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Went to see this today at the Toronto Symphony Orchestra. The orchestra played so well throughout, it was a pure delight. It was great to hear different details come through the score than what I've heard on the OST or in the film recording. This was especially the case in the quieter moments, when I could hear, for example, the piano when BB-8 runs away from the battle at the start of the film, or the oboe solo when Maz tells Rey the people she's waiting for aren't coming back. Things like that really added more humanity to these scenes. Act One ended with the big statement of the First Order theme they use near the start of the film when we cut back to the First Order ships, and Act Two began with a very abbreviated form of the concert version of Rey's Theme. I think the best thing about this performance was that I got to hear the score louder than I've ever heard with the film before, as though with a better mix in a recorded film. And the live element, as I say, just gave it more humanity and warmth. Top notch performance. If you get the chance to go, it's really worth it!

I don't think so. I think you guys are reading too much into it. I think Shore was given a brief and composed his music to that. The main title concept might have been pre decided. But Shore didn't score a finished sequence. He delivered his piece and the new sand sequence was adjusted to his score. There isn't a whole lot of syncing between the music and the visuals so both could develop independently.

This is just cheating.

I know these have been shared on other threads, but I thought I'd put them all together in one post. Here is the complete series for the LLL Goldsmith at 20th (so far).

The sale starts tomorrow. Fingers crossed !🙏🏻 Hopefully everybody is able to get tickets.

Opinions vary, but HTTYD 2 is my all time favorite animated score. Compared to the first, it's bigger, more orchestral and more swashbuckling; very balls to the wall.

What? Nurhachi doesn’t count as a MacGuffin? His theme is awesome! All of you choosing the Grail over the Ark are bonkers. (I’m kidding, love you guys ) But for real, the Ark theme is so Old Testament and seriously scary. When that book is opened and you see the illustration of the Ark, the theme sells it and tells you it is about as serious as the universe gets. Like the Ark ghosts themselves, the theme goes right through my center and chills me. Every time. Edit to add: I personally consider the Medallion to be the B theme for the Ark theme. Appropriately they are intertwined, as even the prop itself has the cherubs from the top of the Ark sculpted into the wings of the bird on the medallion. Look carefully. And don’t forget to take back one kadam.

I definitely go back to the first movie DE more but my judgement is clouded by what I think of the 2nd movie which, without getting into it, is _nowhere_ near as good as the 1st in my opinion. The 2nd Deluxe is still a good release and a good expansion, whereas the 1st Deluxe was definitely a huge improvement on a technical level over the initial OST release.

So interesting you had the same experience hearing TFA live as I did, @Ludwig. It was completely revelatory to my ears, like hearing an entirely different score in some cues. All the classic Star Wars-ian accents and flourishes you'd be forgiven for thinking were missing from the score, were abound in the live performance. That abrasively dry film recording did such a disservice to JW's score, which is rich with orchestral details that were buried, or lost entirely, in the mix.

If you enjoy the first score, you'll like how the second one expands on the theme pallet and allows the overall soundscape to grow up. A collection of new material is indeed and that is what dominates with the original themes being cleverly interwoven as well. Powell's orchestral abilities definitely increased between the films and it reflects very well the passage of time between the two films. And that happens once again with the third movie. 😀 Karol

I don't even think the show is that good. It has some great production values, but overall the pacing is too slow, there's too many characters and the writing isn't exactly outstanding. But I still don't hate the show because it gave Bear McCreary an opportunity to write great orchestral music that has been solely missed in most Hollywood productions these days. IMHO, the show can go on for the planned 5 seasons only to give a huge canvas for McCreary shine. The score alone makes The Rings of Power much more enjoyable to watch than most Disney+ Star Wars shows.

I stuck with this show up to episode 5, hoping it would improve, but sadly this ain't my Star Wars. As bad as Kenobi was, at least it was watchable in part. This is a slog to get through.

Geen dank ;)! When you go to the information page you see the sale starts at 14:00: https://shop.vivaticket.com/en/sell/?cmd=prices&pcode=9819358&tcode=vt0007867&qubsq=0e7337bf-a772-44f2-a100-97281adfffed&qubsp=2959d179-939d-4677-a98b-c598d5962923&qubsts=1665340555&qubsc=bestunion&qubse=vivaticketserver&qubsrt=Safetynet&qubsh=0ddf44b1704c2cfb8a758686f2312edc

Hopefully the episode album CDs are either completely identical to the digital album releases, or the same PLUS exclusive bonus tracks. If they have less music that'd be really annoying bullshit

Here is the link: https://www.vivaticket.com/it Are the chances slim to get tickets? Sales starts at 14:00 PM and I will be ready with two laptops at 13:30 PM. I don't wanna miss it.

Or some people simply think the show's just not that good.

Allow me to shamelessly repeat something I've been posting for 4 eyars. 1. We NEED a proper release of Mr Brossé's fantastic John Williams cocnert at the Royal Albert Hall. 2. And we need a re-recording with the Brussels Phil of all these pieces, most particularly Han Solo and the Princess. Brossé seems to be the only conductor who understands how to perform this piece. His rendition was hearttwrenching.

The Black Dahlia. 🖤🖤🖤 Karol

Big - Howard Shore Such a lovely (I feel quite underrated) score. I always enjoy it very much

Can't believe I'm going to say this, but I think Henry Jackman would be a fine choice for this movie. He did a nice blend of old electronic videogame music with traditional Hollywood scoring in Wreck-It Ralph.

The Book is an absolutely fantastic cue. Such a glorious introduction to the mysterious artifact.

He used to include of a fairly good deal of non-Williams's music in these sorts of concerts. The "all Williams" programs are relatively recent.

I think I'm with you. Even if this sticks the landing(s) I can't see myself revisiting this much. I definitely don't need this to be "The new direction of Star Wars". As much as I'm loving this, I remember how much FUN I had watching the first season of Rebels. This is really GOOD. But it isn't FUN.

I'm genuinely surprised The Grail Theme is winning by so much here. I'm going with The Ark theme. But for context, if the Map Room cue/scene didn't exist in Raiders, I would be choosing The Grail Theme. That scene and cue is too powerful and something the other films don't have.

Good idea. I don’t mind constructive criticism and lively discourse but the endless negativity is quite a buzzkill. I’m not gonna lie and say I’m loving the show (more I just don’t feel invested in the characters particularly even if I like elements of it) but am enjoying the music. Bear McCreary clearly went to a lot of trouble to write music that took what Howard Shore did and to emulate it to some extent. I don’t think it has quite the character of Shore’s music but I’m still really enjoying. It’s not like this is some disappointing missed opportunity (*cough* Obi-Wan *cough*), it’s a genuine and so far effective attempt at an epic work with multiple good themes that connect in certain ways and play a significant part in the show.

I think it's a mellotron, which is essentially a tape recording of a real choir, triggered by a piano key. Ah. So it’s like a sample essentially of a real choir? Is that what we’re seeing here in this clip? (7:05) Yeah! “Approaching the Stones” is just terrific. Shame the theme doesn’t pop up more. Even in the climax. But I’ll take that fantastic choral arrangement of the slave Children theme any day. I was listening to “Call of the Crystal” on the way home from work yesterday. It’s a terrific homage to the 50s sci-fi/paranoia scores of that era. I think peoples perception of it is tainted from a negative experience with the film itself. At least mine was for a long time. (It also seemed to dominate 1/2 the OST lol) But I’ve come around on it.

Sankara stones, especially the big French Horn climax in Stealing the Stones There is a motif/identity for the Diamond BTW. Its the Horn flourishes in Once in a Vial, it's really obvious in my Iso Score video Slave Children count? I actually really like the oboe writing in the Skull suite. I think it's a mellotron, which is essentially a tape recording of a real choir, triggered by a piano key.

I think the Ark of The Covenant and The Medallion are basically part of each other. We hear them in the final opening of the Ark sequence of course.

Having Brian Tyler adapt Koji Kondo is like having Lorne Balfe adapt Joe Hisaishi.

On a general note, thank god Williams is freely able to choose, repeat, reject or include whatever he wants. No matter what he chooses there’ll always be somebody who doesn’t get their favorite. I for one am pissed that neither of the three times I’ve seen him, did he choose to include any of these, all of which I know for a fact he’s just keeping for himself, hidden away in a dusty old drawer… Polyjuice Potion (concert arrangement) from Harry Potter And The Chamber of Secrets Qui-gon Jinn’s Theme (concert arrangement) from The Phantom Menace Wet Bandits' Theme (concert arrangement) from Home Alone Thompsons' Theme (concert arrangement) from Tintin Any hooooo… No matter what the maestro choses to play in Italy, I’m sad I won’t be able to be there. But good luck ya’ll on getting tickets tomorrow! Make sure to take lots of photos to make the rest of us jealous! 😊

My brain is physically unable to play in the normal Y-axis. When my partner hands me the gamepad to get past a hard boss, I must invert Y or I fumble around like a drunkard. Then I switch it back. I grew up on flight sims and other true 3D games in the 90s. My brain was rewired a long time ago.

Hi everyone like the rest of you I REALLY hope to be able to get a hold of a ticket... Does anyone here have experience with ordering tickets from this site or for Della Scala in general? Anything to keep in mind?

Yes, a CD is confirmed for the season album and we're awaiting any news on any physical releases for the episode albums. I'd be a bit surprised actually if there isn't something for the episodes given that Amazon knows that LotR fans buy 'stuff', such as the LotR DVD boxes with those statues. Note that this isn't me venturing into the 'no CD = no sale' brigade - it just strikes me that a box set is a nice way to release all the episodes en-masse and Amazon could afford it if they made one and only three people bought it.

Are we talking about the themes themselves, or the concert suites that act as formal standalone statements of some of them? If it's the former: Gold - the Force theme Silver - ESB love theme Bronze - Rebel fanfare If it's the latter: Gold - Leia's Theme Silver - Main Title (the long OST edit) Bronze - Rey's Theme Insert standard disclaimer here: This is a really tough thing to rank, I might give different answers another day, yada Yoda yada.

Williams had designed to mix the choir with the orchestra in a subtle way without overpowering the voices. This enabled the mysterious effect of the cue in Map Room. I believe he mentioned it particularly in The Making of Raiders ..book.

What does a non-animated score look like?

Gold: Luke’s Theme/Summon the Heroes Silver: Darth Vader’s Theme/ Olympic Fanfare Bronze: Force Theme/Call of the Champions Luke’s Theme is really to me “the Star Wars” theme. When that movie first hit, EVERYONE was humming - no- singing that glorious melody for months and months.

Winners announced:

The first time I saw Williams live (Boston Film Night 2008), there was no Star Wars in the program.

All it actually means is that the tracklist shown on Mondo's website now is different than the tracklist shown on Mondo's website in the past. We don't actually know what the CDs will truly contain until we have them in our hands (or they post an image of the back cover, I guess). HOWEVER, if the currently posted version is what we will get on CD, it means the CD edition will be identical to the same 38-track OST available on all the places that sell music digitally (technically, it's only 37 tracks on every place except Amazon Music right now, but I assume the plan is to add the Fiona Apple song to the album everywhere within a week or so, leading to 38 tracks). The Amazon Music version of the OST is 40 tracks because it also adds "Find The Light" and "The Promised King" as well. There are 4 unique track names that used to be listed on Mondo's page that don't match tracks from the standard 38 track OST. Let me explain what each is In Defiance Of Death - this is already on the Episode 6 album. It contains the entirety of the Amazon Music Exclusive digital track "Find The Light" followed by another 2 minutes of music from episode 6 that isn't on the season album. Riding At Dawn - this would be either a unique edit, or all of, what's on the Episode 6 album in the track "The Siege In The Southlands" from 9:12-end, meaning it would contain everything in "Cavalry" (which is why "Cavalry" wasn't listed for the CD edition) plus 0:39-end of "Nolwa Mahtar" The Promised King - this is the second Amazon Music Exclusive digital track; this music is also on the Episode 6 album inside "Transformed By Darkness" The Breaking Of The Silence - this is certainly music from Episode 8, and likely will be a track title on the Episode 8 album, and will contain the music from "The Broken Line" inside it, explaining why that track wasn't listed for the CD edition PERSONALLY, what I think happened is: The current posted tracklist IS what we'll get; The prior version was a MISTAKE, caused by somebody accidentally sending to Mondo an early prototype version of the tracklist instead of the final version (perhaps because they knew the Fiona Apple bit was a secret still). I think that as Bear was selecting music from the episode scores to put on the score album, -He initially wanted to include "In Defiance Of Death", before deciding that instead of including all 5 1/2 minutes of that on the season album, he only wanted to include the first 3 1/2 minutes, and titled the first part "Find The Light" to differentiate it from from eventual Episode album's track. Later, Amazon would pick "Find The Light" to be an Amazon Exclusive track. -He initially wanted to include more music from the second half of the 20 minute Episode 6 Siege track and did so as "Riding At Dawn"; Later he decided to further edit it down and as "Cavalry", and left the actual dawn ride only exist in the "Nolwa Mahtar" track -Amazon selected "The Promised King" to be an Amazon Music exclusive -He initially wanted to include a chunk of music from Episode 8 that he titled "The Breaking Of The First SIlence", but then decided to only include some of it as "The Broken Line" This theory sort of neatly explains everything

Yea, I'm finding it difficult to enjoy both the thread for the score and the thread for the show, because it is being overrun by people who do not like either thing, yet choose to spend lots of time in those threads. And they don't just share new thoughts about the score or the show as they continue to consume either, it's like they wait for any positive post someone else makes, springs on it and beat by beat breaks apart what they said, and worst of all, tries to get the person to defend their opinion. For the show itself, there's certain people who followed leaks and spoilers ahead of time and were just pre-determined to hate the show based on their reaction to plot points they read about, instead of organically having the show reveal these plot points to them. For the score, there's people who just cannot take it for what it is, and can only assess it against how it compares to Shore's score, which is frustrating. I don't know what the best solution is, because it's not like we don't allow negative opinions on things here or anything. But the thing is it can be hard to find the line when someone has consumed a thing and simply doesn't like it and posts as much, vs someone who is vitriolic against it and repeatedly says as such. I think the solution I've come up with is to create an "appreciation thread" for the show, and for the score, where people can discuss it without being asked to defend their opinions, and overly negative posts aren't allowed, letting those posts live in the existing threads. Thoughts?

Boring answers here, sorry in advanced. Gold - The Imperial March Silver - Main Titles/Luke's Theme Bronze - The Force Theme Gold - The Imperial March I don't really know what I can say here that hasn't been said many times, but has there ever been music (in film) more iconic and a more characteristically successful theme in portraying a character, vision or affiliation? If there is, it's probably something else by the Maestro himself (likely from Star Wars). The speed in which Darth Vader and The Empire are conveyed and delivered in the statements of this theme are truly spectacular in it's use and musical design. The problem here is I struggle to look at this and most of Star Wars objectively (especially The Imperial March). I am far too obsessed with this music too not be blinded by bias. Silver - Main Titles/Luke's Theme Almost the same reasons as above, it encapsulates all the excitement I associate with all the Star Wars films and manages to achieve this very quickly when it’s stated. Would I feel the same if this was a piece of concert music without any film association? Hard to say, but I’d like to think so. I think the Main Titles probably receives most of its positive praise due to its melody, I think the orchestration becomes overlooked. If you listen to the music without the trumpets, you can see the point I’m trying to make. https://drive.google.com/file/d/1FISl_GaFwMIAxSYf55CEjiU4MCKeV7Tj/view?usp=sharing Bronze - The Force Theme One of the most beautiful pieces of music written for me, a ridiculous thing to claim considering how much beautiful music there is (even in the Star Wars scores alone), however this piece moves me emotionally unlike much else. There has to be honourable mentions as this list was very difficult to choose after the gold and silver awards (Across the Stars, Rey’s Theme, Leia’s Theme etc). It works in every textural iteration that Williams employs through its various uses. From the Solo Horn in Binary Sunset to the Trumpet section of The Throne Room it always conveys that sense of mystery, hope and subtle heroism. A very difficult exercise to take part in, but more than welcome. Thank you artguy360.

Episode 7 might be my No. 1 or 2 of the episodic albums. There are wonderful variations of themes like Galadriel, The Stranger, Sauron, Númenor, Khazad-Dûm & Durin. I really feel like McCreary deliberately played the themes more straightforward in the earlier episodes so that people would get used to them. In the later episodes he's playing more with tempos, instrumentation & breakdowns of the themes. He also uses more of the B-phrases of some of them. Great stuff!

Watched it. Pulpy fun. I liked it. Score was fun too. I'd rather have more 50 minute specials like this over Hawkeye, Loki and whatever other Marvel shows I've already forgotten about.

I was torn to include the “Medallion theme” as I initially thought it was sort of a B-theme for the Ark. Which it still might be? What we might consider to be the “Main” Ark theme (ala The Map Room: Dawn) could be used to represent the awesome power of the ark. And the “medallion theme” seems to be used more as a “Legacy/History of the Ark” theme after the medallion is no longer needed… Or perhaps Spielberg just said “why not use both?”

Varese should have used boobs for clues, since both cover arts released today prominently feature them

Hi, @crumbs , I am quite busy by these days to make a breakdown, but I will share a file if I get some free time to do that!

Not inverted and there’s a reason why it’s the default setting in all video games.

OK, I'm shallow. But I LOVED how they filmed the TIE fighters and Imperial shuttle like they were real aircraft at real aircraft scales and speed.

I always got the impression that both were fairly hands off with the musical direction and allowed Gold autonomy, aside from Moffat's frequent meddling through endless tracking of Eleven's "I Am the Doctor" theme. The change in direction for Twelve feels like a musician's move rather than something directed by an exec; Gold really read the room in terms of the film scoring landscape in the mid 2010's (as well as Who's musical legacy) and made a big swing back to classic synthesiser sounds to tremendous effect. I read that Moffat had to be convinced by Gold to let him use a new theme for Twelve because he was so obsessed with Eleven's; I'm glad it happened because while you can hear the DNA of Eleven in "A Good Man" it feels much more in line with Capaldi's gruff portrayal. The whimsy of Smith doesn't really translate to early Capaldi. I do wonder if Gold was explicitly told to make Series 5 lean heavily into the fairytale aesthetic or if he was just responding to the storytelling. Either way for me that season just edges out Series 4 as his best work. The action music is absolutely rollicking ("The Vampires of Venice" and "Battle in the Sky" are great fun), and the music for the two-part finale is nothing short of breathtaking. On top of all that it introduced the greatest theme Gold ever wrote for Who: "The Mad Man With a Box". It's a theme that could accompany any and every single incarnation of the Doctor, much like the Doctor's theme introduced in Series 1. But instead of the alien and mysterious aspects of that theme it suggests the kindness and wisdom of the Doctor, simultaneously whimsical and mournful. "Big and little at the same time, brand new and ancient, and the bluest blue ever."