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From an orchestral commission premiered in 2019, this is the mockup though. https://clyp.it/lrlocs4p

well lets hope it's not this scenario:

And here comes Ser Yavar , riding his horse and brandishing his sword!

You are right I have been sampling the album and there are indeed only 2 important themes - Sisu's and the emotional theme - let's call it the Trust theme as someone above called it. Seems to be a slightly underpowered in terms of themes compared to say Fantastic Beasts but this is still a well done score.

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A lot of recordings from the 70s sound a lot better than most "modern" recordings.

I hope this is the new poster

🤦‍♂️ So will Godzilla vs Kong get a CD release? A simple "yes", "no" or "I don't know" will do. You can spare us the pompous commentary on the state of the industry.

Finished this piece of music for my sci-fi album.

These are always the same sorts. The same first run of positive reactions loaded with hyperbole and overstatements.

The three at last!

The Call of the Crystal concert piece gives me goosebumps - just an outstanding piece. How about that dank harp thing that closes Irina's Theme? For me, the score is a great example of how Williams' sound and style have been refined since the first score and he put the effort in to make it feel like a part of the same world that makes you recognize that this is an Indiana Jones score.

The performances are just as good, and the acoustics is better. It turns out we're late to the party. SPOTLIGHT ON JOHN WILLIAMS was released in 1978.

Neither Abrams used Giacchino on his SW movies nor did Rian Johnson used Nathan Johnson, so I see no reason for Mangold using his usual collaborator (Marco Beltrami) - unless Williams doesn't want it. But I don't think he would refuse, he always liked the Indy character, and its an opportunity to provide the LA musicians with another gig.

Mangold wants Drew Struzan to draw the Indy 5 poster This makes me believe Williams will also be his first choice. It's all down to JW, I reckon

I initially thought it was my complete disappointment with the film that impacted my appreciation of this score. I’d come back to the ost hoping to finally connect with it. It’s a friggin’ John Williams Indiana Jones score for crying out loud! But to me both the OST and the Recording Sessions lacked the terrific momentum that the other three releases had (99% the fault of the film I believe!) Half the ost release seemed to focus on skull theme. Which is a great theme. But I needed other material to balance it out. Imagine if the Raiders score was 45% the ark theme. Terrific theme. But it would lose its impact after a while. And the RS goes for long stretches before anything grabs my attention. But I really want to love this score. So here’s my ideal 79min album/ playlist I’ve created from editing tracks together from the recording sessions. Nevada, 1957 (“Elvis and the Prairie Dog”+”Nevada,1957+ “Irina Spalko”) Really needed this on the OST. Not a knock-out cue set by any means. But musically it brings us into the story and rolls out some of the new thematic material for this adventure The Warehouse and Indy’s Great Escape ( “Revisiting the Ark (Revised)”+”Gun Powder”+”Indy’s Great Escape”+”The Rocket Sled”+”Indy Versus the Russian”+”Prairie Dog and Nuclear Cloud “) Edited these as a giant 8 minute set piece. Another odd omission from the ost. Skipped on some of the start/stop bits (“unpacking” and “Indy Fights back) “Nuclear Cloud” makes for a great end cap on the piece. Rough Couple of Years (“Resignation”+”Remembering Henry Sr. & Leaving Campus”) Some of my favorite moments on the prior Jones scores were the moments before the call to adventure. “Fathers Study”or “Thought for Marion” etc. Nice little moments to breathe before the plot begins. The Legend of Akator (“Legend of Akator”+”Knife to a gunfight”) I like this as the first tease of the Skull theme. Similar to “Washington Men” in its story placement musically speaking. And a great build to the next set piece. Whirl through Academe (Same as OST) Fun Breezy Indy action ala “Basket Games” or the train parts of “Indys First Adventure” A Trip to Peru (Same as Recording Session) Off we go onto the main quest! Grave Robbers (“The Chauchilla Graveyard”+”Grave Robbers”-RS version) Love the fun spooky atmosphere of Chauchilla Graveyard before the frantic percussion kicks in. Call of the Crystal (Same as OST/RS) Should be the equivalent of “Map Room:Dawn” as we realize musically what powers our characters are meddling with. Hello Jonesy (“Russians Reappear 2”+”Hello Jonesy”) Nice little map moment as our hero’s are captured by the baddie. Ideograms (“Ideograms”+ “Sleeping River Map”) A little moment of sadness before this “forming a plan of escape” type music kicks in and builds Quick Step Into Quicksand (Same as OST/RS) Another fun “Basket Games” type cue. Works great in the scene. Marion’s Theme (From Spielberg/Williams Collaboration v3.) Nice new arrangement works terrifically here. To me as a listener, this creates a moment of reflection and brings in emotional stakes for Indy that were completely absent from the film itself) The Waterfall (Same as RS. ) While not Chronologically accurate, I like this as a kind of teaser/warm-up for the action that’s coming with “Jungle Chase” and “Ants!” For some reason placing it after those two it feels a bit redundant to me. Not sure why. The Jungle Chase (The Jungle Chase Begins +Irina’s Great Blade+Ugh Vines) What’s there to say? Cracking 10 minute action piece worthy of Dr Jones. Ants! (Same as OST&RS) Temple Ruins (Temple Ruins+Ugha Warriors) Nice reminder of the skull theme since we haven’t heard it for a while on this playlist. Followed by fun frantic jungle percussion. The City of Gold (Same as RS) Love the “War of the Worlds” quote and giant build in this one as our hero’s enter the final stage of their quest Spalko’s Gift and The Secret Revealed (Spalko’s Gift+The Secret Revealed) Fantastic eerie build to the culmination of the Crystal Skull theme as the villains meet their demise. The albums equivalent of “The Miracle of the Ark” The Departure (Same as OST/RS) The final moments of this cue *chefs kiss* Treasures of Knowledge and Finale ( Knowledge Was Their Treasure+ The Wedding+ Finale*) Sad the quote of Henry Sr theme never made it on the OST. Having it here is a nice bookended to the “resignation” track. And of course Williams leads us out with great suite of all the films prior themes. So I didn’t include any of the concert versions in this playlist except for the skull theme. Finally I edited in the original end of the Raiders March to replace the one where Williams weaves the Mutt Williams theme in and out. It’s clever. But if it ain’t broke, don’t fix it;) Sorry for the essay. I’m enjoying a lazy Saturday and a rediscovery of JWs (most likely) final Indy score.

March 2021 and Opus Edition still hasn't been released...

Why isn’t there a score category or is there any point giving it to Lorne Balfe every year? will the Snyder Cut be eligible for these next year?

Tough competition, but this might just be my favourite a-ha album. Obviously the best pop thing my country ever produced.

There's so many Williams compilations or rerecordings out there I'm sure 80% of them didn't ask Williams personal approval for each piece recorded. All we'll be getting here is the "safe" material like Flying Theme ,SW Main titles and Jurassic Park aimed at the casual public again and I'm sure JW has nothing to do with it .Probably they don't think it won't sell recording any the pieces in an my dream track list posted before. Your always trying to "selflessly" side with what you imagine Williams himself might think and that we should be grateful for everything even if it's the same thing for the 1000th time . I think it's a bit moralizing to the fans. There's plenty of this concert arrangements that could be recorded and that he wrote and approved himself like PoA, Irina's Theme, new Han solo and the Princess... It's disappointing in 2021 to get another compilation with the greatests hits like Catch Me if you Can and Rey's Theme. I understand there's reasons they want it that way but if your going to do a big project like this you should try to check what's been done in the past 5 years and try to offer something sought after by the fans. Out of 100 minutes if 3 pieces are from my fake track list I'll be happy. not too much to ask

Brahms' Wiegenlied.

A translation hack job would be to just take the first google translate result you get. Et vóila: You wonder where they got the 'vermindert' from, which is exclusively used for defining a chord.

As far as I remember, that was in reference to The Cowboys, and clearly applied specifically to *soundtrack* recordings. And a significant share of soundtrack recordings from the 70s certainly are either not as good recorded or not as well preserved, or probably both, as "classical" recordings from the 70s and even 60s.

It's not just badly translated, I'm also pretty sure that it's half-fabricated from snippets of an interview session with JW that play out very differently in the actual interview. I'm partly amused/partly dismayed by how many people here try to find interesting titbits in the subtext, when I'm convinced that the subtext is 99% misrepresentation by the author. "Schtumperschreck"

Yeah... it sounds just a bit too precise and rhythmic. Plus it's all mixed to hot (like Powell sometimes does himself). I think that might be an album just to recreate from the original tracks as it's a nice sampling. On a totally unrelated subject, Dracula: Dead and Loving it by Hummie Mann is great. An almost entirely serious Dracula score rather than hamming it up too much. Although I don't really get all the debate about Kilar's Dracula score, I think it's great and really happy to have such an extensive presentation. I don't think I appreciated it enough before.

Mangled

I listened to it some more and it does sound too perfect for a real orchestra.

It's one of his most ambitious scores in terms of orchestration (for a TV movie!), a love letter to the trombone, and the action cue ('A Dusty Death') shows Goldsmith's skills at translating intellectual concept into raw musical effect (note especially the big bang finale after 02:23).

IL LOSTINO

To be fair, I just listened to it on Amazon Music so didn't have any credits to check against, so maybe the City of Prague Phil performed on it and it's just the way it's mixed with London Music Works... However, now playing, Contract on Cherry Street (Jerry) - prototypical gritty action thriller score. I remember getting this years ago and not really enjoying it much. Guess it seemed quite hard work compared to his tuneful 90s scores, but definitely glad to reappraise it. Some of his most aggressive trombone writing which is brilliantly captured in the vibrant recording.

I've never used instragram in my life so don't really know what that comments means, but I'm not trying to be a sourpuss, only a realist who is aware of the current state of the industry. I don't like it, I'd love it if every film score got a CD release, but that is simply is not the world we live in any more.

It's better for your mental health to expect new music you want to hear to be digital/streaming only, then be pleasantly surprised if it gets a CD release you can buy, than it is to expect everything to still come out on CDs and be continually disappointed when they don't

If you think this, it proves that you did not watch the show attentively enough

Most new film scores of the 2020s will not get a physical CD release

Drew Struzan shared this Last Crusade art today

Yeah, it's a good playlist - I had a closer look at the cues you've included, and it fixes the issue with OST focusing too much on the dull first section in Peru, and heavily truncating the warehouse and jungle chase sequences. Taken as the full sessions, it's actually pretty good if I ignore the middle 25 minutes or so, and jump from the source cue at the end of The Trip to Peru more or less straight to the Jungle Chase. If only that middle section were more engaging musically, but it just isn't.

Those London Phase Four recordings prove that 'old' music can sound just as good as modern ones. In this case they sound even better!

@Arpy Agreed. Some very cool touches in those pieces. I think the Call of the Crystal is just as powerful a piece as the ark theme from Raiders now. (Especially when it’s used more sparingly in my playlist) A week into listening to my new curated playlist and it’s like I’ve discovered a whole new Indy score. I’ve listened to it every day (sometimes twice in one day) and have really started to “get” this score more and more (or appreciate the tracks I selected;) With some ost fat trimmed and some recording session highlights reinstated, I now don’t dread pulling this one up when I decide to go through a marathon of the Indy scores.

This one, right? https://www.networknewsmusic.com/today-2004-bumper/ Yeah it's great, I wish we had it in better quality.

The devil is in the details...

I don't understand the JWFan theory that Williams wouldn't want to score this film. There are just no grounds for that. If Mangold offers a job even to the old visual artist, music staying true to the series is beyond obvious now.

JWFan 2051: 'Do you think there will be a complete score release?' Disney: 'Oh so you want a cassette rerelease?'

That's where I stand too. Yes!! I love it!

I still don't think it's a terrible representation of the score, it covers most of the major highlights, scenes and musical ideas. Certainly not as frustrating as some of Williams' other albums, but I enjoyed @WampaRat's alternative version immediately. It's still fine music and a number of times more interesting than so many scores these days. Plus I forgot how much I love the way he changes the end of the Raider's March in the end credits, inverting the theme and adding a little countermelody. Such a witty twist to round out the score.

It looks like part of the interview got cropped off underneath the photo. I could only find this low res version via their online portal:

Here's the result using OCR + proofreading + Google Translate. Part 1: -------------------- As the most famous living film composer, five-time Oscar winner John Williams is a legend. In seven decades he has written more than 100 mostly opulent film music scores - old-fashioned hand-sketched. He received the Oscar five times and was nominated 52 times. He will be 90 years old next year. He is very grounded in conversations, humble and eloquent. WELT AM SONNTAO: My nine-year-old niece Emma is currently in a total Star Wars frenzy. Would you have ever thought that it would last so long and still infect children today? JOHN WILLIAMS: No. At the premiere in 1977 it was more for the older ones. In the meantime it has become an empire with more than 40 years of film history. Does that strike back musically? Which Star Wars character and theme is closest to you? Of course, Darth Vader and his Imperial March. I was really very happy with that, even if this music has long since taken on a life of its own. As a contrast, I also like the Yoda theme very much, diminished B flat major, that is very simple, almost floating and clear, just like this small, worldly and yet powerful father figure. Film music has to be simple and graphic, then it is best combined with a memorable image. But don't you mind if you compose very complex music and it is then absorbed by the intoxication of the images? It's my job to instrumentally support this intoxication and make it even more enjoyable. Preferably with catchy themes that can be grasped immediately despite the distraction. Why didn't you become a classical composer? The training in Los Angeles with Mario Castelnuovo-Tedesco, who emigrated from Italy, and at the New York Juilliard School with the legendary professor Rosina Lhévinne were there. Above all, both have always encouraged me to go my own way. Rosina saw something in me, that's why she accepted me into her class. There were people like Van Cliburn and Gary Graffman who would later become great piano virtuosos. I was a mediocre pianist. Still, you've come back to film. Why? I had to earn money, I had a wife and children. And in the film business, where my father worked as a drummer in the studio orchestras, I was at home very early. I felt comfortable there as a pianist. You had to be quick, I learned that while watching television in my first years. Who else have you seen from the old guard of film composers? Especially Franx Waxman, Alfred Newman and Bernard Herrmann, you have very generously shared your experiences and advice with me young hopper. Benny was the one who always encouraged me to write my own music. Of course we are only little lights against Bach, Beethoven or Brahms. And of course also against God the Father Wagner, who taught us the leitmotif. Incidentally, I heard my first ring in Hamburg. How Wagner had looked today through the music jungle of the still unfinished Star Wars saga? At Herrmann, of course, I also experienced how stubbornness can ruin your career. As a film composer you have to serve, almost everything is somehow a compromise. There is no John Williams bonus there? No. In Hollywood, history matters little. And at the beginning there is always an almost finished film and blank sheet music. Then time is money. The industry is merciless, you have to function. Which I can obviously do very well. Til today. In any case, I have not yet rejected any score. Do you still have an overview of what you've composed? Not really, I don't hear that all the time. And if something newly invented sounds familiar, can you look it up in a catalog of motifs? Not at all. I am not a composer of paperwork like Beethoven. It just flows. And sometimes I also notice that while it's good, it can get better. The title theme of Schindler's List, for example, was only the third one that convinced me, but I also included the other two in the score. A film that penetrates into the gas chamber. Isn't that something you swallow as a composer? Of course, but precisely because of this delicate situation, it is of course also quite a technical challenge. And how do you put a hungry great white shark to music? With a two-tone bass ostinato that gives a plastic monster danger.