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Have you not seen the track list for his score to 'The Light Between Oceans?' Music Composed by Alexandre Desplat 1. Letters 2. Tom 3. Jyn Erso takes flight 4. The Dinghy 5. Isabel 6. In God’s Hands 7. Reused Rogue One [No.128] 8. To Resent 9. Janus 10. A Wonderful Father 11. Suck it Disney 12. Path of Light 13. The Return 14. Hannah Roennfeldt 15. Still Your Husband 16. Yeah This Is From Rogue One Too 17. Sue Me 18. To Be Loved 19. The Light Between Oceans

I just finished listening to the whole album; My favourite track (despite it having had earlier release) is quite easily Dry Your Tears, Afrika. I'm disappointed by Hymn to the Fallen - its truncated form here doesn't do it any favours, and I still think the performance and sound mix from the Saving Private Ryan original album is unbeatable. I almost laughed listening to Viktor's Tale. It's the modified Signature Edition version, with some extra percussion added and the accordion removed. The clarinet performance thankfully avoids any 'squeaks' that various amateur performance I've heard seem to be plagued by. Emily Bernstein (who performed it on the original album, and who I hear sadly has passed away since then) performed the definitive version of this. I'm glad that Marion's concert version theme now exists, it's nice and sweet; Pleasing to hear also is the new recording of Escapades, as it almost equals my favourite recording of this (which incidentally was by a non-America, non JW conducted orchestra). The other tracks - Mutt, BFG, Lincoln, Minority Report, Munich, and War Horse are all (of course) flawlessly performed and recorded, but I'm at a loss as to why such relatively recent works needed re-recording. I could write a list of pieces that I think would have been more deserving of a new album treatment like this, but in the end, I'm grateful that Spielberg and JW wentto the trouble of this one. So, I just wish to express my deepest thanks to them for bringing this to us!

I just hope they're original and not cut-and-paste jobs. I'm expecting 8 to have a reprise (and hopefully some sort of reworking) of "Leia's Theme". If he does end up doing 9, whatever it ends up being it'll probably be a tough first listen...

She is one of the biggest babes in the classical world!

Sorry, didn't know you were deaf! ANY TORRENTS YET!!!!

This was an obscure 1963/1964 television show, a spin-off of BEN CASEY, that lasted one season. Williams did one episode of the show, which you can read more about on Jeff's site: http://www.johnwilliams.org/compositions/television/breaking-point In any case, I just found the episode on Youtube in its entirety: Enjoy!

Gravity is a cool flick, but the impact will probably be lost without the visuals I think - crazy special effects and shot composition in that film, not a lot of dialogue

OMG OMG OMG!!!! The whole album just became available for streaming on Apple Music here in Australia. See in a bit peeps.

I saw her in concert but forget what she played though she was intoxicating. In the pre-concert talk she mentioned a passion for wolves (unless I am mixing her up with someone else). Separately, I have been a life long fan of Bach's Chaccone in D minor for violin finding it one of the most sublime compositions. Bach was just amazing. I remember learning the prelude and fugue in C for piano and realizing how much more difficult it was to perform due to the right/left hand equality. I really struggled with it. His music is versatile. I frequently perform the cello suites arranged for bass trombone and have arranged some of his seminal keyboard works for various forces ranging from solo trombone (toccata and fugue) to full orchestra (Passacaglia and Fugue in c min). No questioning he's one of the titans of western music.

Are you trying to say to us that the music of this score is played... by... humans?

Simple question. The Jedi Steps and Finale is widely considered one of the best end credits suites Williams has composed, seamlessly weaving themes written across four decades into a dazzling 9 minute track that stands alongside his best work in the Star Wars series. At 85, and showing no signs of slowing down nor abandoning the Star Wars series, do you believe John will top this suite in The Last Jedi or Episode IX? And if so, why?

This B-phrase tune epitomizes Tchaikovsky's gift for melody and melancholy.

The dramatic parts of the film were scored apty. The rest of the film is not truly dark, there is a lot of humor

Every band has a specific amount of things to say. Some have less to say than others. In certain cases, they have one quick expression in them at that's it.

Yes, it is. From what I see, war horse and Marion's theme are the first official recordings of the corresponding Signature editions. (and I guess the Catch me if you can and Lincoln pieces too?) I wish they had recorded the sublime Irina's theme instead of Marion's theme since that one is kind of included in the Raiders March in the first cd.

Now that's music!

That is a good vintage.

I really love both of the With Malice Toward None renditions on the disc. The first is the beautiful trumpet version which Christopher Martin performed at the 4th of July concert which is here performed by Thomas Hooten of the LA Philharmonic and he nails it and the second versions at the end of the album is the lovely expanded string orchestra version with the cello opening. And it is impossible to find room for all the great pieces of music from all the Williams/Spielberg collaborations that deserve to be recorded on a single CD. I am just truly grateful the Maestro and Spielberg decided to do this in the first place and we have this third disc now to add to this series of great re-recordings.

John Williams - Harry Potter and the Sorcerer's Stone John Williams - Minority Report John Williams - Catch Me If You Can

Mumford & Sons were great at first. Then they changed their style/formula and it all went a bit shit. They found a lucrative niche and they binned it!

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crumbs does it on purpose as he knows I'll be ready to pounce upon it every time!

It would be pretty awful to just read the analysis of the funeral music without having the actual track available in Shore's intended form.

That's Irina!

"A Mary Sue is an idealized and seemingly perfect fictional character, a young or low-rank person who saves the day through unrealistic abilities." (Wikipedia) I don't really see how Thrawn fits that mold. He's certainly a character written to have extraordinary abilities of deduction, but being skilled isn't the same as being a wish-fulfillment cypher for the showmakers/viewers. Sherlock Holmes is a master of deduction, but nobody considers him a Mary Sue. Like Darth Vader and Palpatine before him, he's a Star Wars villain - which means he will be a very powerful threat to the heroes, until he is undone. He just exhibits a different kind of power than a Force user. Luke, Ezra, and Rey are closer to Mary Sues, if we want to use a loose definition of that phrase (although I've always considered Mary Sue to be much, much more severe of an example than "unlikely hero") For better or worse, the Thrawn that is in the show is the same Thrawn character-wise that was in the dumb books.

There's gonna be heaps of material for Volume IV in just a few years... The Post Edgardo Mortara Ready Player One Indiana Jones V (Two concert suites?) War of the Worlds (Suite) The Lost World (Concert version) Artificial Intelligence (Two concert suites) Ivanka's Theme (Concert version) Stargazers from ET Amazing Stories That's already a solid album. EDIT: Judging by @azahid's post, looks like the infamous 3 were intentionally omitted. Hmph. Interesting that all three of these scores are available in complete form (legitimately and otherwise) and Williams very recently approved both TLW & AI as complete releases. Maybe, after thoroughly reviewing these scores in the last year or so, he simply decided he wasn't interested in revisiting them further for this compilation?

Hopefully the latter! Best case scenario is that we get expanded/complete releases before/with the book.

It would be a really nice touch if he ended the TLJ credits with Leia's Theme in the same vein he ended TFA's credits. Intertwining Rey's, Luke's and the Force theme together with that gentle orchestrators was a brilliant closer. I just hope he doesn't revert to a cut-and-paste job, even if they're typically well done (Hook, Azkaban, etc.) He probably spend weeks doing the finale suite for TFA but it was well worth it (and he kept tinkering with it even after sessions finished, so he was clearly invested in the piece).

I don't think the TFA end credit is THAT great. Pretty good. Fun to rock out to, definitely. But it doesn't give me the same feelings the other six scores do. I can't explain it.

If he does choose to score Episode IX, it will (most likely) be his big goodbye to a franchise he has been a fundamental part of for over 40 years. He did superbly with the end credits to ROTS when faced with a similar situation, and I am very anxious to hear Williams now give his last last word in what would truly be the end of musical era as well as the bookend to a monumental achievement. Absolutely, I think he can top Jedi Steps. While no easy task, I have found that if anybody can top Williams, it's Williams.

The wraith music is really less Offensive than Gondor Reborn, which is very surreal in the actual film. So, only the original compositions will be discussed. That more or less confirms that the film versions are not at all in line with Shore's intentions. Because after all, if the film versions were his intentions, there would be no need to neglect them. I find it a bit (ok, more than a bit) disheartening that the book would be released without full score releases that precede it.

All lyrics will be provided. But the score will only be analyzed in the form in which it was originally composed by Shore.

The Thin Red Line The last time I watched this was years ago, and I remember having a hard time sitting through it. And now, I am utterly moved. It's messy, yes, it has a meandering middle chapter with a whole wife subplot you could do without, and yes, I still scoff a bit at that final line...but gosh is it so beautiful. Malick's ruminations were still at the height of their powers with this film, and set against the rolling grass hills, the scale of the battle and the usual Malickian imagery, this reflection on the human condition is rather potent. Zimmer's score, in many regards, may be the film's saving grace, anchoring it from reaching the point of derision. There's a particular scene near the end, when the Japanese were sneaking into the frame from the woods, just to the sound of descending perfect fifths on the harp...masterful scoring! And boy does Malick know how to shoot his battle scenes! There is conviction, meaning and focus to most of his images here, which as I've said before, not something I get from his latest movies. I haven't been the biggest advocate for Mallick's style, but this makes me understand why his fans love him so. Flaws and all, it offers a rewarding experience, something which few films can truly attest to.

I still watch the 1987 TMNT.

yes, I was the one. But you didn't miss it. You responded to me in that thread. By the way, it would be nice if you had a similar general TV thread here with links to individual series threads, like at FSM.

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As much as I adore the Williams piece, gotta go with Strauss. One of the best openings in all of music.

I still think it's pretty amazing we're getting a Volume 3 of the Spielberg/Williams series. I almost gave up hope to see it done for real. So paint me giddy as a schoolboy I totally respect JW's right as an artist to rework/revise/rewrite any of his works for film or concert hall. It's his own music so he can do anything he feels it's good for it. But sometimes his choices are kind of puzzling when it comes to these things, as in this specific circumstance (another one is the trimmed version of "Luke and Leia" he now performs regularly). It surely speaks about his vision of the old saying "A work of art is something never finished, only abandoned", but also as another example of how much he sometimes scolds himself a tad too much for the music he wrote at an earlier time

It's for people like us who enjoy hearing a new recording of a work they know by heart.

Arghh! Let me lament how I miss 'Young Indy's First Adventure' concert version from LAST CRUSADE on this set. It would have been a great way to start the 3rd album. Here is hoping if they do Volume 4 they include this along with suites from A.I., THE LOST WORLD & WAR OF THE WORLD.

The Empire Strikes Back Indiana Jones and the Temple of Doom Star Trek: The Motion Picture Star Trek: Nemesis Batman (1989)

Probably the greatest musical performance I'm aware of.

Here's some official cue titles taken from an ACE Repertory listing (Includes unreleased music):

Wow this must have been one of the JW projects Mike M. teased. I'm very excited for this. I didn't even know Pete N' Tillie existed. I'm loving how much JW music we've been getting lately.

It's a great score! ---- This again! And this great Chinatown throwback moment:

The start of the best sequence from John's best score, that one is. Indeed - for balls to the wall headbanging action, Hans is unbeatable. And this one is particularly infectious. 2:30 = kickass.

I almost never do this, but after having heard a few tracks off "Rogue One" 's soundtrack, I really need to vent: This isn't just bad. It's ugly. And I think the reason is sadly obvious: Giacchino's attempt at pastiche in such an iconic musical universe can only showcase his own shortcomings. It would have been an ungrateful task even for much better equipped writers, but as it stands, it simply sounds like a fan score. There's no point in dwelling on the awkwardly constructed themes, the inelegant emulation, the artlessness of it all... Giacchino was hired to write an apology, not a film score, and it shows. I feel very, very bad for him. Not for him not being a composer of Williams' caliber (few ever were), but rather for him being asked to put it so blatantly on display .