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Well, instead of comparing Williams to Bach, I would compare him to Tchaikovsky. However, Tchaikovsky : Brahms = Williams : Morricone and therefore, Tchaikovsky = Williams x Brahms / Morricone . So, we cannot really say that Tchaikovsky was the John Williams of his time. I would rather say, Tchaikovsky was the John Williams times Brahms divided by Morricone, of his time. I hope this makes sense.

Of course it would be

Spider-Man 3 would be awesome, but it's not gonna be that, otherwise I don'tthink MV would have said it wasn't jawdropping.

Finally got around to completing my listen of the deluxe release today. It was definitely a worthwhile purchase - the OST is strong, but I'm liking the expanded presentation a lot. I still couldn't necessarily place this Star Wars score above any of Williams' 9, but the recording itself sits even more easily above the sequel trilogy now. The end credits started and I was like, "That's a Star Wars end title!"

Meh, everyone knows Joker is gonna win. They'll invent the Nobel Prize for Best Score just to give another award to Joker.

"Arrangement in return"? Like an exchange? Exchange with what? Not to cast aspersions, but I think I'll pass. Honestly, is there anyway to get either a physical or digital copy of this upcoming issue of the BBC Music Magazine?

What about bromances?

Note that this is only true for Morricone, where {Morricone∈ℝ∣Morricone≠0}

Reviews are coming-in about The Lord of the Rings in UHD, and it seems there's no DNR, no green tint and no changes to content. Now its just up to the "real or fake HDR" guy to cast his vote...

To be honest, I hope it stays "Wien, Wien, nur Du allein." I don't think this "one-off debut" can be topped by any other European line-up - even if it were the Berliners.

Joker is gonna win then everyone will forget about it immediately. Although, if TRoS doesn't win it will have a greater legacy regardless - that much is certain.

Are the "Abridged for children" versions the only way a work should be experienced? Hell no.

Because many scores can be a hard slog without some clever editing and rearrangement. Some are so good, they require very little editing, but they're not all created equal. And to put a twist on your book analogy, would you rather read the final edited book or the author's unedited manuscript? I've never met anyone who prefers the latter. Same with movies, the workprint is usually much longer than the final edited version that omits redundancies, resulting in deleted scenes.

Mike Matessino also mentioned on @TownerFan’s Legacy of John Williams podcast that he was working on some future JW expansions, but he didn’t expect any would be ready in time for Black Friday. Also making a JW title less likely: all except one title will have a run of less than 3,000 units, and excepting some TV scores, every JW title released by LLL has had a quantity of at least 3,000.

A very, very minor thing, but I really wish JW had used the full, uncut end credits opening again, especially for IX. Nice to hear that again here!

Science fiction, of course. I'm a geekboy, after all. But peculiar selection of genres. 'Animation' isn't really a genre, for example. And something as specific as 'sports' get its own classification, while 'comedy' doesn't? That wacky AFI!

Congrats to JW Always think of this bit whenever he racks up another nom lol

Thats rubbish. He already made it clear that there are no exciting titles numerous times at FSM about this batch which clearly meant no John Williams this time around because we have all have been expecting a John Williams titles since the last 3- 4 years. And for the record he has not indicated or told me whats coming either (which obviously even if he did tell me, I wouldn't even tell or disclose publicly) On the otherhand yet you continue to patronize members shamelessly across the board; even if its MV. Take a chill pill. P. S. Its 'customer' base not costumer. 😜

What difference does it make? People who are hoping for a Williams score will be disappointed either way.

https://www.classical-music.com/magazine/issues/christmas-2020/ In the Christmas 2020 issue of BBC Music Magazine, we meet the iconic film composer John Williams to reflect on his illustrious career in Hollywood, his concert works and the thrills of conducting the Vienna Philharmonic Merry Christmas! In this month’s issue, we meet the iconic film composer John Williams to reflect on his long and prosperous career in Hollywood, some of his greatest scores and concert music and his thrilling forays into conducting.

MV had said that they looked for elements and couldn't find them, not that there were any legal snafus preventing it from being released once they were found. Things like Batman & Robin or Highlander have legal entanglements preventing releases, not element issues.

The BBC Music Magazine recommends to purchase print and digital copies through the following site: https://www.buysubscriptions.com/back-issues/bbc-music-magazine-back-issues The top issue, Christmas 2020, is the JW issue.

Well said, Ben Quadrinaronaronaronaronaronaronaros!

You have the worst avatar in the history of avatars.

You are right, I'm not surprised by the credits in a platform as iTunes but there Hybrid Soldier is talking about the difference between the credits for the Deluxe Edition and the Album in ACAP and those sites.

Heh, thanks for that! I've only seen this film once so barely remember any of the plot developments. I also forgot how dark and muddy looking the film is; When Han's Theme kicked in here I thought he was running away from battle, not doing what he was supposed to! The choir-backed rendition of the gang theme when Beckett is introduced is kinda goofy in context, makes sense why they mixed out the choir in the actual film (but I love it on the album) What's the significance us using Luke's Theme for the close-up shot of the Millennium Falcon dice in his hand?

Again, the "perfectly valid work of art" was already created as part of the film. When you take away the movie, it's reduced to raw materials; as mere remnants of that art work. However, if you make the right adjustments, you can reshape it into a NEW 'valid work of art', this time as an independent entity. Just as a film based on a book can be its own piece of art. Same story, different pieces of art. Same music, different pieces of art. Anyways....we're going in circles on this.

What about the homoerotic sense of it?

1. I've read one abridged book and I got a bad grade because vital plot points were omitted. 2. If a film score in its complete form drags, it's because it's a bad score.

Honestly...the catalog team does not deal with digital. It may be a number of issues I couldn't really explain.

This is the little joke of history, isn't it? 90% of influences in the music of great composers are ignored because they come from lesser works, even if the moments in those lesser works were effective as well. What helps to conceal these long and diverse stylistic roots is quite paradoxically that the composers were scared of trying to improve on the really famous works. Meanwhile Bach, Mozart, Beethoven, Wagner, Tchaikovsky, Shostakovich, or Williams - were quite Luke Skywalker about it.

A film score is created to accompany a film. A soundtrack album is a completely different entity than that. And yes, there are abridged books and theatrical cuts of films, that are produced in the name of a more succinct experience.

Courtroom Drama is so oddly specific.

If SM-3 gets a proper CD release, it'll probably be from Intrada.

When MV mentioned Fox titles, I'm hoping we might get an extended Kamen X-Men release as part of the Black Friday titles. An underrated score.

JW's involvement did allow this score to become a gateway drug to Powell for me. From the first listen I was impressed with everything he did with JW's theme. So I kept listening, and began to like his original material as well. Now that this edition dropped, I gave it a listen and LOVED IT!!!! Amazing release, and flows well, the only thing I might change is removing the happy Imperial March, the credits, and the mashup stuff from Reminiscence Therapy, and of course add Adventures of Han. Agree with others that some of the harsher elements, like the Horner choir, sound much better here! The unreleased material is great too, and easily justifies the running time. It's fun to listen to Powell develop his and Williams' themes extensively. When you look at all the themes represented in this score, it's quite a tapestry. Speaking of, I love the DotF material, including how it appears in a subtle way before becoming more obvious. Black Friday what, Black Friday who? This fantastic release is enough to keep me busy.

He'll talk about his Hook soundtrack and then talk about his cousin the whole time.

Still loving this... having re-listened to some of the sequel trilogy scores, I have to admit that the performances on those often feel a bit lacklustre, more in terms of energy rather than on a technical level. OK, Powell does have a slightly hyperactive style at times (too many notes!) which perhaps demands a higher level of energy, but even comparing the 20 seconds or whatever of the opening to the end credits, the Solo performance is pretty damn thrilling.

Thanks, that's great!

I like the TROS album more than all the other nominated albums, but Joker will win for sure

Heck, he didn't even play the guitar!

Again, thank you very much. Now we just need some audio leaks.

1MA-1M1 Warner Bros Logo - The Prologue 6M2 - 6M2A Christmas Mornign - The Library Scene 6M3 -6M4 Alt Dumbledores Advice - Hedwig's Time Transition 7M8 Ends with the not "Attacca 8M1" so essentially they are performed as one but they are treated as seperate cues 8M1-8M2-8M3 The Chess Board - The Game Begins - Checkmate 9M2 Ends with the note "Segue to End Credits" so they are also performed back to back. Also there are several occasions where there is less then 10 secounds between cues (e.g 5 sec bewtween 9M1 and 9M2)

Catch Me if You Can and all Star Wars movies scored by Williams.

@TrumpeteerListening to the Book Thief episode right now. Terrific. How fortunate you got the director of the film on this one! Probably the best episode you’ve produced yet. Bravo!

I think I might have found an alternate of Buckbeaks Flight..... https://drive.google.com/file/d/1lkwRl0k2-Jq_AB0RBeLHhn6MFSpXE_WW/view?usp=sharing

I gotta say, it was pretty dismaying to read how he described his top five scores. As an Oscar-winning film composer, I figured he was capable of articulating why he chose those scores as the top examples of his craft. I figured wrong: "blown away by how weird it was" "it was just incredible" "melody that was just incredible" "I love [that score] because I also loved the movie itself" "I thought it was so crazy and weird" "you hear it [and] you're like, 'Whoa, that's weird." "I remember the score just being so simple and emotional and beautiful" "Arrival is so cool. I find it very emotional, and I find it very creative and incredibly expansive." A 13-year-old kid could have come up with more insightful or perceptive comments than this insipid nonsense, ffs. >smh<

He took the Rogue One criticism hard.

It was probably after scoring Episode I.