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amazon prime ;-) looks like Maestro was having fun

I don't know if it has already been pointed out, but now that it can be heard more clearly, in the track "The Training Course" is possible to hear a reference to "Anakin Vs Obi-Wan" from RotS (which is also a reference to "The Clash of the Lightsaber" from TESB), specifically the part that play at the beginning of the duel between Yoda and Sidiuos. Compare this: To this:

Indee Indeed! It is one of the handful of references to Prequel incidental material in TROS. Sadly, none of these are major themes, but I suppose these nods are better than nothing. Besides the quotation (tracking?) of Home for the Twins during Lando's pep-talk, the Anakin vs. Obi-Wan one is the most "unaltered" of the bunch: etc... Also from ROTS, we get the (quite appropriate) nervous string motif associated with Palpatine's seduction of Anakin when Kylo is on his quest for Exegol early on: From AOTC, there's the well-remarked upon quotation and partial reworking of the Return to Tatooine arpeggios (itself somewhat motivic in AOTC) during Poe & Zorri's conversation: And yet another revival of the "Talk of Podracing" material for Finn & Jannah's convo, which was also used in TFA and an unused cue in TLJ: Slightly less direct, the as Palpatine lays out his plan for Rey to kill him is seemingly modeled on "Palpatine Instructs Anakin" from ROTS, down to the imitation at minor-third. Could have been temp-tracked, or Williams may have arrived at a similar Vaughan-Williams-y style for a similar scene. Either way, the connection is undeniable: compare with There's more than a passing similarity between the middle section of Across the Stars and the ominous low string figure that forms the basis of "The Old Death Star," though this strikes me as being likely more accidental than intentional, though this music was on Williams's mind inasmuch as he was reworking ATS for Anne-Sophie Mutter at the same time as composing TROS: Other marginally prequel-allusive stuff I haven't gotten around to transcribing yet: The choral material for Rey's confrontation with Palpatine that, like "The Last Jedi," seems to be evoking aspects of "Lament" from ROTS, Rey's departure from Keth Bir, which has a ROTS vibe to it, particularly 2m7. The mixed-meter ostinato from Journey to Exegol which contains (totally accidentally and unremarkably) a snippet of ATS A few cadences from Psalm of the Sith which exist in a similar soundworld to Palpatine's Big Pitch And of course the choral outburst on B-min at the end of "Approaching the Throne" which is the most we get of a Duel of the Fates reference, at least in the score as heard.

No joke please

Yes -- sorry, been crazy today. Gave it one good listen, and it didn't disappoint!

A revisited/matured Rey's Theme now the trilogy is finished would be glorious, in much the same way he revisited Han Solo and the Princess during the sequel trilogy. That was my first thought when I saw that video, @Falstaft's analysis confirms it in my head. Makes total sense that JW wanted to play that section himself (one of the few moments the score is allowed to shine in the mix, also). It would be cool to think he played a small section on all 3 films in the ST (we know he played the Long Goodbye cameo for TLJ too).

Okay, if that's true, Woj is SICK. Seriously, you don't post things like that, certainly not today. Go find a shrink.

I may have just noticed this being a percussionist, but they kept in (or forgot to remove) the big cymbal crash in this cue, which was written in the original ESB score but not used.

Taken from one of the extras.

watching the digital extra right now - there's fantastic footage of Williams getting ready behind the bar ;-) and - there's also interesting story about 51 "pieces of junk" he's surrounded with ;-)

Moffatt always had ambition, while Chibs plays it safe for the most part, but when he does take risks it’s in the most excruciatingly boring way. I also miss the writing being, well, literary. Moffat’s best scripts are oozing with double meaning, poetry, dealing with more abstract interpretations of good and evil (moreso in the Capaldi era; the “mercy” through-line of The Witches Familiar is a good example). And he always zagged when you thought he would zig. Sometimes that could be frustrating, but over time I’ve come to appreciate his bait-and-switch storylines. Especially Hell Bent, which is set up as an epic showdown as the Doctor finally arrives on his home planet after going through literal hell, only for a much smaller story about grief and obsession to play out instead. I miss having to actually think while watching Doctor Who, instead of having everything spoon-fed and dumbed down.

Anyone else notice they recorded Princess Leia's Theme (potentially with choir, judging by their presence) during the TROS sessions? That never showed up anywhere in the film. Potentially an alternate for her death or maybe an alternate credits suite? IIRC they also recorded a section of that concert suite during the TPM sessions, which also went unused.

Daisy needs to convince him to do another concert suite of her theme. There could be an epic 6 minute version of this that would rival any other SW piece.

.

Someone put Lando's Arrive cue up on Youtube (has SFX)

There it is, guys: NEW PODCAST EPISODE! - Guest host Tim Burden presents an exclusive interview with Paddy Moloney of The Chieftains about his work and collaboration with John Williams on FAR AND AWAY, recently released on a new spectaculat expanded edition by La-La Land Records produced by Mike Matessino. https://thelegacyofjohnwilliams.com/2020/03/14/paddy-moloney-interview/ Sorry it took longer than expected, but it's been a very tough week around these parts. Hope this will offer some moments of respite and joy in these troubling times. Hope you'll all enjoy. Stay safe and healthy!

I think it’s telling that the Series 12 soundtrack has been announced and there’s no buzz for it on any film music forums. With recent revelations that the show is at its lowest interest level since it came back in 2005, I’d say the Beeb will be looking very carefully at how to proceed. I’m rewatching the whole series from the 9th Doctor onwards and the fatal flaw of the Chris Chibnall era is that he’s completely forgotten what the show is about...the companions. They are the characters who are put through the ringer, they are the ones who help the Doctor see things from a less alien perspective. More was achieved in the final 2 episodes of Capaldi’s run in developing Bill and what being a companion means to the Doctor than we’ve had in the 21 Chibnall episodes to date. It’s impossible to properly develop the three companions they insist on having when every episode needs to come up with more and more dopier reasons for the three of them to be separated from the Doctor and each other. I for one sorely miss Steven Moffat and think the criticisms thrown at him during his tenure now pale in comparison to how daft the show has become. Peter Capaldi’s run was genius storytelling, giving proper character arcs to Clara, Bill, The Doctor and Missy with cinematic flare.

TLW is great!

Shamelessly bumping my own joke

I thought they were fine actors, just lodged with silly writing.

I see your point and all I can say is : you're totally right. BUT, what I said is still true. Many think playing the triangle is easy because you just have to hit the triangle. But what we can see in this video (thanks to the obssession of Bernstein for every details), is that there are diffrents ways of playing it and hitting the triangle. You can't just hit it like you want but you have to give the right intention at the right time. And the video is titled "Triangle lessons with Leonard Bernstein", so this IS about playing the triangle. In a certain way, of course. And because Bernstein is a perfectionist.

False

Tasteless. Puerile. Brilliant. It forms Tarkovsky's holy trinity; along with SOLARIS, and STALKER.

Just do this: Indy V will be the final movie in the franchise whose protagonist is Indiana Jones, played by Harrison Ford. Of course, Disney will want to explore the franchise as much as they can, so on the fifth movie they introduce a new hero. Could be Indy's teenage granddaughter, played by Hailee Steinfeld. So, for the final film with Ford, go with John Williams. And, for the next movies on the franchise, just go with Powell. Williams will help writing a theme for her, but Powell will do the rest. A literal passing of the baton, both in the franchise and with the music.

That one is just...too much lol. I love the Bad Grandpa one.

If this movie had nothing to do with Star Wars and was just a random blockbuster movie I probably would have given it like a 3/10 and dismissed it entirely. It's pretty incoherent even as far as these things go. Since I get some basic enjoyment out of the series it's like a 5/10ish from me. I think it's about on par with the prequels in that way. Some of it is better than what George was doing, some of it really seems worse. It's weird to say but I think Eps I-III may be vaguely more "normal" i.e. linear and watchable as far as their story nuts and bolts go, but JJ's direction and his actors are obviously a little more consistently engaged. Kinda splits the difference....I will say Revenge of the Sith beats it as a trilogy finale due to more prolonged cathartic moments in the film and especially score. ...tbh Phantom Menace may win on points as well, nothing in Rise really strikes me as memorably crafty like the podrace sound design or the editing/choreography/scoring of Maul vs Obi-Wan/Qui-Gon. I picture a hug being even worse. The kiss is meh but at least it's a big gesture.

The Maestro's Finale extra has a few clear shots of sheet music: 1M20 "Rey Training" (w 11-3-2019 fixes) 8M4 "Psalm of the Sith" 9M3 "Bows" [There's text under the title but it's unfortunately not legible]

All Daisy/Williams jokesters will be shot on sight.

Damn the way he says "That's for you" is so cute!!

Purchased and watched through Amazon prime. Among the things that are included: *Footage of Williams, Spielberg, Hamill, Kennedy, Sandy Decrescent (I think) and other musicians interacting at recording sessions *Williams talking about matured Rey's theme, redeemed Ben's theme, Leia and Emperor's theme coming back *Williams talking about reviving "Yoda and the Force" (which was music editor's idea) *Williams playing Rey's chimes for Daisy Ridley at piano. FWIW this in the same key, same tempo as the version in 7m38/"The Force is With You." *Some cool older footage of recording sessions from previous movies

Not really, unless you count a really lovely snippet of Williams playing the Rey's Chimes motif for Daisy.

Since TRoS is available digitally, I've made a few edits using the audio channels to get unreleased material. Unfortunately, most of the cues contain SFX. I used @crumbs menu rip for a section of the training cue and I think it sounds pretty good in full form!

damn, did that cut in 1:15 of Rey leaping out of the Throne Room and unto a completely different part of the Death Star’s wreckage was like that in the actual movie?! Because that’s some stupid sh*t right there. Plus, I really hate the whole “is Rey going to go evil?” aspect of the movie. After two films where she has been an unfailingly and quintessentially good person, Abrams and Ridley should have tried a lot harder than what they had in order to sell such an idea.

Thanks for that, @Gustavo Joseph. I, too, am looking forward to this (although, when I'll get to watch it, is another thing!).

e. g. here: https://cnmsarchive.wordpress.com/2015/01/07/the-musics-for-legend/ But i was thinking of an older, german one that probably never went online.

You should have seen those plots when they were young--they were amazing.

This is not about playing the triangle at all. This is about a brilliant conductor who is obsessed with every minute detail. He will do the same with trumpets 1, 2, 3 not staying together or a violin section. This is an example of his obsessive demand of perfection in all details and we benefit from it in the final performance. This is what its like at the highest caliber of musicianship and frankly that orchestra/performers weren't up to his caliber. In a masterclass I witnessed where the teacher was a member of the trumpet section of a world class orchestra, their proficiency is so damn high. The teacher randomly asked a trumpeter to improvise the tempo and dynamics of a passage from the standard repertoire like Pictures at an Exhibition and he totally matched it by listening to her. He was trumpet 2 of the section and had to match his principal and was obsessed with that as a goal. We have the same videos of Bernstein laying in to the trumpet section for not blending. Each section MUST be a cohesive whole and he had every right to demand it of the best orchestras. In your video's case, the orchestra didn't match his level and he demanded it of everyone even if they hated it. I don't know if you all follow the importance of what is happening here but the principal player dictates the sound the others must match. In this case, Bernstein prefers the 3rd trumpets sound not the principal and is telling the section to match the 3rds sound. This is horribly insulting but demonstrates his attention to nuance which truly sets him apart. 2nd trumpet (the middle guy) freaking can't stand it and says so which is extremely rude. The 1st trumpet might speak but the 2nd speaks to the 1st and not the conductor. So much to gleam from this brief exchange of what its like to work in such a complex performance setting. This is the recording that resulted and its my favorite version of this very famous work. https://www.amazon.com/Elgar-Enigma-Variations-Pomp-Circumstance/dp/B0000012UG/ref=sr_1_1 Furthermore, Bernstein is an obnoxiously American conductor talking to a VERY English orchestra about playing VERY English music. It must have truly drove them crazy but shows you alot about Bernstein because his version of this work is very unique and excellent.

I wonder if Star Wars pays more. Otherwise, gimme dinosaur music over space battle music any day.

And audio from the Sunday performance where half the orchestra isn't out of sync...

Thank you so much! <3 So far I spotted our daughter in one of the first shots and Biodome in the last one. :-D This will be such a nice memento of those happy, emotional, uncomplicated times in Vienna that happened - it seems - like yesterday. *sigh*

Incorrect

The Hobbit trilogy sank like a stone soon after BotFA came out. This seems to be a similar situation. The series goes along, people are dissatisfied, but still want to see where it's going and if it gets better. The hype continues up until the last entry in the series. Then when people don't like that final entry, all the excitement dies out super fast. It's lucky the FYC (and film) came out when it did, or we might be in another situation like Solo.

I dunno how to pick a favorite cue in this score, I just love the entire damn thing from first cue to last. I guess I've always had an extra special attachment to Alarm! for some reason, so I'll go with that for the poll

Edit: I saw just now that Bernhard Fleischer Moving Images, the main production company, has updated its Showreel with some awesome footage from the JW concert. It's marked as "work in progress". I'm not sure if it's the same clip that briefly popped up on social media, but check it out: (The JW part starts at 09:25) Edit2: There's also a small snippet at 07:12. http://www.bfmi.at/showreel.html No, not that I know of. I've been regularly googling 'John Williams Servus TV' and so far only some reports from hired production companies have shown up. I did find a list of the production crew, if someone maybe wants to write and ask them. 😉 I assume they will let DG's PR department do the announcing, though. Crew: Produzent: Bernhard Fleischer Produktionsleitung: Judit Stassak Bildregie: Michael Beyer Regieassistent: Leopold Knötzl Lichtsetzende Kamera: Wolfram Zöttl Redaktionsleitung ServusTV: Frank Gerdes Produktionsleitung ServusTV: Melanie Kaboto Moderation ServusTV: Niki Löwenstein Redaktion ServusTV: Marie Goltermann Künstlerisches Betriebsbüro: Klaus Krenn Orchesterwart: Martin Stangl Executive Producer Deutsche Grammophon: Ute Fesquet A&R Production Manager Deutsche Grammophon: Malene Hill, Albrecht Klutmann Artists & Repertoire: Dorothea Schlegel EB Kamera: Michael Köblinger EB Kamera 2: Leopold Alzner Lichtoperator: Oliver Göstl-Titz Lichttechniker / Followspot: Lukas Bruneder Musikregie/Producer: Bernhard Güttler Tonregie: Tobias Lehmann Tontechnik: Wolfgang Schiefermair Technische Leitung: Florian Neiss Technische Leitung remote System: Sandro Gregor Frei Videotechniker: Michael Pösl, Sebastian Aberer Bildtechnikerin: Julia Mott Kamera: Christoph Ainedter, Alexander Boboschewski, Wolfram Zöttl Remote: Andreas Reischl, Florian Lindenberg, David Horswell Source: https://www.cinewolf.com/WP/business-directory/4004/a-tribute-to-john-williams-wiener-philharmoniker/

Ah yes, Emperor's Face Pops. I think you're right, that confirms the old speculation about that. Nice memory!

Although I'm not very keen on Williams' concert works (I prefer his film music), I would love a Jazz Piano concerto.

Since I won't be watching the film, I have no interest in who will compose the score.

I had the honor of interviewing Howard Shore in Rotterdam during the International Film Festival here! He told me stuff about Lord of the Rings that I did not know yet :-) If you are interested, here is the interview. https://soundtrackworld.com/2020/01/interview-howard-shore/