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Technically, he is mentioned in the 50's "rewrite".

Because LEGO is awesome.

Time for a press release about the song AND the CD, where it will finally be announed to be a 2 CD set. I dare you!

Kill for that wet sound on DOS score.

Picked up The Village and Serenada Schizophrenia used from Amoeba Records in LA today.

All the negative expectations and wild speculation in this thread is really off putting. I can't wait for the damn CD to come out so the discussion is about that instead.

I just want to chime in for those of you wondering how good an orchestra are the NZSO, in comparison to say the London Philharmonic. I have had a piece performed by them a few years back and they are amazing at sight reading, I didn't notice any mistakes the first run through. In fact aside from compositional changes I was racking my brain to give them some constructive criticism. The acoustics in the Michael Fowler Centre and Wellington Town Hall are also insane!! Very Similar to abbey road (a clear sound but not too dry like on some of the Hollywood stages).

This morning/afternoon we did some exploring around Los Angeles. We went to Griffith Park and up to the Griffith Observatory, which offers simply stunning views of Los Angeles as well as the surrounding hills and mountains. This is a must visit place for anyone going to LA! Inside the observatory you get to see a lot of really cool space stuff for free! We then went to Mann's Chinese Theater (now called TCL Chinese Theater) and checked out all the foot and handprints by famous actors in the concrete. I would have loved to have done a guided tour but we didn't have time. We also checked out the Hollywood Walk Of Fame which is on Hollywood Blvd. I looked for as many composers as I could and found Lalo Schifrin and Henry Mancini. Then after lunch we popped into Amoeba Records which was just a REALLY cool store I wish I could have spent more time in. It's a store that sells new and used CDs, LPs, cassettes, dvds, Blu rays, and all kinds of other stuff. Of interest to film score fans is their large Soundtracks section which is notoriously a great place to find FYC promos and other oddities including many OOP titles. I literally saw maybe 8 copies each of Copernicus Star and Money Train and all kinds of other LLL, Intrada, FSM, etc titles. Very cool. After that we drove through the Sunset Strip and went up into Beverly Hills and checked out a bunch of cool and super expensive houses. No idea whose they were without a guide, maybe next time. Finally before heading home again we went to the Walt Disney Concert Hall in Downtown LA. This was a place Marcy had pegged as a place she wanted to see and once I got there I understood why. The entire exterior is an amazing feet of architecture (it was designed by Frank Ghery, one of Marcy's favorite architects). It was awesome to walk around and check it all out. Then it was back to home base to change and get ready for the Halloween concert of the Varese Sarabande 35th Anniversary concert tour where I met and shook hands with another composer...

the score! I want the goddamn score!

Chamber of Secrets was recorded without John Williams and it is arguably the best performance of all three HP soundtracks. And it is arguably the least original. Apples and oranges. I thought we were talking about composer not being present at the recording sessions and how that affects the final recording. Not writing, but recording/orchestra performance. How is that not related? Karol Yes this is rather a performance issue rather than of originality of the writing or its quality. The fact that CoS is not as original as HPPS or HPPOA isn't tied to the performance. Naturally it would have been different if JW had been conducting it himself but I wager that it would have not been drastically different. Chamber of Secrets was a scenario, where Williams had to rush a lot of material for the film when his schedule for Catch Me If You Can was pressing on him. Still he apparently wrote new material up to the last minute (of the recording sessions) but the score does have a strong sense of adaption of older materials. But in the case of DoS Shore has been able to focus on writing exlusively for the film full-time, which makes a whole lot of difference. You can think about it this way: Relinquishing some of the control over the minutiae of the scoring process into the hands of other professionals will both save time for Peter Jackson to supervise the recording sessions at Wellington, while he runs the whole post production circus and for Howard Shore who can focus purely on delivering the best possible music with his staff in New York and delivering it to the capable hands of Conrad Pope and NZSO, who will perform and record it. Pope is an experienced conductor, orchestrator and all around master of film scoring process, so he is able to make the needed adjustments to the music on the podium, omitting bars where needed, changing a solo trumpet to an oboe etc. to conform the score to the picture and to the director's needs. Sure Shore seems to leave some of these decisions to other people but what he gains is free time to work on writing the new cues, doing major changes to older ones, implementing entire rewrites etc. I don't see this (if any of the above speculation hits close to the mark) as a bad thing, rather a newly structured way to create this music and this doesn't differ so much from the norm of modern day film scoring.

Agreed, very fine Yet here you are on a film music message board! Music should be all kinds of things, not just calm and noble. Bach recognized that.

Could the entire main page just be this picture? No news, no banner...just this: