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Hello, it's not the professor here this time. Just me I will try my best though, because this track is awesome! My Hello, what have we here? / You are imagining things section: 0:00-0:26 violins of quiet tension, to my ears slowly whispering the Anthem of Evil, with little counterpoint, but close to the end the counterpoint imitates the closing notes of the theme 0:26-0:27 a moment of music "taking notice" that something is not right, with a TROS-signature pronounced harp. Now the middle strings add some pedal tension. 0:27-0:44 some meandering counterpoint nebulously related to the Anthem of Evil (?) 0:44-0:57 horns enter end the music slowly grows to an orchestral swell and 0:58-1:25 what follows is a beautiful, marche funebre statement of the Anthem of Evil, which stylistically reminds me of lyrical Southern Slavonic folk tunes, such as those used at the beginning of Liszt's Hungarian Rhapsody No. 2 and Tchaikovsky's Serbo-Russian March. And... you know... Chopin and Mahler. 1:25-1:45 some harmonic transitions related to the Anthem of Evil (?), strongly driving towards a mightier re-statement of the theme. - 1:25-1:30 marvelously orchestrated moment of boiling emotions, with tension rising through the tremoli and the foregrounding of higher and higher pitched instrumental voices. - 1:30-1:45 brooding aftermath of the turnmoil, with some wave-like motion of the strings and the harp, pulsation of figures, and the entrance of strings hinting at encroaching madness in the Psycho language. 1:45-2:05 a dominating brass statement of the Anthem of Evil, with a combined accompaniment of the "boiling" and the "pulsation" ideas. 2:05-2:38 This is tough. Unless I am missing something big, it sounds like a melodic combination of a suffocated semitonal March of the Resistance(?) with a dark and regal spelling of Jedi Steps, and then 2:19-2:22 the Force Theme trying to get through. Then 2:22-2:38 is a prolonged reprise of this composite melody. In this section I am especially impressed by the playing of the LA musicians. Marvelous. 2:39-2:50 Rey's Theme rising in an ambiguous fanfare full of tension. The decision to embrace the Dark Side in the air. 2:54-2:58 Whether it's a bass trombone, a contrabass trombone, or just a plain old tuba, it's playing a part of the Anthem of Evil 2:59-3:22 action music related to the Falcon adventure at the beginning of the film ensues. - 3:15-3:16 A quick and nice Kylo Ren motif 3:22-3:30 Rey's Theme, followed by the same style of imitative counterpoint as the Anthem of Evil at the beginning of the track 3:30-3:38 an atmospheric ending on a note of darkness not being quite done yet What a little masterpiece

I feel like Willow was sort of the beginning of the beginning. He really thrived from '88 to '97, imo

I absolutely adore this track. One of the best cues in the new trilogy. It's grand and epic in the best Star Wars tradition. It's some serious space opera melodrama shit. Karol

Kind of cheating since while it's the 2020 ceremony, it's for 2019 films. He needs to score something nomination worthy in the 2020s to really cement a record that will probably never be broken

I am cautiously excited to have Bo Katan and Ahsoka being introduced. It's a solid storyline, but first season really established the show as "its own thing", with a heavy emphasis on Space Spaghetti Western. I do NOT want to see it just morph into an extension of the animated storylines.

The Ludlow motif is different from other themes because it lacks an explicit association. It's more of a basic outline, something like Horner's danger motif, that can be hammered into different but closely-related shapes for a generalized feeling of tension. Call this one a different name if you like. The point is that its notes follow the same outline as the other things we call the Ludlow motif. This one, being slower, is like the Desperation motif from TLJ, which is also Ludlow-based. And even with that theme, the association is much more vague than with other themes, following the pattern of Ludlow motifs throughout Williams' scores.

Home Alone (John Williams) source: complete sheet leak (Live To Projection (ltp) preperation Version) 1M2 Home Alone 1M4 Go Pack Your Suitcase 1M5 Introducing Marley 1M8_2M1 In Good Hands 2M2 Banishes To The Attic 2M3 We Slept In 3M1 The Basement 3M4 Lights On 3M4 Target Practise actually the same cue number used twice 3M6 Sledding On The Stairs 4M1 Paris Arrival 4M2 Guess Who's Home 4M4 The Man In The House 4M5 Police Check 4M7 The Bookshelf 5M1 Phone Machine 5M2 The Drugstore Scene 5M3/4 Escape Across The Ice 5M5 Church Bells might only be in the ltp Version 6M3 Ext. for film Intermission definiteley only in the ltp version 6M3A Entr' acte ltp only 6M6 Cleaning Clothes 7M2 Kitchen Scene 7M4 Scammed By A Kindergartener 7M7 Walking Home 8M6 Setting The Trap 9M1+2 The Attack Begins 9M3 John Wayne Enters The Basement 9M4+5 A Hot Hand 9M6 / 10M1 Sore Head 10M2 Paint Cans 10M3 Clothesline Trapeze probably altered for ltp but not sure 10M4 Marley To The Rescue 10M5 Have Yourself A Merry Little Christmas 11M1 The Next Morning 11M2 Mom Returns 11M3 Finale 11M4 We Wish You A Merry Christmas 11M4A End Credits Also Included in the LTP are 3 Christmas Songs: 7M7A O Holy Night 7M7B Star of Bethlehem 7M7C Carol of The Bells Altough I think this is source music not by John Williams The ltp Version also "converted" John williams cue Numbering (e.g Reel 9 Part 3) to the standardized numbering (9M3)

So, @Jay and other Horner fans, here’s a pleasant surprise: the complete full score of Aliens, now available to pre-order: http://www.chrissiddallmusic.com/aliens.html Looks great!

Remastering done by Mike Matessino : The remaster. Remastering done by Shawn Murphy : The original master.

Purely depends on which one sounds better.

Star Wars fans in this poll:. STOP THE COUNT!

The Battle of Jakku took place in 5 ABY, a year after the Battle of Endor. The Mandalorian begins in 9 ABY, five years after the events of Return of the Jedi Almost perfect episode! I give it 9.5/10.

This track is a highlight in the Star Wars history, i love every seconds of it.

I stand corrected. The score was played by the "Orchestra Sinfonica Nazionale della RAI di Torino", an Italian radio orchestra which has actually been regularly conducted by first rate classical conductors. So a different league than the Czechs, still.

The original performance of the Conan score is amazing. What's wrong with it? I'm asking, because in comparison with it the re-recording ranges from boring to repugnant, with your typical Czech flat, lifeless, sample-library-like sound. To be worse with Hollywood studio musicians than a budget eastern-European recording, the original would require some hard fails. Yet I am hearing no trumpet flubs or anything like it...

So you’d have to not just rearrange but do your own editing to listen to the OST. The only scores I wouldn’t want a separate OST presentation are scores where it’s already presented as-is, with the new cues added as bonus tracks (see: SPR, Schindler’s, Dick Tracy, etc.). To me, any definitive presentation of a score would also present the listening program. i know the point of these things is to make money and to present the new music, so I don’t begrudge the labels for NOT always including the OST. Certainly the addition of an additional disc, if it would come to that, makes any release more expensive to put together and a tougher sell. I’m just talkin’ my preference.

Stats boy and breaking Coronavirus headlines extraordinaire Alexcremers is literally the last person on JWFan who should be making that joke.

Congratulations to Chris for a job very well done, and it was indeed very challenging.

Yea that's fair. I think when the Coens aim for the "cerebral" they sometimes expose the empty air underneath their clever gestures, whereas their genre films serve as better playgrounds. I doubt Fincher's Mank will be as interesting though. Probably more of a straight but stylized biopic of sorts.

Which is, apparently, a record!

The RALPH V. WILLIAMS' are amazing! I also have THINGS TO COME, Arthur Bliss. Excellent!

Well since the poll is closed I cannot vote, but my vote would be for Braveheart. I own both fantastic expanded releases and really enjoy them both, however Braveheart wins by a hair / nose in my book.

Have that also!😁

I really like Conan but Willow is one of my favorite adventure scores, so this one was easy. And to be honest, I prefer the soundtrack to Destroyer more than Barbarian. (But Willow still would have gotten my vote.)

This cue is sooo good -- I've played it so many times since I first discovered it a month or two ago: From the ecstatic little flute echoes over the charging strings (particularly around 1:07) to the beautiful dancing piano line over the rich, flowing strings beginning at 1:10, this is such a great cue. The rest of the score is not particularly inspiring, but this track is Desplat at his very best.

What an awesome episode, with probably the most new music for Season 2 thus far! Here's what I heard in terms of fresh stuff: - lovely string-led development on the egg music from last episode for the frog reunion - new theme introduced for Bo Katan's group, a kick and punchy synth idea in action form for the barge fight - short cue involving strings and solemn guitar fanfare as Mando looks on at the exploding barge - a cue for the Quarren confrontation, features atmospheric synth ideas and short statement of the new theme - riffing on the new theme with familiar synth elements and eventually pizzicato when Mando drops the child off - an extended heist sequence full of the new theme and rocking hip hop elements, around 4 minutes in full - more Baby Yoda egg music for when Mando picks up the child - return of Quarren atmosphere for the squid in the cockpit at the end - one or two stringy dialogue underscore moments Tracked music, with alterations, includes: - opening atmosphere crash is a touch-up of Ch. 6's Hyperspace - Ch. 2's To the Jawas fanfare and chimes with a different ending for the boat shot - one cue made up of tracked elements from the Nevarro covert of Mandalorians (see Ch. 8's What Remains In The Tunnels) - several trackings of parts of Moff Gideon's theme, along with that heroic brass line that we had previously associated with IG not but a few weeks ago (that has since been changed as you can hear it in the strings in Ch. 6's Hyperspace, among other places) - a different mix of the opening of the orchestral version of the credits from Ch. 7 (does not play over the credits but just before) In conclusion, this episode shares the most similarities with Ch. 6, but is still largely unique and feels very much at home with what we've heard so far this season. I loved the new theme for Bo Katan's group! The Drive folder has been updated with everything that could be extracted as cleanly as possible, around 10 minutes in total with another 4 or 5 missing. New music will be posted here weekly: https://drive.google.com/drive/folders/15HO0z-sqlJU07G5IAe6FRxUVsT6zbfbb Hopefully we'll get a halfway release next week as there should be no shortage of music with which to fill it. Fingers crossed!

I'd say, my vinyl copy of BRAINSTORM. 27 years in, it still sounds fresh, and vital.

Dracula 1979 deserves a mention. The physical presentation alone with the beautiful slipcover made it... an event.

WILLOW is a fantastic score, but CONAN takes it. It's a cornerstone of film music history, and just damn good (despite the raw, skewed orchestral performance).

I know people complain about the sound quality (and performance?) but for me, there's not a lot that touches the Conan OST. Unlike Willow, I've never seen the movie - but man is the Conan score and OST evocative of...something. It lost a little of its special-ness in the re-recording and the expansion. I stick with the OST for Conan. Call it nostalgia. Willow is a pretty good score, and one of the only Horner scores I would consider buying as an expansion - but I feel like most of my thrill from it comes from its association with a movie I like. So nostalgia too I guess.

I love Clone Wars and Rebels. I was very much of the “let Mandalorian be its own thing” camp, but I’ve accepted this and am now excited to see Bo Katan and Ahsoka this season.

I think that's the most logical reason. I guess it will be out when orchestras will fully resume activities and concerts, hopefully next year.

I mean, that's the show. You're describing what it is. It isn't trying to be anything else, or being marketing as anything else. Just embrace it for what it is, instead of wishing it was something else!

The Last Castle: A muted musical effort - fitting the half-mast flag - for an awful military *drama*. The script began as plausible psychological study of a Patton-like general who is convinced of some wrongdoing and sent to prison. He was at first presented as a sympathetic guy vs. a bullying colonel controlling the prison. Originally the film's second and third acts were to show that the colonel was a good man, and the Patton-like Irwin a violent taskmaster who brutalizes other inmates into joining his crusade to get rid of the colonel. Enter Bob Redford. In a vanity turn of epic proportions he demanded this to be changed to the story of a noble hero who fights a reign of cruelty (he even got a big shirtless scene piling rocks, at the tender age of 60). 'Tony' Gandolfini, playing his antagonist, was pissed but helplessly caught in a stereotypical baddie role. Fun fact: Gandolfini sits at his desk playing Salieri, who as we all know toiled in Mozart's shadow, emphasizing the colonel's second-rate status. This is the subtleness of the script, it's only missing a Pepsi bottle next to the guy. Be that as it may, Goldsmith was thrilled with the script, in which incarnation we never know, and produced one of his by-then patented fallen hero scores, with a central trumpet theme that plays an awful lot like the US Marshals fanfare crossed with Rambo III. It's a slow-burn from minor dirge to big action score, which utilizes Goldsmith's very familiar ascending counter trumpets and booming percussions, embellished with the customary electronic enhancements (which by this time had become so smooth that they stopped being an annoyance). It has been rightly criticized as a lackluster self-plagiaristic late effort, but the gracious veil of oblivion and decades of often lousy scores by much lesser colleagues lets it off the hook these days. The best thing you can say about the full score released by Intrada now is that it spotlights a rather brilliant sound (it's a great recording, full of detail and room ambiance) and that its main theme and the few surrounding motifs are perfectly interwoven, like you would expect from an old war horse like JG, even when he was not firing on all cylinders at this time (the score came shortly after his first cancer treatment). Mark MacKenzie, the orchestrator, supplies a busy central action cue of over 6 minutes that Goldsmith wisely identified as being of minor consequence as it would be buried by gunshots and helicopter noises anyway. It's not really that interesting, musically, but it's no big nuisance, either. The three real standouts of the score are the big jingoistic flag cue at the end (or rather its final four minutes), the slow-burn from minor dirge to big heroic finish of 'The Rock Pile' and a super-precise 4-minute action cue called 'Taking Command' (no one could write this stuff like JG). So it's not much for the seasoned Goldsmith fan but during lockdown months, it might become a nice diversion. Now on to 'The Land Before Time' (aka Sergejewitch Hornerowski's most accomplished score for animation).

The pandemic started a fair bit earlier on the set of this.

IMO, it's about survival. That's what all the characters are trying to do. Capitalism has turned the workplace into a battlefield.

I for one like the music (though I cant eloquently explain why). But I can imagine that after a while people need to come up with something new. (though I also cannot imagine what) Also, sorry you had to see Homes&Watson.

The MOTR quote instantly jumped out to me too. Kind of a funny spot to introduce the show's first quote of a Williams theme, but Goransson certainly made it fit in well enough.

I always thought the credits sounded weaker in s1 than the released track. I don't think I had that problem with these two, maybe they adjusted the mix.

The spiders come from McQuarrie. Whatever the episode could be called, along with the first one and chapter 4, I'd happily take 50 more like these with sometimes some semblance of a main plot weaving through, please! Just Mando and Baby going on lots of weird adventures, sometimes with pals, searching for Jedi or Mandalorians.

Did I hear a hint of Williams' Resistance theme during the departure of the x-wings?

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