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Hey folks! I made a few updates to The Music of The Mandalorian back in July, including the addition of revised write-ups for Chapter 5 and Chapter 6. These entries are a continuation of the series of posts which began back in April, with similar reviews having already been added for Chapter 1, Chapter 2, Chapter 3 and Chapter 4. In addition, the site hosts isolated score videos for notable sequences in Chapters 4, 8, 11 and 16. I hope to do more of these in the future. Of course, for anyone not yet familiar with the score, I recommend glancing through the thematic catalogue, which has been compiled for easy access by several fans of the score over the course of both seasons. As for the remainder of the write-ups and timestamps, I do not expect to chip away at them significantly for some time, as there are still a lot of revisions to be made since they were originally posted nearly two years ago. Wow! Chapter 7 and Chapter 8 will likely take the most time, as my writing on Season 1's two-part finale was particularly extensive. Fortunately, reviews of the two volumes of music for Season 2 are more recent and will be posted promptly thereafter! The goal is to have these entries up in time for the release of The Book of Boba Fett in December. Also, there is what one could call a special feature in the works that I am very excited to share. More on that some other time though! Thanks for reading and cheers!

Play the CD on your speakers, record it with a microphone, and start each recording exactly between tracks.

Added! While I was at it, I added links for the recent Images and Eiger Sanction expansions, the Philips compilation, Overture to the Oscars, the Carnegie Hall concert, and revised & updated all the information about his upcoming works I encourage everyone to suggest any threads that should be added here! Just please don't tell me I "forgot" them, please just ask if they can be included

John Williams - The Reivers Man, this score is super fun, a real early gem in Williams' career. What a breezy, pleasant listen

That was how I was going to do it, yea. So you could see just his recording session dates, just his published interviews, just his concert work premieres, etc. It's a lot of work though, which is why I hadn't started yet - got some other projects to launch first.

Lazy sunday selection. James Horner - The Amazing Spider-Man John Williams - Azkaban (Expanded) Thomas Newman - The Green Mile Jerry Goldsmith - Gremlins (the score)

Hey how about no open book spoilers in the hype thread for the movie thanks

All you need is basic audio editing skills and software, Audacity is a good free option. You import the two tracks, put them right next to each other, play the part where they join to see if it's truly gapless. Then select the first one right until the end of the silence and export it as the first track, then select the rest (end of the first track plus all of the second track) and export that as the second track.

Anyone else hear these constant clicks in "The Morning After"? This was not on the 2004 release!

Whoa. I started with the OST and like it! Sounds great (not familiar enough with the varese so not sure by how much - I hear by a lot), good performances, a healthy representative mix of jazz, classical inspirations and good old film music, arranged not badly. The Eiger is a pretty meh finale, I like it better with the extra tracks put after it, works out great. Source music is okay, kind of just generic 70s background music, not especially fun or interesting to me - hot take, if these are the best ones JW approved out of the 7, he can keep the rest as far as I'm concerned. Though I wouldn't say no to a Superman situation where they are released, but somewhere else. And then the film score - holy moly. The performances are better, the cues themselves are better, the sound is INCREDIBLE, this 46 year old 3-track mono source sounds like it was recorded yesterday! I don't know how much Mike had to do but the end result is mindblowing. The first half is about what one expects, a varied damn good score for a mediocre movie. Felicity introduces the classicalesque element early so the Montage is more like a return, I like that. Also a lot of jazzy cues, i love that. Also lots of great main theme renditions, I love that. Also early on it can feel more like a small Morricone-esque, europeany sounding score almost blending into source, then the film scory film score grows out of it gradually. Cue combinations don't stand out at all, executed perfectly, even nonchrono ones like Top of the World. But then comes the latter half. An utterly gorgeous whole different kind of score the music grows into. A blend of cold icy textures, relentless unforgiving snowy soundscapes and emotional or melancholy main theme statements, this section is incredible. I don't know what goddamn movie JW was watching, it sure as hell wasn't the same one I did! Or he scored the movie he wanted it to be, drawing on the core ideas and possibilities, not the execution - hell, rather than scoring 4 spies or whoever going up a mountain but then coming down but then dying, with a cloudy motivation for the hero that's 100% abandoned and unexplored until it's over, to me this felt more like JW closing the book on this chapter of his life with Barbara's death and everything, right before the watershed moment was coming with Jaws, as if he knew. Absolutely fantastic. The credits is over a bit too quickly to put a proper cap on it, but then I rolled over into disc 2 and the main title started - which is a perfect finale, actually! So overall it ends up being somewhat of a blend of Long Goodbye, a tiny bit of Images, Earthquake (so I'm told) and Black Sunday - but ends up growing past them in the latter act into something greater than all of them. People. BUY THIS. I won't ask for a replacement disc for this kind of mistake, if I ever listen to the disc, it's unnoticeable, just the master playing through as intended, and I fixed my rip in literally a minute. Unfortunate but of a better kind.

Everything he said that night was touching (or funny). You could really tell how happy he was to be performing for an audience again, as well as directly talking to them and thriving off the feedback. It really came through in everything he said. You can just tell this man has absolutely no desire to retire and live a quiet life. He wants to keep composing and he wants to keep performing. It's great.

The applause as Williams entered the stage and walked across it to take his place at the podium was wonderful, another step up in enjoying the whole night that the change in weather already had been. I always keep my eye out to see how Williams is doing, and I am happy to report he seemed to have even more pep in his step then he had just a few weeks ago for the Violin Concerto #2 premiere - perhaps he too was invigorated by the change in weather! As is typically the case, as the applause died down he began the first selection right away, without saying anything to the audience. Overture to the Oscars It’s always nice hearing a new Williams composition, and especially nice you go to a concert with no knowledge that you’d even be hearing one! I assume this was commissioned for the opening of the Academy Museum next month, and it is certainly fitting for such an event. Full of resplendence and elegance, I have a feeling this will become a staple of Academy Awards broadcasts going forward as well. Here’s hoping a studio recording gets released at some point! After the piece finished, Williams took to the microphone for the first time of the night: “Thank you very much. I wonder if you are as happy to see me as I am happy to see YOU <massive audience applause> After eighteen months of no concerts, no rehearsal, no television… Hollywood was really a dry place for a year and a half! It is wonderful to be back with you and back with the orchestra <audience applause> and like me probably many of you have watched the Olympics on NBC, and they have done so beautifully, presenting the Olympics. And my association with NBC is a long time one, I've written the music for Meet The Press, the Nightly News, the Today Show, and Sunday Night Football, and let’s see, the Olympics in Los Angeles and Seoul Korea, and Atlanta, and Keith Lockhart and I did the Olympics in Salt Lake City, the Winter Olympics I think it was in ‘02. It's already nearly 20 years! And you will see tonight, some fabulous footage that we were fortunate enough to have allowed us to use by NBC and the Olympic Committee. And these fabulous images I know you will agree when you see them, were put together by Susan Dangle of WGBH in Boston, and it’s quite a... they chose so many treasured faces, there’s a shot in there of Kobe Bryant I can't get over, it's so beautiful. When you watch this I think you’ll enjoy it. Olympics.” Olympic Fanfare and Theme This is, simply, one of my favorite pieces of music of all time, and one that wows with me its power every time I get to hear it live. This performance was no exception, and was the absolute highlight of the evening for me. The Pops played the piece perfectly, with a lot of enthusiasm, capturing all the power the piece contains. Tremendous. The video montage of athletes from across many years of Olympics competitions was nicely done (though admittedly, I spent more time watching the orchestra playing the music and did not focus on it too much). The audience erupted into quick and enthusiastic applause when Simone Biles showed up in the montage. Then, Williams grabbed the mic again: “Here is something that I wanted to show you and have you hear. It’s from a film called Big Friendly Giant, which Steven Spielberg made 2 or 3 years ago, which not too many people saw <audience laughter> But it was written by um, oh dear... Charlie and the Chocolate Factory <audience helps him out> Thank you very much - Roald Dahl! And it’s called Big Friendly Giant. And Steven wanted to make this film for technical reasons, because he wanted to present an adult man, the giant, having scenes and playing the entire film with a young girl, 8 or 9 years old, small enough to be held in his hand. And he would take the little girl to the land of dreams, and find dreams, searches for them - good dreams not bad ones - and capture them and enclose them in bottles. And then the giant could distribute these to children throughout the world. And what you’ll see here is a montage put together from this, of all the searching for the dreams, and the orchestra - particularly the flutes - will accompany all this choreography and these gyrations. And the lighting I think you’ll agree is very beautiful. I hope you enjoy this. Big Friendly Giant.” A Child’s Tale: Suite from The BFG This is a favorite of Williams scores for me, and one of the best works of his recent output. I love that Williams seems to be particularly fond of it, developing this lengthy (this performance ran slightly over 7 minutes) suite from most of its themes and ideas, and taking the time to introduce it and highlight what he’d like the audience to pay attention to. The montage was a nicely done assembly of the parts of the film that showcase Sophie and the BFG’s friendship, and their adventures with the dreams. The whole adventure with the Queen is not shown, and the bad Giants were not featured much either. It was nicely done, and overall, this really shows how much can outlive the films they were written for. I don’t know how many people in the audience who had not seen this film might have been compelled to go see it after this night, but they might be more inclined to listen to the music again. “Thank you. This is from Indiana Jones, Scherzo for Motorcycle and Orchestra. And the reason for "Motorcycle" is that we had Sean Connery and Harrison Ford on a motorcycle being chased by Nazis, and they had to get away very quickly. And I had to write this piece to accompany that scene. Unfortunately when I went to the theater to hear the scene, all I could hear was the motorcycle. So I resolved to make it a piece for Orchestra. Motorcycle and Orchestra, without the Motorcycle. All right!” Scherzo for Motorcycle and Orchestra from The Last Crusade This is the wonderful, updated concert arrangement version that premiered some time after the initial concert arrangement version (the one heard on The Spielberg / Williams Collaboration album). I was so thrilled to get this selection instead of something like The Raiders March or Adventures of Mutt; This was another major highlight of the evening. The performance was wonderful, and since I am not very familiar with the newer changes this arrangement has, I got to enjoy some musical surprises for the first time since Overture To The Oscars. Marion’s Theme from Raiders of the Lost Ark This was the wonderful arrangement from 2008 that I have heard a few times, yet enjoy hearing very much every time. Unlike the later Han Solo and the Princess arrangement, this arrangement could have easily been done at the time of the original film and felt at home there. I have always loved this theme, and this arrangement of it is a great selection for any film music concert. Throne Room and Finale from Star Wars: A New Hope Perhaps because of time length limitations for the concert, Williams didn’t say anything after the Indiana Jones selections, and instead launched into this after a not very long applause break following Marion’s theme. Much like the Scherzo, I am always thrilled to hear this piece performed live instead of the Main Title arrangement yet again, and the Pops did not disappoint at all with a great performance of it. The applause afterward was the loudest and longest yet of the night, as Williams seemed to really appreciate the audience immensely before leaving the stage, only to come back relatively quickly for the first encore The Imperial March from The Empire Strikes Back There is nothing left to say about this, I think I have heard it at seemingly every Boston Pops Film Night concert I have ever attended, and it always sounds great. The audience began applauding long before its final chord, which didn’t surprise me at all. As the applause continued, Williams left the stage only to return… with Keith Lockhart! I thought this meant that there would be no second encore and he was going through the final motions of the night, but that was not the case! Instead, both Williams and Lockhart went up on the podium, and then Lockhart stepped down and to the side and let Williams begin conducting: Flying from E.T. The Extra-Terrestrial Another classic I’ve heard a million times, but the music is so good how can you complain? I was mostly fascinated by trying to figure out what was going on on-stage. Williams was conducting and Lockhart was standing off the to the side watching… until suddenly, Williams stepped down (and of course, all the musicians know this piece so well, they don’t need a conductor to keep going perfectly), and Lockhart stepped up and after a bit, started conducting himself! I had my eyes locked on Williams, who had slowly stepped downs towards the violin section, and had to move one of their stands a bit to make room for himself. He then slowly turned and observed each section of the orchestra as they played his music to Lockhart’s conducting, and he seemed to just really be enjoying being literally in the middle of all this happening. Towards the end of the piece, they swapped spots again, and Williams conducted to the end while Lockhart watched. Then, both men bowed and made sure to highlight all the musicians on stage as the applause kept going and going, until Williams eventually made his classic “sleepy time” pose, generating the usual laughter from the audience, and they made they way out the side door and the standing ovation continued for a while until it was clear the night was over and the stage lights came on. A truly magical evening of music, and one of the best film music concerts I have ever attending. I was so thrilled to see Williams in excellent health, to hear one of his newest compositions, to hear many favorite pieces played splendidly, and to enjoy it all with an enthusiastic crowd in the gorgeous weather outdoors. As we walked back to the parking lot, the sky constantly lit up with amazing lightning bolts, and in fact the coming rain only arrive literally as we were entering our car. One last little bit of happenstance to end a wonderful night.

I've been thinking about doing this for a long time, but never found the right moment to work on it. Now I've realized that it's as easy as start a thread and compile as many dates as people may want to add. You can copy/paste all the events already posted by others and add them to your post, or simply add a bunch of new ones and someone else will make and updated list, which will be added to this main post on a regular basis. All kinds of events attended by the Maestro, awards/nominations, concerts, recording sessions, even original album releases, are welcome to the list. Here's a start with some examples: 1932/02/08 - John Towner Williams is born in Queens, New York 1976/03/29 - John Williams wins his 2nd Academy Award for the original score for Steven Spielberg's "Jaws" 2020/01/29 - John Williams wins the Grammy Award in the Best Instrumental Composition category for his "Star Wars: Galaxy’s Edge Symphonic Suite" 2020/01/31 - Jim Svejda interviews John Williams on KUSC Radio 2020/02/08 - John Williams saluted at the Society of Composers & Lyricists’ annual Oscar music reception 2021/07/24 - John Williams conducts the World Premiere of his "Violin Concerto No. 2" at Tanglewood, with Anne-Sophie Mutter on violin 2021/08/14 - John Williams conducts the World Premiere of his new work "Overture to the Oscars" at Tanglewood Feel free to expand the event descriptions, as long as they're not too long (this isn't a biography but a chronological list). I'm sure it'll be fun! EDIT - Link to KittBash's spreadsheet: John Williams Chronology - WORK IN PROGRESS

Anybody heard of him? He is a young German composer known especially for his music for Europa-Park, the largest Theme Park in Germany (and many say, the best in the world…). He obviously is very influenced by Hollywood soundtrack from the last 20 or so years, from Williams over Desplat to Powell (I think). Here the complete soundtrack for an animated short movie made by Europa-Park for its 4D cinema: Happy Family 4D short film And here music for one of the larger coasters, themed to nordic saga and vikings: Wodan Playlist on Spotify: And here are some samples of the music he wrote for the park itself (did not find it on Apple Music): https://shop.europapark.de/en/Europa-Park+Classic+2016+-+Download.htm What do you think of it? I like a lot of his music, although it is often very similar to Hollywood sound.

So that they can play it when he wins for Indiana Jones 5. https://www.classicalwcrb.org/show/the-boston-symphony-orchestra/2021-08-13/film-night-with-the-pops-and-john-williams-2021

If this was to be broadcast at some point would be on Catalunya Ràdio. I've been checking it daily, but no luck so far. Back in June, over at Facebook, I asked Gloria Cheng if the concert was due to broadcast but she never replied...

BRAND NEW EPISODE OF THE CINEMATIC SOUND RADIO PODCAST ALL REQUEST SHOW #1 http://www.cinematicsound.net/the-flag-ship-show-all-request-show-1/ Erik Woods presents the first ALL REQUEST SHOW since 2004 on today’s new episode of THE FLAGSHIP SHOW on the CINEMATIC SOUND RADIO PODCAST. Since launching the CINEMATIC SOUND RADIO PODCAST Patreon a few months ago, we’ve offered our patrons exclusive perks based on the tier they signed up for. One of those perks is participating in all request programs. All Request Shows were a norm for CINEMATIC SOUND RADIO back on the FM dial between 1996 and 2006. They were some of my favourite shows. It gave my listeners a chance to participate in the programming of the show and was always a special program to produce. It’s been 17 years since the last all-request show so as a perk for some of our patrons we are now bringing back the all-request show on a bi-monthly basis. If you want to participate in future all-request shows, please head over to our Patreon page, and join the community in any tier that is $5 USD/month or above. Once you do so you will be able to participate in all upcoming all request programs. For this premiere all-request program, our participants included Max Hamulyak, Dave Williams, Victor Field, Don Mase, Alphonse Brown, Douglas Lacey, Williams Welch, Alan Rogers, Tim Burden and Joe Wiles. They requested tracks from such composers as Rachel Portman, John Powell, Ron Grainer, James Horner, John Barry, John Paesano, Hans Zimmer, David Newman, Jane Antonia Cornish and Bear McCreary. Let me tell you, the playlist is fantastic! Sure, some selections come from big blockbusters but there are other selections that come from more obscure fare. And one cue was from a score I had never heard before. With that being said, I hope you all enjoy the program. This was easily one of the most enjoyable shows I’ve produced in years. Again, for those that didn’t get a chance to participate and want to be a part of October’s all-request program, we’d love to have you join the CINEMATIC SOUND RADIO PODCAST Patreon family. But don’t feel like you have to join. I’m not forcing anyone to join. Remember this podcast will always be free to listen to but if you want to support the program and join the community we’ve formed on Patreon then we’d love to have you. Enjoy the show! ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

If I understand Ricard's intentions properly (which I have been known to epicly fail at more than once, but I think I got this one right), he is going to do exactly that: Take all the information people post in this thread, and combine it all together in one place - the main post of this thread. His main post says the updated list "will be added to this main post on a regular basis"

I had forgotten this piece already premiered at a public concert this June. Am I correct in thinking there was no broadcast of the concert, and no one on JWFan has heard it yet?

His unique end credits pieces is on the soundtrack album, in the track "Confrontation with Count Dooku and Finale"

Yup very cool idea, I had been planning on starting something very similar at some point. I'll try to contribute what I can when I think of it

The worst is Attack of the Clones, where George Lucas replaced his entire unique end credits piece with the Across the Stars concert arrangement.

And record it on reel to reel like in 1975! Yeah, they aren't tracks that I'm adding to a playlist or anything. So I can sit tight and wait for the replacement CD.

If anyone needs help with fixing these two tracks, drop me a pm and I'd be happy to help. Or just drop Intrada a message and wait for the replacement. I did that and Jeff responded quickly that I'd been added to the list.

JW's intended end credit sequence is to segue from the opening cue he recorded into the first ~2 minutes of the Lost Boy Chase, into the timpani hit, into End Credits music. It's a proper 6 minute end credit suite, he just didn't re-record those first 2 minutes of The Lost Boys Chase, they used the same recording they had already nailed down for the film sequence. I cannot think of a good reason not to replicate JW's intentions on a proper expansion. It's Spielberg who messed with his intentions by replacing the end of the end credits with a reprise of the ending of the same cue that just finished up the film itself - the same thing he just did two years earlier on Always. It's nice to hear the clean ending of the End Credits opening via the boots/leaks of course (for me personally, hearing clean endings / openings are always a special little treat), but it's not the way JW ever intended it to be heard. He intended that music to segue right into The Lost Boys Chase. As for Exit Music, it certainly works well as its own track, and I like how we've gotten some fairly different takes of it between the leaks and boots and LLL CD, but it's still something he meant to be heard only as the end of the end credits sequence and not as its own track

It's hear, not here btw....

The Indiana Jones Collection by John Williams Perfect music that needs MM treatment. Hear me Disney....

Just cut the end of the track 14 rip and paste it into the beginning of the track 15 rip. No need to rip the CD any differently from usual first

I'm on the fence a bit with whether I'd purchase HP4, but only because I feel Doyle, et al, did a way better job of making representative and comprehensive albums than JW ever will. JW creates the need for expansions right off the bat, just as an inherent part of him making his albums how he does. Whereas I'd instantly buy expansions of all the Jurassic scores.

So the concert is streaming today on CRB ? I think that is around midnight uk time isnit?

What you need is a better CD player.

Add me again to the jpiii bandwagon hehhe.

The Green Knight Some scenes and elements pulled me in, other pulled me out. Have to see this one again because it's hard to form a clear opinion after only one viewing. The film does contain the most sensual scene of the year though. Holy damn, Alicia Vikander can be so sexy.

Nash Calling (Film Sweetener)

They should overlay it on "Nash Calling".

Same! All I can really add to what hasn't already been said is, when they eventually do this release, PLEASE have the "Kirby Paint & Tile Plus" ringtone as a hidden bonus track.

I know this isn't exactly in-depth, but maybe you haven't seen it yet. A documentary about miniatures in film has been posting extended excerpts from their interviews along with BTS photos and video captured. They posted a segment on Hogwarts, interviewing with the people who worked on it: Highly recommend the channel for anyone who loves miniatures.

This morning I grabbed my copy and took the shrinkwrap off, and listened to the whole album on my way to work. It made for an... interesting car ride, and I was again blown away by how good the track "Dogs, Ponies, and Old Ruins" is. Great stuff right there. The whole album is very nice assembled, has a great flow throughout. On my lunch break today I checked out the booklet for the first time. I LOVE the nice, simple, pleasing art design by Nacho Govantes; It makes every easy to read (not always the case in specialty label booklets!), and the numerous production stills were nice too. I do not know how same / different Burlingame's liner notes are in here compared to the 2007 version for Prometheus, but I really enjoyed reading them again, and am thankful for the included the track-by track part that helps give context to what scenes the music is written for. The debut of John Williams' liner notes for the OST album that never happened are pretty cool! Getting to read his own words on how he went about writing the "real world" music and the "other world" music is terrific. And it's so cool that three pictures from the recording sessions at CTS Studios showing Williams, Yamash'ta, and Altman! Overall a superb release, especially for the 16,95€ retail price! Now here's hoping the original scoring elements turn up somewhere one day!

Oh and one more thing: This can get so Long Goodbye-ey and jazzy that after some tracks I'm genuinely sad and baffled that they didn't turn the main theme into a song with a smoky sounding lady!

New pic from the Arizona shoot

Beautiful summary! It was really touching JW singled out Bryant like this.

I really enjoy the love being shown to BFG in multiple threads. It is a magical score with unique touches that separate it from his Hook/Potter magic sound, and has a top-tier concert suite (Williams nailed these longer suites with the "more recent" scores: Warhorse, The Book Thief, TFA, and BFG).

True. There's Hook 3CD set, Hook 2CD set, Hook 1CD set, HP4 rejected score 2CD set and HP4 (Doyle featuring some JW music) 2CD set So obviously more than one. Warning: this post contains no ounce of denial

Honestly, for me it's probably War Horse and The Force Awakens as most marvelous scores in the recent years. Apart from that all Williams scores of the past 20 years are outstanding musical works without serious competitors around.

Here's an exclusive version of A New Beginning

I attended the concert and I was blown away by the Prelude and the Scherzo, as played by Gloria Cheng, it seemed as a different piece. The prelude adds a needed introduction to the piece it's almost a meditative piece, the calm before the storm. And the Scherzo played by the Cheng is far from the aggresiveness developed by Lang Lang in his performance, it's more detailed and, for me, much more interesting. The orchestra surprised me and it sounded much better than I expected and the music by Timon was very entertaining. On the minus side, some of the partitures they used in the Williams section seemed to come from an uncertain source. HArry Potter Suite was a cut & paste job, the Star Wars suite had certains parts missing (the ending of Leia's theme and a section of the Main Titles)...

Less on its own, but as used as the introduction to the finale of Copland's Third Symphony, it's quite literally my favorite music ever written. Joyful, elevating, life-affirming, even humanist, music that I love dearly like an old friend. But hey, we're all different people and obviously it's come to mean that much to me over a long period of time, not on a first listen.

Its my favorite of the few Rosenman scores I know. Or the least awful.