Bofur01

In case you needed reassurance in any way, your Ferdinand posts are deeply appreciated! 
In the hopes this analogy will make any sense, is it odd that I subconsciously consider it the Powell equivalent of Elfman's Black Beauty or Williams' War Horse? All animal-centered scores, all rich and emotional with strong sense of narrative. Except the tale of the bull in Powell's case, rather than horses.

I'm still listening to this score because it's a damn near masterpiece!  I never really got around to exploring other themes!  Doing one tonight.
 
One of the things I love about this score is that, while it has several prominent recurring melodies, it isn't really a leitmotivic score at all.  I think the melodies do represent general concepts, but Powell clearly treats them more as emotional building blocks for his compositions and uses them all very liberally throughout the cues, often without all that much regard for what they are accompanying on screen.  It's more about what fits the feeling he's going for.
 
Tonight I'm really feeling what I call the Family Theme.  It's a beautiful, simple, almost domestic melody.  I think it recalls childhood memories of hearth, home, and happiness.
 
It's the very first melody heard on the soundtrack, at the beginning of "Bees and Bulls."
 
(0:00 - 0:14)
 
It's developed in the beginning of "Selection Process," but it's real first starring appearance is "Father and Son"
 
(central melody starts at 0:08 - 0:40, Pacifist theme from 0:40 - 1:06, Family Theme is developed until the end, although the cue actually ends with a hint of the great Flower Theme)
 
Now the Family Theme is probably the third most recurring melody in the score (after the main Spain theme and the Flower) but it can be used in subtle places if you're listening for it.
 
I mean little tossed off asides like this:
 
(1:37 - 1:57)
 
 
But I love it best when it's mining deeply emotional territory:
 
(piccolo comes in with the melody at 3:40, but listen to that beautiful guitar setting it up)
 
 
Here's a very quick badass statement of the theme in the horns in "Flower Festival"
(3:30)
 
 
Now prepare to have your heart broken by this development in "There's Been a Mistake," which takes the base melody and radically transforms it into a song-like lament.  It's up for debate if this actually is the Family Theme, maybe.  To me it sounds like taking that melody and just adding to it.
(0:55 - end basically)
 
 
The Family Theme practically disappears from the second half of the score, but it can be heard a couple of times.
 
In "Ferdinand and Nina" from 1:16 - 1:57, a very wistful setting
 

Damnation!
 
 I also would have loved for PJ to include the entirety of Gandalf's eulogy for Thorin. I imagine that combined with Shore's original music would have been a surefire tearjerker.

Stella for dinner tonight?

I for one eagerly await Wormtail's theme

Bad thread name.....

It might not have been super original, but I thought it was well-executed and emotionally engaging.  The bird finale I mean.

Yes, his direction is very static and cold. He seems more concerned framing painting-like imagery of stationary objects than creating a solid movie.

We need an FYC!

That's a very healthy way of thinking.

Source music is a bitch to rip. I decided to just ignore them for now unfortunately. There's some unreleased stuff after Chicken in the Pot too I believe.

Glad to see @Manakin Skywalker reuploaded his Solo rips, I still miss The Maelstrom (lovely soft atmospheric cue between Lando's Closet and Kessel Arrival).

I'd sooner watch a Solo 2 that incorporated Boba Fett than watch an entire film where he is the main character. This is a decision where we get less Star Wars that I can agree with.

For some reason, despite listening to the radio play many, many times, I hadn’t noticed how awesome “From Dark Dunharrow” is... so was oddly inspired to make this:
 
 
So thanks for the inspiration!

Well those are digital anyway. So preserved. They would require no restoration at all. 
 
I would love him to produce those albums.

Slightly bizarre but cool experience when I got in to work this morning. Walked in and a number of my teammates were talking about the Harry Potter soundtracks. One had been sat outside a pub listening to the first one with friends at weekend (?!?!) and another was commenting on how much they loved the change of style in POA. I'd only taken my headphones off while entering the building and had been listening to POA on my way in.
 
We're still talking about John Williams now. My team is cool!

4. "... he is having an idea how to persuade him..." ... I bet he has convinced Daisy to ask for it!
 
 
 

If it has a false ending, then you can be pretty sure it's written by Williams, considering that he's the only person in the universe who doesn't think that false endings are a retarded concept.
 
 

The stand peeking out on the right.

Ugh.  Time travel in SW would be awful.  Nothing in TLJ needs retconned or fixed.  And I've always thought that Star Wars Theory guy was an idiot.
 
Han Solo, or Snoke, returning would be stupid.  Luke returning alive and not a Force ghost is stupid.

The Khazad-Dúm bit in the Warg attack is the worst I can think of. The score is cut up and dialled out in quite a few places, but the execution is indeed anything but sloppy. And nearly everything still underscores what it was intended to, it's late editing changes and major restructurings that caused some cues to be cut up while others were rerecorded.

Unlike many of you on this forum, it will be my first time listening to the music of John Williams performed live in concert. As I begin my 6 hour journey to London, I feel slightly melancholic due to the lack of the Maestro, but find comfort in the idea that I will hear his own handiwork, his own spirit and musical language in the most crystal and uplifting way; the way music was meant to be listened to. 
 
The added bonus that is the London Symphony Orchestra is a fine one, having never seen the prestigious orchestra perform before. What better introduction to them than 2 hours of wonderful, emotional music. As well as this, any excuse to visit the Royal Albert Hall is a good enough one for me, so what was going to be a historic concert in such a historic venue makes up for the fact that this is now just another concert in the historic venue. 
 
But I still dream. Time alone on public transport allows one to drift their mind to beautiful places. The dream of a surprise appearance from Williams to conduct The Imperial March seems further away than it ever did. In my head I imagine scenario after scenario: glancing up to see Williams in one of the boxes, his big trademark glasses and turtleneck, bopping his head to the adventurous rhythms of Adventures on Earth, a small, despondent smile etched across his face; Williams making a sudden appearance at the end of the concert to slowly but triumphantly wave to his fans, basking in the appreciation for his musical soul; or even Williams conducting one piece, just one: “The Imperial March”, a short but powerful and resonant piece with easy, steady 4/4 time. But as much as I dream (like I am sure many others are doing who are tenaciously travelling today with their heads held high), I must come back down to reality at some point, understanding and coming to terms with the fact that I will never see my musical hero in the flesh. But how I long to applaud him while we can still lock eyes, to show him how much emotional impact he has had on my life, and on everybody else’s there tonight. Not only because his music is so rich and delicate, but because of the humble man that he is, and my desire, among many, to show how he needn’t be so humble, and show him how far around the world the pencil etching the score in his home in Los Angeles can be heard. 
 
I still will look forward to this evening very much, a night of warmth, character and delicious music. Among others, I wish Mr Williams a speedy recovery, and as he recovers I will be reminiscing on the time I was telling my friends I was going to see John Williams - composer - conductor - hero. 
 
I encourage many others to share their travelling thoughts today, as I will listen closely to the forum to maximise my enjoyment of the concert. See you guys there.

I disagree with the thought that the March of the Resistance, played mournfully, should be considered Holdo's theme. To me it is simply the March of the Resistance played mournfully because that matches the emotional content of the scene it scores. I do agree that there is a rhythmic structure that is repeated in a couple places before Holdo's Sacrifice that kind of previews the big, climatic music accompanying Holdo's big moment.

Dunno. Far out prediction: Star Wars won’t go the time travel route.
 
These kind of solutions to painting yourself into a corner plot wise are generally reserved for Star Trek. In fact introducing time travel would be less respectful of Star Wars legacy than anything that happened in TLJ.

Seems to be serious. The Vienna concerts have just been cancelled without replacement. 😞
 
https://www.vienna.at/konzerte-von-john-williams-mit-den-wiener-philharmonikern-ersatzlos-abgesagt/5972836