Incanus

Well my package finally arrived! Christmas came a few days early this year! 

Big shop from Quartet:
 

 
Karol

I got a notification today that marks left by Hook have been spotted in the UK and I should have it tomorrow:
 

 
Karol

I listened to this track a lot when first discovering scores in the early 00s and completely agree. When the strings come in at 3:08 it's like you've been transported into some alternate universe where you're forever going to be a kid but you can almost see a glimpse into the darkness of the world's troubles.
 
Also, the ending - I wasn't aware until recently that Williams hadn't intended it to go at the end of the credits because it works so damn well as the final sendoff for the score.

Same, but due for the 18th but based on every single previous package it'll be here tomorrow!

Arrival in Dörfli...

Shipped! Due for 19/12! Good form, Peter. The stars are all my friends.

Ditto!  

This particular choral passage has always been one of my favourite moments in Hook. Simply magical.

My god. 
 
Have you ever listened to a piece of music where it makes you feel as if, for just a moment, all the universes answers are within reach and the meaning of life itself is about it be revealed to you? But then the moment ends and it all slips away?
 
I’m not a spiritual man. I’m not religious. But when I listen to JW’s Hook score, specifically “Farewell Neverland” when the hauntingly beautiful choral 2:19 come in? It’s as if I can step outside of myself and see the big picture. It’s hard to describe.
 
What a piece of music! It makes my soul ache, makes me yearn for memories long gone. I can feel it in every fibre of my being. This isn’t simply “music”. No. It’s so much more. It’s memory, nostalgia, love, hurt and sorrow all distilled in one profoundly ethereal piece. It’s the human soul given music form. 
 
I feel like the kid from “American Beauty” who watches a bag blow in the wind & sees all the beauty of the world represented in that single moment.

My MBR order too! And it means it usually ships soon, either on the same day or the next the latest.

Shame that the original scores were destroyed but a reconstructed re-recording would be fantastic. I think e.g. the re-recording of Nino Rota's Romeo and Juliet and Goldsmith's QBVII and The Salamander are great examples of this.

Yes...
 

Disney finally came through and in perfect condition. Woohoo!

Fortunately people like Leigh Phillips can reconstruct scores entirely by ear listening to the mixed film audio when necessary (see: The Salamander).
 
Yavar

Ok, I dug through old email drafts and found the following fragmentary work. That is, I came up with timestamps for every cue based on watching the film, but at least on the version I was able to find (again this was almost half a decade ago) I didn’t have a title or description for every cue. But for those who find the breakdown useful, here’s what I can share based on watching the film:
 
Pieces recorded for the album only which do not appear in the film: Love Theme from Jane Eyre (track 1, concert arrangement), To Thornfield (track 4, unused action scherzo), Festivity at Thornfield (track 5, unused original party source music), Meeting (track 7, chamber arrangement of love theme), Restoration (track 10, album/concert arrangement of music for St. John)
 
0:03-4:14 1. Main Title (Overture) 4:12
(album recording track 2, 3:58)
Album recording seems more tightly performed at times; film recording has an ugly edit at 2:51.
First half minute introduces the mysterious long-lined (over 20 notes!) Rochester theme on harpsichord (most prominent in the album action cue To Thornfield), followed by an even more mysterious and ominous theme for the mystery of Thornfield itself led by a 7 note motif 29 sec in (25 of album recording), as the title “Jane Eyre” appears onscreen.
At 1:04 (0:58 of album) a strident related motif grows out of this. Pay attention to how much Williams is doing with counterpoint here.
At 1:35 (1:28 of album) the love theme is introduced, sounds as if it were something of a love child between a couple of themes in Nino Rita’s beloved score for Franco Zefirelli’s Romeo and Juliet a couple years before
Around 2:11 (2:06 of album) love theme transitions to a bridge melody
At 2:30 (2:26 of album) the strident 1:04-1:35 material returns. Ugly edit/cut at 2:51, equivalent to 2:47-2:52 on album, right before return of 7 note mysterious Thornfield motif, and then back to a more subdued version of strident motif, and back to the Thornfield motif again as the cue winds down.
 
6:28-9:04 2. Deceitful
“Let’s see who it is...” begins cue
 
9:56-10:54 3. Lowood
(album recording track 3, 2:28)
Film cue initially mixed so low you can barely tell it's there, and the cue cuts off abruptly just before a minute in.
A new mysterious theme is introduced here, more subtle than any of the themes introduced in the Main Title.
 
12:44-14:37 4. Relics of Satan
Hair forcibly cut, punished
 
17:57-19:04 5. Forever and Ever
Childhood friend's death, and passing of time.
 
20:14-21:01 6. Thornfield
Thornfield theme (2nd theme from Main Title) given further development as Jane approaches the manor.
 
24:44-25:27 7. Laughter
Mysterious (almost horror) music with the Thornfield theme developed over threatening strings.
 
27:23-29:55 8. The Meeting
First different development of main theme; good candidate to mention in podcast
 
33:16-33:56 9. Jane Plays
The love theme played in-scene on solo piano by Jane.
 
35:06-36:03 10. Good Night
Further development of the main theme for Jane, and then the mysterious Thornfield theme.
 
41:39-42:14 11. Good Night
Threatening development of the Thornfield theme.
 
44:11-44:36 12. The Fire
Another horror cue with the Thornfield theme.
 
46:17-47:42 13. Do Me Good
Brief Thornfield mystery, then first proper appearance of the love theme on harpsichord, and then strings.
 
48:29-50:02 14. Flowers
Love theme on woodwind, gets more intense near end.
 
51:14-53:29 First Dance
53:39-53:52 Second Dance
56:14-57:18 Youth's the Season Made for Joys (song from The Beggar's Opera)
57:30-58:41 Piano Source
 
59:54-62:21 15. Mason's Arrival
63:11-66:10 16. She Bit Me
68:58-71:08 17.
72:26-73:30 18. The Veil
74:30-75:50 19. 
76:05-79:15 20. 
82:50-85:09 21. She Still Lives
85:45-88:17 22. Jane Leaves
 
89:23-91:06 23. St. John
Shorter film cue used as basis for album "Restoration"; brief interlude for Jane/Rochester love theme as Jane remembers.
 
92:51-94:18 24. I Accept
Second shorter film cue with St. John's theme, this time with a brief interlude with the mysterious Thornfield motive as her letter is returned, transitioning immediately afterwards to another in-film solo piano performance by Jane of her love theme with Rochester.
 
99:37-100:59 25. God Alone
101:15-102:37 26. The Tragedy
 
102:37-107:58 27. Reunion (End Title)
Longer version of album cue (which starts at 103:16 and still seems to run shorter on album).
 
—
 
I’ll bet Williams also wrote and originally recorded some music that got dialed out of the film.
 
Yavar

Yeah and it usually takes about 2 weeks or more for MBR to get their stock. So I expect they'll start sending their orders out soon-ish. I remember that last year I received my copy of Amistad ordered from MBR just before Christmas.

Yeah and it usually takes about 2 weeks or more for MBR to get their stock. So I expect they'll start sending their orders out soon-ish. I remember that last year I received my copy of Amistad ordered from MBR just before Christmas.

The lack of synths is one of the key reasons as to WHY I enjoy this score! I also recently picked it up.

I hope you enjoy