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Tom Hooten recently posted an announcement on Facebook about an event named LA Trumpet Summit, and he listed the following highlights: ”HUGE ANNOUNCEMENT!!!!! Next summer....don’t miss the very first LA Trumpet Summit! -Alison Balsom and the LA Phil (plus a masterclass with Alison) -Ryan Anthony -Tom Hooten playing John Williams’ Concerto with the LA Philharmonic -Wayne Bergeron and Gordon Goodwin’s Big Phat Band! -Allen Vizzutti in recital - The LA Phil trumpet section in recital with coaching and masterclasses. -And more!!“ Checking the LA Trumpet Summit schedule, the LA Philharmonic/Hooten concert is 8 PM on July 21, 2020 at the Hollywood Bowl.

So I just stumbled upon this, which appears to be the first musician involved in the TROS score to add the film to their credits: https://lamasterchorale.org/singers-jim-raycroft As you may know, the LA Master Chorale provided the vocals for The Last Jedi. Jim is a 35 year member of that chorus. Not direct confirmation of this group's involvement in the score but it does confirm the presence of choir. So there!

I sang Tenor in the sessions for the Prequel scores with London Voices when I worked doing extra chorus at Covent Garden under the then chorus master Terry Edwards. I think we were paid around £225 for a 3 hour session. So quite lucrative. Strangely the sessions for Attack of the Clones were recorded on a Sunday. The movies were appaling and the scores (esp for EpisodeS II & III) were sub par in my estimation compared to Williams return to form with the sequel scores. But what an opportunity. I'll never forget it.

Eating.

Somebody gave a surprisingly detailed/thorough answer about this on Stack Exchange: https://scifi.stackexchange.com/questions/116483/which-songs-on-the-star-wars-soundtracks-have-vocals Duel of the Fates-related chanting - This idea is heard at several other moments throughout the film. Jar Jar's Introduction and The Swim to Otoh Gunga - A sweeping, eerie female choir for the underwater city. The Droid Invasion and The Appearance of Darth Maul - The Emperor's Theme is heard often throughout the films. The High Council Meeting and Qui-Gon's Funeral - A male chorus sings a sort of theme of mourning. Augie's Great Municipal Band and End Credits - A children's choir performs a sped-up, optimistic version of the Emperor's Theme. Source music1: The Street Singer - An awkward, painful wailing that is, thankfully, barely audible in the film when Qui-Gon and Watto meet after the race. II - Attack of the Clones Yoda And The Younglings - A soft, heavenly choir performs as Kenobi and Yoda examine the holographic star map. Return to Tatooine - Duel of the Fates is reprised when Anakin sets out to find his mother. The Tusken Camp and The Homestead - A low male chorus sings as Anakin returns with his mother's body. Confrontation with Count Dooku and Finale - Female vocals capture the eeriness and mystery as Tyranus escapes and meets up with Sidious. III - Revenge of the Sith Battle of the Heroes and Anakin vs. Obi-Wan - An epic, yet tragic choral theme for the battle between Vader and Kenobi. Anakin's Betrayal - A mournful choir laments the deaths of the Jedi during Order 66. Grievous Speaks to Lord Sidious - A choral fanfare for Grievous' arrival on Utapau. Palpatine's Teachings - Eerie, low male chorus sings during the opera scene. Padmé's Ruminations - Synth female vocals wail eerily as Anakin decides which path to follow. Anakin's Dark Deeds - Dramatic choir fanfare as Vader takes out the separatist leaders and Palpatine creates the Galactic Empire. The Birth of the Twins and Padmé's Destiny - The theme of mourning from Episode I returns for Padme's funeral and as Vader's robotic suit is assembled. Duel of the Fates returns in the unreleased music from the duels between Yoda and Palpatine / Obi-Wan and Anakin. Solo Enfys Nest theme - an especially unusual choral theme for the marauders and Enfys Nest, heard throughout the score. L3 & Millenium Falcon - the Star Wars main theme gets a choir for an added sense of awe. Duel of the Fates is reprised in this unreleased cue as Maul and Qi'ra conspire. Source music: Chicken in the Pot - heard in Dryden Vos' club. Rogue One Guardians of the Whills Suite - A heavenly chorus gives Chirrut Imwe's music its gravitas (Heard again on album in The Master Switch). Your Father Would Be Proud - Poignant strings and choir, joined later by Jyn's Theme, drive the emotion of the heroes' sacrifice. Hope - An epic choral variation of the Imperial March during Darth Vader's rampage. IV - A New Hope None of the music from Episode IV has any vocal elements. V - The Empire Strikes Back Imperial Starfleet Deployed/City in the Clouds - A high, deceptively beautiful female choir performs a sort of siren's song as the Falcon flies towards Cloud City, a supposedly safe place to hide. VI - Return of the Jedi The Emperor Arrives / The Death of Yoda / Obi-Wan's Revelation, Shuttle Tydirium Approaches Endor, Emperor's Throne Room, The Battle of Endor II - An eerie, mysterious low male chorus performs the Emperor's theme and is played in several scenes (and in several films). The Battle of Endor II - A tragic, emotional chorus crescendos as Luke goes on the offensive. Victory Celebration - A children's choir and then full choir celebrate the Rebel victory. Ewok Celebration - A tribal choir rejoices in the demise of the Empire. Source music: Lapti Nek - performed in Jabba's Palace. Source music: Jedi Rocks - the Honeycomb guy introduces a song that I pretend doesn't exist in any universe. VII - The Force Awakens Snoke - Sinister, menacing male chorus sings a deep and threatening theme for the Supreme Leader. Source music: Jabba Flow and Dobra Doompa are performed in Maz Kanata's Castle. VIII - The Last Jedi Revisiting Snoke and A New Alliance- The deep male chorus returns to reprise Snoke's music. The Supremacy - Soft, subtle vocals accompany Leia's theme. The Battle of Crait - An enormously emotional chorus accompanies Finn’s charge towards the First Order. The Last Jedi - A powerful chorus adds gravity throughout the film's climax (including heightening the intensity of Kylo Ren's theme).

I don't agree with everything in your post (I think JW has impressively adapted his classical sensibilities to suit modern filmmaking trends, and his work with younger directors like Abrams and Johnson is testament to that) but I agree wholeheartedly with your point above. This film marks the end of an era, not just for Williams but film music itself. He's carried the torch for so long but TROS feels like his swan song. It might not be at TFA heights but never again will a film score be as anticipated on this forum or the wider film score community. (I highly doubt Indy 5 will make its 2021 release date, or that Williams will score it. And yes, @Disco Stu can quote this post in 18 months when we see the tracklist for John Williams' score to Indiana Jones and the Quest for Paradise).

Dave and I will spend Sunday the 22 seeing Rise of Skywalker, eating a chinese luncheon and then seeing Home Alone at the Symphony. It will be a John Williams holiday.

Redone from the ground up by Neil! https://www.quartetrecords.com/product/the-great-train-robbery-2-cd/

Holy fuck we get new a Star Wars end credits suite in 11 days. Holy shit it's just hitting me now.

I just received an email that mine is now "Awaiting Shipment"... so I've got that going for me, which is nice...

I love this movie. And the score.

It will be this!

The Nativity Story by Mychael Danna Home Alone by John Williams The Lost World: Jurassic Park by John Williams Congo by Jerry Goldsmith Across the Stars by John Williams (+Anne-Sophie Mutter) Indiana Jones and the Kingdom of the Crystal Skull by John Williams

I'm sure it was photographed and filmed to within an inch of its life, but yeah, they have been relentlessly secretive about photos of the scoring sessions ever since TFA. Probably just a blanket rule since Don went on his spoiling spree, Disney read the riot act. Musicians haven't even added the film to their credits so that shows how tight the noose is.

It's weird considering how many times we've heard the story of Anthony Daniels last day on set, but no anecdotes from anything to do with Williams, his last day, or the score. I guess when everything goes smoothly at the hands of a total professional, there's not many sexy stories to relay to the press.

Alright, as the Supreme Chief President of All Media and Everything at the Walt Disney Company, I'll give you a nugget of information.....

Got to see this at Wembley Arena on Thursday. Couldn't turn down the chance to see Elfman perform live and he didn't disappoint. All the singers were great, Catherine O'Hara and Ken Page also reprised their roles from the film. The film is a bit light at only 76 minutes so they packed it out with a bit of a suite beforehand set to Tim Burton's original sketches and artwork, a Sandy Cameron led violin medley and an encore of Elfman performing Oogie Boogie's Song. Elfman's voice sounded great but also it was great to see him really get into the performance physically, inhabiting the character so well. All in all, a really fun night. You could tell that lots of people in the crowd really, really love this film - plenty of cosplay!

Wouldn't you?

No, it suggests that... they are two completely different motifs, which they are. Slow the track way down if you have to; the underlying/implied harmonies are completely different, the rhythms are different (aside from the first 4 notes, which go by very quickly), the pitches are different... These are two different themes set in 7/8 (or fast 7/4) time. The jawa one is jumpier and more mischievous, and the speederbike one has more of a relaxed feel. I'm tempted to put them into a notation software and post screenshots for comparison, if nobody else does.

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The Edge

I also attended the (afternoon) performance yesterday. This was my second time after the Southbank performance last year. It was excellent. Because the score is extremely well used in the film and sound effects never get in the way it makes the most perfect candidate for this kind of performance. One thing I don't like as much is that we don't get to hear the film version of end credits. The Flying piece would have been a great overture instead. But hey, it's a tiny gripe. Karol

'I'll Be Right Here!' I never get tired on seeing this marvellous film, and last nights film concert performance of E.T - the Extra Terrestrial at the Royal Albert Hall surpassed my expectations. The setting, the 1982 original release looked fresher than ever before from where I was seated front row. The orchestra (BBC Concert) were on top form and certainly played beautifully even arousing your emotions with those delicate pieces (my female friend couldn't hold back the tears, as was another behind me) but I didn't want the film to break momentum with that interval but alas it felt like a starvation, only wanting more! Certainly a soundtrack favourite of mine and a successful movie/concert-going experience that brought back after thoughts of so many memories!

Star Trek: The Motion Picture (C&C) It's the first JG scored movie I ever saw, although at 6 years of age the music didn't register with me (it wasn't Star Wars after all) until I rediscovered it on TV in the late 80's. The movie left quite an impression with those incredible V'ger visuals, the slow pace never bothered me. I even had some of the action figures and the toy Enterprise and Spock's shuttle. It was the second JG album I purchased. The first was Up-Art's weird Legend release - a blind buy - which took me a good few listens to warm up too, but once I did I was hooked.

What I particularly like about this program is the fact that none of the themes from 'A John Williams Celebration' blu-ray are repeated. And this will be filmed and probably also released on blu-ray. Thanks to this, we may get another unique concert for souvenir. But of course Williams could just conduct two 50-minutes long suites from 'Images' and 'Sleepers', with an encore from 'Presumed Innocent', and I would be happy anyway.

Everything's allowed, as long as it's a score composed for moving pictures. So I'm not sure ST:TMP qualifies!

The motif heard in Chapter 5 isn't the Jawa theme, though. The rhythm is different, as are the notes...

Are Expanded sets allowed? Sorry, TMP, it's Alien.

Well this new release is also mastered by Doug Schwartz instead of Doug Fake. That's a plus in my book, but still probably not enough to get me to replace my copy from Intrada.

Michael Convertino's very underrated score still awaits an official expansion!

Not at all! It's one of his greatest themes and deserves more recognition.

Where's melessa mcarthy?

I listened to the Motherless Brooklyn OST once. I liked Pemberton's jazz approach and production, but overall it left little impression on me. Otherwise the noms are expected contenders. So it's the official kickoff to awards season! I always enjoy it. For me the key is to approach the whole awards season narrative as fun and a bit silly like sports, and not invest myself emotionally in what "deserves" what. What I like is what I like, regardless of if these different industry unions/groups agree.

Indeed, if talking about bad influence.

Azog chases the company through the early phase of the quest, and he’s the connective tissue to Sauron (like I said, it’s explicit that Sauron sent him after the company), and - most importantly - he gives Thorin a personal vendetta. I love their final showdown.

There's the trademark King Mark positivity I've been looking for!

Joker was more boring than Algebra.

I didn't know how to pronounce his name until I heard it spoken aloud at the Star Trek 30th Anniversary Celebration Gala in '96.

Here's why JOKER will win Academy viewers will remember that the music made them emotional, but it was really the unrelated song Bring on the Clowns or whatever sung by Fran Sinatra in the End credits. But no matter, that song will "project" an impression that the rest of the score was good too and they'll vote for that

Hopefully we'll at least get some good photos from the sessions soon once Disney allows them. This score in general seems to be held closer to the chest than the previous two so hopefully that translates to some actual reason in the end product. Regardless, very anxious to find out here in less than 2 weeks.

The venue will also be moved to a sports arena to meet the demand.

We had a little more with TFA. By the time the OST leaked we had the Follow Me clip, the 60 Minutes featurette, plus the Jedi Steps TV spot which was still a little speculative but basically had been confirmed to be him. At the time it felt like scraps. Last Jedi we had nothing. No film clip and while The Spark had been used in the trailer there was no way to know it was from the score, I don’t recall anybody in the know claiming that, unlike Jedi Steps. Same with a couple Star Tours videos which turned out to have bits of new stuff and the TIE Fighter Attack reprisal in retrospect. Right now we at least have a film clip again with actual score. God knows what’s him or not in the various commercials. And I guess Fortnite is gonna show a film clip or something? May have music. Otherwise maybe we’ll at least learn the track list in the next week. I haven’t seen him mentioned anywhere yet unfortunately. I’m sure there will be a couple interviews eventually.

No it is a different Dan Levy. https://www.imdb.com/name/nm1776887/ This actually nice -

It did that to me too, but now it's fine, I had to remove the album and re-add it to my library though.

Interestingly those are my top 3 favourite composers

I haven't been able to get France Gall's "Poupée de cire, poupée de son" out of my head all day. Goddamn it's catchy.

Here's an absolute insider tip when that happens, but don't tell anyone! You turn the volume down. Few soundtracks albums (hell, few albums, period) sound as good as the expanded Home Alone!

"Hey Danny, here's a ton of money."