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  1. What a beautiful reason for Falstaft to dust off that musical catalogue once more! There is something I find genuinely so endearing about Williams, this very soft-spoken, private, and reserved man who deals in the traditional ways of pen and paper, being so protective over this massively loud space opera franchise of all things. Prior to the Disney ownership, I really wasn't sure how much Williams cared about his association to Star Wars, but the last few years have really helped to drill home that he really seems to hold such an association close to his heart. And now we can add new John Williams Star Wars music to the list. 2022 sure is feeling a lot like 2002. "Hmm, a theme for Obi-Wan, huh? Okay, um, let's see here... George had me shelve that theme for him back in '98. Damn, it's got to be here somewhere. Think, Johnny, think!"
    36 points
  2. To the one, the only, the iconic John Williams, 90 years young! Happy 90th Birthday, Maestro!!! Wait, that's not right... Let's try that again... Nope, still wrong. Getting warmer... Keep circling... Try again... One more try... Ahh, that's better! Here's to another 90 years of incredible music! Now get back to scoring Indy 5, Mangold just changed the edit again.
    33 points
  3. Holko

    JW's Liner Notes

    Thought it might be a good idea to start a collection - he writes precious little but it's always great! I'll be updating this master list with posts later posted here. Booklet scans in first spoilers, transcripts for accessibility in second spoilers. Signature Edition notes graciously donated by @mrbellamy! 1969 - Flute Concerto 1983 LSO/Slatkin recording 1970 - Jane Eyre Hal Leonard Signature Edition - Suite 1972 - Images Written for the LP OST that went unreleased, circled around as an Academy FYC promo, then as a boot, then as a not-quote-properly-legal release, then finally released officially and authorised in 2021 by Quartet Records, text reproduced in the booklet. 1975 - Jaws Hal Leonard Signature Edition - Suite (1974-)1976 - Violin Concerto I. 1983 LSO/Slatkin recording 1976 - Midway Hal Leonard Signature Edition - "Midway March" 1977 - STAR WARS Written for and appearing on the double LP OST. http://www.jw-collection.de/scores/swlp.htm 1977 - Close Encounters of the Third Kind Hal Leonard Signature Edition - Excerpts from Close Encounters of the Third Kind 1977; 1980 - Star Wars and The Empire Strikes Back Hal Leonard Signature Edition - Suite 1977; 1980; 1983 - Music from the Star Wars Saga Hal Leonard Signature Edition - Suite 1978 - Superman: The Movie Hal Leonard Signature Edition - "Superman March" 1979 - 1941 Hal Leonard Signature Edition - "The March from 1941" 1980 - The Empire Strikes Back (Charles Gerhardt Rerecording) 1981 - Raiders of the Lost Ark Hal Leonard Signature Edition - "Raiders March" 1982 - E.T. the Extra-Terrestrial Hal Leonard Signature Edition - "Flying Theme" Hal Leonard Signature Edition - "Adventures on Earth" 1982 - Monsignor Written for and appearing on the LP OST packaging, reprinted in the 2019 Intrada Records reissue/expansion. 1983 - The Star Wars Trilogy (Varujan Koijan/Utah Symphony Orchestra Recording) 1984 - NBC News - "The Mission Theme" Hal Leonard Signature Edition 1986 - SpaceCamp Written for and appearing on the LP OST packaging, reproduced in the 2014 Intrada reissue. 1988 - "The Olympic Spirit" Hal Leonard Signature Edition 1989 - Indiana Jones and the Last Crusade Hal Leonard Signature Edition - "Scherzo for Motorcycle and Orchestra" 1990; 1992 - Home Alone and Home Alone 2: Lost in New York Hal Leonard Signature Edition - "Three Holiday Songs from Home Alone" 1991 - JFK Hal Leonard Signature Edition - Suite 1991 - Hook Hal Leonard Signature Edition - "The Flight to Neverland" 1992 - Far and Away Hal Leonard Signature Edition - Suite 1993 - Jurassic Park Hal Leonard Signature Edition - "Theme from Jurassic Park" 1993 - Schindler's List Hal Leonard Signature Edition - "Three Pieces from Schindler's List" 1993 - Sound the Bells! Hal Leonard Signature Edition 1996 - Concerto for Trumpet and Orchestra Hal Leonard Signature Edition - Solo Trumpet with Piano Reduction 1997 - The Lost World: Jurassic Park Hal Leonard Signature Edition - "Theme from The Lost World" 1997 - Amistad Hal Leonard Signature Edition - "Dry Your Tears, Afrika" 1997 - Five Sacred Trees Hal Leonard Signature Edition 1998 - Saving Private Ryan Hal Leonard Signature Edition - "Hymn to the Fallen" 1999 - Angela's Ashes Hal Leonard Signature Edition - "Two Concert Pieces from Angela's Ashes" 1999 - Star Wars Episode I: The Phantom Menace Written for and appearing on the CD OST. Looking for a better booklet scan if anyone's willing to work on it. 1999 - Star Wars: Episode I - The Phantom Menace Hal Leonard Signature Edition - Suite 1999 - Tributes!/For Seiji! Can be found on The John Williams Collection Webpage. 2000 - The Patriot Hal Leonard Signature Edition - "Theme" 2000 - TreeSong Source: http://www.jw-collection.de/classical/treesong.htm 2001 - Harry Potter and the Philosopher's Stone Hal Leonard Signature Edition - Suite for Orchestra 2001 - Harry Potter and the Philosopher's Stone - Children's Suite Written for and appearing in the Hal Leonard published sheet music, reproduced in the 2018 La-La Land Records Harry Potter 1-3 Expanded Box's common tracklist and liner notes booklet. 2002 - "Call of the Champions" Hal Leonard Signature Edition 2002 - Star Wars: Episode II - Attack of the Clones Hal Leonard Signature Edition - "Across the Stars" 2002 - Harry Potter and the Chamber of Secrets Hal Leonard Signature Edition 2002 - Catch Me If You Can Hal Leonard Signature Edition - "Escapades for Alto Saxophone and Orchestra" 2004 - Harry Potter and the Prisoner of Azkaban Hal Leonard Signature Edition - Suite for Orchestra 2004 - The Terminal Hal Leonard Signature Edition - "Viktor's Tale" 2005 - Star Wars: Episode III - Revenge of the Sith Hal Leonard Signature Edition - "Battle of the Heroes" 2005 - Memoirs of a Geisha Hal Leonard Signature Edition - "The Chairman's Waltz" 2008 - Indiana Jones and the Kingdom of the Crystal Skull Hal Leonard Signature Edition - "The Adventures of Indiana Jones" 2011 - War Horse Hal Leonard Signature Edition - "Dartmoor, 1912" 2012 - "Fanfare for Fenway" Hal Leonard Signature Edition 2015 - Star Wars: The Force Awakens Hal Leonard Signature Edition - Suite 2017 - Star Wars: The Last Jedi Hal Leonard Signature Edition - "The Rebellion is Reborn" 2018 - Solo: A Star Wars Story Hal Leonard Signature Edition - "The Adventures of Han" 2019 - Star Wars Episode IX - The Rise of Skywalker Written for and appearing on the CD OST. 2019 - Across the Stars Written for and included in the releases' booklets. 2020 - Live in Vienna Written for and appearing in the limited golden 2LP edition. 2021 - West Side Story (Leonard Bernstein, adapted by David Newman) Written for the OST booklet. 2021 - Violin Concerto No. 2 Written for the 2022 DG release.
    31 points
  4. https://variety.com/2022/artisans/news/john-williams-obi-wan-kenobi-theme-star-wars-series-1235185228/
    31 points
  5. There you go: https://variety.com/2022/artisans/news/john-williams-turns-90-celebrating-1235172996/
    31 points
  6. Of the Star Wars sequels, The Last Jedi proved the most faithful to John Williams' intended score, with one major exception: the opening Escape sequence. After Williams recorded the score's first 8 cues, Rian Johnson restructured the entire sequence, forcing deep music edits to match the revised opening. Sadly Williams followed suit on his OST, presenting a heavily truncated suite of these cues in Main Title and Escape. Now, with the aid of sheet music and mockups, I've reconstructed the film's opening sequence, reintegrating deleted footage where available, and restored Williams' complete score to its intended glory. In my opinion, the best continuous stretch of film scoring in the trilogy. Enjoy! Williams' ability to ratchet up musical tension is simply unrivaled, paired with a climactic release to make the hair on your neck stand up. A shame neither the film nor soundtrack presented Williams' complete intended score; this had every potential of being the greatest opening track of any Star Wars soundtrack, period. Alas, the wait continues for expanded releases that showcase the Maestro's complete musical vision. Special shout out to @BrotherSound and another anonymous user for their help!
    29 points
  7. Amazing first half! He started to do his usual speech about not remembering which of the nine Star Wars films Across the Stars is from, but I held up two fingers right in front of him and he gleefully reacted and announced that it was from the second film “with Natalie Portman”. What a neat moment! Gonna remember that forever.
    27 points
  8. Hi! Some of you may know that Eddie Karam was Williams's trusty orchestrator for a long time. Karam gave a talk in 2013 for The Academy of Scoring Arts where he discussed his life in music, his work with various composers (Williams, Mandel, Horner, etc.), and gave some very funny anecdotes. I don't think a thread about this video has been made before, so here are the comments he made regarding Williams. Meeting John Williams: Orchestrating Williams's music: Dividing work between himself and Conrad Pope: "Crystal Skull" story
    26 points
  9. Not sure if this warrants its own thread, so feel free to combine it with another! During the Kennedy Center pre-concert talk, Williams just revealed that Indy 5 will begin recording this coming Tuesday morning, at 10 AM to be precise. So exciting!
    25 points
  10. Coming December 23 at The Legacy of John Williams, an exclusive video event with the great Los Angeles studio musicians reuniting for the first time in years to celebrate John Williams. https://thelegacyofjohnwilliams.com/2021/12/16/announcing-la-studio-legends/ This is going to be very special. I hope you will tune in to watch this
    25 points
  11. Forgive me for being so direct but I've got something to get off my chest. Sorry if anyone takes it too personally... Just trying to reframe some things for you. Those labels release what they can and when they can. Sure, I'd like to have my Willows and Indiana Jones out by now. But that's not the reality of it. So expressing displeasure or disappointment publicly on message boards or social media achieves absolutely nothing. They know what everyone wants and would give us just that right now if they could. Because it makes no financial sense for them to withdraw these things. They're not out of touch. If you are not interested, just move along. No point of going public with negativity or letting everyone know how disinterested you are. No value in that. It only reinstates the point that the film music community is immature and spoiled. If there's nothing in the batch then be grateful you get to save up more money for Christmas. Or save up for the upcoming titles you might actually want. Or get the titles you didn't get to buy earlier. Whatever. You're not actually losing anything here. Those "desired" titles will come when they will come. Karol
    25 points
  12. I went to the reshearsal with my childhood friend. I'm 27, he's 26 and 20 of for those years we've been listening to John Williams together. I can't really describe how it felt to see him live. My friend and I couldn't even really talk about it, and I guess it's meaningless to try anyway. Let's just say it was a deeply emotional experience. I feel the need to share this experience with someone who might understand it, but I can't even put it into words (not even in Danish, if I tried, haha). I just feel so lucky to live in a world with and at the same time as John Williams!
    25 points
  13. Roger says "we are announcing next week's release this Friday. this has been a grail release for some time, especially to get that Daedalus cue released. Similar to Monsignor, different mixes existed. So as with that release, one disc features the complete score from Armin Steiner's spectacular film mix, with a second disc featuring Len Engel's album mix we've all come to know and love. Finally it's all here produced under the love and care of Mike Matessino." http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8910
    24 points
  14. And for those who really can't read the article, here are some pictures from it:
    24 points
  15. My thoughts on the film and score: Spielberg’s usual knack for sentimentality and wide-eyed wonder manifests itself so effortlessly in this tender autobiography about the healing power of art in a broken family. It feels like he’s been making movies for decades with this in the back of his mind, not as some grand end goal per se but as another big piece to fit comfortably into the later chapters of his oeuvre. There has always been a little spot in his filmography left open for this one. Those skeptical about the material will be happy to know that it plays less like the stock coming-of-age-meets-homage-to-cinema vanity project that you’re probably thinking of and more like a warm and fuzzy flicker of home movie memories from the all-time great. The first hour or so is as close as the film gets to saccharine, not so much sweetened as it is a little corny, but never cloying. For anyone allergic to Spielberg in that general mode, this won’t change your attitude. The film fittingly grows up over the runtime, but still skillfully walks the bittersweet line between the dramatic weight and the tongue-in-cheek dorkiness of Spielberg’s youth from the get-go. It’s never self-serious and has a good sense of humour about itself without compromising the emotional resonance of the familial tensions. If anything, the lightness authenticates it. I’m not sure if it was just emphasized by the receptive festival crowd, but this might actually be one of Spielberg’s funniest, filled with lots of naturalistic sibling banter, interjections from old Jewish relatives, and the usual awkward teen moments. The monkey is good too! After the wide-shot flourish of West Side Story, which naturally saw him throw his whole cinematic toolbox up onto the screen, Spielberg’s direction scales back and excels in the light touch of his patented formal economy. He’s still bringing the goods as necessary, from a couple of lasting compositions to one incredibly memorable visual gag, but don’t go in expecting any show-stopping long-takes. Ultimately the heart of the film is the script, co-authored by Tony Kushner but so clearly a personal outlet for Spielberg. Sure, the recreated anecdotes will be familiar to admirers of his work, but there’s a whole groundwork of thematic subtext there to deepen the scenes that would otherwise have us pointing at the screen DiCaprio-style. In fact, it's pretty remarkable how well so much of the stuff I "recognized" translates to the screen without that embarrassing feeling that it’s only there for the sake of it. The performances are really solid in an ensemble sort of way. Obviously Paul Dano and Michelle Williams as the parents goes without saying, but the main guy who plays Spielberg at high school age is actually really good too. I recall some of the early reactions mentioning Licorice Pizza as a reference, which makes some sense considering how certain characters will just wander in, own the movie for a few minutes, and then leave (Judd Hirsch and David Lynch, baby!). Fortunately, that’s as far as the comparison goes though. I didn’t like the rose-coloured glasses the PTA film insisted on wearing but no matter here. Just as my film brain is always focusing on the camera movement and editing, my film score ears are tuned in to catch and place as much music as possible. Williams’ score is sparse but thoughtfully spotted and quite elegant in a sombre way, as KK has already mentioned. My estimate is probably not much more than a half-hour of original music, if even that much. It’s possible Williams wrote and recorded some other suites or arrangements intended for the album, but otherwise I imagine the OST will be a combination of licensed music and original score. There are a couple period needledrops from the radio, a number of classical piano pieces played by his mother (credits listed Satie’s Gymnopedie, and others by Beethoven, Haydn, and maybe Bach), as well as some diegetic Western music heard on records during the movie screenings (I recognized the villain theme from Bernstein’s The Magnificent Seven and the title melody from Newman’s How The West Was Won, credits also listed something by Victor Young, Max Steiner’s The Searchers, and more Alfred Newman- Captain From Castile may have been it). As far as Williams’ score goes, there’s one main idea for celeste, strings, harp, and what I think was an oboe or clarinet. It appears about three times in the film proper, and is also the basis for the 4 to 5-minute end credits suite, which is a unique recording and the longest piece of music altogether. That one is sure to get a lot of plays. All the players are listed, including a standard string section, french horns, and soloists on piano, celeste, and guitar. Whoever drew the Book Thief comparison was about as close as they could have gotten, even though this is still pretty unique territory from a functional standpoint. Being reminded of Williams' grace and deftness after the sequel trilogy years of wall-to-wall tentpole scoring is of course another testament to his genius. Certainly worth a closer listen. Anyway, it was really cool to attend a TIFF screening for the first time and to have it be the new Spielberg/Williams collaboration of all things. I’ll definitely be seeing this again in November. My favourite part was the post-credits stinger where a silhouetted man clearly wearing a turtleneck appears in a doorway and we get a booming, "Hey Stevie, baby!" accompanied by a bass pizzicato Jaws theme before it cuts to black. Seriously though, count me as a Fabel-fan.
    23 points
  16. Roger says "Coming June 28th... It could be this 2-CD set coming your way next Tuesday. And nothing in July. We're exhausted and taking a break. Will see you back in August. " http://www.intrada.net/phpBB2/viewtopic.php?p=85204#p85204 Doug says " Next week’s new release is a tour-de-force of orchestral splendor. This is one to have. It’s a riveting score! " http://www.intrada.net/phpBB2/viewtopic.php?f=2&t=8936
    23 points
  17. Spielberg showing up to JW’s house in 2026 with a rough cut of Indy 6
    23 points
  18. I still can’t believe this. It’s beyond anything I could have ever dreamed of. John Williams conducting his music in the city where I’m born and where I live, in one of the temples of classical music. Utterly amazing.
    23 points
  19. In a couple of months, I'll be celebrating my '30th anniversary' of being a John Williams fan and collector. Growing up with films like Star Wars, Indiana Jones and E.T., I've been intrigued by Williams' music since childhood, but it was during the Spring of 1993 that I became a true and devoted fan. My life was very different 30 years ago. I was still living with my parents, attended the final year of high school, had hair on my head and I had no idea how my life was going to turn out. I look back on 30 years filled with significant events, ranging from wonderful to not so great. I became a teacher and headmaster, got married to a beautiful wife, bought a house, lost my stepfather and grandparents, traveled the world, became father to an autistic son and successfully overcame an episode of depression. The music of John Williams has been an integral part of my personal journey and has always had a positive effect on me. Today I had some photos taken of my entire collection, something I've been wanting to do for years. I hope you will enjoy them and here's to the next 30 years!
    22 points
  20. Looks like a certain somebody was at Sony this week...
    22 points
  21. Pablo Sáinz Villegas, the spanish guitarrist who premiered 10 years ago Rounds, has just revealed in an interview for the spanish newspaper El Pais that he received a letter from John Williams inviting him for a collaboration with Yo Yo Man and him for a new album they are recording with the New York Philharmonic. https://elpais.com/cultura/2021-09-24/pablo-sainz-villegas-me-escribo-con-john-williams-por-correo-postal.html
    22 points
  22. Holt's The Planets
    22 points
  23. Will this make Williams the only person involved with all three Star Wars trilogies, their spin-off movies and now the television shows? Anthony Daniels would only need to appear in one of the Disney+ shows, I guess, but for now I think Williams is the one consistant part of making of this franchise - spanning 45 years. Simply unbelievable. I love putting things in perspective like that. I know this is basically only of personal interest, but my great-grandmother was born in 1912, 20 years before Williams. I often thought about that and talked to her about it. She was 65 years old when she went to the cinema to see the the first Star Wars movie (in 1978) and the biggest take-away for her was the music. Years later I introduced her properly to John Williams and at the age of 107 she listened to The Rise of Skywalker with me by her side. Many of my memories with her are tied to John Williams - and the other way around. This theme and the upcoming The Fabelmans will be the first scores written by Williams (for the screen) I won't be able to share with my great-grandma and that feels strange. But also reassuring. I hope Williams has at least as many healthy years ahead of him as my 20-years-older-great-grandmother had! Anyway! Yay! New music by Williams! Always a great reason for celebration!
    22 points
  24. Sad state of affairs when LLL (sarcastically) predicted complaints in their announcement post, and JWFan dutifully follows suit. If you're so angry about the reissue, don't buy it. Or buy it and sell your old version. How anyone could be angry about a new generation of fans finally having access to one of the Maestro's most iconic scores is beyond me. For anyone who owns the existing release, there is absolutely nothing wrong it. No music was omitted. It was assembled from a first generation, high-resolution transfer. There's no editing flubs. Everything on the OST can be recreated. The mastering might be a little hot but that's personal preference anyway. This is hardly an Azkaban/Eiger/AI situation where more music exists that was omitted from the first album then added to a (hypothetical) subsequent expansion, nor a Superman/Home Alone/Hook situation where inferior sources had to be used on a previous release because first-gen sources were missing. For all we know this is the reissue LLL needed to keep the lights on and fund projects for later in the year, including more Williams scores! How could any JWFan be upset about that?! If the only thing labels see are complaints, why would they even bother trying to improve existing releases like Hook, Jaws, Fiddler, Images, Jane Eyre or Azkaban in the future? The shortsightedness here is frankly breathtaking.
    21 points
  25. They recorded a huge finale cue with 208 piece choir, 314 piece trumpet section, and an 18 minute end credits suite conducted by Gustavo Dudamel. Anne Sophie Mutter and Yo-Yo Ma performed a Raiders March duet with accompanying nose flute, while Steven Spielberg brought everything full circle by performing as principal clarinetist. Williams extended an olive branch to Giacchino, allowing him to adapt the new theme in over a dozen cues, then shredded every page of music in front of the orchestra.
    21 points
  26. It's kind of nuts how many people in various groups I'm seeing complaining about the score all over the internet. Reddit, Facebook, YouTube, Twitter. No matter where you go it's all people saying how disappointed they were with the score overall, but often bringing up how Ross' music was the only saving grace. I was expecting this score to be more divisive than anything, but it's not. Everyone just seems so disappointed, particularly with Holt's music. It's interesting because I've seen several very small but vocal subgroups saying how much they'd want a Zimmer/RCP Star Wars score... well, here it is, and almost nobody is defending it. And even the tiny amount of people defending it still speak of disappointment in many areas of the score. The music isn't terrible, it's just not Star Wars. I know JWFan gets a fair amount of attention, and we have a lot of industry insiders here, well IF ANYONE FROM LUCASFILM/DISNEY IS READING THIS: just know that this score is definitive proof that a Hans Zimmer / RCP / contemporary / modern-styled score WILL NOT WORK for Star Wars. We've been saying it from the beginning, and here is your evidence. Star Wars' music was never meant to be "modern". That is the entire reason George Lucas wanted a classical score from the very beginning, even when the studios were pressuring him to do otherwise.
    21 points
  27. I was there in that room and definitely cried. I’ve seen the maestro live many times mere feet away, but being caught off guard with a sudden performance by him, and with the debut of a major new theme no less, was quite something. When I last saw him in Pittsburgh last month, I thought DC next month would be the next performance of his I’d be at. Just wow.
    21 points
  28. This is not a DH update, but we were able to meet the maestro himself yesterday! He came to Juilliard for a conducting session where we played Superman March, theme from Jurassic Park, and Adventures on Earth. I was lucky enough to play piano/celesta, and Molly (who was in town to see his Carnegie concert the night before) was turning pages for me. So the short version is: both of us were in the room with JW and it was thrilling! And yes we did give him a flash drive with GOF, OOTP, and HBP on it. Basically we wrote him a thank-you letter for everything his music means to us, and presented highlights from the project as a fan gift (along with the knit JW). The project content was in an envelope so we don't know what he thinks or if he's heard it but we're just happy to have expressed our appreciation in some way! -BP
    21 points
  29. I'm constantly reminding myself not to forget how privileged I am to live 10 minutes from the Musikverein and able to afford going to both concerts. Yesterday's was fine, but in the action pieces I thought the brass was holding back, and there were spots where they seemed to be extra careful. Today they went all in and played brilliantly, with extra strong brass. Now Scherzo for Motorcycle and Orchestra ("sans motorcycle") and March of the Resistance were true highlights, Leia's horn solo was almost perfect, and Throne Room was super tight. It's always hard to compare these things, but the Scherzo might be a notch above the Berlin performance. Yesterday Williams apparently couldn't remember Connery's full name (in Berlin he couldn't remember his name at all), though I didn't fully understand what he said instead. Today he remembered, eventually: "Seth… Sean Connery". He didn't mention the "bad guys" today, but revived the Luke/Leia/love theme/brother/sister anecdote. He also claimed that Harry once rode on the phoenix. When introducing the Indy pieces, he mentioned that after the concert, he will be going back to LA and work on the fifth score. "You don't know my age, but if Harrison Ford at 78 can do this, I can at least try."
    21 points
  30. received_652712705990139.mp4
    21 points
  31. Throwing opinions about how much this film or that project are beyond or worth of his time and talent is a useless exercise. At this point in his life, the man is doing whatever he wants and likes to do. He lived a greatly privileged life, working with incredible people and on projects that will last beyond all of our lifetimes. He sounds also very serene about approaching the end of his journey on Earth, so he values time greatly and, as he says, six months now is an extremely long period for him. He knows better than any other how to manage time as it's part of his DNA as a composer. We as fans might approve or not if he's using this time for doing another franchise score or a personal concert piece, but it's not our call. Let's just be grateful he's spending his last years among us writing new music and doing concerts all around the world.
    21 points
  32. What a fantastic photo! He looks like a proud dad
    21 points
  33. Beautiful theme! Just so we can get a sense of what the actual melody of the theme is, I did a transcription of the theme proper (minus the intro, middle section, and coda) . There are two statements - the first in the strings at 0:29, the second in the horn at 2:33 (I reposted the great-sounding video from @crumbs):
    20 points
  34. http://filmmusicreporter.com/2022/06/22/obi-wan-kenobi-soundtrack-album-details/ Release 27th of June. Obi-Wan - John Williams (4:07) Order 66 - Nataltie Holt (1:41) Inquistors' Hunt - Natalie Holt (3:10) Young Leia - Natalie Holt (1:05) Days Of Alderaan - Natalie Holt (1:38) The Journey Begins - William Ross (2:58) Bail And Leia - Natalie Holt (2:20) Nari's Shadow - Natalie Holt (1:14) Ready To Go - Natalie Holt (2:27) Daiyu - Natalie Holt (2:25) Cat And Mouse - Natalie Holt (3:11) Spice Den - Natalie Holt (1:10) First Rescue - Williams Ross (3:11) Mapuzo - Natalie Holt (1:18) The Path - Natalie Holt (1:35) Sensing Vader - Natalie Holt (2:50) Parallel Lines - Natalie Holt (2:13) Some Things Can't Be Forgotton - William Ross (4:47) Stormtrooper Patrol - Natalie Holt (2:34) Hangar Escape - Natalie Holt (2:33) Hold Hands - Natalie Holt (1:40) Empire Arrival - Natalie Holt (2:04) Dark Side Assault - Natalie Holt (2:38) I Will Do What I Must - William Ross (2:49) Sacrifice - Natalie Holt (1:41) No Further Use - Natalie Holt (3:40) Overcoming The Past - William Ross (4:29) Tatooine Desert Chase - Natalie Holt (2:20) Who You Become - Natalie Holt (3:36) Saying Goodbye - William Ross (5:27) End Credit - William Ross (4:03 It looks like a well curated album with the Holt & Williams/Ross material nicely put together. Excited about a listen apart from the show. It does indeed look like some of the battle music in the episodes was replaced with music by Ross for a bit more of a 'Star Wars' sound. Some Things Can't Be Forgotton looks like duel from Ep. 3 I Will Do What I Must, 1st part of duel in ep. 6 Overcoming The Past. Either 2nd part of duel or the Reva scene on Tatooine.
    20 points
  35. None, its all about context, techniques, and recording mixing.
    20 points
  36. Did I miss a discussion somewhere, or has Williams written another surprise piece?
    20 points
  37. https://www.washingtonpost.com/national/john-williams-90-steps-away-from-film-but-not-music/2022/06/23/26b97ac2-f2f2-11ec-ac16-8fbf7194cd78_story.html Lots of stuff here.
    19 points
  38. A hardworking carpenter who loves nature, is kind to everyone, performs miracles, and has something of a cult around him. Fellow disciples, Williams is officially a musical Jesus.
    19 points
  39. Today during the rehearsal they played: Olympic Fanfare and Theme Close Encounters of the third Kind Suite from Far and Away Three Pieces from Harry Potter Jurassic Park Finale The maestro was in great shape, how incredible to see him live for the first time, I still can't believe this has happened!!!!
    19 points
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