Miz

I cued this up into 20 tracks, kept the Nelwyns at the start (the village features plenty at that stage of the film even if that music does not, it's already at the end so no need to move these), and split Bavmorda's Spell Is Cast into the first 8 and last 9 minutes ('Castle Assault'), and split Willow The Sorcerer into a 3 and 6 minute tracks (Homecoming & Credits). Willow's Theme is a concert piece at the end. Twenty is a nice round number too.
 
I'm sure you're all thrilled to know.

I cued this up into 20 tracks, kept the Nelwyns at the start (the village features plenty at that stage of the film even if that music does not, it's already at the end so no need to move these), and split Bavmorda's Spell Is Cast into the first 8 and last 9 minutes ('Castle Assault'), and split Willow The Sorcerer into a 3 and 6 minute tracks (Homecoming & Credits). Willow's Theme is a concert piece at the end. Twenty is a nice round number too.
 
I'm sure you're all thrilled to know.

I cued this up into 20 tracks, kept the Nelwyns at the start (the village features plenty at that stage of the film even if that music does not, it's already at the end so no need to move these), and split Bavmorda's Spell Is Cast into the first 8 and last 9 minutes ('Castle Assault'), and split Willow The Sorcerer into a 3 and 6 minute tracks (Homecoming & Credits). Willow's Theme is a concert piece at the end. Twenty is a nice round number too.
 
I'm sure you're all thrilled to know.

I cued this up into 20 tracks, kept the Nelwyns at the start (the village features plenty at that stage of the film even if that music does not, it's already at the end so no need to move these), and split Bavmorda's Spell Is Cast into the first 8 and last 9 minutes ('Castle Assault'), and split Willow The Sorcerer into a 3 and 6 minute tracks (Homecoming & Credits). Willow's Theme is a concert piece at the end. Twenty is a nice round number too.
 
I'm sure you're all thrilled to know.

I think the tension throughout this episode matched the style of this score well. However, I think that's entirely accidental because we've heard this wallpaper style through every sort of scene in the whole series so far.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

How tedious.

Can anyone line me up with the best and most listenable tracks from each of these three scores?
 
I listened to Homecoming once, and found it too bouncy and too popcorn to really hold my attention. I've only seen the film once. Same for Far From Home.
 
I used to be a massive Giacchino fan once, and many of his scores are still excellent in my eyes, but I've seen through the veil a little bit as I think he has reached his 'ceiling' in terms of complexity and creativity of writing... he keeps scoring things the same way over and again, and his best theme writing is behind him. Of course it's also about attachment to certain films, and his more recent do not grab me like they did a decade ago in my twenties.

Pop-quiz, Dragons fans and leitmotif pedants!
 
Are there more themes in the HTTYD trilogy than there in the original Star Wars trilogy?

This album will stick in the craw because I came so close but so far from seeing Williams conduct in London that February.
I understand why hearing other recordings and orchestras is interesting for appreciation of beloved pieces, but the differences cut both ways.
I'm not concerned about flub notes etc., but I see why some musicians want to turn their ear to that.
 
In short, here are my heretical opinions:
 
Devil's Dance - not as good as anything else from Mutter's recent album, I don't really buy the noodling.
Dartmoor, 1912 - when Williams-does-Vaughn-Williams, a change of pace doesn't stand out too much, and this is a nice rendition for that reason
Suite from Jaws - what fun to hear some of his oldest themes turned about playfully, and refreshing to not hear the shark's music at all!
Marion's Theme - is this a new piece? It's new to me, and I'm glad to finally have this slice of sheer iconic romanticism standing alone, even if the theme offers little in the way of B-theme facets.
Main Title from Star Wars - always a challenge, right? We've heard so many subtly different but all powerful and coherent performances over the years, but the force isn't quite with this one, I think.
The Rebellion is Reborn - totally agree that this loses a lot of power by slowing the tempo, but I do like hearing the instrumentation spaced out a little.
Luke & Leia - possibly my favourite concert piece by Williams, so I was sad to here it truncated in the bridges, as I find it perfect in its construction.
Imperial March - the presenter on Classic FM (UK radio) related that the brass section of the Vienna orchestra asked for this to be added to the programme, and when performed John said it was the best performance of it he can remember. It holds together well and has a good deal of punch!
Raiders March - Indy's going to have trouble galloping his horse to this one. Is it supposed to be a slower tempo than every other rendition I've heard?

How To Train Your Dragon 3 and Solo are on par with, if not the best-ever Williams' scores, then the peak 'Williams sound'.
 
And the first HTTYD is great on its own, but the scores just get better and better, and they're surely the best trilogy of scores since the original Star Wars trilogy (and maybe Lord of the Rings, depending on your taste).