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It could be a suite of early theme demos or song recordings from the musical version; those materials will never see the light of day outside another Hook expansion. And seeing as there's already been a (flawed) prior expansion, covering the project's long-gestating development would make any subsequent release truly definitive. Besides, the film score itself is mostly covered between the first expansion and the session leak (bar a few inserts).

TFA is dreadfully mixed and The Speeder Chase is probably the worst mixed track in TROS. Not sure why they didn't just retain the superb recording/mixing style from Last Jedi, which made the orchestra sound so rich and expansive.

jurassicjello · At Home With Gustavo Dudamel And John Williams

Surely any such release would be the jewel in the crown of Disney Records releases? They would make a fortune! Just look at the luxurious treatments they've afforded lazy vinyl reissues of the OSTs. It's well overdue the complete scores got the same treatment.

Nah, there was an interview with Tim Burden and Matt/MV (28:40) about a bunch of incredible stuff they weren't able to release in 2012 but hoped would eventually see the light of day. They definitely weren't referring to just the bootleg of the "missing" tapes; seemed like something far more involved. I transcribed that interview recently in another thread:

I can't imagine Mike feels that way, seeing as he wasn't involved in the last release. And LLL can't have been thrilled that so much material wasn't able to be released for convoluted legal reasons. The previous expansion is far from comprehensive.

Hah, there's more music for TROS than the first two scores combined. And TFA is only 14 minutes longer than ROTJ, despite the surplus of alternates/revisions and JW spending nearly a year writing it. Puts things in perspective.

He might be interested if the subject matter intrigues him and he has nothing else on his plate. All these months in isolation must be boring him to tears.

The simple fact that Williams said 227 minutes were recorded and only 123 minutes of music is used in the film, of which 10+ minutes is tracked from previous scores, more from TROS itself, plus source music JW had nothing to do with. So we've only heard the ~110 minutes of original music in the film, plus anything on the OST that went unused (like the concert suite and alternates).

Depends how you define unreleased music. If you only mean unreleased music used in the film itself, it's a very different answer to unreleased music that was recorded (as there's a substantial amount recorded and unused, over 100 minutes for TROS). Then there's music on the OST not used in the film. I think the film itself has about ten minutes unscored, ten minutes tracked from previous scores, and lots of repetition of TROS cues tracked multiple times (Falcon Flight). And lots of cues are only used in short fragments (when their complete form was minutes longer).

Not a new Art of the Score episode but a Scoring Notes podcast featuring Nicholas Buc. Should be a great listen for anyone interested in music preparation and conducting. Buc has conducted most of the Williams LTP concerts.

How were those cues handled in the LTP? Did they perform these cues live and, if so, did they have live percussion? Would be a strange addition, considering the SFX guys were responsible.

I believe that second version at the end is just slowed down artificially, something the SFX guys did.

Assume that's because of the smoking?

I'd say that was just part of their archive process. The complete film scores were probably assembled from the various takes first, then the Demasters were assembled from that.