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I'm not actually a massive fan of the SW Main Title. That being said I really enjoyed assembling my personal playlist of TLJ which starts with The Rebellion is Reborn, which then leads to... well, here you go. 😄 https://drive.google.com/file/d/1c7_drpSdTytWvespnxgWYuCLO0AU2stc/view?usp=sharing

Dude. You came into the thread and told people to stop having the discussion they were having. (Or, as you just put it, "get the hell outta here.") Then you said it again just now, while incorrectly claiming that I've been focusing on the release's shortcomings. (I've been extremely complimentary.) Not sure what to tell you, bud. Anyway, I'm sorry if you're annoyed by me; not my intention. Feel free to avail yourself of the forum's "ignore" functionality; I think I may explore it myself.

Anyone who develops the impression that this set is "deeply flawed" needs to have both their hearing and their reading comprehension checked, haha. I'm not aware of any members that are disappointed with this set in the slightest; it's obviously been crafted with great care, and the results are incredible. Also, some people have noticed some small hiccups in the source recordings. It's possible to love something while also noting its minor shortcomings. If you prefer an "ignorance is bliss" mindset - not entirely unreasonable! - I'd recommend you don't participate in discussions about the release. Or perhaps create your own "positive comments only" thread. But this is a discussion board. Generally speaking, people are gonna...you know...discuss.

The standard OST should have been 1 disc, very much like the LOTR ones. The deluxe fancy editions should have been 2 discs. Its so simple!

Has this been posted? Desplat: John Williams' Catch Me If You can should have won everything. His opening titles is forever. Just for that he should have had the oscar. Done. Genius.

Disc 3: my thoughts. Opening with the children's suite is a great idea. Hearing the entire thing as a whole for the first time in ages was really refreshing. Though I don't like Fluffy's harp, those violins in Diagon Alley are such a delight, Quidditch is wonderful and Harry's Wondrous World at the end works so well, especially because it references previous movements. I do think that including HWW on disc 2 was a bit superfluous/overkill: I know that's how it is in the credits, but now it's a little repetitive and we have HWW in Chamber of Secrets again too. I would also have preferred the pub music to come first, because that flute solo is Hedwig's theme yet again. The vocal Hogwarts forever versions is great, Hedwig's theme for harp is a little weird but great fun, the coke ad is as magical as ever, but the teaser music is rather redundant. The trailer is interesting because it was seemingly recorded in a smaller studio or by a small/inexperienced orchestra and given the short running time of this disc, I think it would have been nice to have Owl's Flight at the end of a Dumbledore's Advice reprise. It would have given Hedwig's theme a well-deserved break and casual listeners might have had a better idea about where the cue belonged.

OSTs from: 😍

Return to Oz by David Shire

Really? I've come around. I love this score! Tons of great themes, setpieces, and cues! Many have such negative feelings towards this score because of WR! I blame WR!

Disc 4: my thoughts. The difference in sound quality between the OST, sessions and this one is striking. What a detailed and crystal-clear mix. Having said that, there were a few minor issues. The Escape From The Dursleys was a little too quiet. The beginning was certainly okay, but the action material could have been a tad louder. I'm beginning to understand most of the track combinations now and it's clear to me that Williams or Matessino don't like to end tracks with 'cliffhanger' endings. While I totally support that decision, Flourish and Blotts - Harry Meets Lucius Malfoy doesn't make much sense to me. The transition between The Train Station and The Flying Car isn't done very well, which surprised me a little because I managed to make a better edit (in my opinion, of course) two years ago by just crossfading the two sessions cues and my editing skills aren’t the best. The biggest problem here is that I can hear the end of Train Station suddenly fading out, The Flying Cr starts a little too early and is too soft as well. This change in volume doesn't really make much sense to me and Whomping Willow is way too quiet too. Harry Is A Parselmouth is a really interesting little cue, but if they don't like 'cliffhanger endings', wouldn't it have been great to combine that cue with Petrified Justin?

I think this set is the holy grail for most of us JW fans! The problem is, if all of us start pointing out the tiniest flaws, the rest of us cannot unhear them (or start noticing them as well), and before we know it, we might get the feeling that this set is deeply flawed and riddled with glitches. There really should be a separate thread just to discuss the flaws and glitches and whatnot!

My piano concerto album is finally out on youtube/itunes. Recorded at Abbey Road - hope you enjoy.

Hehe, I don't know that, what it is?

Harry Potter and the Prisoner of Azkaban. After no Potter at all for a week. I enjoy how small and intimate this score feels. It is almost antithesis to what a typical blockbuster JW score normally would be. Karol

Well now you know that's not the reason. But don't worry, your nightmare will be over before New Year's Eve

I thought Double Trouble March is 1:04-1:31, with the podcast/film version replacing 0:54-1:04 of Dumbledore's Warning with either 1:14 or 1:27 of DTM

No there is no difference between the theatrical or Extended version.

Of course it is. And the makers knew that exactly well. It was the price to put on the screen what they put on the screen. But let's not clutter this thread, there are - god knows - enough threads about bad 80's action movies and the lack of variety here is really driving me nuts.

Roast Mutton in particular is one where the Extended cue replaces a great section (Misty Mountains quote) with a much worse section with barely any force and tempo behind it, that's traded in for more of the actual cue that wasn't on the standard. It's just a mess.

And if JW hadn't done CoS, it's highly doubtful he'd returned for PoA!

Assuming there is one.

No

But that's my point. If film scores are indeed a niche market, and I don't doubt your claim at all, why on earth do they waste our time with two editions that only contain minor differences? Why can't we just have one edition that contains all the released content? Who buys/wants the standard editions?

Rambo: First Blood Part II is a superb action film!

That's what I usually like to do with trailer music, too. (In cases where the film's composer got to write trailer music too, I mean.) I'll definitely be doing it with the teasers for SS and POA...not sure yet how I'm going to handle the trailers.

No. Casual movie fans don't buy soundtracks at all, unless the cover says Hans Zimmer, or features famous pop musicians. Film scores are a small niche, even the Harry Potter expanded scores are printed in very low quantities, and these 2 CD Hobbit OSTs are a fan service in the first place. You think even one casual movie goer would notice the differences between OST and movie, much less give one rat's ass about them? You're the only one making a fuss about it, buddy. For the price of one Spotify subscription, you can listen to all 6 different Hobbit soundtracks until you're blue in the face, and if you just want to collect the OSTs, what difference does the content make? So what the hell's your problem? You want the Soundtrack to be released two months after the movie? That's smart marketing. You want the LOTR re-recordings replace original score on the OST? Films 2 and 3 were recorded so early that you do get most of it on CD, but then ended up being butchered in the actual film. That's not terribly clever either.

I’d rather have it than not, but yes, as an ending it’s odd. In my playlists I typically place the trailer music before the score. Almost works as a warm-up to the main event.

I don't know what a VPO subscription costs, but it's hard to get one anyway. You have to apply with a written letter, probably repeatedly for years, because tickets only become available if previous subscribes don't continue their subscription, and are then given to the longest waiting applicants. I had a Musikverein subscription last year, which included six concerts at the Golden Hall, one with the VPO, the others with other high profile international orchestras and conductors. There were two versions of that cycle, one included another VPO concert (performing Beethoven's 9th under Andris Nelsons), but I opted for the other version which had Rattle conducting the full Bruckner 9th (with finale) with the Berlin Philharmonic - my main reason to get the subscription in the first place. That cost €342.90 for 6 concerts in a seat a bit further back than the one I just booked for the Bruckner 6th (that was €68 for the single concert). For comparison, the cancelled Williams/VPO concerts were €240 in the best category and €90 for seats comparable to those mentioned above.

The HP1 OST version is on disc 2, just without the bars cut

But how do you remake unrecorded music by ear? That doesn't make sense. That's the material I was referring to.

How to Train Your Dragon by John Powie How to Train Your Dragon 2 by John Powza How to Train Your Dragon: The Hidden World one-minute sample by John Pow-Wow I'm mildly excited for next year is all.

That's my pleasure! Visit my website now: http://www.goplanete.com/johnwilliams/music/disco/albums.htm. 😁

Did they do it? https://www.youtube.com/watch?v=1gIZYO_goXI (It's a shame that the LLL set did not include this splendid... "alternate" version! )

I understand, but i hadn't watched any before. Maybe one or two eps in Sky Channel in the 80's. Might have been season -4 or -5.

The Clara timeline is at least a possibility, but The War Doctor was a mistake, to be sure - even if we did get to see John Hurt act the younglings off the fucking stage! I always assumed that the 8th Doctor fought the Time War. To not use McGann, was criminal.

5 years today. He was a quintessentially Polish composer. His music really captures what this country is about. No one else could quite evoke its soul with as much ease and elegance. Karol

The Adagio from Bax's Third Symphony has a very pastoral feel to it. The opening makes me feel as if I'm walking on a country trail in the North Downs somewhere. And if I hadn't known beforehand, I would have been convinced that 18:47 was written in America...

As a huge fan of the maestro, you should be able to tell immediately that the trailer music is modern trailer house fare and not Johnny Dubs.

Train to Hogwarts V1 Dumbledore's Warning Double Trouble March Train to Hogwarts V2 Some trailer house, seguing to the ending of Reunion of Friends from COS

Apparently, LLL wants me to appreciate them packaging the order well, because on the invoice, they circled my comment to "please please please package well" with a pen So I hereby announce that I appreciate LLL's packaging.

It was a great year for him! Minority Report, Catch Me If You Can, Attack of the Clones...even if you're not a fan of any one of those, it's hard to deny that they feature some top writing from him, with at least a few musical setpieces that sing to even the most jaded listeners.

Finishing duties with HARRY POTTER AND THE PRISONER OF AZKABAN A recent visit to the Royal Albert Hall for (my first) live movie/concert performance misled me regarding the score's true worth: its precise, often deliberately toned-down approach was dwarfed by the movie's elaborate sound effects - the whole idea seems more of an expensive marketing stunt anyway. LLL's recent expansion now makes you appreciate not only the fresh start the series got with its third installment, but also the considerable effort it must have taken Williams to abandon the well-trodden road he took for the leaden, show-value oriented first two Potters. Gone is the relentless operetta overscoring, substituted now by a gnarly, mischievous, often dissonant thriller approach still playful enough to conjure the wizarding world of Harry Potter, but doing so in a more idiosyncratic way (even the newfound minimalisms of 'A. I.' make a cameo). Director Alfonso Cuarón's musical aesthetics certainly are a far cry from the leisure old-school style of Chris Columbus, and he thankfully bonded enough with the composer to convince him to largely abandon the wealth of material he created for this series, as a result unleashing one of the high points of fantasy scoring of the 2000's. Given the quintessential englishness of this series, it's a bit surprising that it took three movies to reflect the islands musical heritage: an inconsistency even Williams might have noticed, as he not only employs medieval melodies here, but also quite a band of mediaval (folk and court) instruments playing them. The mix is delightful and with all the wacky additions (atonal bebop in 'The Knight Bus' or the shawm fanfare for Sir Cardogan) play well against the omnipresent mischievous motto theme of the movie, 'Something Wicked this Way comes', and the sinister music for the elaborate conspiracies involving metamorphosing rats, deadly dementors and time travels. The old album, well-intentioned as it may have been, was quite a disservice for the varied tapestries Williams creates here: due to less dense scoring, there are a lot of short cues in addition to some fanciful alternates that would have required a much more deft hand combining those into a good representation - the second half of the movie, where important story points coalesce is woefully underrepresented on the old release. The true worth of Williams' contributions can only be valued now, with the long Time Past modeled on the beat of a ticking clock sequence intact, or the textural interesting strings flirrings of The Three Broomsticks, or the modernist/aleatoric cues for the more frightening moments reminiscent of CEOTK (the choral alternates are a beaut) - or even the short Britten-esque carol A Winter's Spell. But even in short cues like 'The Executioner' you feel a playfulness that the album would feel less without it. If there's one thing this release is proof of is that Williams post-80's career could have used a few more Cuarons (at least we had Stone, Annaud, John Singleton and Barry Levinson) in lieu of George Lucas, Chris Columbus or Indy IV-Spielberg.

To those who doubt his chops, I can only present this:

La-La Land Records was right on the money when, in their birthday wish to the Maestro, they teased on working with him on upcoming projects and that 2018 would be "a year for the books." With Land of the Giants, the 20th anniversary of Saving Private Ryan, the 25th anniversary of Schindler's List, and the Harry Potter 7 CD set, 2018 certainly was just that. As we approach 2019, what upcoming expanded, remastered and definitive releases of the Maestro's work do you think will happen? I predict a remastered, expanded and definitive release of the Maestro's score to Superman in commemoration of the 40th anniversary of the film. I also predict that the Maestro's score for Amistad will get the remastered, expanded and definitive treatment. In the meantime, I am enjoying the releases that happened this year, as well as all of the Maestro's music, and I look forward to what the Maestro will bring in 2019. Merry Christmas, and have a Happy New Year.

This is just anal minutiae/semantics, but has MM, MV or someone with their status, abilities and knowledge confirmed definitely and indisputably that Jane Eyre was lost? If they have, the colour should be red, if not, maybe the wording should be "Session tapes believed to be lost to time" - you know how it went with Dracula!

Maybe he hired John Williams as composer

Kylo Ren 1:14-1:31.

I like you.

The problem with Yates' films isn't that they're too dark, it's that they're dull and dreary.