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Will

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  1. Like
    Will reacted to crumbs in New Williams Feature Short: The Maestro's Finale (TROS digital release - 17/03/2020))   
    At least there's a chance we'll hear some unreleased music in the documentaries/menus, like with TFA (unless it's scored with non-JW music like TLJ's doco). 
  2. Like
    Will reacted to Tydirium in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    Sounds like JW was admiring his SOLO collaborator's recent work, when he wrote the Knights of Ren motif...
     
     
     
  3. Like
    Will reacted to JohnnyD in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    GOOD NEWS! I happened to be browsing the Apple TV app on my Mac, and I pre-ordered Star Wars, Episode IX: The Rise of Skywalker. You can preview the digital menu, and the music cue that plays is Rey's Training! It is not the entire cue, but it is a good 46 seconds of the cue from the rendition of Rey's Theme to the statement of The Imperial March. This may be what will be on the Blu-Ray menu as well.
     
    Also, the featurette on the Maestro is 11 minutes and four seconds long!
  4. Like
  5. Like
    Will reacted to Cerebral Cortex in New Williams Feature Short: The Maestro's Finale (TROS digital release - 17/03/2020))   
    please god stop with the williams/daisy jokes im sorry i literally cant take it anymore 
  6. Like
    Will reacted to Arpy in John Powell's CALL OF THE WILD (2020)   
    What do you mean? It's still Powell! How do we know the cue wasn't 95% Powell and 5% Sener?
    I've always seen this as the lead composer writing most of it, with his collaborators helping out and getting credit.
  7. Like
    Will reacted to KK in John Powell's CALL OF THE WILD (2020)   
    No, it's not a temp thing. Powell just doesn't really tread new harmonic or melodic territory, so a lot of his stuff naturally bleeds into each other. But because its done so damn well, and he's one of the few composers still actively exercising the full colours and range of the orchestral ensemble, you could forgive him.
     
    I'm looking forward to checking this out. You can always count on Powell for a good ride! 
     
  8. Like
    Will reacted to Edmilson in John Powell's CALL OF THE WILD (2020)   
    I like his Ice Age scores as well, and I love Ellie's theme from the second one. Pure Powell fun!
     
     
    Rio's main theme is pretty great as well:
     
     
  9. Like
    Will reacted to Richard Penna in John Powell's CALL OF THE WILD (2020)   
    I'm 2/3 through the album and it's a fun score; albeit not quite on the level of HTTYD.
     
    The main theme is rather nice, and it's stuck in my head by this point. Not the most original thing Powell's ever come up with, but I think it does the job. I think there's more than one motif going on, particularly in the first track - either that or the theme is longer form than first meets the ear.
     
    Woah, Buck Takes The Lead is awesome 
  10. Like
    Will reacted to PrayodiBA in John Powell's CALL OF THE WILD (2020)   
    Full credit!
    Source: http://hans-zimmer.com/index.php?rub=disco&id=1808
     
    Wake The Girls (2:37) 
    John Powell Train North (4:02) 
    John Powell Skagway, Alaska (2:31) 
    John Powell Snowy Climb (1:25) 
    John Powell, Paul Mounsey First Sledding Attempt (2:27) 
    John Powell The Ghost Wolf Of Dreams (1:06) 
    John Powell Joining The Team (2:59) 
    John Powell, Batu Sener Ice Rescue (2:26) 
    John Powell, Batu Sener Sometimes Nature's Cruel And Gods Fight (4:57) 
    John Powell Buck Takes The Lead (4:54) 
    John Powell, Batu Sener We Carry Love (3:02) 
    John Powell, Batu Sener Couldn't Find The Words (2:22) 
    John Powell, Paul Mounsey Overpacked Sled (2:31) 
    John Powell, Paul Mounsey Newfangled Telegram (2:23) 
    John Powell In My Bed? (2:54) 
    John Powell Buck & Thornton's Big Adventure (4:36) 
    John Powell, Batu Sener Finding Bears And Love In The Woods (2:57) 
    John Powell They're All Gone (2:51) 
    John Powell Rewilding (3:48) 
    John Powell Animal Nature (2:34) 
    John Powell Come Say Goodbye (2:09) 
    John Powell What An Adventure (3:02) 
    John Powell The Call Of The Wild (2:51) 
    John Powell  
    Quite disappointing that the highlight of the score such as "Buck takes the lead" and "joining the team" are not truly solo Powell.
    But its understandsable as those two tracks are like a combination of separate little  tracks stitched together. So i guess Powell did the heavy part of the track, and the easy one to Sener.
     
    Nonetheless, im happy that this is mostly a solo Powell score
     
     
  11. Like
    Will got a reaction from The Illustrious Jerry in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    In honor of Filmtracks' review being posted, I thought I'd (belatedly, I know) give some more detailed thoughts on this score. I've been awfully busy with school stuff these last couple months, so I just haven't really had the energy to write up my thoughts in a comprehensive way. It is difficult, literally hundreds of listens later, to recall exactly how I felt about TROS on first impression. But I will try my best to recall! 
     
    First, I love the "We Go Together"/friendship theme. Particularly, ever since I first heard the concert arrangement I've been absolutely entranced by this bit:
     
     
    That yearning ending to the melody is so gorgeous and incredibly romantic. Really shows how JW was pouring on the emotion and gravity in this cue. 
     
    Second, and relatedly, I adore the phrases JW adds onto the friendship theme as the ship takes off:
     
     
    Ever since I first heard this bit on the FYC, I've been mesmerized by how "inevitable" it seemed -- that classic Williams touch, where a melody seems at once new yet as if it had always been there, just waiting to be discovered. 
     
    Of course, the main victory theme, heard most prominently in "Farewell," is also gorgeous. I remember initially loving it on the FYC, then not liking it as much because I played it too much (), but then I returned to adoring it. It's just so good. The whole thing almost brings tears to my eyes. We start with a bouncing joy, building anticipation, and then the tension is released in a marvelous orchestral climax. Just glorious:
     
     
    Although I initially criticized the spotting, over time I've come to appreciate how the choir statement kicks in just as Poe removes his helmet to stare in awe. The swaying, romantic quality of the melody (particularly as performed in "Farewell" and on the concert suite) amazes me every time. It's almost like a love theme, but with more gravity (perhaps it's a love theme to represent JW & Star Wars? ). The sense of finality imparted by the final notes is incredibly satisfying:
     
     
    While I'm discussing the "Farewell"/victory theme, it's worth noting two other statements that seem somewhat unheralded by my fellow JWFans but, in my view, are just as worthy of celebration. The first begins with a slightly tentative expression of hope as the theme is introduced, giving way to a rip-roaring statement of the March of the Resistance (my favorite variation - "Finn and Poe, United" - in fact):
     
     
    We then hear a gorgeous transition into the first sweeping rendition of "They Will Come" of the score (chronologically), although in the final film it's replaced with tracking:
     
     
    The woodwinds really get a chance to shine there. Pure exuberance!! In a similar vein is the opening of "Rescue":
     
     
    Those brass stabs are classic Williams. I only wish that bit lasted longer. So uplifting and heroic. (Also, how 'bout those 3 cymbal crashes at 3:17? )
     
    Anyway, I also recall really enjoying the opening to "Reunion" on first listen - sounds rather like 80s Williams:
     
     
    The transition into Luke's theme and then the Force theme is so effortless. All of which makes the almost verbatim reprise rest of the cue so massively disappointing, to be sure. But still, the beginning makes it worth it. Although actually, hmm, there was one other moment that I really like from later in "Reunion" - the transition into Rey's theme:
     
     
    I wish 2:17-2:21 were a standalone melody! 
     
    Last but not least, "Speeder Chase" is of course terrific, and one little somewhat unheralded moment is this sort of brief call-and-response between the brass and percussion (the brass flourish followed by the two percussive booms): 
     
     
    It's always felt to me like some kind of wild dance beat. So groovy. 
     
    Of course, in any score there will be disappointments, and there were certainly some here. For example, I was not an enormous fan of listening to the villain material (although it was well done, as always from JW). And some enormous parts of the dramatic arc were left off the FYC and OST (Lando's Arrival and Rey's Training, as well as a couple others), making the listening experience feel a bit incomplete. That problem is compounded by the fact that the closing "Finale" cue is so shamelessly filled with unsatisfying copy-pastes, in stark contrast to, say, the TFA credits. 
     
    But on the whole, the bad is outweighed by the good. As shown above, there were several cues in this score that truly made my heart soar (as well as others, like "The Speeder Chase," that got stuck in my head!) and that is all I could have asked for. So thanks, John. 
  12. Like
    Will got a reaction from Gurkensalat in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    In honor of Filmtracks' review being posted, I thought I'd (belatedly, I know) give some more detailed thoughts on this score. I've been awfully busy with school stuff these last couple months, so I just haven't really had the energy to write up my thoughts in a comprehensive way. It is difficult, literally hundreds of listens later, to recall exactly how I felt about TROS on first impression. But I will try my best to recall! 
     
    First, I love the "We Go Together"/friendship theme. Particularly, ever since I first heard the concert arrangement I've been absolutely entranced by this bit:
     
     
    That yearning ending to the melody is so gorgeous and incredibly romantic. Really shows how JW was pouring on the emotion and gravity in this cue. 
     
    Second, and relatedly, I adore the phrases JW adds onto the friendship theme as the ship takes off:
     
     
    Ever since I first heard this bit on the FYC, I've been mesmerized by how "inevitable" it seemed -- that classic Williams touch, where a melody seems at once new yet as if it had always been there, just waiting to be discovered. 
     
    Of course, the main victory theme, heard most prominently in "Farewell," is also gorgeous. I remember initially loving it on the FYC, then not liking it as much because I played it too much (), but then I returned to adoring it. It's just so good. The whole thing almost brings tears to my eyes. We start with a bouncing joy, building anticipation, and then the tension is released in a marvelous orchestral climax. Just glorious:
     
     
    Although I initially criticized the spotting, over time I've come to appreciate how the choir statement kicks in just as Poe removes his helmet to stare in awe. The swaying, romantic quality of the melody (particularly as performed in "Farewell" and on the concert suite) amazes me every time. It's almost like a love theme, but with more gravity (perhaps it's a love theme to represent JW & Star Wars? ). The sense of finality imparted by the final notes is incredibly satisfying:
     
     
    While I'm discussing the "Farewell"/victory theme, it's worth noting two other statements that seem somewhat unheralded by my fellow JWFans but, in my view, are just as worthy of celebration. The first begins with a slightly tentative expression of hope as the theme is introduced, giving way to a rip-roaring statement of the March of the Resistance (my favorite variation - "Finn and Poe, United" - in fact):
     
     
    We then hear a gorgeous transition into the first sweeping rendition of "They Will Come" of the score (chronologically), although in the final film it's replaced with tracking:
     
     
    The woodwinds really get a chance to shine there. Pure exuberance!! In a similar vein is the opening of "Rescue":
     
     
    Those brass stabs are classic Williams. I only wish that bit lasted longer. So uplifting and heroic. (Also, how 'bout those 3 cymbal crashes at 3:17? )
     
    Anyway, I also recall really enjoying the opening to "Reunion" on first listen - sounds rather like 80s Williams:
     
     
    The transition into Luke's theme and then the Force theme is so effortless. All of which makes the almost verbatim reprise rest of the cue so massively disappointing, to be sure. But still, the beginning makes it worth it. Although actually, hmm, there was one other moment that I really like from later in "Reunion" - the transition into Rey's theme:
     
     
    I wish 2:17-2:21 were a standalone melody! 
     
    Last but not least, "Speeder Chase" is of course terrific, and one little somewhat unheralded moment is this sort of brief call-and-response between the brass and percussion (the brass flourish followed by the two percussive booms): 
     
     
    It's always felt to me like some kind of wild dance beat. So groovy. 
     
    Of course, in any score there will be disappointments, and there were certainly some here. For example, I was not an enormous fan of listening to the villain material (although it was well done, as always from JW). And some enormous parts of the dramatic arc were left off the FYC and OST (Lando's Arrival and Rey's Training, as well as a couple others), making the listening experience feel a bit incomplete. That problem is compounded by the fact that the closing "Finale" cue is so shamelessly filled with unsatisfying copy-pastes, in stark contrast to, say, the TFA credits. 
     
    But on the whole, the bad is outweighed by the good. As shown above, there were several cues in this score that truly made my heart soar (as well as others, like "The Speeder Chase," that got stuck in my head!) and that is all I could have asked for. So thanks, John. 
  13. Like
    Will got a reaction from Gurkensalat in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    To be clear, I do wish "Farewell" had been mixed louder w/ minimal SFX. But that's a common complaint of mine, not unique to this scene. 
  14. Like
    Will reacted to Arpy in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    Yes! Exactly! It's not wasted as others' believe, it's perfect.
  15. Like
    Will got a reaction from Arpy in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    In honor of Filmtracks' review being posted, I thought I'd (belatedly, I know) give some more detailed thoughts on this score. I've been awfully busy with school stuff these last couple months, so I just haven't really had the energy to write up my thoughts in a comprehensive way. It is difficult, literally hundreds of listens later, to recall exactly how I felt about TROS on first impression. But I will try my best to recall! 
     
    First, I love the "We Go Together"/friendship theme. Particularly, ever since I first heard the concert arrangement I've been absolutely entranced by this bit:
     
     
    That yearning ending to the melody is so gorgeous and incredibly romantic. Really shows how JW was pouring on the emotion and gravity in this cue. 
     
    Second, and relatedly, I adore the phrases JW adds onto the friendship theme as the ship takes off:
     
     
    Ever since I first heard this bit on the FYC, I've been mesmerized by how "inevitable" it seemed -- that classic Williams touch, where a melody seems at once new yet as if it had always been there, just waiting to be discovered. 
     
    Of course, the main victory theme, heard most prominently in "Farewell," is also gorgeous. I remember initially loving it on the FYC, then not liking it as much because I played it too much (), but then I returned to adoring it. It's just so good. The whole thing almost brings tears to my eyes. We start with a bouncing joy, building anticipation, and then the tension is released in a marvelous orchestral climax. Just glorious:
     
     
    Although I initially criticized the spotting, over time I've come to appreciate how the choir statement kicks in just as Poe removes his helmet to stare in awe. The swaying, romantic quality of the melody (particularly as performed in "Farewell" and on the concert suite) amazes me every time. It's almost like a love theme, but with more gravity (perhaps it's a love theme to represent JW & Star Wars? ). The sense of finality imparted by the final notes is incredibly satisfying:
     
     
    While I'm discussing the "Farewell"/victory theme, it's worth noting two other statements that seem somewhat unheralded by my fellow JWFans but, in my view, are just as worthy of celebration. The first begins with a slightly tentative expression of hope as the theme is introduced, giving way to a rip-roaring statement of the March of the Resistance (my favorite variation - "Finn and Poe, United" - in fact):
     
     
    We then hear a gorgeous transition into the first sweeping rendition of "They Will Come" of the score (chronologically), although in the final film it's replaced with tracking:
     
     
    The woodwinds really get a chance to shine there. Pure exuberance!! In a similar vein is the opening of "Rescue":
     
     
    Those brass stabs are classic Williams. I only wish that bit lasted longer. So uplifting and heroic. (Also, how 'bout those 3 cymbal crashes at 3:17? )
     
    Anyway, I also recall really enjoying the opening to "Reunion" on first listen - sounds rather like 80s Williams:
     
     
    The transition into Luke's theme and then the Force theme is so effortless. All of which makes the almost verbatim reprise rest of the cue so massively disappointing, to be sure. But still, the beginning makes it worth it. Although actually, hmm, there was one other moment that I really like from later in "Reunion" - the transition into Rey's theme:
     
     
    I wish 2:17-2:21 were a standalone melody! 
     
    Last but not least, "Speeder Chase" is of course terrific, and one little somewhat unheralded moment is this sort of brief call-and-response between the brass and percussion (the brass flourish followed by the two percussive booms): 
     
     
    It's always felt to me like some kind of wild dance beat. So groovy. 
     
    Of course, in any score there will be disappointments, and there were certainly some here. For example, I was not an enormous fan of listening to the villain material (although it was well done, as always from JW). And some enormous parts of the dramatic arc were left off the FYC and OST (Lando's Arrival and Rey's Training, as well as a couple others), making the listening experience feel a bit incomplete. That problem is compounded by the fact that the closing "Finale" cue is so shamelessly filled with unsatisfying copy-pastes, in stark contrast to, say, the TFA credits. 
     
    But on the whole, the bad is outweighed by the good. As shown above, there were several cues in this score that truly made my heart soar (as well as others, like "The Speeder Chase," that got stuck in my head!) and that is all I could have asked for. So thanks, John. 
  16. Like
    Will reacted to Tydirium in John Williams just won multiple IFMCA Awards for 2019   
    Glad to see Desplat and Powell get some love as well.
  17. Haha
    Will reacted to Jay in John Powell's CALL OF THE WILD (2020)   
    I just got done listening too. I liked it a lot!  The first great score of 2020!  The first great score of the 2020s!  The best score of the year!  The best score of the decade!
  18. Haha
    Will reacted to Disco Stu in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    People still listen to this score?
  19. Like
    Will reacted to Gurkensalat in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    Of course, and I discover always new nuances and details. I love this score!
     
  20. Like
    Will reacted to Manakin Skywalker in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    Of course. It's incredible!
  21. Like
    Will reacted to Fabulin in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    I have to admit I listened to it so much back in December, that --- although I do not quite remember it to such a degree --- it already feels to me as intimate as the prequels and the OT.
     
    It's such a great score.
  22. Like
    Will reacted to Tydirium in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    Great post! And I agree with almost everything you said here—except I don't think "Reunion" is quite as disappointing as you seem to feel it is. Do you not like the We Go Together statement at 3:27? There are some subtle differences from earlier renditions, and of course I love how the upper strings join in for the second half of the tune. The way it ends (more of a minor key feel) also differs from earlier statements, I believe. It's not simply a copy-paste from earlier.
  23. Like
    Will got a reaction from Tydirium in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    In honor of Filmtracks' review being posted, I thought I'd (belatedly, I know) give some more detailed thoughts on this score. I've been awfully busy with school stuff these last couple months, so I just haven't really had the energy to write up my thoughts in a comprehensive way. It is difficult, literally hundreds of listens later, to recall exactly how I felt about TROS on first impression. But I will try my best to recall! 
     
    First, I love the "We Go Together"/friendship theme. Particularly, ever since I first heard the concert arrangement I've been absolutely entranced by this bit:
     
     
    That yearning ending to the melody is so gorgeous and incredibly romantic. Really shows how JW was pouring on the emotion and gravity in this cue. 
     
    Second, and relatedly, I adore the phrases JW adds onto the friendship theme as the ship takes off:
     
     
    Ever since I first heard this bit on the FYC, I've been mesmerized by how "inevitable" it seemed -- that classic Williams touch, where a melody seems at once new yet as if it had always been there, just waiting to be discovered. 
     
    Of course, the main victory theme, heard most prominently in "Farewell," is also gorgeous. I remember initially loving it on the FYC, then not liking it as much because I played it too much (), but then I returned to adoring it. It's just so good. The whole thing almost brings tears to my eyes. We start with a bouncing joy, building anticipation, and then the tension is released in a marvelous orchestral climax. Just glorious:
     
     
    Although I initially criticized the spotting, over time I've come to appreciate how the choir statement kicks in just as Poe removes his helmet to stare in awe. The swaying, romantic quality of the melody (particularly as performed in "Farewell" and on the concert suite) amazes me every time. It's almost like a love theme, but with more gravity (perhaps it's a love theme to represent JW & Star Wars? ). The sense of finality imparted by the final notes is incredibly satisfying:
     
     
    While I'm discussing the "Farewell"/victory theme, it's worth noting two other statements that seem somewhat unheralded by my fellow JWFans but, in my view, are just as worthy of celebration. The first begins with a slightly tentative expression of hope as the theme is introduced, giving way to a rip-roaring statement of the March of the Resistance (my favorite variation - "Finn and Poe, United" - in fact):
     
     
    We then hear a gorgeous transition into the first sweeping rendition of "They Will Come" of the score (chronologically), although in the final film it's replaced with tracking:
     
     
    The woodwinds really get a chance to shine there. Pure exuberance!! In a similar vein is the opening of "Rescue":
     
     
    Those brass stabs are classic Williams. I only wish that bit lasted longer. So uplifting and heroic. (Also, how 'bout those 3 cymbal crashes at 3:17? )
     
    Anyway, I also recall really enjoying the opening to "Reunion" on first listen - sounds rather like 80s Williams:
     
     
    The transition into Luke's theme and then the Force theme is so effortless. All of which makes the almost verbatim reprise rest of the cue so massively disappointing, to be sure. But still, the beginning makes it worth it. Although actually, hmm, there was one other moment that I really like from later in "Reunion" - the transition into Rey's theme:
     
     
    I wish 2:17-2:21 were a standalone melody! 
     
    Last but not least, "Speeder Chase" is of course terrific, and one little somewhat unheralded moment is this sort of brief call-and-response between the brass and percussion (the brass flourish followed by the two percussive booms): 
     
     
    It's always felt to me like some kind of wild dance beat. So groovy. 
     
    Of course, in any score there will be disappointments, and there were certainly some here. For example, I was not an enormous fan of listening to the villain material (although it was well done, as always from JW). And some enormous parts of the dramatic arc were left off the FYC and OST (Lando's Arrival and Rey's Training, as well as a couple others), making the listening experience feel a bit incomplete. That problem is compounded by the fact that the closing "Finale" cue is so shamelessly filled with unsatisfying copy-pastes, in stark contrast to, say, the TFA credits. 
     
    But on the whole, the bad is outweighed by the good. As shown above, there were several cues in this score that truly made my heart soar (as well as others, like "The Speeder Chase," that got stuck in my head!) and that is all I could have asked for. So thanks, John. 
  24. Like
    Will reacted to King Mark in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    yeah I pointed this out too
  25. Like
    Will got a reaction from crumbs in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    In honor of Filmtracks' review being posted, I thought I'd (belatedly, I know) give some more detailed thoughts on this score. I've been awfully busy with school stuff these last couple months, so I just haven't really had the energy to write up my thoughts in a comprehensive way. It is difficult, literally hundreds of listens later, to recall exactly how I felt about TROS on first impression. But I will try my best to recall! 
     
    First, I love the "We Go Together"/friendship theme. Particularly, ever since I first heard the concert arrangement I've been absolutely entranced by this bit:
     
     
    That yearning ending to the melody is so gorgeous and incredibly romantic. Really shows how JW was pouring on the emotion and gravity in this cue. 
     
    Second, and relatedly, I adore the phrases JW adds onto the friendship theme as the ship takes off:
     
     
    Ever since I first heard this bit on the FYC, I've been mesmerized by how "inevitable" it seemed -- that classic Williams touch, where a melody seems at once new yet as if it had always been there, just waiting to be discovered. 
     
    Of course, the main victory theme, heard most prominently in "Farewell," is also gorgeous. I remember initially loving it on the FYC, then not liking it as much because I played it too much (), but then I returned to adoring it. It's just so good. The whole thing almost brings tears to my eyes. We start with a bouncing joy, building anticipation, and then the tension is released in a marvelous orchestral climax. Just glorious:
     
     
    Although I initially criticized the spotting, over time I've come to appreciate how the choir statement kicks in just as Poe removes his helmet to stare in awe. The swaying, romantic quality of the melody (particularly as performed in "Farewell" and on the concert suite) amazes me every time. It's almost like a love theme, but with more gravity (perhaps it's a love theme to represent JW & Star Wars? ). The sense of finality imparted by the final notes is incredibly satisfying:
     
     
    While I'm discussing the "Farewell"/victory theme, it's worth noting two other statements that seem somewhat unheralded by my fellow JWFans but, in my view, are just as worthy of celebration. The first begins with a slightly tentative expression of hope as the theme is introduced, giving way to a rip-roaring statement of the March of the Resistance (my favorite variation - "Finn and Poe, United" - in fact):
     
     
    We then hear a gorgeous transition into the first sweeping rendition of "They Will Come" of the score (chronologically), although in the final film it's replaced with tracking:
     
     
    The woodwinds really get a chance to shine there. Pure exuberance!! In a similar vein is the opening of "Rescue":
     
     
    Those brass stabs are classic Williams. I only wish that bit lasted longer. So uplifting and heroic. (Also, how 'bout those 3 cymbal crashes at 3:17? )
     
    Anyway, I also recall really enjoying the opening to "Reunion" on first listen - sounds rather like 80s Williams:
     
     
    The transition into Luke's theme and then the Force theme is so effortless. All of which makes the almost verbatim reprise rest of the cue so massively disappointing, to be sure. But still, the beginning makes it worth it. Although actually, hmm, there was one other moment that I really like from later in "Reunion" - the transition into Rey's theme:
     
     
    I wish 2:17-2:21 were a standalone melody! 
     
    Last but not least, "Speeder Chase" is of course terrific, and one little somewhat unheralded moment is this sort of brief call-and-response between the brass and percussion (the brass flourish followed by the two percussive booms): 
     
     
    It's always felt to me like some kind of wild dance beat. So groovy. 
     
    Of course, in any score there will be disappointments, and there were certainly some here. For example, I was not an enormous fan of listening to the villain material (although it was well done, as always from JW). And some enormous parts of the dramatic arc were left off the FYC and OST (Lando's Arrival and Rey's Training, as well as a couple others), making the listening experience feel a bit incomplete. That problem is compounded by the fact that the closing "Finale" cue is so shamelessly filled with unsatisfying copy-pastes, in stark contrast to, say, the TFA credits. 
     
    But on the whole, the bad is outweighed by the good. As shown above, there were several cues in this score that truly made my heart soar (as well as others, like "The Speeder Chase," that got stuck in my head!) and that is all I could have asked for. So thanks, John. 
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