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THIS You all realise he's freaking 90 right. We're all happy he's working on Indy 5 right now , but we could also visit this site tomorrow and find out he passed away. ObiWan is a perfectly good theme that has it's place in any SW theme compilation.

JW at 90 years old decides to use 2 weeks of his time to write a Star Wars theme and people at JWfan wish he’d spent his time differently. It’s incredible.

Looking at this piece alongside all of his other Disney era contributions, I can very easily see where this might fall on the lesser end of that spectrum for many. Some users have made the point that this specific period in Obi-Wan’s life, and by extension this time in the Star Wars universe, doesn’t really quite lend itself to that classic Star Wars sound. The opportunities for those celebratory brass fanfares to shine through are decidedly a little more barren this time around. I posit that Williams could have written something that would have been more of a crowd pleaser but I think doing so would have betrayed what the theme needed to be for the story as he understood it. It ultimately comes down to, in my eyes, effectiveness versus accessibility. This theme I think is very effective at conjuring up, with startling accuracy and nuance, the multiple feelings as they would describe the character as the show finds him now. What cost that comes with I think is accessibility. A bittersweet theme without resolution meant to define one of the most iconic heroes ever created is a hard pill to swallow. The feelings it creates aren’t that accessible. It’s not something I think most people would want to let wash over them, and I totally get that. But it’s how well that emotional depth, for me, is realized that makes me want to keep coming back to it. Heroics, mysticism, tragedy, tinges of sadness, and a little bit of hope. It’s all in there. You get all those feelings in 4 minutes. None of them ever really dominate, they all kinda coexist in there. And you know what all those kinda sound like to me? That sounds like Star Wars, baby.

I love Obi-wan’s new theme. And while it took me several listens, I think I now understand why the suite is put together the way it is. The first half of the piece is the “accessible” part, with the haunting theme/melody in poignant horns and ending with a gorgeous “action-y” ostinato. But then it segues into the second half, which Is slower, broader, more elegiac, and requires more effort to follow and integrate into the larger whole. Some folks have mentioned the lack of a B-theme as a detriment, but I see now why this isn’t a problem. In fact, I think what JW has done with the A-theme is (as usual) considerably more sophisticated than what any other film composer today could hope to achieve under a similar ambit. During the Ep. III-to-Ep. IV interregnum, Obi-wan needs to go from “top-of-his-game Jedi knight devastated at his supposed failure towards Anakin” to “ascetic recluse despairing at the near-extermination of his kind and forlornly watching over a kid whose guardian wants nothing to do with the Jedi.” There’s nothing happy that happens to him here. It’s perfectly appropriate, then, that JW gives Obi-wan the melancholy theme he does. But it’s fucking genius that he gives that theme a workout that goes into a brief state of driven purpose (the ostinato, likely representing his soon-to-seen showdown with Vader) only to lapse back into an even deeper and more complicated melancholy tinged with the slightest shade of hope. After all, that’s where we pick up on old Ben in ‘77 SW. This new theme isn’t JW on the decline. This is him continuing to ride the peak of his storytelling ability, undimmed in the least, with full and sensitive recall of the trajectory of a character he hadn’t had to think about since Bush was president. No B-theme was written because none was needed to convey what needed to be conveyed. Good lord, what are we music-lovers going to do when we finally lose this man?

Good idea !

What do I think of it? For the most part, I'm still mostly astounded it exists. Its a nice theme. I like it.

I really really really want Palpatine to show up in this series.

Does anybody have a good quality video (with the music) of Harrison Ford's colonoscopy he passed in 2016?

I don't think, that If any of the recent Star Wars composers came up with real classical Star Wars score for their part, that any of the producers would have said "Please throw out that old fashioned complicated music and replace it with something much more generic and unmelodic. Instead of this Star Wars mood we are rather looking for some more car commercial appeal." I rather think, that in the score discussions the composer says, "But I am not writing classical scores, more modern stuff." And the director/producer says, "That's ok, do your thing. Better do something you know how to do right instead of doing something that you are not good at." And then in the Interview they say, "They encouraged me, to write more modern stuff."

I think JW should do whatever he wants and the idea of fans deciding on how he should spent his time quite preposterous.

I don't really get some of the comments in this thread . I think it's really good and I rank it pretty high in his SW concert pieces overall. Sounds like classic Williams and it's a lot better than I expected . And why do people keep bringing up those vague similitudes to the Spiderman 4 theme which obviously Williams knows nothing about.

Perhaps in the upcoming Aunt Beru show from Disney+? Karol

Why is epicness so often considered a measure of quality these days? As in "epic" equals "good music"? I like good epic music where it makes sense, and I like good non-epic music where it makes sense, but music that's written to be just epic, because epic is cool, and therefore it must be good if it's epic, is one of the most annoying properties of (mostly) modern blockbuster scoring, and one of the reasons why I dislike a lot of Zimmer's "big" scores. Music that tries to be epic just because usually ends up pretending to be epic and also not even trying to be good music.

When I first tried to hum it I ended up with The Lost World theme. 🤣 Karol

I think the most likely story is just the official story. LFL asked Williams to provide a theme, but they weren’t sure whether the schedule thing would work. Holt started a score including her own theme. Williams found time to do a theme midstream, which required course correction from Holt and her team. Due to a combination of the stress of a television schedule, the amount of score required, the midstream course correction, and the fact that she is appropriately crediting her team instead of doing the ghostwriter thing, there are a handful of additional writers. Holt is doing what the director and LFL producers want her to do, and if you don’t like it and are putting it on Holt’s shoulders, you’re probably complaining more about the symptom than the disease. For my part, I’ve liked what I’ve heard well enough so far.

It would have at least been a better choice than droning and 7/8 drums

Darth Zimma'... He's more Machine than Composer now... But there's still good in him...

Yes, exhilarating isn't it?!

It's far below the general non-Williams Star Wars scores especially when it comes to the video games so I don't think people are holding it to an impossible standard in that regard

Breaking news: Fans of John Williams surprised and angered that music not by John Williams is not as good as music by John Williams Holt's music is nice. I like the Alderaan stuff a lot, and Leia's new theme has shades of Powell in it, particularly the longer melodic line work. Much better than a lot of her contemporaries who keep their themes in strict four-bar phrases. I look forward to hearing her work in isolation.

How many mushrooms have you eaten today? Because that's a shit take. Ba dum tss

Can we talk about Bail Organa's scenes? They're easily some of my favorite. His relationship as a father is utterly charming and heartwarming, a side of the character we knew was there, but never really got to see. He's delightful with Leia, and it warmly reminds me of their relationship as performed in the legendary Star Wars Radio Drama. I'm finally feeling like we got the Bail Organa I always wanted. Jimmy Smits looks older here than 10 years later in Rogue One though. Aging in Star Wars is all over the place, nothing new there. Even Palpy looked older in AOTC then ROTS. If Carrie Fisher were alive, I think she would be so happy with this. And Joel Edgerton is also one of the high points. He's believably more gruff and gristled after 10 years of adulting on Tatooine. He's as compelling as Ewan, and we can thank George for casting characters that had such potential to age physically and as actors to embody their future selves. These bits were superb.

2 episodes in a 6-episode show (and it's a limited series, meaning there are no more seasons planned) is a third of the show. I don't see why we shouldn't judge what we've heard, because even if there end up being some decent moments in the course of the next four episodes, that still doesn't excuse what we got in these first two: The show opens with a lengthy recap of the prequel films, and yet the music that accompanies those classic scenes sounds nothing like JW's Star Wars. Then (if I recall correctly), the very first actual scene of the show is an Order 66 action scene in the Jedi Temple (therefore, it is set during ROTS)... and yet the music sounds like typical modern action scoring, with cheesy rhythmic percussion and electronic elements—nothing like JW's Star Wars. There's really just no excuse for it. This isn't just some other show like Mando or Boba Fett; this is basically Episode 3.5. If any show should sound as close to the traditional JW sound as possible, it's this one. It's pretty depressing to think that Gordy Haab's upcoming Fallen Order 2 video game score is going to sound closer to John Williams' Star Wars (both in its composition, and the fact that it's with the London musicians just like the PT and OT), than the show that features the return of Ewan McGregor, Hayden Christensen, Jimmy Smitts, etc.

For making him write 200 minutes of music and then treating it like toilet paper in film

I'm particularly fond of the 3 notes build-up at the end of the theme (especially the string-heavy arrangement at 3:30 in the single). It's so simple and effective, both tragic and hopeful. It reminds me musically and spiritually of the last phrase of Rey's Theme, which in a way makes sense given that Obi-Wan and Rey are pretty much in the same situation when we meet them: alone in the desert, eating instant meal while watching the sun...

Sleepy Hollow. My recent reignited interest continues with one of his greatest film opuses. I knew who the man was from my earliest childhood thanks to the two Batman movies (as well as, to lesser extent, Edward Scissorhands and Mars Attacks!) but my first album of his was the 1999 soundtrack album for this film. It's a magnificent score, you can tell he really worked hard on it. It's dense and quite mad, perhaps even too much for its own good, but that kind of excess is where Elfman really shines. The score really combines his childlike wonder with brutal horror with truly spectacular results. I'm glad it received the recent expansion. There's quite a lot of studio noise (coughing!) but it, oddly, adds to the haunted mood of the piece - the entire thing moans, creaks and scratches. Another classic to add to that "classic" 1999-2005 nostalgic period I talk about above. Karol

Yes, the suite is great. But I really enjoy the album (especially since I received my replacement disk without the clicks).

Last time i checked i didn't give a fuck who likes it but stated my opinion and got the expected #angry #hurt reactions by those who accept every opinion, provided that it coincides with their own. So please let's get that straight first.

YESS. I'm just so excited about everything that has to do with this series. Sad to see it end after Season 5 but I'm confident that the Duffer Brothers will make it a worthy end. And I believe they already have 3 spin-off series/movies planned

Because you think, that he just does what he does for you only. So, as you don't like it anymore, He can stop. You are weird.

I also think it's important to remember that Holt is making music that de director & producer want. Maybe she did wrote other stuff that was changed due to other people's point of view

well perhaps some people will appreciate this music and some of his other so called lesser works when he's dead. Until then I'm personally going to enjoy and appreciate his music. There is nothing that I hate or cant listen too .

Had a brilliant night. As mentioned before, I missed many performances of this over the years. The Two Towers was my first ever live to projection experience and it started it all. Last night was exactly my 30th time in a concert like this. Some of these were terrific, some bit of a letdown. For this type of a performance you need a score of real presence and colour, that is why stuff like E.T. and the original Star Wars film are so magical. You need a film where the music breathes and penetrates the soundtrack and there are few films as spectacular in concert as The Lord of the Rings. The sheer size of the score and the ensemble are worth the price of a ticket. Because the film recording is very wet, in concert you get to have fun spotting a lot of detail in orchestrations that you don't get to hear in film recording. And there are all the additions here and there. It's so much fun. I had a grin on my face all the way through and got chills in many places ad well. Whether one enjoys the work or not, there's no denying this is now a classic. No performance is ever perfect and I felt the children chorus had a few wobbly moments but I suppose it was way past their bedtime (the concert ended around 11pm). 😉 To be honest, it might have been mics/mixing. And boy soloist had quite a difficult job. I've heard these things go terribly wrong before and this was definitely much much better. Not sure who the soprano lady was but she was great. @Omen II I have a question. Is Royal Philharmonic Concert Orchestra the same as Royal Philharmonic Orchestra? Karol

I find Krull bit exhausting in its feverish enthusiasm. Willow, on the other hand, has a nice flow. It is quite effortless. The Lord of the Rings: The Fellowship of the Ring. Still buzzing after last night's concert. These things are so much fun, especially spotting some differences here and there between the concert version, the movie and the albums. To me, this really felt like the last time big Hollywood films had musical personality. It was a wonderful time in my mid-to-late-teens when we had Williams' prequels and Harry Potter films, James Newton Howard's Shyamalan and Disney scores (plus King Kong), Don Davis' The Matrix trilogy Elfman's Spider-Man. Even Zimmer's Gladiator and Hannibal. Aside from the big stuff, Michael Kamen was still with us and gave us his Band of Brothers. Elmer Bernstein did his wonderful final score Far From Heaven. Glass was quite active with The Hours and the final Qatsi film. And Goldsmith was still around... Karol

Anyone else think Tenet was pretty bad? I renounce this church.

I'd say Holt's music doesn't really get much prominence, but it just sounds like background music until the Williams' theme comes in. Two episodes in isn't enough to really form much of an opinion, though I'm interested to hear what she might write outside of Williams' material. The new Star Wars logo thing sounds Star Wars-y at least.

Although it is, technically, not as accomplished as II and IV, III has a lot to offer. It has some interesting blocking, some great sfx, and a really good score. The cinematography, if a little bland, is, certainly no worse than II, or IV. I'm not sure if any Star Trek film could measure up to the emotional unch of II, but III gives it a damn good try. I like it.

Oh, I don’t know.

Forget it Jake, it’s Fanboytown.

More like we're angered (not really surprised) that music not by John Williams is not as good as music by William Ross. We weren't looking for John Williams here, but there are other people out there who can do a much better job than what we're getting from Holt. Like William Ross, in this very show. Not sure what is so difficult to understand about that.

When I was a kid I always thought she, to quote Austin Powers…

@Falstaft, I believe there should be an anticipation duplet A-flat at the end of m. 15.

The first part of the 4th season, for me, is the best the show has ever been. I'm glad the filmmakers & Netflix decided on the long episodes. They really take they're time to tell the story right. I won't talk about any spoilers but the reveals and twists are incredible! I was screaming to my television. I loved it. The cast is fantastic allround. The original cast all have great storylines with Max, Dustin, Eleven, Hopper, Joyce & Murray being standouts. Will, Mike & Jonathan get a bit shortchanged but it didn't bother me too much. Steve, Nancy, Robin, Erica & Lucas are all also great and get a lot of great stuff to do. I was especially fond of Nancy & Robin scenes. Great new additions are Jamie Campbell Bower & Joseph Quinn!! Both scene stealers! The writing is as good as it's ever been. It's just amazing. The pacing is, I thought, perfect. The first episode does a really nice job of easing you back into the world. Then the end of the epsiode is a total mindfuck and the season doesn't let up after that. The 7th episode was 'cheff's kiss'. The directing by The Duffer Brothers, Shawn Levy & Nimrod Antal is very very strong. There are shots and camera movements that are so inventive that I actually can't wait to see again. Production & VFX all are top notch! The villain for the 4th season is incredibly realized and very scary. Music also plays a very important role in the season and it's used very well. The score I think it the best of any season. I just really love being in this world. It's been my favourite series in each year it came out and I'm just such a fan. July 1st can't come soon enough!

Yep, and it's one of my favorite things ever. Didn't realize until just the other day that Qui-Gon's theme from TPM is another example of it: 5-1-3-2-5.

What I don't get: Every producer or whatever around Star Wars admits Williams' impact on the saga and how good it was that he went for a timeless romantic musical approach and that this is one of the reasons why the score and the movies aged so well. But when they hire a new composer now, they go for a contrary approach, nothing rich, nothing timeless. Just modern, synthetic, flat. Just Powell and Giacchino tried to stay in Williams' tradition somehow. But since then...

I love Kazoo, no one composed a concerto for Kazoo and orchestra yet

Ok one more

I do too. I also love laughing every time I see that Looney Tunes style cliff break off and watch it drop slowly, the forklift out of frame.