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They're withholding A LOT of music from the fans, and that version of Imperial march is pretty low on my list of things that need to get released

My appreciation for the piece The Rise of Skywalker, like so much JW music before it, has grown immeasurably since I first listened to it the day before the accompanying movie released. In it I hear not only two unique motifs suited to the ideas of friendship and victory in the movie, but also a meta-narrative farewell from JW to the entire SW saga that has so dominated his career and legacy. The piece opens with quiet, successive renditions of the victory theme here sounding almost as if meant to play over images of an old man slowly turning through the pages of a treasured photo album while sitting alone in his study, bathed in gentle sunlight. As the friendship theme unveils itself we hear strains of bittersweet reminiscence and familial bonds rising and falling with comfort, almost as if this theme had always been with us. In the swells of the friendship motif I hear JW reflecting back on his lifetime with Star Wars, with the characters, the stories, and the people, old and new, he worked along side over the course of 3 trilogies. The musical development that follows has a bit more tension and movement, perhaps suggesting that the journey has not always been easy or fun, but nonetheless endlessly compelling. The development continues until we are treated with the grandest, most heroic renditions of the victory theme. The motif that begins the piece with quiet intimacy now booms with a voice meant to fill theaters and halls of movie and concert goers. Finally the grand scale fades and we return to an old man sitting in his study, JW fondly looking over the pages of his SW scores as he bids them all a final farewell. I love The Rise of Skywalker concert arrangement. *Though the movie with the same title is quite bad.

I bet they'll remove Rebellion is Reborn because that's the one I most curious to hear

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I am currently working on this!

wait.Even I'm not sure if your joking

I think VPN is probably the most straightforward way. (can't think of another anyway) Here's the official livestream again: https://www.servustv.com/jetzt-live/ You get different versions of the TV channel (and stream) depending on if you're in Austria or Germany, but the concert should be on both. Let's hope that it doesn't buckle and that the concert isn't blacked out for some reason. 😬

I am so excited to hear what you do with the graveyard scene and duel. I’ve always thought the original scoring for that scene was too frantic, almost as if Voldemort was some kind of scary clown instead of an ominous Dark Lord. Really hoping that you make the scene more atmospherically ominous, especially during Voldemort’s monologue (when the original music is particularly unnecessarily frantic).

I like the score but my only disappointment was the finale used to be magnificent symphonic statements where ROS feels like an edit of other scores and was a major missed opportunity to end the saga by wrapping it up musically having an original trilogy style ending with JW's contemporary sensibilities. That didn't happen and was a major disappointment for me. In contrast, it took Wagner 25 years to compose the 17 hours of his massive four operas of The Ring of the Nibelung. But the ending feels cataclysmic, everything from the first moment of Das Reinhold has come to its final cataclysmic conclusion since the creation of Valhalla happened in the opening and the final destruction happens in the last minutes. It's one great work spread across decades. The Star Wars team intended that approach and didn't reach those goals. I blame the director. JW could easily have done this but I get the impression JJ Abrams didn't have the grasp the weight at his control.

Some of this stuff is scattered among too many albums so I decided to make a play list grouping them. I only try to put "extended" or revised concert versions that were not on the OST's for this playlist Star Wars: Han Solo and the Princess (Original): Big Screen Adventure,City of Prague or NPO Gerhardt recording Han Solo and the Princess (Revised): Music from the Star Wars Saga , Zeigler The Flag Parade: The Phantom Menace and other Film Score Hits The Adventures of Jar Jar : The Phantom Menace and other Film Score Hits Battle of the Heroes(Orchestral): Star Wars Heptalogy Adagio : Celebrating John Williams, Dudamel The Jedi Steps: Lights Camera Music Jabba the Hutt : Skywalker Symphony Asteroid Field :Skywalker Symphony The Little People work(Skywalker Orchestra) Here they Come (Skywalker Orchestra) The Last Battle :Zubin Metha and Los Angeles Philharmonics or NPO Gerhardt recording Duel of the Fates (Orchestral) (Hollywood Symphonic Concert,Kanawaga Philharmonic Orchestra) .Edit out of the TPM Suite. Harry Potter: Double Trouble(orchestral) :Budafok Dohnanyi Orchestra. (Extract from You Tube Video) Double Trouble (with choir) :Harry Potter Collection City of Prague Orchestra Window to the Past: Harry Potter Collection City of Prague Orchestra Arguably the entire Children's Suite minus Hedwig's Theme and Harry's Wondrous World (HP Box Set) Indiana Jones: Scherzo for Motorcycle and Orchestra (Revised):Celebrating John Williams ,Dudamel Marion's Theme (Revised): Spielberg/Williams Collaboration part 3 or Celebrating John Williams,Dudamel Parade of the Slave Children:Spielberg/Williams Collaboration Part 1 The Basket Chase: Spielberg/Williams Collaboration Part 2 Irina's Theme :Slovak Philharmonic Orchestra Midway March (Long Version): I Love a Parade,Boston Pops Men of the Yorktown March :Lights Camera Music or FSO JW Special Jaws Theme: Spielberg/Williams Collaboration Part 1 Out to Sea/The Shark cage Fugue:Spielberg/Williams Collaboration Part 1 Cadillac of the Skies :Spielberg/Williams Collaboration Part 1 Jim's New Life: Spielberg/Williams Collaboration Part 2 Hook: Flight to Neverland :Spielberg/Williams Collaboration Part 2 Smee's Plan :Spielberg/Williams Collaboration Part 2 Face of Pan: Spielberg/Williams Collaboration Part 2 When Your Alone :City of Prague :40 years of Film Music or Best of John Williams Andrew Lane and Orlando Pops Lost Boys Ballet (Spielberg/Williams collaboration part 2) The Banquet (Spielberg/Williams Collaboration Part2) Jane Eyre At Lowood:Pops Britannia Jane Eyre To Thornfield:Pops Britannia Jane Eyre The Return :Pops Britannnia The Accidental Tourist (Love Theme): The Best of John Williams-Richard Hayman, Naxos The Cowboys Overture :By Request Boston Pops Sayuri's Theme :Celebrating John Williams ,Dudamel Going to School revised : on Sony compilation The Poseidon Adventure(Prelude):Disaster! album Yes Georgio!If We Were in Love :Boston Pops (Aisle Seat) Close Encounters: Spielberg/Williams Collaboration Part 1 Battle of Hollywood :Spielberg/Williams Collaboration Part 2 My Friend The Brachiosaurus: Spielberg/Williams Collaboration Part 2 BFG Suite: Spielberg/Williams Collaboration Part 3 With Malice Towards None : Spielberg/Williams Collaboration Part 3 With Malice Towards None(alt): Spielberg/Williams Collaboration Part 3 Tintin The Duel: Spielberg/Williams Collaboration Part 3 Dartmoor,1912: Spielberg/Williams Collaboration Part 3 A New Beginning (Minority Report) Spielberg/Williams Collaboration Part 3 Catch Me if You Can Movement 1,2,3. Spielberg/Williams Collaboration Part 3 Heidi Overture:Lights Camera Music Goodbye Mr Chips Overture :Lights Camera music Towering Inferno: Lights Camera Music Stargazers:Lights Camera Music The Patriot Suite Version 1:Lights Camera Music ,Boston Pops JW Arrangement The Patriot Suite Version 2: FSO : JW Special , From Hal Leonard The Reivers: Music for Stage and Screen The Lost World Theme : 1999 Great movie Scores Kunzel or FSO JW Special The Book Thief: FSO JW Special Nice to Be Around (Cinderella Liberty): Across the Stars Dances of the witches(Hooray for Hollywood) The Ballroom Scene(Hooray for Hollywood) Always Theme (Spielberg/Williams collaboration Part.1) Sugarland Express (spielberg/Williams Collaboration Part1) Born on the Fourth of July Theme (Music for Stage and Screen) .You can edit out cleanly New Car in Town and The Horse Race if you can't stand the Narration -Not Revised or Approved by JW Himself: Black Sunday Suite (Giants of Cinema City of Prague, or Close Encounters compilation) Earthquake(Love Theme):Disaster! album War of the Worlds suite:Philharmonics 2 War of the Worlds :Kunzel itunes Lost in Space Themes : Cincinati Pops YouYube Extract Jaws 2: The Greatest Musics of John Williams *****Still Unreleased in Good Sounding Recording)***** Leaving Home from Superman(Revised for Oscars Memoriam) Face of Pan 2013 Re-Revision 3 Pieces from Lincoln with amazing new version of Getting out the Vote Diagon Alley (Alternate bombastic ending) Let me know what I forgot. I didn't include the Mutter album on purpose

"It crushes all the competition." - Quentin Tarantino Second best movie is: It's no joke, Fabulin!

After some months I am realising that I am getting angrier and angrier because of such behaviour, that seems to have been much more common than I thought, as this is just one more occasion that I see. A once in a lifetime occasion for many of us became the occasion for few lucky ones to go for the double, which resulted in many of us not getting the chance to buy a ticket. So many attended both days, and that made impossible for many others to attend at all. There was no need to be that selfish really. It's free on Sat tv, 19,2 East, if you have a dish pointing in that direction (which I have :P).

@rpvee - great to hear from you! We appreciate that, especially since this scene is literally the first one we ever talked about scoring. Hope you like it. We're so excited to present Cue No. 33: Voldemort Returns. It was a 10-minute-long challenge that gave us a chance to work with Voldemort's musical material in all its glory. We also got to tie in other existing themes that we had a vision for in the climax of this movie. We hope you enjoy listening as much as we enjoyed making it, and look forward to hearing your reactions!

It's not just a mixing issue either, there are a few note changes as well.

More likely they'd stick it on Hulu with their more adult content. I mean, if Seasons 10-11 taught us anything, it's that Chris Carter either can't or won't make an ending to this series.

To think that the obvious has been there all along... I have thought for years that the two themes in the Main Title do not sound composed to perfectly fit back-to-back. But at least we have quite a mystery solved! I bet there are not many people who know the most probable scenario behind both the Throne Room and the Main Title the way we do now Normally I would consider playing the Throne Room as a reward, but I think I've had enough of it for a while... Thank you very much for your analyses!

Legends of the Fall Planet of the Apes Harry Potter and the Prisoner of Azkaban Karol

1. Godzilla: King of the Monsters 2. Shin Godzilla 3. Kong: Skull Island 4. Godzilla 5. Another Godzilla movie that should have been made

Isn't the version on the SE the film version? All the various mixes, sources and releases for this score are too darn confusing.

if it was true we'd all know about it a long time ago

of course it can. I always say you don't need to be a cook in order to talk about food.

Indeed! I've just been going over the score of the Throne Room again, looking through that B section. Traditionally, B sections are not completely different from their A sections, but more like developments of them. So you're bound to find an A section's motives, or developments of them, in a B section. Here's what I noticed about the Throne Room (see music below). The B section's main two-bar figure is based on the A section in both the rhythm (the small change of the dotted rhythm being a small variant) and the contour (shown by the arrows, which show both the A and B section's directions of the notes). Then there's the climax of the B section (the second-last bar shown), which uses the exact same rhythm as in the A section opening (shown by the double-headed arrows and brackets). What's interesting, though, is that the B section's second bar starts with a triplet, just as the A section of Luke's theme does, so there is a connection to that theme as well, which may be why he thought of this B section as appropriate for that theme as well. But I'm still reeling from Williams' statement that this music was written for the Throne Room then applied to Luke's theme. The motivic connections between the Throne Room A and B really seem to confirm that.

Not exactly sure. The broadcast (without commercial break) is around 95 minutes long. The concerts lasted around 2.5 hours with a break of 25 minutes in between. I expect a few tracks will be missing.

And all of them are hideous.

Uzi nine-millimeetah!

Actually, now that I think about it Always has been programmed in Boston before. Jurassic Park I think I heard conducted twice in maybe.... 20 years of going to see him in Boston/ Tanglewood. I think it isnt done much because it takes a lot of rehearsal to get the right balance and pitch. Most recordings, even the Vienna one, is pitchy in the big lush moments.

Just saying but I’ve seen Williams in concert three times and have yet to hear Jurassic Park live but have heard Jane Eyre, Cowboys, Close Encounters, and his first Violin Concerto.

Ugh. "What inspired you" questions....worst there are. But good replies regardless.

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Haven't heard the Vienna version yet but he already sped it up for the Lost World recording.

Some say that the opening blast of Star Wars after that silence is like a universe being born. It's interesting to think that when Williams wrote it, he had already known that the rest of the film "needed" a really grandiose introduction. Going further and louder than Rózsa's fanfare was Williams's decision of decorum, not Lucas's, despite a reasonable prediction people have had that it "must have been" Lucas who wanted it to be this big. Yet another example how the input of others into this project made it not only better, but more sweeping than it was at the beginning (the rebel base in danger is a good one too). The more we know about this score, the more interesting it gets. For example: some speculated for long that the decisions to use the music sparsely during some moments of the end battle were a proof of Williams's deliberate action, and if not, likely a decision made by Lucas. Paul Hirsch, however, in a recent interview for the Film Music Foundation talked long how he learned from Hitchcock and Herrmann when not to use music, and when to keep music for later, and what a great lesson that was. Considering the considerable input of his and of Marcia Lucas's in the editing, where in fact storytelling was still being done, it makes me think it was Hirsch who was behind the first attack run being silent. It's a textbook application. What really blows me away now is that the great pay-off of the Main Title being reprised in the Throne Room victory scene was likely an afterthought.

It's so intimidating reading something like this. Why can't something just sound good?

Hit me up if you need the assistance!

Just to add my interpretation to @Loert.'s - At the heart of this movement is a bitonal tug-of-war game between B minor and it's dominant, F# Major. Neither key centre quite wins out, and at the closing measures in a masterstroke of compositional of guile, Poulenc reinterprets the F# as the dominant of B Major, forming an elegant Picardy cadence. The chord you highlight is a G#7#9, which is just the II7 chord in F#, spiced up with a Stravinskian false relation. Note that we've been primed with the genuine article, a G#m, at :09, so when this more colourful chord arrives it feels somewhat uncanny. As the G#3 generates a D#5 in the form of the third harmonic, Poulenc chooses to omit the fifth (a common jazz practice), and this along with way the chord's voiced lends it an open, ambiguous quality, that could lead one to read it as an appoggiatura chord derived from the previous sonority. Both are valid readings I think, but I'd argue there's merit in viewing this passage in the wider context of an expanded functional harmony.

I trust Williams on this, but for it to fully make sense, there may be a missing detail or two that explains things more fully. The (second) question he was asked was "what inspired you to write the main theme of Star Wars" and I think he interprets this as "what inspired you to write the main title of Star Wars". Otherwise his answer seems to say that he wrote Luke's theme as one of the last things in the score, which can't possibly be true. That's fascinating that he says the B section of Luke's theme is really the B section of the Throne Room when it seems the other way around! That B section is also used in the statement of Luke's theme (in full ABA form) in Chasm Crossfire, when Luke swings across with Leia on the Death Star. So assuming Williams is recalling accurately, that would mean that he wrote the Throne Room first then decided that it's B section would be Luke's B section, whether he wrote Chasm Crossfire next or the main title. The point is that he wrote that music for the Throne Room first, and when it came time to write the main title, he imported the B section then arranged the A section of Luke's theme into that context rather than composed it then and there. Also interesting that he wrote the main title's opening blast in response to music he had already written for (presumably) the Battle of Yavin. That the blast provides a measured balance with a musical highlight of the score is I think another reason why it works so well as an introduction to the film.

Since both Episode VII and VIII had more than one version of the end credits written (we don’t know for certain if they were recorded), it’s not unlikely there could be an alternate version or two for IX.

He played Adventures of Han super slow after recording it a few weeks before much faster

I probably shouldn’t take your joke too seriously, but I’m getting a bit annoyed by the notion on this forum that Williams’ conducting is in principle superior to anything else. Of course while he is the composer, the fact is that his tempi will sometimes differ from OST or recordings from when he was younger himself. So it’s perfectly reasonable to prefer another recording, especially when they’re done by someone like Dudamel.

It might interest you, @Ludwig, that in an interview for the Pacific Symphony Orchestra Williams said this: Audio: https://vocaroo.com/856a8uo8HcN unreliable narrator strikes back?

Provided your region doesn't only get shit quality warbly versions of some albums.

I've never seen such a quick turnaround and then yet another turnaround on Kevin Kiner before. The dude seems like a nice guy and DGR seems like a nice guy and I like their music. If they wanted to publish the not-live-orchestra version over the live-orchestra version I can respect that.

I almost feel that first quote is directed at me...

Yes. Two films that lose most of their appeal on screens of under 140''.

Definitely one of the best Harry Potter related choices Warner Brothers have made for a long, long time.

I think it needs to be said over and over - JNH's fantastic beasts score is an absolute masterpiece and 1 of the great scores of the past decade. It is an absolute triumph.

If you guys do decide to tackle OotP I hope you will consider retaining Dolores Umbridges theme by Hooper, as it's quite Williams (Hook) esque and suits the character beautifully.

The only negative aspect of the box set is the fact that the jewel cases are cheaper and more fragile than the ones they use normally. That might be the reason why several people have got it with broken teeth. They should have gone that (last) extra mile.

Tomorrow Never Dies is the PERFECT blend of orchestra and electronics. I hope that comes out next year!

Beautiful report, Omen II! And beautiful-looking hall with a huge pipe organ.