Sandor

My track-by-track reactions as I finally listen to the OST for the first time, after seeing the film once and otherwise having no exposure to the music:
Prologue to Indiana Jones and the Dial of Destiny: Really strong opening to the album. Truly feels like a overture, in a good way. Love how it hits so many themes. Starts us off on the right foot with no quotes of old material. Helena's Theme: Not as catchy as some of JW's more tuneful writing in past decades, but beautiful and interesting. And something you won't get to hear from any other working film composers. Germany, 1944: Aaaaaand there go the verbatim quotes of previous scores. Boo. What a relief to mostly return to new material for the second half. That being said, in the film and on album, I do really like the choice to end this sequence with the unused tag from the end of Raiders' credits. To Morocco: Nice choice in terms of album flow. Voller Returns: I dig the unsettling underscore and bits of villain and MacGuffin themes. Again, great choice in terms of album sequencing. Auction at Hotel L'Atlantique: Our first bit of outright comedic material on the album. I thought the KOTCS OST brought this in too early with "The Snake Pit." This works much better. Then I get annoyed with the Tintin lifts in the last half, as I did in the film. But it's brilliant writing, and with time, I'm sure I'll grow to like it on its own terms. Tuk Tuk in Tangers: It is a miracle that this nonagenarian can still mickey mouse his way through an action sequence in a way that sounds so fresh, exciting, and musically satisfying. It's obviously Williams music, but it doesn't feel redundant with his previous scores. Bravo. To Athens: I remembered the traveling music feels more authentically Indiana Jones than the visuals onscreen. So nice to hear it on album - great unique statements of Helena's and Indy's themes. Another strong track. Perils of the Deep: Pretty subdued "breather" track. The reharmonization of Marion's theme at the end is interesting. Water Ballet: Love the creepy stuff. And again, NOT at all redundant with the series' previous creepy music. The creative use of piano, percussion, and even organ is  Polybius Cipher: Similar to material we've already heard on the album. Kind of a curious inclusion. The Graphikos: My attention wandered a bit. But not bad. I continue to enjoy the dissonant misterioso keyboard figures. The buildup toward the end is cool. Archimedes' Tomb: Nice to hear the return of some of the thematic material for the titular dial. Or for Archimedes himself? I can't recall. The Airport: I like the urgent, serious interpolations of the themes for Helana and the villains. Gearing up for the climax of the film and album! Battle of Syracuse: More unique action writing, befitting the Grecian setting. Love it. Great climax to the action of the film. Centuries Join Hands: Not much to say, other than I like it! New York, 1969: A less than satisfying conclusion to the main part of the album. I could have done without the masterful but overly familiar KOTC setting of Marion's theme. The end of the film proper is a disappointment, and it's no better on album, sadly. I'm glad the credits version of the Raiders March at least closes things out. Helena's Theme (For Violin and Orchestra): The theme is so well-suited to solo violin, and to Mutter's playing specifically. A great contribution to these two artists' fruitful collaboration, and a joy in terms of pure music, regardless of whether it fits the character. Overall notes:
There's something that feels a little different about the quality of the recording itself, compared to other recent Williams recordings in LA. I think I like it. It's surprising that we get so much "close" sound from spot mics on the piano, celeste, and harp ... and still more surprising that I enjoy it. Normally I prefer a wetter, more distant sound. The celeste is also very much not the Potter sound, which is a nice change from, say, KOTCS or Tintin. Still hate that I couldn't buy this on CD, especially because ... ... I enjoyed the album way more than I expected! It really de-emphasizes the verbatim or near-verbatim quotes of old material, favoring stuff that not only is new, but feels new. Again, it's incredible that a man in his 90s can still bring music into being without it all feeling like a rehash. Frankly, it did feel like a rehash in the film to me, due to all the quotes. Not here. What a sublime surprise. I'm really looking forward to giving this another listen. (And many more afterward!) Is it on the level of Raiders or TOD? Of course not. But when it focuses on doing something new, rather than retreading the brilliance of the past, it becomes a truly worthy addition to the Williams canon.

I think aladdin was also unavailable for a while and now there it is. Hope they just sold out the first batch

Was about to order myself too and stumbled upon the same page....  

I've got the same thing. I ended up ordering it without registration but I had to used a different computer because weirdly the button to complete the purchase wasn't showing on my computer.

Yes i think it is like that.
 

Very quickly made this. Will give it another try this weekend, placing the logo on the bottom. 
 

Tintin is a way, WAY, WAAAAY better score than Dial Of Destiny. Which is, not only but also, underlined by the fact that DoD rips it off.
Tintin is a gem.
 
This isn't.

On vacation now, but I will look at it when I get back (mid July). 

JW fans stop expecting JW’s music to inexplicably revert to how it sounded 40 years ago challenge (IMPOSSIBLE)

It's my favorite Indy movie too for a number of reasons.  TOD is many things...
 
The End Credits as intended, is tied with ESB for best End Credits.

Just got back to the hotel after the premier of Dial of Destiny, and the John Williams moment was one I had predicted at breakfast would happen. But that takes nothing away from the moment when the screen rose to reveal the Maestro and the orchestra. Truly an amazing moment even from the back row of the mezzanine section. Hearing Helena's Theme live was truly wonderful. I think Adventures of Mutt was not as amazing as other live performances I heard. Raiders March was fantastic. 
 
The place was hopping after the performance.
 
And I very much enjoyed the film and cannot wait to see it again.
 
On the soundtrack - ordered the LP and CD from Disney although hoping to get the CD sooner from Amazon. Really surprised at the August date for both. I do hope we'll get a digital release on June 30.
 
 

The album can be preordered on vinyl for the steep price of $46 + shipping. 
 
https://www.disneymusicemporium.com/product/XVLP226/john-williams-indiana-jones-and-the-dial-of-destiny-2lp-set
 

I made this little pet project as a sort of "companion" to phbart's discoveries in this thread: condensing the best, most unique parts of the Main Title recording sessions into two tracks for the Alternates Section: Main Title (Original), and Main Title (Alternate).
 
-***-
 
I should probably start this post by clearly laying out what the recording sessions consist of and what my end goal here is:
 
Intro: The intro, as originally written, consists of a big Brass Buildup for when the Star Wars title first appears.  The original intro was recorded on Takes 16, 17, and 18.  Take 19 omitted the buildup, creating the Familiar Intro we know and love today.  Take 20 pared down the brass orchestration even further, creating a rather Weak Intro.
 
The Third Sentence: There's a minor orchestration difference in the strings when the third sentence of the crawl appears.  As originally written, the strings play in a High Register the entire time.  It was recorded this way on Takes 16 and 17.  On Take 18, this part was altered to have the strings start at a Low Register an octave below before switching to the higher register, and this change was kept for Takes 19 and 20 as well.  (IIRC, another user on this forum used the term "Divisi" for this change, meaning that half the strings play higher notes than the other half.  Since I don't have the sheets in front of me, I can't confirm this with any degree of self-confidence, so I'm just going to use "High Register Strings" and "Low Register Strings" to make things easier on myself.)
 
Tatooine Reveal: As originally written, there's a big Timpani and Cymbal hit when the planet comes into view.  Takes 16, 17, and 18 were recorded this way.  Takes 19 and 20 were recorded with a much softer accent for the reveal.  I'll be calling these the Strong Tatooine Reveal and Soft Tatooine Reveal, respectively.
 
-***-
 
Ignoring the parts used in the Film Version [Familiar Intro (Take 19), Low Register Strings on the Third Sentence (Take 20), Strong Tatooine Reveal (Take 18)], there are, in essence, two significant alternates to be culled from these sessions:
 
Original: Brass Buildup Intro (Takes 16, 17, and 18 Available), High Register Strings on the Third Sentence (Takes 16 and 17 Available), Strong Tatooine Reveal (Takes 16 and 17 Available)
Alternate: Weak Intro (Take 20), Low Register Strings on the Third Sentence (Takes 18 and 19 Available), Soft Tatooine Reveal (Takes 19 and 20 Available)
 
My goal is to create a "Main Title (Original)" track, and a "Main Title (Alternate)" track, each following its own structure which I detailed above, using the best remaining parts of the Main Title recording sessions that aren't used in the Film Version.
 
-***-
 
 
Before we begin, I'd like to share my most recent recreation of Main Title (Film Version), mainly to reference the two alternates against.  This uses Take 19 from 0:00-0:08, Take 18 from 0:08-0:41, Take 20 from 0:41-1:31, Take 18 from 1:31-1:43, and Take 20 from 1:43-end.
 
-***-
 
Moving on to my edits for the alternates, let's start with Main Title (Alternate), since that was by far the easier track to accomplish.

The Anthology used the entirety of Take 20 for this track (and the entirety of Take 19 for the main version), but since the vast majority of 0:41-end of Take 20 was used in the Film Version of the cue, I couldn't do that for this edit.
 
Instead, only 0:00-0:41 of this track is from Take 20, while 0:41-end is from Take 19, which, aside from the intro used in the Film Version, is pretty much identical to Take 20 in terms of content; particularly with the Soft Tatooine Reveal.  Admittedly, I toyed with the idea of cutting back to Take 20 for that part, since it wasn't used in the Film Version, but comparing the two takes, I actually think Take 19 was already the better performance of the Soft Tatooine Reveal, so I just left the edit there and called it a day.
 
Reverted the edit from v3 back to v2.  The v3 edit incorporated a small section from Take 18 to clean up a slightly sloppy performance at 1:52-1:56 of Take 19, but I realized recently that if Mike Matessino were doing these edits, he would probably treat this particular track as an homage to the Anthology release, and so Take 19 would play straight through to the end.
 
-***-
 
 
As for Main Title (Original), this one was a bit more complex.  The only possible candidates for this track were Takes 16, 17, and 18.  All three of these takes have some noticable performance flub or another in some places, 16 and 17 sometimes have technical issues, and the parts of 18 that don't have flubs or podium changes...  were used in the Film Version.  It took... a bit of work to sort this out.
 
0:00-0:08 was from Take 18.  Take 16 doesn't hold on the buildup note long enough to be distinctive, and Take 17 might have a small blip during that section.  But even putting those issues aside...  Take 18's intro is just absolutely beautiful.  It's almost a shame it wasn't used in the film version!  (Almost...)
 
0:08-1:10 was from Take 17.  Take 16 has a rough early mix, with the woodwind flourishes given more prominence than the other instruments.  The equivalent section from Take 18 is either already used in the Film Version, or doesn't feature the High Register Strings on the Third Sentence.  Not only that...  but just listen to Take 17's trumpets at 1:05!  Wonderful!
 
For v3, I replaced 0:27-0:41 with Take 16, with it's overbearing woodwinds solved by "remixing" the track by isolating the center from the sides.  Take 17 in general has wonderful brass, but is a little lacking in the string section compared to Take 16, and for the string-heavy Second Sentence this is especially noticeable.  That, plus the slight sloppiness of the snares in Take 17 just before 0:41 made Take 16 the clear winner for this section.
 
1:10-1:31 was from Take 16.  Take 17 has an accidental stage noise, and Take 18 had a small performance flub close to the 1:31 transition.  Plus, I liked how the Take 16 trombones at 1:10 nicely follow up the Take 17 trumpets at 1:05.
 
1:31-1:47 was from Take 17.  Of the three takes, this one had unquestionably the best my favorite performance of the Strong Tatooine Reveal.  (To say nothing about the fact that Take 18 was already used in the Film Version)  Take 16 mixes the Timpani a little too high, and there's a performance flub shortly before the Star Destroyer reveal as well.

1:47-end was from Take 16.  The brass section was tripping over themselves in Take 18.  Take 17 really slows down the performance here; I'd guess the intent was to highlight how big the Star Destroyer was, but it throws off the sync way too much.  Splicing Take 16 into this spot really helped bring the whole thing closer to the timing of the later takes.  (About as close as you can get with these early takes, anyway...)
 
For v3, I added in a small section of Take 17 from 1:53-1:56, to shorten the final brass chords so that they more closely match the Film Version's Take 20.
 
-***-
 
Another addendum: While I was doing this writeup, I started rethinking one of the bits from Take 17 that I left off of what I had for Main Title (Original).  The slower performance of 1:47-1:54 of Take 17 is definitely a deliberate creative choice and not a performance flub, and it's a creative choice that's exclusive to this take and no others...  But at the same time you could also argue it probably isn't what was originally intended, since the intention was—obviously—to synch up with the footage, and the equivalent portion of Take 16 is closer to that ideal, albeit not exactly fulfilling it.
 
Then again, I wrote off everything I didn't use as being either redundant, or "flawed listening material", and both takes are well performed in this spot.  You could definitely make a solid argument for this portion of Take 16 being more redundant than the same portion of Take 17 being flawed listening material.
 
To cover all of my bases, I decided to make a separate alternate edit of Main Title (Original) that uses Take 17 from 1:31-1:54 and Take 16 from 1:54-end:
 
As of v3, I'm mothballing the alternate slower performance edit of the Original; instead I've added all of my older edits to this playlist.  At this point, I've decided the most important thing is maintaining consistent timing with the Film Version as much as possible.
 
-***-
 
Between the Film Version, and the Alternate and Original edits I present here, all three major compositional variations of the Main Title are accounted for, with no overlap between tracks, and all five takes from the recording sessions get featured in a substantial capacity as well.
 
Any bits that have been left out are either redundant at best, or flawed listening material at worst.

I thought I’d share some thoughts on this score.
 
I originally listened to the title track ‘The Fabelmans’ a couple of times before seeing the film. I adore this piece. It’s one of those Williams tunes that you feel like you’ve known for many years despite haven’t just listened to it for the first time. It is very gentle but hints towards a deeper sadness.
 
I have to say I was most disappointed when seeing the film and hearing it only appear once in the score to the film (aside from the end credits). And when it plays it is mostly hidden under dialogue. I knew the film would be sparse on score, but I thought this melody would be the main theme of the film and would reprise at several key moments throughout. It captures the essence of Sammy’s story so beautifully.
 
What I was able to enjoy in the film was the second theme heard in ‘Mitzi’s Dance’. It’s not as hummable as the first one, but when I heard it in the dance scene I was mesmerised. As John William’s describes it, it is music to put you in a trance like state.
 
Despite my disappointment with the use of the title theme in the film, I was thrilled with the OST album. It is short but well balanced between the two main themes, with the classical pieces interspersed. It makes for a terrific listening experience. I must say, every time I listen to it I get quite emotional, with the music speaking to the emotion of a broken family and a potential farewell to the Spielberg/Williams collaboration. It feels like a goodbye in musical form.
 
And then I remember how lucky we are to be getting an entirely new Indiana Jones score soon. I feel like I’m in John Williams heaven right now! And to think we may also be getting a whole new Williams-Mutter collaboration album. I can’t wait to see which tracks have been picked for the next one. The previous album was such a terrific way for Williams to revisit works from across his career, and we got some stunning new arrangements. And we’ve been so well treated these past years with the three Star Wars sequel scores, thinking those could be his final blockbuster scores. Then when that door was seemingly closed, we were surprised with his brilliant new Obi Wan theme. I’m amazed by how he’s still able to produce such wonderful themes to add to his already plentiful musical legacy.

https://www.hollywoodreporter.com/movies/movie-reviews/indiana-jones-and-the-dial-of-destiny-review-harrison-ford-james-mangold-1235495914/
 
‘This is a big, bombastic movie that goes through the motions but never finds much joy in the process, despite John Williams’ hard-working score continuously pushing our nostalgia buttons and trying to convince us we’re on a wild ride.’
 
Judging by the handful of reviews so far, the film isn’t that much of an improvement -if at all- over KOTCS. 
 
 

No way!  War Horse and Lincoln were both after Tintin and they are fantastic scores!

Wow, I can’t believe this.

1. I think the vibe seemed to me to be maybe Tintin-ish and maybe even Star Wars prequel-y, in the sense it is a very busy scoring style I think. The music often lurches and pirouettes to reflect the action on screen. The raiders march does sound good. It is played at length a couple of times in the film proper.
 
2. Maybe a mix depending upon the set piece. THe rickshaw set piece that you've seen in the trailers should have sounded more fun but sounds a bit serious like. I could definitely hear some Tintin in there I thought.
 
3. There is one of those famous map transition scenes where the music plays without almost any FX.
 
4. Hmm. It's a Williams score. So of course I like it. I want to listen to it on album. Frankly I am more interested to hear all the villain stuff again than Helena's stuff. I think the villain themes are good. 

Okay quick thoughts since I know you guys are waiting
 
End credits order is Indy fanfare for the main credits (that appear one at a time) Maybe 2-2.5 mins Helena's theme begins when the scrolling portion starts. Full suite played. Following that - seemed to be like another suite, going through as many as 4-5 themes. Most of these are sinisite / villain or macguffin themes. I think there are 2-3 villain themes and 2-3 macguffin themes. This is where the credits end, the Indy fanfare is not reprised after the villain suite. (This could be a film cue too). Some other thoughts 
 
Honest to god, score is mixed well. None of should be able to complain. I could hear it throughout, but was I paying attention to it all the time? That's a different question. Guys, I am at Cannes and let me tell you this is a very tough place to watch movies. You are always exhausted and can't always focus.  Helena's theme in the score proper is frankly okay. It kinda even sounds different than the suite. There are several villainous themes as I noted above, they are good. I couldn't detect a direct Dial theme - it has some motifs for sure but I dunno if I might call it a direct theme. But then again, my mind is half shot at this point. I think there are some straight lifts from Tintin. I think the Tintin End Credits piece is ripped off for one of the set pieces. Almost note for note. B part of Indy's theme is also used.  
If you have any questions, I can try to answer. But I'm in screenings all day long and don't really have much of a chance to check my phone.
 
Edit: orchestration and conducting is credited to Williams and Ross.

I'm seeing this in an hour! I'll report back on the score!

This is a hilarious roast of the movie, but feels like a good sign for the score.

https://www.hollywoodreporter.com/movies/movie-reviews/indiana-jones-and-the-dial-of-destiny-review-harrison-ford-james-mangold-1235495914/
 
‘This is a big, bombastic movie that goes through the motions but never finds much joy in the process, despite John Williams’ hard-working score continuously pushing our nostalgia buttons and trying to convince us we’re on a wild ride.’
 
Judging by the handful of reviews so far, the film isn’t that much of an improvement -if at all- over KOTCS. 
 
 

Does this sound like a new recording to anyone?
 

https://twitter.com/variety/status/1659253569806114837?s=46&t=zM1vPrxUmgaDMc2MbV6lig
 

Does this sound like a new recording to anyone?
 

https://twitter.com/variety/status/1659253569806114837?s=46&t=zM1vPrxUmgaDMc2MbV6lig
 

I was thinking about how a map cue variation of Helena's theme might sound in the upcoming movie, and I had a cool idea. In this clip, I play my idea on the piano. I tried to compose in the style of John Williams. Perhaps you guys will enjoy this.
 
Also, if you like this, you may also like Voller's theme, which I am still working on! It will be fully orchestrated on Musescore, and reflect what we've heard from the leaked clip.
 
From Morocco to Sicily (1).mp4