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You can do it with anything more or less

A cursory listen indicates these are the debut rerecordings of not only the new Han Solo & the Princess arrangement, but Ahch-To Island and The Battle of Crait from TLJ.

I just want to add my two cents. The Slovak National SO is not a nobody orchestra, they are well known and some of their recordings with Kirk Trevor (another conductor) are very appreciated among classical music lovers.

Not sure how many others here have picked up on this, but it recently occurred to me that one of Williams' go-tos when it comes to scoring a character who is dying or falling, appears to be a sustained trumpet note, followed by some sort of trombone interjection/hit and then finally joined by French horns noodling around relatively atonally. Here are three examples from STAR WARS to help show what I'm talking about: Are there other examples of this that you can think of? Would be cool to collect all the instances for which he does this.

Just finished up listening to this one. I have to say that, being a fan of rerecordings, this is a major let down. The orchestra just doesn't sounds tight, as someone pointed out before, they don't really seem to have a clue to what they should be doing. A pity, as I've heard this same orchestra playing live Williams music, and they were much better back then. Also some transitions are just awkwardly done... sometimes they feel rushed, other just poorly executed. And the sequencing is silly... I know they wanted to go chronologically, but that just doesn't work. Battle of Crait just seems to be a fade in the end and I keep awaiting for a radio host to say "our time is up for this week... Join us again next week for the rest of this recording". Throne Room and End Title should have been moved to the end -- and going for the shortened version was probably because they really filled the 80 minutes of the CD and couldn't have the concert version there. All in all, I much more prefer the Japanese Philharmonic release from a couple of years ago, even though it only uses the concert versions, and the inclusion of the two Last Jedi tracks here were quite fun. As for Han Solo and the Princess, I'll keep going back to the live performance from November 2018 in London with Brossé and the LSO. By the way, someone mentioned Brossé recording Williams, he did included some Williams on one of his recent film music recordings but just nothing that hasn't been recorded a million times before.

That's exactly the kind of thing Josh would do.

Personally I love the ideas of the King of Disaster Scores' works in a box set.

I thought this thread was about the new Disaster Movie Soundtrack Collection but it's skewed off into a new tangent about the merits of Indy 4. How about we get back on topic guys? So looking forward to this collection. Clearly LLL has hit a major home run with this release as nobody saw this coming. With some absolutely stunning releases this year alone (ie. Superman the Movie) it's no wonder La-La Land was awarded Record Label of the Year! Without a doubt this John Williams collection is one of the biggest releases of the year that is guaranteed to make many fans happy indeed. As usual LLL has topped themselves which is becoming a habit for them. I know I'm pumped and can't wait to hear what all of you think of these restorations once they start shipping.

New recording of Star Wars music on Sony Classical, with The Slovak National Symphony Orchestra under Robert Ziegler. https://www.amazon.co.uk/Music-Star-Saga-Essential-Collec/dp/B07ZW8WPP9/ref=pd_rhf_eetyp_p_img_1?_encoding=UTF8&psc=1&refRID=F559ERRCH3SG868QJXBV

I can do you one better. https://drive.google.com/open?id=1RjpUNSSxLibscErL9yrRD-wxY-1ftofI

Yeah, obviously, we don't have another one... Track 1 playing now, the strings are really not up to it sometimes.

The finale was akin to having somebody remove every few pages from the last couple chapters of a really good book you've been reading for eight years, and passing it off as the finished work. The pieces you have are reasonably good, but you can tell that you are missing parts of the story. Characters make decisions without the proper motivations. Everything felt rushed and undeserved. And having one of the show creators admit in a "behind the scenes" that the most motivated character on the show rushed into battle against a naval foe and simply forgot that he had surface-to-capability even though her air support had perfect long range vision was an absolute crime against logic. It was the moment of artificially converting a major protagonist into final villain.

"Basic"? "Respectable"? No BRAINSTORM? No GORKY PARK? No KRULL? No THE NAME OF THE ROSE? Bollocks! Do it, again! Now, just a damn minute! I name four essential Horner scores, and you laugh?! I weep, for the future!

That's even _more_ rare!

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You mean you never learned that leaving a field "fallow" is to not grow crops for a season?

I would say the change in style was gradual since the 80s - Nixon is probably one of those scores which in my mind is where Williams shifted into the moodier, darker palette he would bring in the 2000s onwards. Is there one score which represents a major shift between his style? **** On topic, I like the three graphics for the films, back when there was some serious consideration given to the design of something like a movie title. Nowadays it's very conservative. However, from a logical design perspective for the package, shouldn't Poseidon Adventure be in the middle, with Earthquake where it is and Towering Inferno at the top to represent the skyscraper? Just nitpicking!

Yeah why is no one talking about The Battle of Crait!? How many times do we get concert versions of action cues from Williams?

Oooh, I had never seen that word "fallow" before so I looked it up, and like it! I'll never understand why so many people on this forum don't care for the IJ4 score. Well, I can understand if you only heard the OST. Once you hear the complete score it's so clear he actually did a great job scoring that film, it's just that the film is terrible and the OST is a very very bad representation of the whole score.

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Ops, I mixed up the title with The Kinks' The Village Green Preservation Society! Even funnier, they had the same mother!

Krull is essential. The others? Well, i'm not as sure.

Well, I got to it. I'll be removing these from the opening for my phone playlist for sure. The originals have the genuine, pleasing kids' choir, these have... deep adult voices going over the top with that operatic vibrato way that always makes me want to leave the 200m circle around the audio source from which it's emanating. But the main title's damn good! Brought my hopes back up for the rest.

After reading the excellent "James Horner for Dummies" bestseller, I now own a respectable basic CD collection of James Horner and so, I have ahead of me, hours an hours of magical moments! Already on my wishlist for the january order: the Expansion of Apollo 13!

yeah, I already ordered my Christmas presents...

It's akin to making a cake and then right as you take it out of the oven, your mitten snags on the door and you drop the cake - and the ensuing, but still delicious mess is Season 8. The delicious parts, or what's edible are the things we love from the show, the characters , the acting, the nudity. The hair and toenail encrusted side is the fucking awful ending that can't ever be undone. Oh, and then you find out the mitten didn't catch on the door, but it was actually your doofus twin siblings, D&D who were running through the kitchen when they knew you were about to take the cake out. Little bastards.

Where's your link then?

Edit:ok, I listened to it. It's the best performance of the revised Han Solo and the Princess so far and in studio quality. Very happy to have this. Always remember some of Williams unique concert pieces still don't have studios recordings after many years (like Irina's Theme) so it could be the only recording we ever get. I like Williams August 2018 Tanglewood performance but this one is better and sounds more like Williams might have conducted it for an album and not like a crappy second rate re-recording we have a lot of the time. Williams plays it faster at 5 minutes vs 6 minutes on this album (But Williams always screws up his intended tempo at live concerts). Dirk Brosse and LSO was too slow at 7 minutes.This speed is a good middleground

It's just a re-recording of the OST track, not really a concert version.

that was a really nice rendition of the new concert arrangement, listening to it was like discovering it for the first time again - its such a beautiful piece of music that is testament to the sheer transcendental quality that Williams is able to give his music even 30+ years on.

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Well yea, it's a very bad OST album! There's tons of cool music in the whole score. Since you love his 2010s works so much, you'd probably like this one too

It's funny I literally was just thinking about that yesterday when they released the TV spot with Kylo on that planet where the throne is. There was a ton of lightning flashing on the screen making it hard to see, and I though to myself this has got seizure risk written all over it.

Because if he posts without the link, he can be accused of making shit up. I think it's one of the rules of this website: no making shit up without posting a link.

The 11-CD boxset will be: Apparently already in stock at Amazon Spain.

Not if you enjoy consistency in performance and general sonic characteristics.

Vienna, right? I hear ya.

Nice. Although I kind of hope there is nothing of interest there. Karol

Koray forces everyone to click to an outside website to obtain information; I included the information directly in my post so no one has to... and I'M the rude one? What upside world have I woken up into today? Did this morning's Korean spambots wreck your brains?

If that is true then one might have to track this album down...

Another nearly:

The bold ones are those i own two or more cues from and all of them - including period, thriller, muzak, pop, experimental, westerns, tragic dramas and cavemen slapstick (!) - are great. 1970 Città violenta (Sergio Sollima) Giochi particolari (Franco Indovina) Hornet’s Nest (Phil Karlson) La califfa (Alberto Bevilacqua) La moglie più bella (Damiano Damiani) Le foto proibite di una signora perbene (Luciano Ercoli) Quando le donne avevano la coda (Pasquale Festa Campanile) The Men from Shiloh – tv – (Burt Kennedy) Two mules from sister Sara (Don Siegel) Vamos a matar, companeros (Sergio Corbucci) 1971 Addio fratello crudele (Giuseppe Patroni Griffi) Correva l’anno di grazia 1870 (film) / Tre donne – tv version – (Alfredo Giannetti) Forza G (Duccio Tessari) Giornata nera per l’ariete (Luigi Bazzoni) Giù la Testa / A fistful of dynamite (Sergio Leone) Gli occhi freddi della paura (Enzo G. Castellani) Il gatto a nove code (Dario Argento) L’incontro (Piero Schivazappa) L’istruttoria è chiusa: dimentichi (Damiano Damiani) La classe operaia va in Paradiso (Elio Petri) La corta notte delle bambole di vetro (Aldo Lado) La tarantola dal ventre nero (Paolo Cavara) Le casse (Henri Verneuil) Lui per lei (Claudio Rispoli) Maddalena (Jerzy Kawalerowicz) Mio caro assassino (Tonino Valeri) Oceano (Folco Quilici) Quattro mosche di velluto grigio (Dario Argento) Sacco e Vanzetti (Giuliano Montaldo) Sans mobile apparant (Philippe Labro) Tre nel mille (film) / Storie dell’anno 1000 (tv) (Franco Indovina) Una lucertola con la pelle di donna (Lucio Fulci) Veruschka (Franco Rubartelli) Viva la muerte…tua! (Duccio Tessari)

I made a concept for how the Rise of Skywalker ending might sound.

What a fantastic bit of insight this is. Something I never really knew about his past.

Interesting, not a surprise either. He could've just written 4 short sentences on note paper and handed it to an orchestrator, considering it was comprised entirely of existing music. "Standard Luke fanfare, just slower. A bit of Leia's Theme. Track the whole battle cue, then the entire Throne Room suite. Now what's Steven's next film?"

Elfman isn't great though. He's done some very good stuff, but he's more often mediocre than not.

It's neat that we're starting to be able to see and appreciate how history will remember Williams.

1960: Psycho The Magnificent Seven Spartacus Exodus