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If Powell wrote the music and Giacchino stayed home, it sure would be.

Very beautiful. It reminds me of this gem from Vaughan Williams (here conducted by JW's mentor and fellow anglophile, Bernard Herrmann):

You know, there's something to be said for not pulling the "I'm a composer" card when criticizing film music.

So all the constant Giacchino hating from here on out will be done here and not in the various Giacchino score threads? Awesome! Great idea.

When you visit JWFAN for "a minute", only to look at the time and see that two hours have passed...

I don't hate Giacchino at all. I just think he's not all that good an orchestral film composer, and certainly not a great musical talent by any measure. He's merely functional. The only reason I take issue with the man's music is because I'm tired of reading about how he's supposed to be "the saviour of great movie music." And because of an infamous, terrible post made here, by user Blumenkohl some time ago, which I only actually sort of forgave him for this year. In that moment, he unwittingly ensured I'd make it my idle pastime on JWFan (other than pointing out Alexcremers' bullshit) to defend against, assault and dismiss Giaknights forever. Blume's foolhardy request that JW should "step aside" for Giacchino on The Force Awakens was the single most offensive thing to me since David Koepp. This is why I have a natural tendency to rally against Giacchino's music (even after, I might add, giving it countless chances to "git gud").

Among all of the expected "Giacchino should score VIII/he should re-score TFA/did you know Williams' orchestrators write his music?/What is an orchestralator?" comments I've read across the internet today, this was my favorite (from someone who apparently did not get the memo):

This one was a pleasant diversion, really. Though listening to TLW recently had a sobering effect on my appreciation for a lot of recent orchestral scores.

I... I...

It's funny because JW probably would have written a more bombastic moment if not for Hammond's remark in the movie. Because of that he had to tone it down on purpose and make it a bit "suckier." Gotta be honest, this guy sounds like a freaking fratboy moron. 😂 But at least his love for Jurassic Park and John Williams shines through.

I've just seen The Lost World in a small neighborhood cinema in Berlin. The building used to be a slaughterhouse of the Prussian Army in the 19th century Anyway, it was an original 35mm copy and the sound was AWESOME. You could here almost every note.

Lathspell I name you! Ill news is an ill guest! GET HIM!

A full clip of bullets emptied into his skull! In the name of righteous retribution!

Shot like vermin! Without mercy, or remorse!

This was indeed interesting. He gets some things very wrong, including that completely uninformed summary of how RCP does things, but other points are spot on. I'm optimistic about the present and future of film music. We're into new territory here, but there have already been masterpieces. The trash will dissipate as everyone gets their bearings. Thanks for sharing.

One other reason why composers might enlist orchestrators (and even orchestrators might hire orchestrators if they are composing their own film) is simply the time pressures and demands of the job. Most high profile jobs have very high pressure and tight schedules. Let's say the composer has to compose and complete two minutes of finished orchestral score per day to make their scoring date. Then something they've already done has to be revised to fit a new film edit. For example, if there is a late re-edit or re-shoot after the scoring is done, they might now have to score 3.5 minutes per day to make their scoring date and the pressure can get very intense. They might also have written 3 or 4 (sometimes many more) versions of the same cue and it just isn't getting approved. You are now up to 4 to 5 minutes needed per day. This is where someone who can take a sketch and reliably flush it out to top standards is invaluable and becomes a trusted ally. As grey, err...Prerecorded Briefing mentioned, it can range from taking what was given to you and flushing it out for full orchestra to adding or changing musical material. It is not unusual for a composer to have serious chops but need a ghost or someone to embellish their idea just to make their schedule. For example, the composer received late changes requested to their cue but they don't have time for it because maybe they are in the session. So you could be asked to arrange the idea to fit the directors latest notes while preparing the orchestration. The orchestrator is in effect a service to the composer and the composers success on their project is your success.

So the version of "Men of the Yorktown" from this concert is 5:02 long. Basically double the length of the only version I've ever heard! I really love the orchestration of the quote of the main Midway March theme that happens about two-thirds through. Great stuff! In case anyone wants to hear just this newly discovered (at least by me) arrangement, here is an MP3 of just that section of the concert: https://drive.google.com/open?id=0B6T5vTBhM2zmeUlkSVIwY0ktMm8

Millennials. So bloody demanding. And that's awfully generous of Mr. Bloody Flower to only release the unreleased bits, ie. the biggest selling point of the set.

Regardless of the quality of the theme, I still think it makes an impression on audiences, if only because it's repeated ad nauseam in each of the films.

It's the best we can hope for! For Star Wars! Has it come to this? And so fast! From Williams to Gia in one year! From the best film composer working today to the base master of mediocraty in one year! One single year! I am so pissed off about this! This will not be borne!

The Most Epic Emotional Song In The World (We're Not Crying, You're Crying) #perfectstudymusic #moveoverjohnwilliams God I fucking hate everything.

Maybe he should try it.

Four weeks doesn’t seem like enough time.It’s not really. But you work with the time you have. And I’m not a person that has a bunch of other composers working for me.

It's some of the best music I've ever heard. It's a rare thing when a film score running over 90 minutes has me floored the entire time.

Batman Returns (LLL) - Danny Elfman It's so imaginative, so fun, so Elfman! I miss when Elfman scores were this fun. The Penguin theme is one of his best but its definitely the Catwoman material that's the highlight of the score. This part especially at 2:33:

Oh, and here is a download-ready link to the concert: http://streams.wgbh.org/online/clas/bso/bso160604.mp3

suckmuckduck. Best username I've heard this year.

That is certainly an option for those with the budget, the space, and the necessary sonic isolation so as to not disturb the neighbors. You know, all the same luxuries that permit one to use a real orchestra instead of a virtual one.

I predicted BREXIT and Trump in the Whitehouse. Be afraid. Be very, very afraid. Giacchino will get the Oscar for Star Wars.

I want that person put against the wall and shot!

Chocolate can bring out the best in people too. But chocolate exists. God does not!

Are you kidding??!!! I bought this, on vinyl, in the Summer of 1976. It was only the fourth JW record that I owned. If only I knew then, what I was getting my self into... I loved it then, and I love it now.

Not sure if it's what you need, but.. howzabout Phillips Sarde's PIRATES, the ROBINSON CRUSOE TV show, John Addison's THE SCARLET BUCCANEER, and...are we forgetting a little something called HOOK?

Again this is a personal preference but I think Stalling Around doesn't mesh really well with the surrounding cues stylistically (being sort of meta score within a score) so I think it was good decision to have the cartoony source music at the end of the LLL presentation. In fact this is how I had it on my previous version of the soundtrack listening experience with those 20th anniversary tracks included. But again this is a personal preference where my C&C obsession gives way to the listening experience.

Why? It gives me a little insight into how I approach music. It doesn't mean you have to agree with me, or that you even like anything I do, but I am a composer, so that's where I am judging it from, not just as a listener.

The intensity doesn't always need to be reflected in the music, however, what Giacchino wrote seems to be serviceable here, under all the dialogue and SFX, it doesn't go OTT in trying to bash you over the head with what's happening. Still, we haven't heard what music directly precedes and succeeds this clip - there really isn't enough to judge it on.

Star Wars Episode VIII will embrace practical effects even more than The Force Awakens

Source music. Goes at the end.

I worked at a Tuesday Morning when I was 19 years old. One of the worst jobs I ever had.

I'm finally getting around to listening to this and wow I love that "Men of Yorktown" arrangement. I also noticed how extended/developed it is compared to the album track. Does anyone know if this is an existing concert arrangement? Has it ever been recorded before? EDIT: I see that of course this question has already come up above a few times Im really looking forward to this release!

I just watched THE BFG again and I noticed something really cool when BFG makes Queen's Nightmare: I love how Williams put almost all the themes of the movie in this scene. Starting with the nightmare's theme and then some others: when BFG adds giants to the dream, we hear Giants' theme. When he adds the army, we hear the army motif. And the same happens with Sophie and her theme. And the result sounds really good!

The cinema-going public knows who Giacchino is?

The Iron Giant is probably my favorite Kamen score. The last few cues are heartbreaking and then grin inducingly triumphant.

God I love the way JW subtly holds back the brass in the build up to the first major statement of Luke's Theme in Main Titles. Gustavo's interpretation of that moment feels a bit too controlled to my ears. Quietly hopeful Williams conducts the Main Titles himself for Episode VIII. Also, how good does Johnny look? Nearly 85 and sprightly as ever in front of the orchestra (if not moreso than he looked in some of the TFA session videos).

Journey To The Island is simply one of the best film score tracks of all time.

Even if Williams farts in the bath tub it gets nominated. Those are the rules.