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Looks like Clint finally found his footing! Your copy of Eiger Sanction: 🦶 My copy of Eiger Sanction: 🦶🦶 Don't be mad!

i used be a little bit more jaded to releases like that (no offense to Love, Actually) but Jay said once here that every score released could be someone's favorite score. and any fans of film music, deserve their complete scores. it did change my perception a little bit when being disappointed with some of these releases. but yeah, 4(?) more to go!

Superman March:

NEW SCORES AVAILABLE: Amazon Studios Annette (Ron Mael & Russell Mael) [15 cues, 40:52] Being the Ricardos (Daniel Pemberton) [33 cues, 1:01:15] Coming 2 America (Jermaine Stegall) [31 cues, 48:15] Encounter (Jed Kurzel) [39 cues, 1:01:04] My Name is Pauli Murray (Jongnic Bontemps) [27 cues, 47:00] Tomorrow War, The (Lorne Balfe) [20 cues, 1:15:37] Universal Pictures Spirit Untamed (Amie Doherty) [20 cues, 47:20] Spirit Untamed [Song - "Fearless" (Amie Doherty), 04:15] Kudos to @JNHFan2000 for the heads-up on the Amazon Studios uploads!

The guy is definitely biased, for he doesn't take a film score for what it is and then tries to rate it, but instead he has a clear concept of what a film score is supposed to be like and then he looks at it and rates it accordingly. For example, The Prisoner of Azkaban or The Lost World are supposed to offer a consequent development of pre-existing themes. The question here is: Are they really? It has never been the composer's goal and the new identity of these sequel scores that undeniably contrast pleasently with their predecessors on purpose should be taken as what they are first, before you start judging their quality. Of course, one can criticize the abscence of thematic continuation, but there should be any arguments for that, other than "I expected differently". Another issue is the fact that he has an affection for traditional scores (thus any Star Wars score gets at least four stars) and doesn't really like the concept of modern ambient scoring at all (just look at the ratings for Interstellar, Arrival and Dune, for example). I don't think that's fair either.

Gotta wait another 20 years for those two.

Getting in before the edit on this one to say I can’t wait for BLUE BELVET

I just want this. I don’t care who is in it or not. IMG_1125.MP4

Today they released the "Back to the Future Suite" from their new album "The Sound of Adventure" (coming in 2022). AFAIK they recorded Williams "Seven Years in Tibet" Suite and "Buckbeak's Flight" for this.

Yep. And the Knights were there too, at least in concept art: Hux has a cool line in the visual dictionary: “He’s gone mad. Flames of the rebellion burn across the galaxy and Ren chases a ghost.” Totally superfluous line, of course. We don't need to understand what our characters are doing, or why. Context is so overrated these days.

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The white on black literally gives me headaches. If you read the text long enough, it burns artifacts into your eyes.

I have to admit. I have a soft nostalgic spot for that site as I was really getting into film scores in the early 2000s and that was one of the first score sites I discovered. I was SUPER into Zimmer at the time and never understood why CC couldn’t stand Gladiator *gasp* or At Worlds End *triple gasp* 😂 I could have written his most recent review of Dune myself, I’m so familiar with his usual complaints against the guy lol. While I’ve cooled and have not visited there much, I will say the scores he awards 5 stars too are generally worth a listen.

We can't talk about politics... but bootlegs, that's okay... I'm disgusted!

** 1/2

Don't know about that. Those Elfman Spider-Man scores are a lot more iconic than many think. Almost anyone would notice if the theme comes back when/if Tobey does.

Hi, guys. I’ve just been to The Magical Music of Harry Potter. It’s late now and I have a steaming cup of tea standing next to me, so while that’s cooling down, I decided to start reviewing the evening for you lot already so that none of you will make the mistake I made and buy tickets for this crap fest. Before continuing, I feel obliged to clarify one thing: I was not on drugs or medication during this concert. I am not on drugs or medication now. I am very clear-headed and you can take my word for everything I’m about to say. You’re probably expecting me to do this chronologically now. Believe you me, I really considered it, but my compulsive need to organise my thoughts in these reviews resulted in another decision entirely: I’m just going to look at the track lists for all eight OSTs and take it from there to jog my memory. (No, Fantastic Beasts and Cursed Child weren’t covered, contrary to what the press release said.) My reasoning will become clear to you as this review unfolds. The journey there wasn’t that noteworthy. We arrived just in time, but never had to rush, which was quite enjoyable. This event took place at the Stadsschouwburg again, a huge hall in which they have to amplify the orchestra and reduce its sound to one speaker. Despite a feverish promotion campaign, tickets had sold so badly that we all got better seats yet again. Also, the background music sounded like a variation of the one the BBC used in their The Story of Ireland documentary series. Don’t ask me to explain that connection. The concert opened with, you guessed it, Hedwig’s Theme. When the celeste started playing, I genuinely thought I was going to be in for something good. But then the strings came. Let’s put it this way: compared to the London Symphonic & Philharmonic Film Orchestra (did they just make that name up for the evening?), the City of Prague Philharmonic plays on an LSO level. Yes, I’m standing by that remark. But the surprises didn’t end there. Not only were these people not prepared at all, they were also going to spend the evening playing arrangements. Now, hold on. I’m not talking Nic Rain arrangements here. Imagine arrangements made by a ten-year-old with a basic knowledge of an orchestra. Now imagine what those arrangements would sound like played by a youth orchestra in your worst nightmares. That’s what I’m talking about. So unless I’m mentioning it, everything was arranged and played this badly and everything that could go wrong, did go wrong. Flubs, timing issues, wrong notes, everything. Everything. But wait! I’ve got one more reveal for you. This orchestra, apparently made up of around 30 people (huge problem there, obviously), was also going to skip random bars in most of the pieces. So for Hedwig, they went from the flying theme on woodwinds straight to the orchestral one and then it sounded like the awkward trailer transition on the last track of the LLL HP1 set. I know what you’re thinking at this point: “Were you really expecting an orchestra to play the published sheet music and/or to be fully prepared?” Sorry, I was a fool. Forgive me. So now that we’ve got all that out of the way, we can move on to the next piece: Harry’s Wondrous World. Surprisingly, that did sound like the proper sheet music, but they also played the OST ending and that glockenspiel player just wouldn’t stop either. The middle part was missing entirely, so when the tempo changes for the family theme, they skipped to the part after Quidditch, when Harry’s theme returns. At this point, the person sitting next to me had already guessed this evening wasn’t living up to my expectations because of all my facial expressions and movements. Then we got the first of many speeches by Chris Rankin. My brand-new South African PA (yay!) had this to say during the break: ‘What’s he doing in this hall?’ Well, I’m paraphrasing now, but she did raise an interesting point: What the hell was Chris Rankin doing in a bad hall and an awful orchestra in Antwerp? Proudly told us that they learned how movies were made on the Harry Potter sets too, but apparently that wasn’t enough to kickstart a proper career because he’s now wasting his time with the worst musicians in the whole goddamn world trying to save the worst possible Harry Potter concert in the whole goddamn world. His speeches were mostly nice, if a little childish (for there were children with parents in the hall too, oh yes…) and at one point he was interrupted by a loud bang, to which he said: “Death Eaters already?” Never found out if that was an accident or on purpose. So, yeah, that was the level. And he repeatedly told us to get our chocolates ready when they were going to play creepy music and then went and hid, but they never played any Dementor music, so I don’t know why we were asked to prepare to shout Expecto Patronum either. Oh, and he also said he was so surprised to see how great Stuart Craig had managed to make the Great Hall look in HP1. ‘He must have just put the picture I had in my head while reading the book into his Pensieve’. What…? How…? Huh? Finally, he said he loved being on stage with an orchestra. Yeah? How would you know? Here’s an idea: Tune into Classic FM some time. Or no, buy the upcoming Berlin concert CD. It contains three Harry Potter tracks. Played by a real orchestra. Or try and get a foot in the door with any other semi-professional group (in Antwerp or elsewhere), but don’t humiliate yourself like this. Next, The Arrival of Baby Harry. They started after the celeste part and inserted Coke Ad after Dumbledore’s arrival and then just stopped, I think. Then they played some cues around a particular theme, the first of which was ‘getting to Hogwarts’. It opened with Through The Doors (the festive part, repeated three times). Then the Knight Bus, only the first frantic jazz part. Remember, all arranged, all wrong notes. Then, the flying car. Only the strings when Harry’s trying to get back into the car and then the Hedwig B theme statement, but today they never reached the Whomping Willow, the cue just stopped. We did get a choir, but more about them later. And for the ‘traditional journey to Hogwarts’, they played the HP5 OST track with the same name, never mind the fact that half of it underscores a conversation between Harry and Sirius. Another theme was festive music. They played Christmas at Hogwarts (festive part and the two first stanzas of the carol). Now, that carol was a great surprise, but explain this: if you have a choir, why the fuck not let them sing the whole bloody carol? No, just do two stanzas (in American English) and then everyone turn their pages to proceed to the next excerpt, whatever it is, I really can’t say, it was all disjointed so it really doesn’t matter anyway. Oh yeah, it was Harry In Winter, that was kind of okay. Is now the time to confess that part of me was hoping the singers would grace us with A Winter’s Spell? On to HP2. They played a bit of Fawkes’ concert arrangement, the solemn horn part in A major, the first interlude and the two remaining theme statements. “But now we’re going to have some fun. We’re going to play a little quiz. We’re going to play some music connected to particular characters and you’re going to guess who it is related to.” Yes, ladies and gentlemen, this really happened. So the first piece they played, with wrong notes, was Gilderoy Lockhart. Someone shouted: “Crookshanks!” HOW??? Next, they played Sir Cadogan. The audience responded: “Hagrid!” AND CHRIS RANKIN SAID CORRECT. Someone quickly looked at the OST track titles in preparation, methinks. Next came Gilderoy Lockhart (again), and professor Umbridge. They repeated Lockhart ‘to be a bit cheeky’. Ha, ha, ha, but at least it was the Duelling Club version now. So as I’ve said before, they played some creepy music. For HP2, it was the spiders, meaning their theme and some of the middle part of the escape cue. Back to the choir. They did play Double Trouble. An arrangement of the OST version, which, granted, was a good thing because the concert version messes up Shakespeare’s lyrics and is just inferior anyway, but it doesn’t sound good when you have males joining in. And dare I ask you to imagine an arrangement of Buckbeak’s flight? No, wait, I’m going to make it worse: the audience loved it: lots of ‘ooohs and aahs’. That was another theme, ‘flight’. So before that, they played Flight of the Order of the Phoenix, but of course we needed VERY LOUD BASS TO BACK UP THE TIMPANI. WE WANT THE HALL TO SHUDDER, DO WE NOT? Then, Window to the past. OST arrangement. They stopped after the end credits section. That was part of a ‘losing people’ suite, followed by part of Godric’s Hollow Graveyard from HP7. And also Farewell to Dobby, mostly completely intact. Then, something really weird happened. They opened the second half with the real Witches, Wands and Wizards suite, so not an arrangement. After the flute solo, however, which went surprisingly well, all things considered, the conductor, a show guy, according to my companion, insisted we clap for them, so I thought we were never going to get the snowball fight, but we did. They played that piece surprisingly well, really, the first half was definitely the worse. Then, they played the end of Living Death from HP6, segued right into Hogwarts March from HP4 (no B section and clap, clap, clap, everyone!), and then repeated quidditch, Third Year! But this time, it was an OST arrangement with a full ending but minus the harpsichord opening. Really weird. Oh, and I’m almost forgetting the best part. Remember that choir I mentioned earlier? They didn’t join in for Sirius’ theme. They played it on brass, wrong notes and all. Twice. So if you’re still wondering why I’m sticking to the OST track order (though I can’t imagine why you would): they switched from one score to another every two seconds, so I honestly don’t remember the order of the set list and I highly doubt anyone is remotely interested in it at this point either. From HP4, they also played the Durmstrang entrance music. The only problem was that the choir seemed to chant ‘stop’ every time. And again, remember, horrible arrangements, all of them. The Black Lake was another piece they mostly covered entirely, but they skipped the creepy choir part. Oh, and when the Death Eater theme on trumpet came, they played a B instead of a B-flat, twice. By that point I was cringing, pulling faces and gasping in exasperation. I didn’t care what people would think anymore and just wanted to GO. And Hogwarts Hymn. The arrangement could have sounded okay if the players hadn’t been that bad. Time for a story you’re all going to love to hear. The first half ended with another speech that opened with Rankin talking about how they filmed everything in illogical order and laughing rather stupidly. “We’re going to do something nasty now. Were you all hoping for a classical concert? Were you all hoping to hear the sweeping strings of John Williams? Are you ready for some real music now?” At that moment I felt a genuine wave of anger and blurted out: “Yes, I was.” Yes, Chris Rankin, I was expecting a classical concert and the sweeping strings of John fucking Williams. Yes, Chris Rankin, when I pay €78, I expect to get a real orchestra playing the real sheet music on clarinets that don’t sound like cors anglais or accordions, not a bunch of amateurs who can’t play for one straight minute without making eleven mistakes. In response to my muted fury, Chris Rankin sang Do the Hippogriff (good voice) and they all ‘mamama-mamama-mamama’ed’ along. I didn’t, I was sighing and playing with my water bottle. “Some real music…” You know what? That Hippogriff song actually did sound like ‘real music’ compared to all the other garbage you threw at me. Oh, and he also sang Magic Works, which, again, he did rather well, but yeah, arrangement, and British English this time. Continuity, please! HP5. Believe it or not, they did not play Fireworks. They did play Dumbledore’s Army, well, the jolly part, sort of. In Noctem from HP6 was actually rather good. Then, another theme, romance. After we had had to shout who our favourite couples in the series were (I was still doggedly refusing to participate), we got the middle part of Harry and Hermione (the part where Lavender interrupts them) and I honestly cannot remember what else, though the ending of Inferi in the Firestorm definitely came up at some point. Forget Dumbledore’s Farewell or When Ginny Kissed Harry. Why? I don’t fucking know. HP7. Okay, this is going quickly. Good, cause I want to go to bed now. They played the middle and final part of Obliviate, with horrible, horrible wrong chords, and in yet another weird twist, they launched into Snape to Malfoy Manor, played a few bars, stopped, and started again after a 30-second silence, and then they extended that cue for five minutes. The one advantage that had was that I was sitting very close to a violin. HP8. Lily’s theme. Sung by the whole female section. And augmented by low synths and extra timpani, you know, cause we need it to be totally epic, man. Ultimate awesomeness! How about My Love Is Always There? They played Battlefield too. Twice, or once and then shorter the next time, or the other way around. More disgusting arrangements. And Courtyard Apocalypse, the timpani opening and then some of the middle and end section, with wrong chords that could have worked had the horns not fucked them all up. And Voldemort’s End. The part where the final wand battle happens, but not Lily’s theme, just the ‘cool’ bit. The concert ended with ‘happy music’. So for HP1, that meant a random part of Gryffindor Wins (the moment when Dumbledore shouts it), and, wait for it, the final bars of Leaving Hogwarts augmented by choir! Is this some alternate I’m not aware of? Also, just so you don’t get wrong ideas, these pieces were not arranged or connected to one another in suite form. They just played those random moments one after the other without any transition or any movie clips. Apparently the only thing people got to look at was a 15-second animated loop of an owl and the concert title, I kid you not. Must have been captivating. Oh, and they threw in the final bars of the last HP5 cue as well for the opening of the happy suite and Weasley’s Wizard Wheezes, which never made the film in the first place, but at that time the two of us were already leaving the hall because I’d had more than enough, though I could swear they repeated Hedwig’s theme after that again and I think I heard Rankin say, “I hope to see you for part two in August.' Yeah, in your dreams. Can I first stop apologising to my friend for having dragged her along to this atrocious thing? And that was it. Are you happy now? No? good, cause I’m not either. I feel really cheated and taken for granted. I would have been happier had they thrown eggs at me (or if I had had some rotten tomatoes on me, but sadly, possibilities for rioting are extremely limited if you only have hand sanitiser on you). WB could have made this a wonderful occasion. They could have played Williams’ three suites and I think Doyle published some cues too. Or they could have played some of the live-to-projection score. I wouldn’t even have minded that. I wouldn’t even have been annoyed if they had shown some movie footage either, with or without dialogue. But this? No, sorry. If money was an issue, though I can’t believe it was, how about dropping Rankin and paying for a real orchestra? How about doing the concert at the goddamn Singel or Queen Elisabeth Hall? How many times will it take before someone at the top of this pathetic studio realises that ticket sales are going so horribly badly that it would be a good thing for everyone involved if they just moved this shit to smaller halls? FIGHT BACK! YOU COWARDS, FIGHT BACK!

https://www.deutschegrammophon.com/en/artists/john-williams/news/john-williams-conducts-the-berliner-philharmoniker-for-the-first-time-on-the-berlin-concert-264911 “Next year will also see the release of John Williams’ latest collaboration with star violinist Anne-Sophie Mutter, performing the world premiere recording of his Violin Concerto No. 2 with the Boston Symphony Orchestra. The album will be released by Deutsche Grammophon in summer 2022 as part of the continuing celebrations surrounding the composer’s 90th birthday.”

We are so lucky that one, John Williams, is still in good shape (after many years of inquiétudes), and, two, that a record label like DG decided to take all our money. I say YES, YESSSS, YEEEEES!!!

ACOC😒 Are you saying John Denney imitated another composer?!😗

Blue Velvet: The Deluxe Edition (2-CD) ANGELO BADALAMENTI UPC: 888072265400 Regular price$ 24.98 Blue Velvet is David Lynch’s unforgettable 1986 masterwork, starring Kyle MacLachlan as a college student whose discovery of a severed ear leads him into a nightmarish world of crime and sexual perversion. Isabella Rosselini, as a tormented lounge singer, and Dennis Hopper, as an emotional gas-sniffing psychopath, are among the brilliant cast. Blue Velvet was Lynch’s first collaboration with his longtime composer and musical partner, Angelo Badalamenti (their fame later to explode with Twin Peaks). Badalamenti has always been able to channel Lynch’s unique vision, and it was evident upon their first collaboration: a dark, moody yet melodic score, at turns agitated and violent, soaring with sublime beauty, and hanging cool with ’50s-style jazz. Badalamenti also acted as musical director for the film’s nightclub lounge recordings (in fact, the reason why he was hired). Varèse Sarabande released the Blue Velvet soundtrack at the time of the film, a program of songs and score retained as disc one of this 2CD set—with the addition of the famous 1963 recording of “Blue Velvet,” performed by Bobby Vinton. Disc one concludes with the first Lynch–Badalamenti–Julee Cruise collaboration, the dreamlike “Mysteries of Love.” Premiering on disc two is an extended program of previously unreleased Badalamenti score: film cues, alternates and outtakes entitled “Lumberton Firewood.” Although Blue Velvet was scored more traditionally than later Lynch projects, the director and composer intended many tracks to be merely “firewood,” their term for raw orchestral sonorities to be edited and manipulated into sound design by the director. The Deluxe Edition packaging features liner notes by Tim Greiving, incorporating new interviews with David Lynch, Angelo Badalamenti, Kyle MacLachlan and producer Fred Caruso. Limited to 3000 copies Tracklist Disc 1 1.Main Titles (From the Motion Picture "Blue Velvet") 2.Night Streets / Sandy And Jeffrey 3.Frank 4.Jeffrey’s Dark Side 5.Mysteries Of Love 6.Frank Returns 7.Mysteries Of Love 8.Blue Velvet / Blue Star - Montage 9.Lumberton U.S.A. / Going Down To Lincoln - Sound Effects Suite 10.Akron Meets The Blues 11.Blue Velvet 12.Honky Tonk Part I 13.In Dreams 14.Love Letters 15.Mysteries Of Love Disc 2 1.Alcron Meets The Blues 2.Lumberton U.S.A. Radio Ad 3.Timpo 4.Ribbon Scissor 5.Going Down To Lincoln 6.Organs And Sirens 7.Sandy And Jeffery 8.Dorothy Alone 9.Mount Frank’s Eruption aka Frank (Film Version Without Clarinet) 10.Sloe Club Boys 11.High Gentle Memories 12.Stalking Out 13.Yellow Man 14.Sandy And Jeffrey 15.Ominously Yours II 16.Ominously Yours IV 17.Organ (Version 3) / Mysteries Of Love 18.Organ Toots And Sirens 19.Cue 61A 20.Cue 05 21.Cue 09 22.Cue 09A 23.Cue 13 24.Cue 16 25.Cue 21 & 24 26.Cue 27 27.Cue 36 28.Cue 46 29.Cue 48 30.Cue 50 31.Cue 56 32.Cue 65 PT 33.Cue D 34.Cue 65 https://www.varesesarabande.com/collections/cd-club-and-limited-editions/products/angelo-badalamenti-blue-velvet-original-motion-picture-soundtrack-deluxe-edition-2-cd

This is basically the MCU for me. The marketing, special effects, continuity should make for fantastic films, but the reality is they are all 7/8 out of 10 at best.

Hmm. Not a fan of how a lot of it is played or mixed or assembled at all. The JW album set a real high standard for this orchestra and they're failing to live up to it already.

I dunno, I'm still on board with Shyamalan through The Village, which I like quite a bit. After that he lost me (and now I just don't care either way).

One of the great joys of seeing The Sixth Sense was not KNOWING there was going to be a twist. I remember being so frustrated with people who saw it after the hype started when they would smugly tell me "I saw the twist coming a mile a way." The great secret of TSS is: It's a really good movie that happens to have a twist. Pity about the way the rest of Shyamalan's career has gone.

Oh, it’s certainly possible! What we don’t know about this score could fill a book, and hopefully it will one day. We could definitely use a Star Wars equivalent to the Douglas Adams book for the Lord of the Rings scores, or Jeff Bond’s for Star Trek.

I was never fan of Katie Melua but I bought her latest album because it's pretty good. I don't know what changed but it's her first album where producer Mike Batt is nowhere in sight. It feels like she's grown up now. Another album I listen to regularly these days on the streaming services is 'Liberty' by Anette Askvik.

Anyways star wars are the best from all. having a changes and mistakes are normal for anyone. for I'm positively like to go with efforts.

He definitely has a bias. I have a soft-spot because I found this site and filmtracks around the same time in the early 2000s. His reviews of the complete scores of the OT Star Wars trilogy were actually printed out by me at school to have for easy reference. That's how old I am; my parents didn't let me on the computer without supervision. The internet was very very scary. I also printed out a bunch of shit on Hook from this site. That was first. Also, the hunt for prequel music was fun to lurk and watch here at JWFan over the years. I'm digressing. Filmtracks is a place where I know exactly what the review is going to say before I read it but I still read it out of sentimentality. I often shake my head or vehemently disagree, but with a smile. It bears repeating that I do not often agree with the man's reviews. But as said above, his 5-star scores are generally good choices and he makes interesting cases for his yearly round-up, by far the most interesting writing he does on that site.

It's better than black on white. I feel like I'm bleaching my eyes

I give FilmTracks an 8 out of 10, and it kicks ass

Score and song pages have been added for Universal’s Spirit Untamed: https://universalpicturesawards.com/spirit-untamed/score https://universalpicturesawards.com/spirit-untamed/song I’ll update the main post with the file links tomorrow.

I've never read a review on that site because I can't read a sentence there without my head hurting. Clemmensen shoould've changed the horrible design of his website ages ago. Web design is not like wine, it doesn't age well.

Newman's never been one or the other. While he does tend to be a session dump composer more than others, I've found that the more serious the film is, the more he tends to arrange the album. Although you do realise that even if he made an album with 15 tracks instead of 40, they'd play exactly the same, it's not like you can tell where your player is switching tracks. There isn't a single Newman score I can think of that I'd buy expanded (except Shawshank which we have), but then I'm not into his earlier (90s) work much. My favourite Newman score, The Horse Whisperer plays absolutely beautifully as an album, and I have no idea whatsoever what might be missing.

Huh. Interesting. I dunno, I always thought that music was written for deleted shots of Kylo and the Knights fighting together on the opening planet, before JJ cut almost all of it and just left in a lame slo-mo version

At the risk of skirting forum rules, what's interesting to me about Capra is that for decades, conservatives have watched his movies and thought it was obvious that he had a conservative message AND leftists have watched them and thought it was obvious that he had a socialist message! Both respond to his elevation and love of "the common man" which is ultimately apolitical IMO. Is it any wonder I love both Capra and Copland

Ordered the gold vinyl and the Blu-ray. Can’t wait!

Well I hope Japan will issue a hybrid SACD edition to go along as well.

Don't encourage him or these boots in general, please. And as said above, this scam store often doesn't even send things after you paid for it.

It's already Bestseller Nr. 1 on Amazon.de!

I remember waiting over an hour to download the teaser from Quicktime movie trailers site and instantly liking Hedwig's theme. I remember buying the soundtrack before seeing the movie. I walked a few blocks with my sister to a books/movie/music store (Hastings) and bought the CD on the day it came out. I was in my young teen years and it was just about the time I had just started getting more serious about exploring John Williams' music and other movie scores. I had the 2CD Greatest Hits release that had just come out recently, and the only thing I asked for for Christmas the year prior was JW CDs! I think I got Seven Years in Tibet, Jurassic Park, Stepmom, Close Encounters and the Rhino Superman release. Back to HP, I loved the OST and it got many plays before I actually got to go see the movie in theaters. Then, once I saw the movie (which I really enjoyed), I was distraught that the 'going into the great hall' music wasn't on the OST and complained to my family about it, who were all confused and didn't know what I was talking about. Good times!

I remember snuggling up to my parents in bed when I was maybe 5, ready to watch the big movie based on the book I loved when it was first broadcast, and making them stop it possibly before the Prologue was even over because I was scared out of my mind. I also fondly remember playing around a lot in the HP1 bonus disc menus, among the first DVDs we ever bought, was nice to switch up from the TV-recorded VHS I watched to shreds. Also looking around for the real complete score around by then already, I have zero memories of ever actually hearing the entire OST as is, even recently. I grew so attached to SonicAdventure's classic Deluxe Edition session edit that I even replicated many track joinings in my LLL set edit - the LLL set, what an insanely huge event that was! Relistened to this score of pure magic this Saturday. The dark/sad tints that creep into many tracks, the noble one-offs like Firenze's material, the special one-offs like Filch's Fond Remembrance, the playfulness, the seriousness, the insane memorability, the raising stakes by the end, the friendliness, embracingness, heroism, love, contrasting twistedly fun or genuinely dark material, the confident and perfectly timed flick with which Privet Drive goes into the Title Hedwig B statement, the supporting line in Hedwig's Theme wandering around up and down perfectly illustrating flight, the little climbing figures whizzing by in the Quidditch Match part 1 like the players onscreen, speaking of, the real unsung hero that is Hogwarts Forever, a beautifully warm and noble melody with anice growing mini-arc, the A.I.-ey first half of Mirror of Erised, the perfection that is everything in the Stone challenges, the perfection that is Face of Voldemort with things coming together, the utterly unspeakably perfect perfection that is Leaving Hogwarts... the complete perfection that is every note of this score! Just wow.

Thanks for (re)posting these pieces! I'm not sure I was even aware of Poulenc before, but these are indeed quite lovely. There's something about small brass or wind ensembles that will always be particularly festive or winter-y to me, so these come in good time. Same goes for a lot of choral pieces, more obviously, so these are all going on to my December playlist. Plus, after listening I happened to come across another gorgeous piece recommended on YouTube, so that's a double! Hadn't heard of Reicha either but I'll definitely be checking out as many of these wind quintets as I can over the holidays next month.

Powell's percussion >>>>> Goransson's synthetic percussion

I love this track

Ol' Johnny must have been in the theater with sheet music bundled around him, making copious notes of Zimmer's music for further use. "If I ever score another pirate film this is what I'll use. All this bass. How on earth have I missed all this?" Honestly I have no idea does Tintin have musical resemblance with POTC music at any point. I listened to those scores back when I saw the films and have not had any great urge to revisit that stuff. And before you go all antagonistic on me I have to say that of course I am a bloody JW fanboy and apologist who refuses to acknowledge the power of Zimmer's music.