those cases where they do acquire the rights, they can skip the audio rights and just project the visuals, so that the music doesn't have to compete with dialogue and SFX.

So I'm not the only one!

Got mine last week and still got a signed booklet. Spacecamp

To repeat your own words: This comparison comes across as so much ignorance it's not even funny. I've used headphones when riding a bike. Always open headphones (it's not even legal to wear closed headphones on a bike here), and always with the volume at a level where I can still hear cars coming up behind me. I've seen plenty of car drivers who turn up the music so loud that they definitely cannot hear other cars. And whether cyclists pay attention to lights, signs, and traffic is totally unrelated to whether they wear headphones. A cyclist wearing headphones deserves neither more nor less attention that one who doesn't. In my experience, there are lots of cyclists who don't know or don't care about some rules. But there are just as many car drivers who don't. The difference is that 1) car drivers supposedly have proven that they know the rules when they took their licence (so either they shouldn't have gotten their licence, or they're reckless because they proceeded to forget the rules, or they're reckless because they don't care; whether cyclists should be required to take an exam is a related but separate discussion) and 2) most reckless cyclists are mainly a danger to themselves, while most reckless car drivers are mainly a danger to others. (And that's without mentioning the significant part of car drivers who generally do follow the rules but still endanger cyclists by not keeping a minimum distance or simple ignoring them when changing lanes or taking turns).

But they do list Mahler as Austro-Bohemian. And surely, of all the early pioneers of Hollywood music, Korngold was the one who brought the most central European influence while himself adapting very little to American music.

Good Omens. Being a big Terry Pratchett fan (I finished my almost two decades long read-through of the Discworld series earlier this year), and having finally read several Neil Gaiman stories in the past few years, I have to admit that the book isn't among my favourites by probably either writer. It's good, of course, and often very good, and very witty; it just doesn't really come together so well as a whole for me. Not surprising then that, while I was massively anticipating it, I'm not quite as ecstatic about the TV version as many others on the web seem to be. It's an excellent adaptation though, and like to book it has its moments of brilliance. Aside from a few bits here and there, I didn't have any quibbles with it, and that alone is a feat, considering how hard to adapt Pratchett's writings tend to be. Based on that alone, anyone who likes the book should find the series perfectly satisfactory. But probably the most successful aspect of the TV version is the absolutely brilliant casting. David Tennant and Michael Sheen (who I was almost entirely unfamiliar with; apparently I've seen him in two films before, but I didn't remember him from either) are a dream pairing in the lead role, and the rest of the cast is fabulous as well. And you get a fun score by David Arnold, including some Brian May style guitar work (in addition to them making full use of their Queen licence and appropriately littering the show with their greatest hits). All in all a must see.

From the comments quoted above, that would probably leave out at least about one full disc of (significant!) alternates.

They list Korngold as "American".

Wasn't that the point though? The reason why the score works (in my opinion) really well is that it's mostly just sound design. And the film's entire sound design is based on never giving you rest to put you in a similar state of mind as the protagonists. I've come to find it so inconvenient that I rarely bother these days. I only wear light headphones when biking, which means that most orchestral recordings are so dynamic you can only hear the loud bits anyway (a dynamic range compression feature in the player software would be very welcome here). Plus streaming is still unrealiable on my bike route, and whatever music I put on the actual phone ends up not being what I want to listen to in the end. And I lost my Bluetooth dongle a while ago and can't be bothered with keeping the headphone cable connected to the phone.

Bad? I thought it's problem was simply that it was just more of the same. But I also lost interest with that.

Couldn't pass up the LLL sale. These plus a $100 gift certificate (the Grieg box is from Amazon):

Einaudi is from Turin. When we went there for a choir trip several years ago, the whole city was plastered with Einaudi banners advertising some upcoming anniversary or something.

What Steef said. Very often it is a curiosity (at best), but once in a while you get stuff like the two Cantina Band pieces, or Gloria (if you like that). I don't remember if Exsultate Justi was source music, and I think I don't even know if the Rosewood songs are source cues, but if they are, those are certainly some of the standout pieces of their respective scores.