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Cue names and numbers from the live-to-projection version (usually pretty accurate, though may not reflect revisions, tracking, etc.): Act I 1M1 Main Title—Starry Night—The Invasion of the Village 1M2 The First Order Approaches 1M3 The Arrival of Kylo Ren—Landing 1M5 The Scavenger 1M6-1M7 One Quarter Portion—Lunchtime With Rey 2M11 BB & Rey Meet 2M12 Poe Under Torture 2M14-2M15 I Can Fly Anything—The First Escape 2M16 Finn's Trek 2M17 That Lady with the Stick 2M18-3M20 Who's Luke Skywalker?—Follow Me—The Falcon Still Flies! 3M21-3M22 What's Your Name?—Kylo And His Sword 3M24 Hiding Under the Grate 3M26 You're Han Solo? 3M27 Rathtars Appear 3M28 The Rathtar Attack Part 1 3M29 The Rathtar Attack Part 2—Snoke 4M31 The Map Scene 4M32 Green Planet 4M33 You Got A Name? 4M34 I've Found The Droid 4M35 Maz On The Table 4M36-4M38 I Ran Into You—Into The Cellar 5M40 Rey's Dream 5M41 I Have To Get Back Act II 5M42 Entr'acte [live-to-projection only] 5M43-5M44 Sunbeam Strings—Find Rey!—Kylo Arrives At Battle 5M47 Good Guys Shooting—The Resistance Theme 5M48-5M49 The Abduction of Rey—Han & Leia Reunion—Finn and Poe, United 6M52 R2 in Hibernation—Parental Discussion 6M53 We See Rey 6M54 Bring Her to Me 6M55 You Will Remove These Restraints 6M56 Kylo's Rage! 6M57A Council Meeting—Preparing for the Mission—Ren In Cockpit 6M57B Ice Landing 6M58A Hey! 6M58B Rey On The Wall 6M59 To Lightspeed—The Bombing Run 6M59A Group Startles Rey 7M60 Hug Later 7M62 Shoot Out—On The Inside 7M65 Father and Son 7M67 It Is You—Scherzo For X-Wings—Rey vs. Ren 7M68-8M73-8M74 Flying Home—The Complete Map—Climbing The Mountain End Credits

@Jaywe must overreact and misinterpret. It’s a long standing tradition that has been a part of film music fandom ever since these releases started.

@Kasey Kockroach when he logs on

Because they ruin the fun!

On a different note for a bit... Now, do we know anyone who would want that, even a little bit? Hmmmmmmmmm...

So, at least one. Thanks for the info, Jay!

But I do have a life. I have a great job, great friends, a family, a cat and a dog... And I also like to discuss Williams, movie scores and the parts of it that are obscure to me - that was the reason why I joined here.

The Eye to Eye lift from Jurassic Park is even more slavish, but at least he was lifting from an unused cue! I actually prefer the COS rendition of the Zam music anyway. Ross conducted the hell out of it. It makes the AOTC version feel restrained by comparison. I don't think anyone is seriously critical about the job Williams did on COS, given the immense time constraints he was under (and considering the breadth of music he achieved in 2002). I think it's just disappointment these new themes were so utterly brilliant but ultimately undeveloped and underutilised in the film; the "what-if?" factor is palpable. Then it's salt in the wound that subsequent scores ditched the themes entirely, considering Dobby, Fawkes and the Chamber had obvious musical opportunities that went begging in later films.

Mv's post was, to me, clearly a reaction largely to that year where he said an "epic" score was coming, which ended up being Dances With Wolves, and the shitstorm of debate that followed afterward of people questioning whether DWW was an "epic" or not. And then in the years since, people have continued to pick apart everything every label head says. All he's saying in this new post is no clues, no hype. He'll just put them up on Facebook on Black Friday with no prior way to guess at what any of them are. That's it. No need to freak out about this.

So what he's saying is they we will get Star Wars, Indy AND Hook all in one 20-disc boxset. Got it.

Here's a reproduction of the full concert version of the piece done on VST:

Time for dragging out that old Shat quote:

Anyone else perturbed by the fact that Michael Giacchino named his son Mick? Presumably short for Mickey? You can take your Disney shilling too far!

Troy by Gabriel Yared: While this might sound somewhat old fashioned and classical in tone, it actually is such a terrific full-blooded epic score but it sadly never officially saw the light of day and alas probably won't any time soon. I would love a specialty label release of all the recorded music.

In the end does it even matter much if you enjoy the music? I am curious up to a point about the music making process but in the case of Chamber of Secrets they clearly don't want to go too deeply into it as it was not an ideal situation for Williams who was in a hurry because he scored four films that year and had to start on Catch Me If You Can.

I mean, for Season 1, 20th Century Fox TV Records released the soundtrack digitally, LLL was just able to get CD and Vinyl rights only. If their edition of the Season 1 OST didn't sell very well, why would it be worth their while to invest in making a CD/vinyl of Season 2 happen? 20th Century Fox TV Records could certainly still release a digital Season 2 OST. The flip side option is that the CD/vinyl of Season 1 sold SO well, 20th Century Fox TV Records is now going to release season 2 on those formats themselves. Point is his post doesn't say a Season 2 OST isn't happening, he just says LLL isn't involved with it.

Hell yeah!

Looking forward to samples, know nothing about it! I feel like I'm more interested in buying it solely because @Kasey Kockroach has been discussing it for so long.

Give up, it's Bes. Anyway, I wonder when Intrada will get The Rocketeer back in stock. Probably never.

Anybody else glad they purchased Jaws before it went OOP?

Couldnt they just move "From bad to Worse" to the bonus track section and move "the typewriter" to the score proper, therefore there would be a different presentation?

pretty sure nobody cares

Here, more info for ya Mike Matessino... so this is the one of The Nine that's coming before Bride of Frankenstein?

I guess that would have brought in the skinners, people would have rushed and been upset if they didn't get one after all. But this radio silence until it slowly disappears, then silently dropping "oh yeah, it's gone now" really isn't a good way either.

I don't like this kind of news, especially for a set that was just "Temporarily out of stock" and not "Sold out" by any means. A really really ridiculous move from Intrada, I want to know more on this.

Seems like the laziest most dickish alteration! Actually, wait, no, there's one way it could be worse, if they removed the OST too.

It’s a sign alright... going out of business!

MV was talking exclusively about bollemanneke. Thanks a lot bolle! You ruined the fun!

1:43 and 2:17 - badass statements of the Imperial March over frenetic strings that sync up perfectly with Darth Vader's appearance on screen: And of course Vision on the Stairs and Gillian's Escape from The Fury.

My lips are sealed!

Now if @Jay will tell us how many he's proofreading, we'll have a good idea how many are Williams!

I did one using the original poster, with a borrowed design from heidl.

http://store.intrada.com/s.nl/it.A/id.11784/.f

To 99% of the listening audience for any given iteration, it is the first time they are hearing it.

Yep. That's a really, really cool one.

That Shirley Walker knows how to orchestrate and conduct!

I outgrew the nerd thing of placing myself above people who enjoy sports. So now I place myself above nerds who place themselves above people who enjoy sports? All while not actually enjoying sports that much. My head hurts.

Following on to the Rouse-Copland connection. I didn't even realize that Rouse had been President of the Aaron Copland Fund for Music for the last 10 years of his life. This is the endowment fund that Copland created with his will that provides grants every year for the performance and recording of music by American composers. https://coplandfund.org/news/christopher-rouse-1949-2019

Alex, you've been winding me up, too long.

He’s the first person I thought of when I opened LLL’s e-mail.

I’m happy for Kasey

This is simply the best cd cover I've ever seen.

When I bought that seat I knew beforehand that I'd trade in a balanced sound image (and good-angled view of the screen) for a close-up perspective of the orchestra, so I got basically what I signed up for - I really enjoyed the top-notch performance, only occasionally paid attention to the movie on the screen, and due to the perceptive filter of hearing the music relatively up-close and direct vs the dialogue and effects with a lot of reverb it was as close as I expect to get to hear the full score performed live as standalone music. Due to sitting directly behind the last 1st violin stand this felt almost like a fly-on-the-wall situation in a scoring session for the movie, what with seeing the musicians work through their music up close, having a side-frontal view of the conductor (who really gave the impression of being on top of things the whole time, no matter how intricate the tempo/rhythm/hitpoint syncing got, but it's no secret Brossé is a master at what he does), noticing a lot of details in the orchestration I never noticed before (though in one instance laid bare by the missing synth ;)), and observing at which points various players started to break a sweat, started to watch the movie (surely a sign of a multi-bar rest), or heaved a small sigh of relief after finishing 15 minutes of nonstop action music The audience in general seems to have enjoyed the concert - when it started I was bit worried about the (understandable - not everyone comes to these with as critical an eye/ear as us ;)) enthusiasm of the people in my immediate surroundings - lots of loud whoops and ongoing applause when the music started, even singing along to the fox fanfare and main theme, but it calmed down and the athmosphere in the room felt good, laughs in a few (appropriate) places, but otherwise everyone was listening and watching attentively (and there were none of the usual droves of people getting up as soon as the credits start). All in all, Raiders 3 years ago remains the best experience I've had in the ROH acoustics-wise - like Marian said, in the boxes directly opposite the stage you get a good centralized image, and as far as I recall the film audio was actually turned down a bit compared to the music, especially during action sequences without much dialogue, leaving the orchestral sound seem very natural in the room and not really sounding amplified at all. I'd be interested to know how much the film/orchestra-balance is predetermined and meant to achieve a cinema-like blend, or if the engineer in the hall is able to mix it according to their personal taste...

.

If I had to choose I would love to see more time devoted to concert music, and interesting side projects and films, rather than another Indiana Jones score.

I was never a big zimmer fan but as time goes by I'm starting to appreciate him more and more.

Gremlins 2 is much greater.