How old are you? Are you from America? All due respect but perhaps if you're a younger person who was geographically removed from it it's hard to understand. I'm pretty far from a flag waving God bless the USA type who will get indignant at the suggestion that it's not a "big deal" but I was blocks away from what was happening in Manhattan, I knew people who died, and you'll have to forgive me if it continues to loom in my life as a "big deal." Fuck's sake.
In alphabetical order by the title on the sheet music, the 4 concert arrangements on the Lincoln OST are:
Hymn (Piano) = OST 17 With Malice Toward None (Piano Solo) 1:32
Hymn (Strings) = OST 6 With Malice Toward None 1:51
Prayer (Orchestra) = OST 13 Elegy 2:35
Prayer (Strings) = it's inside the track OST 8 The Southern Delegation and the Dream from [3:05-end] (1:38)
Two things to note about these. One is that the "Hymm" theme or "With Malice Towards None" theme if you will, was probably not intended to be a recurring theme in the score. The only score cue it actually appears in is the final cue of the movie (7M58 Rev Now He Belongs To The Ages), and its revised ending (7M58 Rev String Ending). In either case, it was only meant to play under the footage of Lincoln reciting his second inaugural address, and that's it. As originally intended by Williams it was a one-off melody to play under this historic speech without any prior setup.
Later the theme played on trumpet became the 6th version of the "Lincoln's Battlefield Visit" cue (7M52v6 Trumpet Version) as well, but as that is the sixth revision of a cue (and Spielberg ultimately played a cue recorded for reel 1 over the battlefield visit scene in the final cut) it's clearly a last minute thing. Spielberg tracking this trumpet rendition into the scene of Lincoln leaving for Ford's Theater instead of the cue Williams wrote for that scene (7M54 To Ford's Theatre) does end up having a nice effect of setting up the melody before you hear it a few moments later under the speech. Man, I love this trumpet version and I so wish Williams had included it on the OST album Anyway, other than the speech footage and that one late cue revision, all of this theme's appearances are in concert arrangements / end credits (the two Hymm tracks above and both 7M60 versions below)
The next note is that the "Prayer" theme doesn't actually appear in any film cues at all. So it does not appear in the film at all, and only appears on the OST in these two concert arrangements listed above. My pure speculation is that Williams demoed it for Spielberg, and Spielberg didn't think it was right for the film, but Williams wanted it on the OST album anyway. Williams must have really liked this theme because there's also a THIRD concert arrangement of it found in the sheets - Prayer (Brass) - but we have no idea if that was recorded or not.
Moving on, there's 3 pieces that I believe were all recorded as end credits contenders; The latter 2 DEFINITELY were, the first is debatable and it very well could been originally been recorded only for the album, but Spielberg happened to stick it in the end credits later - who knows
The People's House
heard in its entirety as OST 1 The People's House 4:34
Appears again, but only bars 9-53, inside OST 16 The Peterson House and Finale from [3:14-5:43]
7M60 Hymn Ver
bars 1-96 appears in OST 12 Freedom's Call from [0:00-4:46]
bars 97-111 have never been released anywhere
7M60 With Malice Toward None Ver.
almost the entire composition appears in OST 16 The Peterson House and Finale from [5:43-9:29], but this is actually only bars 1-68[from [5:43-9:25] and then a quick jump to the final bar (bar 78) from [9:25-9:29]. In other words bars 69-77 are sliced out of this appearance
Luckily, this cue is on the OST in a second place, in OST 4 The American Process from [2:10-end]. This appearance begins in the middle of bar 49 and run through to the end, so you can take from [3:10-end] of this track and edit it into the [9:25] point of track 16 and end up with a complete performance of this concert arrangement
Additionally, it's very clear that they recorded an alternate piano performance to use when opening the cue with bar 49; If you listen carefully you will hear that [2:10-2:24] of track 4 is different than [8:25-8:37] of track 16; The track 16 recording is from the recording of the whole concert arrangement and the piano there comes nicely out of the brass section just before it, while the track 4 version is a more gentle performance of that piano bit, which creates a nice clean opening for the piano section of the cue. I believe this new clean opening was recorded for the film, because the scene about 23 minutes into the film where it plays (the end of Lincoln's talk with Preston Blair and then him getting in his carriage to leave for his task) opens with the new piano opening. I'd speculate Williams either never scored this scene or Spielberg didn't like what Williams wrote, so tracked this cue into it and liked that, but there was no way to get the piano opening clean due it it overlapping the brass section before it in the full recording, so they did a quick pick-up take with a more gentle piano opening for the scene - and then Williams put this pick-up opening on the album in track 4. One final note is that luckily this film edit appears on the FYC in track 3 with a fully clean opening of that new piano intro recording, so if you want to create a track called like "7M60 With Malice Towards None Ver (Short Edit)" or something, you can start with the opening of FYC 3 and then segue into the unedited rest of the concert arrangement as describe above (mostly from OST 16 with the ending from OST 4)
The reason I think "The People's House" might have always been intended to be the start of the end credits is that the final cue of the movie is 7M58 and the two other End Credits arrangements are 7M60, so The People's House could be what 7M59 is, but it just didn't have that number yet when the sheet music was written.
Anyways, everything else on the OST album, other than the 7 compositions laid out above, are film cues written for specific scenes.
I’m surprised to hear that there are people that don’t like Goransson’s score. I guess I get that some people might not like that style in general, but I felt like it fit the show perfectly. I thought it was refreshing that they didn’t get someone to just try and copy JW so it sounded like the rest of Star Wars. I’m sure it would have sounded good if they did that but I love the way it is now!
What I loved about the score when listening yesterday, was that during almost all of its running time, it is playing one of the film's many themes. There is relatively little non-thematic underscoring in this score. And when so many of Lincoln's themes are among JW's all time greatest, it makes for one heckuva listen, every single time
Listening to this score on a rainy New England morning and falling in love with it all over again. What a masterpiece.
This time I noticed one really cool part I never noticed before; The way the piano plays underneath the trumpet solo version of the "With Malice Towards None" theme in the End credits track from 7:40-8:25. The entire piano line underneath the solo is really nice, but I liked how at the very beginning, the piano is basically doing the "Get Out The Vote" rhythm. Very cool!
Because to people in the industry, JJ Abrams is a consummate professional and actually I don't think it's even really true when people say "They could get the best writers in the world." The best writers in the world don't want to write Star Wars sequels. You can get the most credible industry hacks -- which is a more lofty title than it sounds, really, basically your James Mangolds and yes, your JJ Abramses and Chris Terrios -- or occasionally you can entertain a discussion with someone who has more of an idiosyncratic voice in genre filmmaking, arguably a Rian Johnson, but of course that starts to run a greater risk of being divisive or worse as we know too well. I mean, George Lucas, it took forever for anybody to find silver linings in the prequels and basically came down to seeing what a more homogenized Star Wars looked like. Everybody also tends to ignore that Lawrence Kasdan and Michael Arndt also co-wrote TFA, two of Kennedy's best gets who naturally didn't stick around long.
And by the way, for Force Awakens, they did try to get another high quality Hollywood writer/director and that was Brad Bird and he turned them down for Tomorrowland which is generally nothing great even though he is inarguably a great talent. And he's the one who goes off championing Colin Trevorrow of all people. So there's literally no accounting for taste and as cliche as it is, things like friendships and professional relationships go a longer way most of the time. It'd be a pretty easy stance to defend settling for an amiable and slightly mediocre product over a potential genre masterpiece when you're considering working with someone in real life for the better part of 2-3 years. Kennedy talked to David Fincher ffs, he ultimately wasn't into it. And to just about anybody in town, getting their hands on JJ Abrams would not be considered any sort of compromise. By the time Episode IX was in flames in 2017, Kennedy was positively desperate to get him.