Delorean90

Quartet Announces:
 

 

 
ORIGINAL SOUNDTRACKS
 
HEIDI / JANE EYRE (2-CD)
 
Revised, Remastered and Slightly Expanded Scores
Music Composed and Conducted by John Williams
Produced, Restored and Mastered by Mike Matessino
Liner notes by John Takis
Limited edition of 2500 units
 
Release date: 12/12/2023
 
Quartet Records, in collaboration with Capitol Records and Universal Music Entertainment, present a 2-CD set with a revised, remastered, slightly expanded edition of scores for two landmark made-for-television films composed by John Williams (STAR WARS, E.T., JURASSIC PARK, HOOK) between 1968 and 1970.
 
Both of these adaptations of classic stories were presented by Omnibus Productions and directed by Delbert Mann, and both also earned Emmy® Awards for John Williams’ original music. Through these scores, the composer shaped the destinies of two classic literary characters as well as his own.
Every effort was made to locate surviving audio elements for both HEIDI and JANE EYRE. The discovery of the original ½″ four-track masters from HEIDI containing all of the cues selected for the 1968 narrated story album facilitated an attentive new mix of the music and a presentation in narrative order. The narration record was newly transferred by Universal Music Group and is presented after the musical score.
 
For JANE EYRE, a new high-resolution transfer of the 1971 ¼″ stereo album master was provided by Universal Music Group, with audio then fully restored. This is followed by four tracks of additional material, including a short segment of source music that is heard in the film but was not on the album. The other three tracks are alternate performances of three selections recorded for the album, “To Thornfield,” “Restoration” and the “Love Theme.” This material was sourced from two ½″ 3-track tapes that were discovered at Twentieth Century Fox in early 2019. While no additional score cues could be located, the recovery of any new material from this enduring and highly regarded John Williams work is most welcome.
 
The entire collection has been painstakingly remixed, restored, assembled and mastered by Mike Matessino, preserving all the freshness of the original recording. The package includes a 28-page full-color booklet with in-depth liner notes by film music writer John Takis and classy art direction by Jim Titus.
 
Tracklist Disc 1. HEIDI
Original Motion Picture Score
1. Overture (Theme From ‘Heidi’) 2:21
2. Arrival In Dörfli 3:12
3. To The Alm 2:00
4. Goat’s Milk 1:36
5. At The Church :57
6. Meditation Rock 2:20
7. Dinner Table :47
8. Stealing Rolls 1:10
9. The Bedroom 1:55
10. Library Talk 1:24
11. Return To Dörfli 2:56
12. Montage 1:34
13. Waiting With Grandfather 1:35
14. Separation 3:28
15. The Farewell 3:52
16. Klara Walks 3:51
 
Total Score Presentation: 35:27
 
1968 Original Soundtrack With Dialogue and Narration
 
17. Main Title And Overture 2:21 (John Williams and Orchestra)
18. The Old Man And The Child 2:49 (Sir Michael Redgrave, Jennifer Edwards)
19. A Place Of My Own 3:35 (Sir Michael Redgrave, Jennifer Edwards)
20. The Alm 3:39 (Jennifer Edwards)
21. The Sleeping Child 2:22 (Sir Michael Redgrave)
22. Meditation 2:25 (Sir Michael Redgrave, Jennifer Edwards)
23. A Place Of My Own (Heidi’s Theme) 2:41 (Carri Chase, Vocal)
24. Shadows 3:51 (Sir Michael Redgrave)
25. Reflections 4:16 (Jennifer Edwards)
26. A New Dimension 1:56 (Sir Michael Redgrave, Jennifer Edwards)
27. The Nature Of Things 2:25 (Sir Michael Redgrave)
28. Love Theme From ‘Heidi’ 2:54 (John Williams and Orchestra)
29. The Miracle 2:55 (Sir Michael Redgrave)
30. Finale And End Title 1:05 (Sir Michael Redgrave)
 
Total Soundtrack Album: 39:20
 
Disc 2. JANE EYRE
 
Original Soundtrack Album
1. The Love Theme From ‘Jane Eyre’ 3:17
2. Overture (Main Title) 3:57
3. Lowood 2:28
4. To Thornfield 1:53
5. Festivity At Thornfield 2:11
6. Grace Poole And Mason’s Arrival 3:03
7. Meeting 3:09
8. Thwarted Wedding 2:40
9. Across The Moors 2:39
10. Restoration 3:58
11. Reunion (End Title) 4:25
 
Total Soundtrack Album: 34:06
 
Additional Music
 
12. More Festivity :44
13. To Thornfield (Alternate) 1:54
14. Restoration (Alternate) 3:56
15. The Love Theme From ‘Jane Eyre’ (Alternate) 3:19
Total Additional Music: 10:02
https://quartetrecords.com/product/heidi-jane-eyre-2-cd/
 
 

Boy, I can be wordy sometimes.  Mike has shared the same sentiment far more elegantly on Facebook
 
This pretty much stands as the last collaboration between John Williams and Leslie Bricusse, who both contributed to crafting the program as a listening experience rather than letting it just be a pile of bonus tracks. (Yes, it's been basically finished that long.) There was a totally unexpected cumulative impact when it all came together for everyone who worked on it, and listeners deserve that same opportunity, which can only come once

Uh oh, maybe we failed at press release writing if that wasn't obvious.
 
Yes, this is not just a new main program followed by a long bonus track collection.
 
This is two albums in one. First a new 2-disc album of the complete score that includes the film's three finished songs.
 
Then Disc 3 is a carefully curated and arranged album that takes you through the story in a whole new way. Every track is carefully placed to not only create a strong narrative, but to showcase the musical that almost was in the best way possible.
 
Mike, John (Takis), Deniz and I all really hope people will listen to the main program of Disc 3 as it is when their set arrives, as opposed to cherry picking tracks and jumping around to start. You'll have the rest of your life to listen to all this music in any manner you like, but only one chance to introduce yourself to the songs the way they are presented here, which was in full consultation with Williams and Bricusse.
 
It's amazing how the songs strengthen the score and the score strengthens the songs. It's like a continually rewarding experience for a long while after you get it. I've never experienced anything quite like it in all my years of film music collecting. I hope everyone finds it as rewarding as I do.
 
Oh, and the extra space at the end of discs 2 and 3 was a great place to be able make the overall release complete, while still maintaining the integrity of the two new albums within it. Everything worked out beautifully!

It's real. It exists.
 


 
Pictures courtesy Mike Matessino, who shares them with this message
 
Once again it didn't feel real until I actually saw and held it as a three dimensional object. So much work went into this with so many people involved. It's taken years but here it is!

I can't emphasize strongly enough that listeners should enjoy the crafted album experience of Disc 3 as we've presented it. I'm so thrilled this can finally be shared.

I’m surprised no one’s commented on the sample of the short version of Farewell Neverland. It sounds just like the familiar ending until abruptly heading off in a different direction (sounding rather like the Never-feast insert) at the very end of the clip. What a tease!

We included Prologue in the samples provided on La-La Land's website, so that everyone would know that it plays at the correct speed 
 
https://lalalandrecords.com/hook-the-ultimate-edition-expanded-remastered-limited-edition-3-cd-set/
 
We also made sure all 12 major themes (the six that started life as songs and the six that came after) are represented. I think every sample except Banning Back Home and The Lost Boy Chase feature at least one of the score's twelve themes. 
 
Also, you can hear Prologue (Extended Version) in this video. 

All precisely intended

You also did a nice job teasing the new stuff, a sample of one song, one insrumental of a new song, one film vocal but not in full, a newly released film insert but not in full, a newly restired dialed out bit but not in full...

the never feast insert without speed distortion mixed in. Magic.
 
Childhood song, lovely.

And finally...last but not least...
BANGARANG!!!

HOOK – THE ULTIMATE EDITION: EXPANDED & REMASTERED
LIMITED EDITION (3-CD SET)      
LLLCD 1632
Music by John Williams
Limited Edition of 5000 Units
RETAIL PRICE: $39.98
STARTS SHIPPING DEC 1

Available to order now at www.lalalandrecords.com

La-La Land Records, Sony Pictures, Amblin Entertainment and Sony Music present HOOK – THE ULTIMATE EDITION, a remastered and expanded 3-CD soundtrack presentation of legendary composer John Williams’ (STAR WARS, E.T., HARRY POTTER) original motion picture score to the 1991 adventure-fantasy HOOK, directed by Steven Spielberg.

An undisputed masterwork within the treasured John Williams and Steven Spielberg collaboration that has spanned five glorious decades, HOOK is an astounding orchestral odyssey that exemplifies the Maestro’s musical genius—a sonic epic that soars with imaginative joy, wonder and adventure!

This remastered ultimate presentation unleashes Williams’ iconic score as never before, expanded beyond any previous soundtrack release, with never-before-released score, alternate tracks, songs and source music.

Produced, edited and mastered by Mike Matessino, in consultation with the composer, Disc One of this deluxe reissue contains the score presentation, which continues through Disc Two with additional music tracks. Disc 3 offers a sumptuous bounty of songs (highlighting the wonderful songwriting talents of Leslie Bricusse), alternate cues and source music! With stellar art direction by Jim Titus, this limited-edition release of 5000 units features a 48-Page booklet that includes exclusive in-depth liner notes by Matessino and associate producers John Takis and Jason LeBlanc. The track listing is featured on a 12-page second booklet within the package.

TRACK LISTING:

 DISC 1
 SCORE PRESENTATION
 1. Hook Prologue (Extended Version) 1:33
 2. We Don’t Wanna Grow Up (Extended Version) * 2:57
 3. Banning Back Home (Film Version) 3:21
 4. Wendy’s Entrance 2:12
 5. The Bedroom 1:08
 6. The Nursery Scene 1:40
 7. Saying Goodnight :57
 8. Hook Returns To Kensington 2:00
 9. Hook Is Back 2:09
 10. Forgotten How To Fly :56
 11. The Stories Are True 2:24
 12. The Arrival Of Tink 3:33
 13. The Flight To Neverland 2:40
 14. Pirate Town And Presenting The Hook 5:09
 15. Hook’s Entrance 2:42
 16. Draw Your Sword! 2:14
 17. Peter’s Challenge 5:42
 18. From Mermaids To Lost Boys (Film Version) 4:26
 19. Enter Rufio 1:19
 20. The Lost Boy Chase 3:35
 21. The Face Of Pan 2:42
 22. Hook’s Epiphany 2:16
 23. Smee’s Plan 1:46
 24. Pick ’Em Up * 2:56
 25. Hook’s Lesson 3:08
 26. The Banquet 3:14
 27. The Never-Feast (Film Version) 4:41
 28. When You’re Alone * 3:17
 29. Goodnight Neverland 1:45
 Total Time Disc One: 78:54

 DISC 2
 SCORE PRESENTATION (Continued)
 1. Stop That Clock! 4:05
 2. Home Run And Follow That Shadow 5:24
 3. Peter Remembers (The Flying Sequence) 8:23
 4. You Are The Pan (Film Version) 1:26
 5. Tink Grows Up 2:21
 6. The Ultimate War (Film Version) 8:02
 7. Death Of Rufio 4:23
 8. The Sword Fight And The End Of Hook 7:07
 9. Farewell Neverland 10:18
 10. Hook End Credits And Exit Music 5:52
 Total Score Time: 2:16:23

 ADDITIONAL MUSIC
 11. Hook Prologue 1:25
 12. Banning Back Home (Extended Version) 4:24
 13. From Mermaids To Lost Boys 4:26
 14. The Face Of Pan (Choral Version) 2:43
 15. The Ultimate War 7:54
 Total Additional Music: 21:00
 Total Time Disc Two: 78:32

 DISC 3
 SONGS, ALTERNATES AND SOURCE MUSIC
 1. We Don’t Wanna Grow Up * 1:52
 2. God Rest Ye Merry, Gentlemen 1:10
 3. Childhood * 3:54
 4. When You’re Alone – Moira’s Lullaby * :46
 5. The Stories Are True (Alternate) 2:24
 6. The Arrival Of Tink (Alternate) 3:35
 7. The Flight To Neverland (Alternate) 2:33
 8. Low Below – Pirate Sequence * 4:58
 9. Hook’s Entrance (Alternate) 2:42
 10. The Lost Boy Chase (Alternate) 3:34
 11. The Never Song * 2:04
 12. The Never-Band 1:20
 13. The Never-Feast 4:42
 14. When You’re Alone (Instrumental) 3:19
 15. Mothers * 2:26
 16. Stick With Me * 2:00
 17. Take Me Out To The Ball Game 2:18
 18. Remembering Childhood 11:06
 19. Believe * 3:01
 20. Farewell Neverland (Short Version / Alternate) 6:54
 21. Hook Exit Music (Alternate) 1:48

 BONUS TRACKS
 22. Pirate Sequence (Instrumental) 3:59
 23. Smee’s Concertina Medley 4:50
 24. Presenting The Hook (Vocal Version Segment) * 1:38
 Total Time Disc Three: 79:17
 Three-Disc Total Time: 3:56:43

 * Lyrics by Leslie Bricusse

This is a CD format release
 
https://www.facebook.com/lalalandrecords/posts/pfbid0v345Qm15U7zFVDxCpCQ1Xv3cJRByUzeWBTASjKsLmzW59uKwsNhhYCCuoN8ujV53l
 
 
 
https://lalalandrecords.com/hook-the-ultimate-edition-expanded-remastered-limited-edition-3-cd-set/

The Digital Bits is the Internet's leading source for DVD, Blu-ray Disc, and 4K Ultra HD industry news, reviews, analysis, and expertise!

SCORE ONLY VERSION!!!
https://thedigitalbits.com/columns/my-two-cents/101023-0700

My view is, that probably neither just curated rearranged OST nor a C&C score is the golden way.
If we look for a prominent example, the complete score album of The Empire Strikes back. That is neither just the OST with its selected edited tracks nor the actual soundtrack of the movie. It contains in certain places alternates that have been replaced in the movie and particularly unedited cues where they have been edited in the movie or even cues that have been cut out in the movie completely.
So, what seems to appear as a C&C presentation of the score is rather a dedicated well curated presentation of the score as something, that is actually made for a stand alone listening experience. 

Any time stamps referenced in this post are taken from the attached file, which is an excerpt from last year's Tanglewood on Parade radio broadcast. 
 
I can't get enough of this piece. I have the feeling that it may have been dismissed after one listen or even not noticed by some but I'd urge everyone to give it a listen (although if you didn't like The BFG then maybe this won't be your thing). This was definitely a grower; on first listen I wasn't a huge fan but I just had a feeling that I'd grow to like it so I gave it more chances. 
 
I'd thought I'd talk about some cool moments. My most favorite parts are in bold:
 
----------
 
At :13 we hear a melody that will return in the climax. (It returns sooner at :35, however.)
 
The little figure at :40 foreshadows the climax. 
 
At :57 those little brass "echoes" are cool. 
 
At 1:55 we reach a section that is very similar to part of the climax but has less "punch."
 
The chord at 2:48 that ends the build up is cool, and then the the marvelous climax of the piece begins.
 
At 3:13 the terrific youthful and playful melody we first heard earlier (1:55) returns, with an awesome percussion bit to launch it off (which almost sounds as if JW is signifying that now the fun really begins). Nearly everything from here to the end is pure Williams gold. You have to marvel at his orchestrational prowess. 
 
At 3:28 we hear some "controlled chaos" from Williams. Superficially it seems to be almost total chaos but Williams is doing some really cool things and the overall effect is almost as if you are floating amid the various sounds of the orchestra that surround you. Really cool.
 
Specifically, a woodwind instrument (I'm not musically knowledgable enough to identify it specifically) playing, at around 3:34, the melody first heard at :13. The brass and woodwinds go wild as the strings continue playing beneath them. We hear that melody from :13 a couple more times in the midst of this. The most prominent line is that of the brass instruments playing some version of a melody heard first at 3:37. This melody has a feeling of resolution and epic-ness to it. 
 
The brass bit at 3:59 is super fun. 
 
Then after some more classic JW false endings, the piece ends. 
 
Just_Down_West_Street_..._On_the_Left.wav

While I'm not a big fan of this movie, I do love the score. When talking about the next potential iso score project, @Jay slightly nudged me towards it, saying it has a lot of edits and dialed out music so it's be worth doing. Well, a big thanks to him because I ended up having a ton of fun doing this!
 
I took the longest, Extended cut as the base, but for most cues it really wasn't as simple as that. For some it was fine, for some I had to use the Theatrical, for some the cue was even longer than the Extended cut, for some it was even shorter than the Theatrical cut, for many it was between the two. In some cases what I had to do was obvious, in some cases I decided to just go completely freehanded and cut the footage to the music however I felt like.
 
 
 

New 1m1 Opening Introduction
New 1m1 Pt.2 Main Title (Part 2) - The bulk of this one is replaced with End Title in all cuts, but it still fits.
New 1m1A Krypton - A new opening for 1m2 recorded in a lower key to match the revised Main Title.
1m2 Kryptonopolis - The cue is definitely longer than the footage, so I had to stretch it or leave it blank in places.
1m3R The Dome Opens (Revised) - The film dials out the very ending, I had to stretch it here and there a bit.
 
 

2m1 The Council's Decision - For the first half, I had to use the Theatrical cut, the second half is too short even in the Extended. A lot of the cue (The parents' discussion, and everything from the fanfare cutaway before the closing of the pod onwards except for the very last note overlapped with the first of the next cue) is dialed out in the Theatrical.
New 2m2 The Krypton Quake - This is a mess: the Theatrical has too little footage for the scene and drops most of the cue except for the very opening and the explosion's final buildup (but the ending with the explosion itself is still removed), the Extended has far too much footage and loops the cue a lot. I decided to just edit it however I felt like, the 3 certain points were the opening, the Fanfare over the pod leaving Krypton, and the ending, otherwise I tried to put shots of Kal-El's parents over main theme and Personal theme statements, bigger wide shots over sudden changes, etc.
3m2 Baby's Trip to Earth - The Extended's added footage doesn't fit particularly great under the cue and the timing's still off so I had to cut that short and extend the footage later.
 
 

New 3m2 Baby Makes an Entrance
 
 

3m5 Baby Lifts Lorry
 
 

4m2 Racing the Train - The base Theatrical footage is too short, the Extended adds the wrong footage for the wrong section so I had to loop shots instead.
 
 

4m4/5m1 Jonathan's Death - I love the sweeping americana Smallville theme and the Cowboys theme cameo in this one.
 
 

Orig. 5m3 Kryptonite Calls - Used the Theatrical cut here...
New 4m4/5m1 The Fortress of Solitude - And for this cue too.
New 5m2 Father's Instruction - And also for this, but I had to insert a bit from the Extended.
New 5m3, A/B Father's Instruction Part 2
 
 
 

Orig. 7m1 More Mugger - A very fun way to score the scene and emphasise the comedy of Superman posing as Clark - note the pizzicato for the thug's finger calling! The film dials out most of the exchange with the mugger and all but the first Superman theme (for the bullet reveal).
 
 

New 6m2/7m1 Introducing Otis - This was a pain, though the second half fits with the Theatrical cut, none of the cuts fit the first half so I had to hack something up again. The Theatrical dials out everything from entering the station to entering the lair.
 
 
 

New 7m1/8m1 Helicopter Sequence - A real tragedy that 3 cuts later we still don't have the footage JW scored for the first major action setpiece in the score so I had to cut up the footage in all kinds of ways to make the very satisfying sync points fit. For shorter gaps I could slow down shots but for the longer ones there was just nothing to do. I followed the Theatrical for the very last shot of Supes flying.
New 8m2 The Burglar Sequence - Used the theatrical edit here with one shot slowed down.
Orig. 9m2 Chasing Crooks - Even the Extended is too short here, so I had to extend it here and there.
 
 

New 8m4 The Cat Rescue - The Extended adds too much, had to use the Theatrical for this one.
 
 
 

New 8m5 Air Force One - Again, I used the theatrical, but the only difference is the last shot, cutting away to the TVs instead of the Fortress.
 
 

Orig. 10m2 The Penthouse
 
 

Orig. 10m3 I Like Pink
Orig. 10m4/11m1 I Can Fly - The flying around the Statue of Liberty was cut shorter, so I had to loop a shot and extend the transition to the next cue.
Orig. 11m2 To the Moon
Orig. 11m3 Flying Part III - I had to cut the shot of them arriving a tiny bit shorter.
 
 

Orig. 11m4 Clark Loses His Nerve
 
 

New 11m1 The Truck Convoy - Had to use the Theatrical again, the Extended adds a lot to this part.
 
 

New 11m1A The Truck Convoy Pt.2
New 11m2 Miss T. Helps - Theatrical again for both (which doesn't actually use the first March part in 11m1A), and I had to overlap the cues a bit.
 
 

New 12m1 To the Lair - Had to lengthen a couple shots but otherwise fits. The Theatrical dials out the part where he turns into a drill.
 
 

New 12m2X Trajectory Malfunction - I used the Theatrical but had to shorten it just a bit. The film dials out the ending under the rocket noises.
 
 

New 12m3 Luthor's Lethal Weapon
 
 

New 13m1 Miss T.'s Rescue - I had to extend the Extended just very slightly.
New 13m2 Chasing Rockets - The Theatrical doesn't have enough flying around, the Extended has too much of it and way too much of Lois driving and sitting at the fuel station. The Theatrical dials out everything after the cut from "15 seconds and counting" to Lois' car.
New 13m3 The Golden Gate Bridge - Works perfectly with the Theatrical, surprisingly, since it dials out everything before Superman arrives to save the bus.
New 13m4 The Rescue of Jimmy - The key to this cue and the next was moving the part where the earthquake catches up with Lois' car later. I also had to grab some shots from the Extended for the end, otherwise it mostly fits with the Theatrical (which dials out everything until Superman flies in to rescue Jimmy, and some after he leaves him).
New 14m1 Pushing Boulders - A segment of this cue covers the moved part of Lois' car starting to sink, and from then on it was just a matter of chopping up all the other shots of her sinking and dropping them in after that part (as well as looping some shots to cover gaps). I can see why they moved that part earlier though - this cut makes it seem like Supes causes the boulders and quakes that make the car sink and Lois die!
New 14m2 Flying to Lois - Not sure exactly where the break is between the cues, but everything starting right before Supes notices her fits perfectly.
New 14m3 Turning Back the World - Also fits perfectly with no changes.
 
 

New 14m4/15m1 The Prison Yard - Used the theatrical, there's a gap but the Extended doesn't fill it in.
End Title - Shortened it seriously since in the LLL booklet, the Love Theme's slate (Love Theme) doesn't seem to indicate in any way that it was intended as an End Credits Part 2. The film switches it with the Main Title.
 
 
 

7m1 The Mugger - Starting off with this fascinating one - one of the weakest ways I can remember JW scoring a scene! Only emphasising the tension of the scene, injecting it with none of the cheeky humour it should have, even ending before the bullet reveal etc. where it would've had more chances to do that. rejected very much rightfully IMO.
 
 

1m1 Main Title - This was great fun to hack up for this much shorter take. Shots had to be sped up or slowed down, the Brando and Hackman credits were moved later to the front of the cast roll and reversed to go in the right direction, credits for executives and shit could be thrown out. I especially love the way the final director credit is scored.
 
 

1m3 The Dome Opens - The booklet says this was for a shorter cut where we saw the dome closing, so I tried to replicate that somehow.
 
 

5m4/6m1 The Fortress of Solitude - The booklet says this was for a cut with the Fortress already being there, so I cut everything from the wide vista of its future place until the wide vista of it already being built, found the spot most likely to score that reveal, and filled in the opening with extra shots from the Extended.

Amazing, amazing work! Very glad to see this on the forum. 
I just have one suggestion here - the sketches (and I believe something MM said in an interview? can't locate it) suggest that the ascending runs at 8:58 of this video (which recall similar ones from The Dome Opens), were meant to accompany the shot of the "starship" flying past Zod and co in the phantom zone (a shot which was moved to 10:14 of this same video). Baby's Trip to Earth seems to have been scored in the 'second half' of Williams' colossal time on the project (since it was orchestrated by Arthur Morton, who orchestrated almost all the cues in this second half), so I believe that it was scored with the change, but Kryptonquake may have been scored when that shot was still in there. Would you be willing to try and experiment by putting that shot into the Kryptonquake restoration and seeing where it takes you?
That's a bunch of words but I hope that makes sense.

Not sure if this has ever been posted but I just discovered this stunning flute version of Where Dreams Are Born. It fits right at home near the end of LLL disc 3 so I'll probably integrate this into my playlist.
 
 
It reiterates the genius of Williams' writing, in that you can substitute a vocal line for an instrument and not only does it click immediately but takes on a life of its own, as if it was always intended for flute.

Apparently Tim Greiving has just announced the first English biography on John Williams, to be released in 2025:
 
https://timgreiving.com/john-williams-in-his-adventure-on-earth/

In addition to the passage from To Morocco that I mentioned in another thread yesterday, this passage from To Athens really struck me on first listen:
 
 
Of course in some sense its function is just to transition from the (beautiful) rendition of Helena's theme to the Raiders march. But it really sounds like classic JW -- indeed it reminded me of some of his concert work, e.g. this whole section from the most recent violin concerto (through 8:00 or so):
 
 
He does such a wonderful job building anticipation with these low brass notes over fast-paced strings.

Williams should have added the month as well, then it would be completely in line with The Young Indiana Jones Chronicles.

-the prologue definitely took place in France and not Germany
 
-Mangold should have put the location and year on screen at the beginning like every other Indy film
 
-Williams having a cue or album title state the wrong location in almost every Indy score is charming to me

A very cool alternate CD cover by Tony Stella, fantastic artwork..!;)

The more I listen to Helena's Theme, even after having heard it live in Milano and being startled by the Korngoldian nostalgia, I only now realise that this is actually very melancholic music.