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This is a pretty awesome news , THE DELUXE EDITION!!

I've been putting off starting another of these TROS track appreciation threads, because honestly talking Star Wars feels so exhausting lately. But I happened to listen the cue "Farewell" this morning and was again reminded how superb this piece is, probably the emotional heart of the soundtrack as a whole and a grand musical payoff for so many things Williams was doing in the Sequel Scores. In a way, the power of this cue has a lot to do with the fact that Williams was forced to communicate through music what the screenplay was unable (IMHO) to accomplish: make for a convincing romantic catharsis for the underwritten Rey & Ben relationship, and convey suitable sense of galaxy-wide triumph against the ill-defined First Order. In that respect, I find it similar to some of the best stuff he did for the PT, like "The Dinner Scene," "It Can't Be," and "Lament," where the music massively picks up the slack where the writing & acting falls short. It's a really dense track, with too much to delve into in one post, but here are a few observations: The austere rendition of Rey's theme for her momentary death is exquisite, and by using the comparatively rare ending first (and only?) heard in TFA's 1M7, does a great job tying the beginning and ending of the trilogy together w/r/t her leitmotif. The music that accompanies Kylo Ren dragging himself out of the pit, with those overlapping statements of his motif over a D pedal, is almost Gabriel Yared-like in its dissonant but tonal longing. Delicious stuff. Rey's resurrection is accompanied by what I imagine many Reylos were long hoping for -- a sort of synthesis of her and Kylo Ren's themes. Notice the way melodic semitones, the markers of Ren/Ben's leitmotif, seem to push through all over the place. There's a particularly subtle way in which Ren's former 5-#4 gets turned into b6-5 and then later inverted to 5-b6 which probably deserves more study. The way this surge of musical emotion end prematurely on an unresolved chord calls to mind the other most notable time Williams did this in Star Wars, and prepares nicely the kiss music that follows on its heels. Here's the notation from the (terrific) piano album: Everything following Ben's death, from the tiny bit of string-section mourning Rey is allowed for Ben to the Bb-major choral hymn that concludes the track is such vintage Williams musical exultation that I dare say the whole ST was worth it if just for this sonic reward. And while simple in its emotional effect, the music is again anything if simplistic -- there's even more cool motivic transformations happening with that 5-b6 motif, which flowers into part of the Victory Theme proper. Plus what I suspect is a reconfiguration of the March of the Resistance at 4:14 that I haven't seen anyone else remark on (or maybe I'm just hearing things, wouldn't be the first time!). I'd love to hear all your thoughts, and see what else is going on in this track that I'm surely missing.

The album will always exist for those who love that presentation, but it is great that the entire score will also be available to the public as well, for those who are interested Every score should follow this release pattern

Criminy, how do you not have your own show yet? I mean, right?!

You're perfectly allowed to not click the thread and shut up if you don't care, you know.

5 min of new Williams music! And 40 of Powell! (See my question and his response in the Instagram thread) Anyone want to place bets on what the unreleased JW is? I'm still convinced that penultimate "Parting Ways" cue is Williams, though that's just a 2 min piece. Guess we'll find out!

Powell confirmed to me on Instagram that there should be a purchase option, which is big news - almost as big as the news that I got John Powell's attention for 10 seconds!

I've seen the sketches and did some work on some of those as proof reader. The short score has all the details. I once transcribed a few cues from The Empire Strikes Back using only the sketch and you can see they're about 99% of what's in the final score that was already there in the sketch. The voicings, hairpins, instrumentation, doublings, percussion, harp gliss, ornaments, all were there. What might not have been there are all the dynamics but they're generally there. An orchestrator would probably flush those out a bit further to prevent a player from having to ask an unnecessary question. That's why Conrad Pope said he's basically a glorified editor when working with Williams. Sometimes you'll see "sul cello" on the bass line so the orchestrator would flush out the bass part as a copy of the cello part but that is an example of a short hand convention where an orchestrator would consider all the details were already clearly there. Orchestrators have to be good at reading short hand and being careful when to use their own judgement versus what the intention of the composer was. I believe the first score Conrad Pope orchestrated of JW's was Jurassic Park especially the more aggressive T-Rex, Raptor sequences. I believe the last thing he did with Williams was an Oscar arrangement around 2008. Basically, the sketches then would go to JoAnne Kane Music for typesetting as it was so close to orchestrated already plus JW's schedule slowed to around a film or major work a year plus more conducting around then. On multiple occasions, Conrad indicated tremendous admiration not only for JW's skill and talent but also professionalism. A story I liked was how he felt JW had an almost encyclopedic knowledge of musical styles and instrumentation of past eras. The example given was the A.I. radio sequence when Gigolo Joe plays a vintage 30's tune. This was arranged by JW and orchestrated by Conrad but Conrad might have used more modern scoring techniques and JW corrected it to reduce the instrumentation to be 2 violins per line. This is not considered ideal because its hard to tune two string instruments. One is easy and three or more are easy but not two. That was part of the style and particular sound though, that slightly off tune playing that made it sound authentic. Conrad also mentioned he'd never seen anyone attack a musical problem with as much focus than JW. Angela Morley did a few cues here and there from Star Wars through Schindler's List but the bulk of those orchestrations were Herb Spencer. Herb Spencer's last film I believe was Home Alone before he died but many consider him an important part of the sound of JW's Golden Age and Conrad himself said JW learned much from Spencer as they either had offices next to each other or would work on a daily schedule where the feedback worked its way into JW's output. I would say around 75% of Empire was Herb Spencer's orchestration, maybe 15% was Morley, and 10% were others. But when you're talking about a two hour score, that's still a lot of minutes by each of them.

Screenshot from JP’s latest IG story: I really love how JP seems to know and try to relate with filmmusic fans’s specific wishes and concerns, such as really long tracks and complete track title order. It wont be surprising if Powell may have taken a look at this forum, FSM or filmtracks, to hear what we say.

The prequel trilogy scores were certainly edited at the time digitally, but analog tape was recording every take of every cue as well - we know analog elements were recently freshly transferred under the supervision of Shawn Murphy to rebuild the prequel OST albums. These new transfers were likely something like 192khz/24bit or maybe even 384khz/32bit, while the master files at the time in 99/02/05 were probably 44.1/16, 44.1/24, 48/16, or at best 48/24. And that's why 1-6 requires special care that 7-9 and the spinoff scores do not; Not only would the producer/editor to have to watch out for specific things that only happen with analog elements (wow, flutter, etc), but they would also have to rebuild every single cue from scratch from all the different takes. This is something Mike and Neil do very well, their meticulous attention to detail ensure they are using the correct take originally chosen at the time by Williams and co when they first recorded the music, frame by frame. This is something most other producers do not do, such as Murphy's prequel rebuilds, the 1996/2002 ET albums, the 2012 Hook expansion, and many other releases that have released the wrong takes in spots. For 7-9 and the spinoff scores, there are no more wrong takes to worry about; After the orchestra recorded all the takes, the definitive version of the cue is assembled digitally in high definition and that persists forever (unless someone loses all hard drives containing the cue archive or something). For a Williams example, this is how Harry Potter 2 and 3 came to Mike - already performance-edited in super high quality. Harry Potter 1 was not in high quality, so he had the original tapes transferred (which LLL thankfully agreed to pay for) and he rebuilt every single performance edit from scratch using that so that it could join its brothers. So that's why it's relatively easy to do a new longer album for scores like Giacchino's Treks, or this Powell: There's a straightforward archive of cues in perfect quality, and you just pick the order you want them to be on a new album, and overlap together the ones you want to overlap together... and you're done! (maybe you send it to a Patricia Sullivan type for final mastering). Older scores require anywhere from a small to a HUGE amount of up-front work, before you get to the point that these newer scores are starting from. And of course with 7-9, even though there's (presumably) a perfect digital archive of every cue, perfectly edited in proper high definition, those three particular scores (especially 7 and 9) had so many rewrites, inserts, alternates, overlays, etc, that it takes a producer with a lot of experience to shape all that music into a presentable album experience. Rogue One is known to have very little to no alternates, it would probably be pretty easy to end up with a Deluxe Edition album like his three Star Trek Deluxe Edition albums. I wouldn't be surprised at all if that one comes out next, presuming the re-use fees for being recorded in LA aren't too cost prohibitive.

Hey Bruce, if you're not interested in another release of Star Wars music, then don't post so over and over in a thread where people are just looking for information. Close the thread and read a different thread instead. Keep up your troll behavior - which we all know you are aware you are doing - and you get banned Read the room. The posts you are making on our forum are not welcome, by anyone.

Well, Powell said yes! ===== Wow, 40+ min more Powell, yass!! i hope this can become a precedent for others to follow, especially for Powell himself to his earlier scores

In fact, a slightly absurd situation occurred, and it so happened that I, together with @crumbs, began to do this. Perhaps when crumbs completes the work, I will leave only the "Bonus" section, and delete the main post. We'll see. In fact, quite a few fragments of the film have already been restored on the forum (@crumbs , @Skelly). But I was interested in trying to do it myself, and already with the whole soundtrack. As you know, in the film, many cues were heavily edited - mainly for scenes with a lot of VFX. Still, it was fun to try. Note: I inserted music in its pure form, without an "speech track", since I am not good at extracting audio from 5.1/7.1, and, in principle, I also like this method more. 01 - The Prologue Traditionally, the film begins with Hedwig's theme that is played here almost in classic form. As expected, fits. 02 - Aunt Marge's Waltz and The Parents Portrait But already in the second cue oddities begin. In the film, the cue begins only when the aunt's finger swells, and it sounds in a shortened form. It's also known that a new intro was composed for the waltz, and, interestingly, if put the cue in this form, it turns out that the intro ends just at the moment with the Marge's finger. Most likely, the sequence with transformation of aunt Marge was not edited in some way, but before that moment something could have been cut. Anyway, I didn't bother to insert black screens, although this is hardly-hardly correct. And yes, I had to ignore the mini-cue "Aunt Marge Point the Finger", since there is nowhere to insert it (maybe it was composed after the decision was made that this cue would be shortened? hmm). The Parent's Portrait fits. 03 - The Empty Playground and The Knight Bus (intro) The Empty Playground almost fits, except for the last two bursts. Next cue "The Knight Bus" (sequel to the Marge's Waltz, heh) also fits, but the ending with the celesta was dialed out in the movie. 04 - The Knight Bus Ride I expected that I would have to insert a lot of black screens here, but in fact only one fragment was cut out here. There are some extra shots in the "deleted scenes" on DVD, but I decided not to insert them, since not all of them are completed in VFX. There are a few small edits, but amuse the moment with the narrowing of the bus. Perhaps initially this process should have been slower, so the music turned out to be longer. I inserted both versions of this fragment (first the second (sounds in the movie), then the first). 05 - The Monster Book Just one slight edit. 06 - Discussing Black Fits, but in the movie, this cue was shortened and mixed with the SHAWM (that's the source cue, so I didn't include it). 07 - The Train to Hogwarts I again inserted two versions known to us (the first sounds in the film). 08 - Apparition on the Train Lots of microedits. The ending of cue in the film was cut and replaced with a chorus, and I think that the cue should have ended right after the camera shot into Harry's eye, but Skelly thinks that the music ends when Harry regains consciousness (if so, then it means that the film was not cut at this point). 09 - Double Trouble Double Trouble with intro and in shortened form. Fits. 10 - The Dumbledore's Warning and Double Trouble March The Warning fits, but the ending has been tracked over in the film. March: It is repeated twice on the recording, but in the film it sounds only once. 11 - Rainy Nights, Dementors and Birds First half: microedit. Second half: fits with the inserted deleted shot with Hagrid. 12 - The Grim and The Hippogriff Lesson The Grim: fits, but I used an alternate version with a solo viola. Double Trouble on Hills: the first half was dialed out in the film, two black screens I had to be inserted. 13 - Befriending the Hippogriff and Buckbeak's Flight Befriending the Hippogriff: the second half is cut out in the film (with a short "enlightenment"), but despite this, everything fits. However, the ending (marked "optional" in the score) is not used in the film and was intended for the original start of the next cue, so I didn't use it either (see Bonus section). Buckbeak's Flight: the opening with the "runway" is greatly shortened, then I had to insert a couple more black screens. 14 - Bonding with Hippogriff, Sir Cadogan Again (not) and The Newspaper Bonding with Hippogriff: dialed out in the movie. It's hard to figure out exactly how it was supposed to be used, but I figured it out as a smooth transition to the next cue. Next cue: *exists* It is difficult to say for which scene this particular version of the cue was originally written, but nevertheless it sounds here. I took the version from the movie - with percussion and slow tempo. The Newspaper: fits. 15 - The Boggarts Snape Dresses Up: the first half of the second version and the second of the first version sound in the film (and I agree with this decision). I inserted the second version here. The Spider: fits. The Snake and Clown Out the Cupboard: I've inserted the second version here, microedits. The ending (balloon) was cut, in this place source cue is sounding. The Boggarts - Alternates It would be unfair to ignore the alternatives. Here is the first version of Snape Dresses Up and the first version of Clown Out. As for me, this version (Clown Out) is deeper and more interesting, as it essentially reproduces Harry's flashback from the train, quoting music from this scene. 16 - On the Bridge and Remembering Mother Everything fits here. 17 - The Portrait Gallery The beginning of the cue in the film is greatly shortened. But if the cue starts with a shot where an empty portrait is shown in first time, then it fits. The ending was also cut out and it seems to be irrelevant for the final editing - I still did not understand what should have been instead of the shots with the large doors closing, so I inserted a black screen, sorry. 18 - The Big Doors and The Great Hall Ceiling The Big Doors fits. The ending of The Great Hall Ceiling (Hedwig's theme) is dialed out in the film, perhaps the final shot with the Whomping Willow should have been longer. 19 - Sir Cadogan The scene was completely cut from the film, but the music seems to fit (in this version of the cue). 20 - Page 394 and Quidditch 2004 Page 394 used in place of the original intro, fits. Qudditch 2004: absolute chaos. It looks like the editing of the scene has changed dramatically since Williams wrote the score. From the sync point, I found only a lightning strike to Cedric and an umbrella flying past Harry in the second half of the scene. I had to remove some of the dementors footage because it goes against the logic. 21 - Woods Walk, Bird's Flight, Map to Snow Scene The first cue is all right here. Interestingly, in the film, the Hedwig's theme sounds slower and at the same time the first couple of measures with the harpsichord are dialed out. Interestingly, these bars are missing in the handwritten score, but I inserted the LLL-version anyway. Map to Snow Scene: after the shot with the Marauder's Map, a certain wide shot should have followed, but it was cut out and the cue became irrelevant. 22 - Up the Stairs A short cue that replaced Map to Snow. In the film, it's tracked in second time before the Snowball Fight. 23 - Snowball's Fight Microediting. It is not entirely clear why there is a pause in the middle of the cue. It looks weird in the movie, I made the second part of the cue start when Draco pushes Goyle. The ending is dialed out from the movie. 24 - The Three Broomsticks and Brief Snow Scene First cue dialed out from the movie. I also think this scene looks better without music. If you try to put this cue in the film, then it starts playing quite late, as for me. Maybe there was something cut in the LLL-release, hmm. Brief Snow Scene: some Hogsmeade footage appears to have been cut here. The ending, which is a smooth transition to the next scene, is cut from the film - I think there should have been wide shot(s) for the office before Lupin speaks. 25 - Summoning the Patronus [Four cues] Fortunately, everything fits, with the exception of the contrabassoon solo from the second cue, which was cut in the film. 26 - The Buckbeak's Fate, The Marauders Map and Reveal Your Secret The Buckbeak's Fate: judging by the blooper with Harry on the bench, there should have been more shots of Hogwarts or something like that. The music in the film is shortened. The Marauders Map: in the film, the scene seems to be greatly shortened (almost in half), the "quiet" part with the strings solo is cut out... Microediting Reveal Your Secret: cut entirely from the movie, but fits. 27 - The Mention of Pettigrew and The Crystal Ball The fragment with the celesta from the first cue in the film is shortened. In The Crystal Ball, the middle section is completely cut out in the film (interestingly, the big pause at this mark is indicated in the score). Then there are a couple of micro-edits. 28 - The Executioner Fits. 29 - The Walk to Buckbeak Also fits. 30 - The Sentence, Chasing the Scabbers and The Whomping Willow The Sentence: Either Hagrid's dialogue with Harry had to be longer, or the cue had to start earlier. I think the first opinion is more likely. I also had to insert an obvious black screen when the main trio teleports a few meters ahead. Chasing the Scabbers: The first half, surprisingly, fits. But the second is shortened. The Whomping Willow: Mess. As with the Quidditch scene, the editing has changed a lot here, but the sync points can still be found. 31 - The Confrontation Scene [Two cues] These cues are heavily edited in the film. Some fragments are dialed out or tracked over, some are looped. However, there was almost no need to insert black screens (except for Lupin entrance). In other cases, the frames had to be cut on the contrary (I cut out some shots with the reactions of the trio, there is also something wrong with Snape's lines). The rat runaway sequence has been edited: the dissonant music in the film starts when Sirius dropping the Scabber and the previous piece is looped. The last part in the film is completely tracked over (The Marauders Map), but fits. 32 - Sirius and Harry Almost matches (only the end is slightly shortened). 33 - The Werewolf Scene and The Dementor Converge The Werewolf Scene: The first two-thirds are a very sad mess. Almost all sync points are perfectly detectable, but quite a lot of video material was cut. Then it gets better. The Dementor Converge: I decided to insert the The Dementor Circle instead of the one voice that is in the movie. The original (second) action-part [5:13-5:44] in the movie sounds slower, but I used the LLL-version and shortened the footage. Also microediting. 34 - Time Past and Saving Buckbeak [3-4 cues] At the beginning, the music is slightly out of sync, but at the same time nothing is cut out in the film in this moment, it's strange. At the ending of second cue [5:00], very strange things also begin - it's not entirely clear with what the transition between the cues should be synchronized. It can also be noted that the moment of "execution" is clearly shortened. I used the old ending from LLL-release/Official OST (see Bonus section for other endings). 35 - Lupin's Transformation (My Dad Conjured the Patronus) Here I used the version without the WttP layer, since the other doesn't sound very good. Here I only had to insert two black screens. Also I inserted both versions of the last section. 36 - Buckbeak Saves the Day and Watching the Past Oddly enough, everything is already synchronized here. At 1:32-1:36, I even had to shorten the frames. For fun, I inserted the original version of the second half at the end of the video, and much to my surprise, it syncs super perfectly. 37 - Rescue of Sirius, Sirius Says Goodbye, Turning TIme Back and Whomping Willow Revisited Rescue of Sirius starts a couple of seconds late in the movie, so it's a little shortened (in the movie). Sirius Says Goodbye: something seems to have been cut out here, but it is not clear what. The sudden transition to the next cue is embarrassing, maybe something was cut out here too... Whomping Willow Revisited: ok. 38 - Lupin's Departure and The Firebolt Lupin's Departure: shortened in the film. Between these cues in the movie inserted part of Sir Cadogan. The Firebolt: as expected, and fortunately, fits (except for the credits opening). Bonus - Experiments with mockups... Sounds awful, but why not. Quite a few alternative versions of parts have accumulated in the score, which have not reached us in the form of orchestral recordings. I decided to try and sync the most interesting ones. Quite a few alternative versions of parts have accumulated here, which have not reached us in the form of orchestral recordings. I decided to try and sync the most interesting ones. Old transition between Befriending the Hippogriff and Buckbeak's Flight This is where the "optional" cue ending comes in handy. There are not enough frames for it, but we got a smooth transition to the next cue. Old ending of The Great Hall Ceiling There are few differences from the final version, the most interesting thing here is the ending. I used to think that Dumbledore's dialogue with Snape was supposed to be longer, but it looks like the "lullaby" continues in the shots with the Whomping Willow - see how the falling leaf synchronizes with the "falling" trills of the strings. And only then the Hedwig's theme sounds. Interesting... Dueling the Dementor - 1st version Apparently, there should have been more Patronus shots here. A scene with this kind of music feels very different. Then the old alternative version of WttP is played. Dueling the Dementor - 2nd version (insert) The music sounds lighter, a female choir is added, but there is still no WttP theme. Perhaps it was on this stage that Cuaron and Williams tried to find the "true" sound of the Patronus... By the way, this version is already shorter than the previous one. The Dementor Converge - Original version Perhaps the most interesting mockup. Here it is interesting to see how much the dramaturgy (uh) of this scene has changed. It is noteworthy that the moment with Harry's attempts to summon the Patronus is cut. Also interesting is the moment with the successful patronus at the end - musically it feels like a kind of vision through a dream (in the score the maximum dynamics is mezzopiano), but we only have a recording of a newer insert, where the sound is louder and clearer. The ending is shorter, I had to delete one frame with Harry. Endings of Saving Buckbeak Just different versions of cue 7M2 endings. A kind of evolution - from darkness to light. The Firebolt - Original version And now the end of the movie. Two major differences: the moment where Harry trolls the students was cut out, as well as the instant transition to credits.

OK this probably looks like a complicated explanation, but in the end it's actually fairly straightforward. So basically we're talking about the two times in the film the Patronus charm successfully saves Sirius from the Dementors; the first time when Harry observes a mysterious figure doing it then passes out, and the second time when Harry realizes it was his future self he saw and successfully pulls it off himself. The cue for the first scene is 6M5AN First Frozen Lake. This cue is presented as recorded on the LLL CD as Disc 2 track 1 "The Dementors Converge (Film Version)" The cue for the second scene is 7M4 Watching The Past. This cue is presented as recorded on the LLL CD as Disc 2 track 21 "Watching The Past (Alternate)" The interesting thing about these two cues is of course that neither cue uses Window To The Past theme for the big Patronus moment; Each cue's climax is a similar passages of aggressive choir, rising strings, and horn triplets, but no thematic material. At some point, someone decided that it made sense to use the Window To The Past theme for successful usage of the Patronus Charm. I have no idea if this was before or after 4M14N Dueling The Dementor (Revised) was recorded or not (the only version of 4M14 recorded that we know of), but we know from a sheet music leak that the original version of 4M14 Dueling The Dementor didn't use the Window To The Past theme either. Anyway, for these two frozen lake moments, Williams didn't record a revision or insert synced to anything specific onscreen, a wild recording was made containing the past theme on horns with a calm choir backing. I don't know what Williams' title was for this cue, but this is the cue Mike referred to in the liners as the "pre-recorded version of the Patronus music". For the rest of this post I'll just called it "the Patronus Insert" Cuaron decided for the film itself to keep First Frozen Lake as it was, but then use the Patronus Insert the second time around during Watching The Past when Harry realizes his potential and successfully performs the spell, saving the thematic statement for when the hero saves the day, and paralleling when it playing during the first time her performed it when training with Lupin. The choices Williams then made for the OST album are then what really muddied the waters. Here we get a version of First Frozen Lake where the climax is replaced by the horn recording from the Patronus Insert along with some hodgepodge of other edited elements, and he named the track "The Dementors Converge". We don't know whether the Patronus Insert appears here because at one point Cuaron was going to use it at both spots in the film, or if this is just something Williams did for the album on his own. Watching The Past is also included on the OST - with the climax replaced by the Patronus Insert like Cuaron did in the film - as the first cue inside a track he titled "Finale". Finally, he included just the choir element of the Patronus Insert on the OST as well, in a track he titled "The Patronus Light". The main program of the LLL album follows what the film does, and features First Frozen Lake as it was recorded (which had to be titled "The Dementors Converge (Film Version)" because of Williams' OST decisions), and Watching The Past with the Patronus Insert in place of the original climax was included inside a track called "Buckbeak Saves The Day / Watching The Past" (which also includes the ticking clock overlay over part of the cue). Then the non-film-versions of First Frozen Lake and Watching The Past were included in the bonus track section, along with "The Patronus Light" So, to sum up What was recorded 6M5AN First Frozen Lake 7M4 Watching The Past "The Patronus Insert"; The Window To The Past Theme on horns with a choir backing, with the horn and choir elements recorded separately What the film does 6M5AN First Frozen Lake plays as recorded 7M4 Watching The Past has the climax replaced by the Patronus Insert What Williams did for the OST album Track# 15 "The Patronus Light" is a presentation of JUST the choir element of the Patronus Insert Track #19 "The Dementors Converge" is 6M5AN First Frozen Lake, except the climax has been had been replaced by the horn statement of the WTTP theme from Patronus Insert mixed into other things {including apparently some material from 7M4's original climax} from 1:45-2:33 or so Track #20 "Finale" is 7M4 Watching The Past with the climax replaced by the Patronus Insert at around 1:13, which is crossfaded into 7M6 Sirius' Final Scene What the LLL main program does Disc 2 track 1 "The Dementors Converge (Film Version)" is 6M5AN First Frozen Lake as recorded, premiering clean what we heard in the film Disc 2 track 4 "Buckbeak Saves The Day / Watching The Past" is 7M3 Buckbeak Saves The Day followed by 7M4 Watching The Past, which has its climax replaced by the Patronus Insert, like in the film (and also, the tick-tock element appears at various points throughout the whole track) What the LLL bonus tracks are Disc 2 track 21 "Watching The Past (Alternate)" is 7M4 Watching The Past as originally recorded, premiering the original unused and never-before-heard climax and its unique denouement Disc 2 track 23 "The Patronus Light" is OST track #15 directly from the album master Disc 2 track 25 "The Dementors Converge" is OST Track #19 directly from the album master I hope that makes sense to everyone and answers all the questions!

Seeing (and hearing) that masterpiece alongside Joker made me remember why the Academy is a joke.

Powell said in the comments that it's coming out in November: It seems like something Powell really wanted to make happen, so I'm guessing that has a lot to do with it.

Anybody else amused that Powell's score gets an expanded release before Giacchino's score?

The 3rd disc contains a brand new rebuild of the 1978 OST album because it's an iconic album and everyone felt it should be included in the definitive release of this score. When JW constructed the album in 1978, it was all made from the same takes and mixes as the cues that went into the film (this is one of those scores where Tomlinson cut the performance edits directly on the 1st generation tape, so all releases have always have the correct takes everywhere). When the original LP was released on CD in the US 2 tracks were cut to fit the CD limitations at the time; the full 1978 LP program had only been released on CD in Japan before the LLL debuted it in the US. The entirety of the LLL set is an entirely new mix. All previous albums used 2nd, 3rd, or 4th generation sources that all contained Tomlinson's film mix. For this release the first gen tapes were finally found, but they were multitrack - Tomlinson's film mix was not re-dubbed onto spare tracks on the 1st gen tape. So Mike created his own brand new mix from the first generation multitrack for every single cue in the score. So this edition of the 1978 OST album is Mike's new mix, not Tomlinson's old mix, if that matters to anyone. The old LP would have also been mastered for home listening too, it wasn't a raw untouched release of Tomlinson's film mixes. The Rhino and FSM would have each had their own different final mastering of the film mixes as well (except for the tracks on those albums taken directly from the album master, like the Love Theme). The LLL album was entirely mastered by Mike including the OST rebuild. One final note is that there is some piano heard in the Planet Krypton OST track that isn't otherwise in the Rhino, FSM, or LLL main program, so including the OST program in this set was a great way to include that little bit that Williams apparently liked enough to put on the LP (the only thing that differed from the film mix on the entire LP)

"Songs", "tunes", "songwriter"

For me it doesn't matter that much either way. If cues are meant to be joined then it makes sense to do that. Karol

Solo and Jurassic World: Fallen Kingdom were my favorite scores of 2018, and some of the best in the past decade imo. As others have noted, Solo didn't even have an FYC or any other "leaks", so having this arrive is so freaking awesome! I guess the possibility of a limited CD version is out? Is this the future of film music anyhow, to have digital releases? I wouldn't be opposed anymore, honestly. General music is widely available online, and film music should be too. And not JUST the OST releases, like is currently the model. These complete releases should have the same availability in the modern digital market so an aspiring 15 year old can use their parent's PayPal to listen to... well in this real case, the complete release of Solo! Instead of scouring on ebay for for out of print CD copies and paying 3 times as much on their poor parent's account and then have to explain themselves when the CD comes in the mail. For example: Jurassic Park and The Lost World. The set is out of print, and fetches for a pretty penny now. The Amazon digital release is only the OST (edit: in JP's case there is also the 25th anniversary edition, but we know that wasn't complete either!). So this fictional 15 year old I speak of can never hear the wonders of "Race to the Dock" and "Ripples"?! NO. lol. Anyway, congrats on Solo! Powell should be proud of this score. It's my favorite of his next to his How To Train Your Dragon trilogy. Hey... can THOSE be next, please?

As long as there's a lossless digital purchase option, take my money!

This is great news that Disney are open to expanded releases.

The scene itself made me sick, and then a couple months later I found myself coming back to this track on the soundtrack A LOT. There's this complicated mix of emotions going on here. Pain, discomfort, hopelessness, hope, relief, romance and beauty. It's all woven together so well and makes you feel what the scene is supposed to make you feel, but again, like everything in this movie, doesn't bother to make you feel on your own. Really, between Attack of the Clones and The Rise of Skywalker, it's amazing that Williams was able to pinpoint the emotions that were SUPPOSED to be present in the movie but weren't at all. Then, to be able to communicate that via music to the world. Wow.

This is about Russell Crowe, isn’t it?

FYI, Karam is 91 years old and retired. There is no inherent reason as to why JW stopped working with Conrad other than he likely didn't need his services anymore. As he said in the podcast interview we did, Conrad feels like JW is doing good without him nonetheless Conrad started in the early 1980s working as a copyist at JAKMS, so he was able to look at scores already very early on. He was recommended to John Neufeld by Arthur Morton (Goldsmith's main orchestrator), and started doing uncredited work for him. He was given his first credits with on some James Horner scores in the early 1990s (The Rocketeer, Patriot Games, Once Upon a Forest). It was around the same time that he started also contributing orchestration work for John Williams. His first work was indeed Jurassic Park in 1993. From that moment on, he became a regular in the team with Neufeld working with JW. He also started to get a lot of work and did orchestrations for Alan Silvestri, James Newton Howard, Danny Elfman, Hans Zimmer. His first official screen credit on a JW score was The Lost World. In some of the heavier, denser scores he orchestrated most of the cues, such as Sorcerer's Stone, Minority Report, Attack of the Clones, Prisoner of Azkaban. When Neufeld retired in 2004 (his last score with JW was The Terminal), Conrad basically became the "principal", splitting cues mostly with Eddie Karam on Revenge of the Sith, War of the Worlds, Munich, Indiana Jones IV and Tintin, with the occasional help from JAKMS people.

I'm sure whoever made these would want to include a disclaimer that they're old mockups and would most certainly sound better if that person were to redo them these days.

I don’t believe so, but here it is: 1M1 v2D “Opening” 1M1 v2D Insert “Opening” 1M1 v2D Insert “Opening” [album] 1M1 v2F Insert “Opening” 1M2-3 v2L “Bunk-Proxima” 1M2-3 v2L Insert 030918 “Bunk-Proxima” 1M4-5 v3O “Corellia Chase” 1M4-5 v3V Fix “Corellia Chase” 1M4-5 v3Y Insert “Corellia Chase” 1M6-7 v1P “Spaceport” 1M6-7 v1P Insert 030718 “Spaceport” 1M6-7 v1Q Overlay “Spaceport” 1M8 v1e “Gonna Be a Pilot” 1M9 “Imperial March” 1M10A v3D “Mimbam Battle” 1M10B v3D “Mimbam Battle” 1M11 v2B “Blackmail” 2M12 v2D “The Beast” 2M12 v2D Overlay “The Beast” 2M13 v1I “Chewie Untamed” 2M13 v1J Insert “Chewie Untamed” 2M14 v1C “Surveying Conveyex” 2M14 v1C Insert 030718 “Surveying Conveyex” 2M15 v2A (Intro) 2M15 v2A “Campfire” 2M16A v1Q “Conveyex” 2M16A v1Q Insert 030918 “Conveyex” 2M16B v2K “Enfys Nest Arrives” 2M16B v2M Insert “Enfys Nest Arrives” 2M16C v1G “Failed Heist” 2M16C v1G Insert 030718 “Failed Heist” 2M16C v1G Insert 2 “Failed Heist” 3M17 v2C “Walk To Dryden’s” 3M18S v2B “Yacht Duet” 3M19 v1D “Han & Qi’Ra Reunite” 3M19 v1D Insert 030918 “Han & Qi’Ra Reunite” 3M21-22-23 v1N “Dryden - Patience - Pilot” 3M21-22-23 v1N Insert 030818 “Dryden - Patience - Pilot” 3M24 v3D “Card Room” 3M25 v1L “Sabacc Game” 3M26 v1N “L3 & Falcon” 3M26 v1N Overlay “L3 & Falcon” 4M27 v1G “Family Stories” 4M28 v1J “Lando’s Closet” 4M29 v1E “Trust No One” 4M30A v1M “Mines Pt. 1 - Heist” 4M30A v1Q Insert “Mines Pt. 1 - Heist” 4M30B v4C “Mines Pt. 2 - Finding Coaxium” 4M30B v4F Insert “Mines Pt. 2 - Finding Coaxium” 4M30B v4F Overlay “Mines Pt. 2 - Finding Coaxium” 5M30C v8I “Mines Pt. 3 - Break-out” 5M31 v6G “L3’s Sacrifice” 5M31 v6H Insert “L3’s Sacrifice” 5M32 v2B “Kessel Run Pt. 1 - TIE Chase” 5M32 v2B Overlay 1 “Kessel Run Pt. 1 - TIE Chase” 5M32 v2B Overlay 2 “Kessel Run Pt. 1 - TIE Chase” 5M33A v2M “Kessel Run Pt. 2 - Monster” 5M33B v3C “Kessel Run Pt. 2 - Maw” 5M33C v2F “Kessel Run Pt. 2 - Landing” 6M34 v1O “Savareen Tent” 6M35 v1L “Emfy’s Standoff” 6M37-38 v3A “Joining the Cause” 6M39-40 v3E “Real Thing Double Cross” 6M41-42A v2F “Dryden Fight” 6M41-42A v2G Insert “Dryden Fight” 6M41-42A v2G Overlay “Dryden Fight” 7M42B-43 v1Q “Skype Showdown” 7M42B-43 v1R Overlay “Skype Showdown” 7M44A-B v1G “Beckett Departs” 7M44B v1E Alt “Qi’Ra Departs” 7M45 v1E “Parting Ways” 7M47-48 v1K “To Tatooine” End Credits Imperial Theme - Edwardian Style The Han Solo Theme 1M9 “Imperial March” is neither the version heard in the recruiting video (that’s “Imperial Theme - Edwardian Style”), nor the standard concert arrangement. It’s the later part of 2M4 “The Probe Scanner” from the Empire Strikes Back, but starting with the tracked Imperial March as heard in the film. Very odd!

You guys have killed this thread. Good work! Don't start another.

It makes sense to me why Solo might be first SW 1-6 = analog recordings, a producer with experience working on old elements needs to be involved SW 7-9 = digital recordings, but billions of alternates for ever-changing cuts, plus recorded in LA so cost is a factor Rogue One = digital recordings, can quickly assemble deluxe program, but recorded in LA so cost is a factor Solo = digital recordings, can quickly assemble deluxe program, plus recorded in London so no re-use fees = easiest to make happen first

Buried under 261 different sound effects! Such a seriously great variation on Rey's Theme: jurassicjello · Rey Action (Speeder Chase) Shame nobody in the sound team gave a shit. This score is going to be revelatory when Mike finally gets a chance to expand it.

Almost 2 years since the set came out and we're still making discoveries! The Dementors Converge After re-listening to Watching the Past (Alternate), I thought the ending was really similar to The Dementors Converge (the track from the OST) except that there is no horn playing the past theme. The waveforms also look almost identical between both tracks (except of course during the horn sections): So after lining up both tracks as perfectly as possible (very hard in this case because there seems to be a ~0.001% speed difference), I tried to invert one to see if I could isolate the horns, and here is what I got: Even though it's not perfectly isolated, this clip clearly proves that the section from Watching the Past (Alternate) (1:13 to 2:00) comes from the same recording as The Dementors Converge (1:46 to 2:31). The horn was just an overlay, used for the OST track. So I came back to the liner notes and found that The Dementors Converge is described as a "pre-recorded version of the Patronus music that was utilized for the original album", whereas the alternate to Watching the Past is said to contain an "initial version of the Patronus music". No mention about the fact these two cues actually share the same material! The Patronus Light Another thing I found is that The Patronus Light, while described in the liner notes as "the discrete choral component of that pre-recording [here referring to The Dementors Converge]" is actually used in the film score as an overlay in Watching the Past ! Again, after lining up both tracks to be sure it was used, I found out that The Patronus Light seems to be used as an additional choir section for Watching the Past. The cue is shortened and doesn't appear as heard in the album but I can confirm the take we have on the original album (and also on the LLL CD7) was used in Watching the Past. Here is my attempt at removing that overlay from Watching the Past (notice how different the choir sounds like, especially in the beginning): It also seems like Mike used the ending of The Patronus Light to present the clean ending for Watching the Past on the LLL set (Mike had to use the OST master for this cue, not the 192k high resolution source that he mainly used for HP3). Did you know all that @Jay?

Good of her to sterilise the mouth piece, even before COVID was a thing. Of course, what she should have done is stuff Williams with cookies until he agreed to write solo horn arrangements and a new concerto for her.

She was iconic! RIP A random thing I like her in is Doctor Who. She was a lot of fun hamming it up as the crazy Victorian lady with an alien worm living on her bosom! And yeah, bad form from bolle. When someone's died it's easy to follow the "If you can't say something nice, don't say anything at all" rule.

I don't understand the problem. It's actually a pretty decent way at implementing long-term systemic change.

Haters gonna hate. Annoyingly, Lebrecht is unclear about the reason for his unnecessarily mean-spirited criticism. He says that the album getting one star would be an insult, yet appears to have no problem with JW’s conducting or ASM’s playing. He seems to think the VPO has no business ever playing JW’s film music, which supposedly can’t ever stand on its own without the visuals it was written for, although he mentions exceptional pieces (so how about discussing those?). And at the end, he makes it all about himself, just as you would expect a prick with a pretension complex to do.

As a companion piece to John Williams Scores - By Film Studio, here's the exact same list of scores, except sorted by which music label would have to be involved to make an expansion happen Bold = has not been expanded in the modern era strikethrough = has been expanded in the modern era There was no OST album 1958 Daddy-O 1960 I Passed For White 1960 Because They're Young 1961 The Secret Ways 1962 Bachelor Flat (Intrada 2008) 1963 Gidget Goes To Rome 1964 The Killers 1965 None But The Brave (FSM 2009) 1965 John Goldfarb, Please Come Home (FSM 2001) 1966 The Rare Breed 1966 The Plainsman 1967 A Guide For The Married Man (FSM 2000) 1969 Daddy's Gone A-Hunting 1970 Storia di una donna (Story of a Woman) 1972 The Screaming Woman 1972 Images (Prometheus 2007 release was not expanded) 1973 The Man Who Loved Cat Dancing (FSM 2002) 1972 The Poseidon Adventure (La-La Land 2019) 1972 Pete 'n' Tillie (Varese 2017) 1973 The Long Goodbye (Quartet 2012) 1973 The Paper Chase (FSM 1998 released can be improved upon) 1974 Conrack (FSM 1998 released can be improved upon) 1974 The Sugarland Express 1976 Family Plot (Varese 2010) 1976 Midway (Varese 2011) 1977 Black Sunday (FSM 2010) 1981 Heartbeeps (Varese 2001) The OST license was temporary; The rights have reverted entirely to the film studio Disney 1977 Star Wars (1997 RCA release is not complete) 1980 The Empire Strikes Back (1997 RCA release is not complete and has sound quality issues) 1981 Raiders of the Lost Ark (2008 Concord release is not complete and has pitch issues) 1983 Return of the Jedi (1997 RCA release is not complete and has sound quality issues) 1984 Indiana Jones and the Temple of Doom (2008 Concord release is not complete and has pitch issues) 1989 Indiana Jones and the Last Crusade (2008 Concord release is not complete) 1999 The Phantom Menace (2000 Ultimate Edition is not complete and has many other problems) 2002 Attack of the Clones 2005 Revenge of the Sith 2008 Indiana Jones and the Kingdom of the Crystal Skull MGM 1967 Fitzwilly (Music Box Records 2013) 1973 Tom Sawyer (Quartet 2015) 1976 The Missouri Breaks (Kritzerland 2013) Disney Hollywood Records 1995 Nixon 2000 The Patriot Disney Records 2015 Star Wars: The Force Awakens 2016 The BFG 2017 Star Wars: The Last Jedi 2019 Star Wars: The Rise of Skywalker Sony Music CBS Records 1969 The Reivers Arista Records 1977 Close Encounters of the Third Kind (La-La Land 2017) 1978 The Fury (La-La Land 2013) 1979 1941 (La-La Land 2011) 1990 Home Alone (La-La Land 2015) 1992 Home Alone 2 (La-la Land 2012) RCA Records 1986 SpaceCamp (Intrada 2010 release - and 2014 re-issue - are not expanded) Epic Records 1991 Hook (La-La Land 2012 release is not complete) Sony Classical 1997 Rosewood (La-La Land 2013) 1998 Stepmom 2005 Memoirs Of A Geisha 2011 The Adventures of Tintin 2011 War Horse 2012 Lincoln 2013 The Book Thief 2017 The Post Mandalay Records 1997 Seven Years In Tibet Universal Music Enterprises 20th Century Fox Records 1966 How To Steal A Million (Intrada 2008) 1967 Valley of the Dolls 1973 Cinderella Liberty (Intrada 2008 release was not expanded) Capitol Records 1968 Heidi (2013 Quartet Records release was not expanded) 1970 Jane Eyre (2012 La-La Land release was not expanded United Artists Records 1971 Fiddler On The Roof (2001 30th Anniversary CD is not complete) MCA Records 1974 Earthquake (La-La Land 2019) 1975 The Eiger Sanction 1975 Jaws (Intrada 2015) 1978 Jaws 2 (Intrada 2015) 1979 Dracula (Varese 2018) 1982 E.T. The Extra-Terrestrial (La-La Land 2017) 1984 The River (Intrada 2020) 1989 Born On The Fourth Of July 1989 Always 1992 Far And Away (La-La Land 2020) 1993 Jurassic Park (La-La Land 2016) 1993 Schindler's List (La-La Land 2018) 1997 The Lost World (La-La Land 2016) Casablanca Records 1982 Monsignor (Intrada 2019) A&M Records 1995 Sabrina Philips Records 1996 Sleepers Dreamworks Records 1997 Amistad 1998 Saving Private Ryan (La-La Land 2018) 1999 Angela's Ashes 2002 Minority Report (La-La Land 2019) 2002 Catch Me If You Can 2004 The Terminal 2005 War of the Worlds 2005 Munich Warner Music Group Colpix Records 1963 Diamond Head (FSM 2006 release was not expanded) MGM Records 1966 Penelope (FSM 2004) 1969 Goodbye, Mr. Chips (FSM 2006) Warner Bros Records 1966 Not With My Wife You Don't! (FSM 2006) 1974 The Towering Inferno (La-La Land 2019) 1978 Superman: The Movie (La-La Land 2019) 1987 The Witches Of Eastwick (Perseverance 2012 release is not expanded) 1987 Empire Of The Sun (La-La Land 2014) 1988 The Accidental Tourist (FSM 2008 release is not expanded) 1991 JFK 2001 A.I. Artificial Intelligence (La-La Land 2015) 2001 Harry Potter 1 and the Sorcerer's Stone (2018 La-La Land) 2002 Harry Potter 2 and the Chamber of Secrets (2018 La-La Land) 2004 Harry Potter 3 and the Prisoner of Azkaban (2018 La-La Land) Varèse Sarabande 1972 The Cowboys (Varese 2018) 1990 Stanley & Iris (Varese 2017) 1990 Presumed Innocent If I made any mistakes, let me know!

Received all of my orders last week. Now I can die happy!

Right. I’m not expecting a thing, especially while we’re in a pandemic. I honestly still can’t believe our luck that he finished Star Wars in time, not to mention he was already an old fuckin man anyway when he committed to a 5 year project. It’s great to know that he’s writing his own music as we speak and so we have certainly not heard the last from John Williams. But if he does another film score, it’s clearly not gonna be before he’s 90. Every one going forward will be a miracle to me and he’s already been beating the odds as it is. I’m grateful for an unexpectedly amazing 2010s. I absolutely did not see him being this prolific and I was frankly biting my nails the whole way through every time a new project was announced. Now, that epic marathon is over and the film and music industry have gone into slow motion, if not at a total standstill, while time marches on as ever. It would be awesome to be looking back again at more great work when we’re approaching his 100th bday. I’m not celebrating until I at least know a score has been composed. When War Horse and Tintin came out just before his 80th, my entire perspective shifted on this. I was so happy to have those two and I felt like that was a really full meal, like wow, how lucky. 9 years later I feel like The BFG at Buckingham Palace.

0001 - John Williams 0002 - Anne-Sophie Mutter 0003 - George Lucas 0004 - Steven Spielberg 0005 - rough cut

The Chamber of Secrets AINEC Fawkes is a great theme, and the concert arrangement is fine, nothing wrong with it, but I like the way the theme is integrated into film cues more than this particular arrangement, which gets a bit more flighty then the film ever called for. That's interesting, but not my cup of tea necessarily. Dobby The House Elf is a perfectly fine theme for the character, and works well in the film, but the concert arrangement doesn't really take it in any new places or say much about the character that the film cues don't. The Chamber theme is wonderful, a great new addition to the series' bed of themes. The way the theme is worked into various cues are among my absolute favorite parts of the score, and to this day I will never understand why JW didn't include those cues on the OST album. The concert arrangement is also just aces. Takes the small theme and explodes it into grandiose proportions in a really cool way. I love it.

Williams is very much in favor of expanded releases of his music, except when he's not (Sugarland Express, The Rare Breed, some source music)

Amazing. ...and one step closer to full Williams scores.

They all told him the same thing: “Spielberg wanted me to score Schindler’s List, but I was dead.”

I'm not as hip or famous as Mr. Lebrecht, but here's my own take: https://thelegacyofjohnwilliams.com/2020/09/07/john-williams-in-vienna/

It's still better than this laughably awful screed: https://www.splicetoday.com/music/the-australo-hungarian-empire-strikes-back It's a masterpiece of how not to write about music. Or anything.

I feel I’d much prefer a Ken Burns style documentary about JW than a biopic that (inevitably poorly) tries to dramatize some aspect of his life.