Will

The wider Academy voters when they listen to JW's scores that were nominated by the music branch...
 

The nominations are always more fun than the winners 
 
I'm seeing people more annoyed with Williams this year than usual  I do think there was a lot of hope Joe Hisaishi could have gotten his first which would have been great. I really, really thought this was gonna be a skip year but truly very little can get in the way of JW and his Original Score parking spot. 

Amazing how every Lucasfilm movie JW has scored since the Disney acquisition has received an Oscar nomination. They're getting a solid return on investment.
 
Would be nice if someone at Disney Records had the bright idea of monetizing all that free publicity with score expansions...

Correct. So really, the nomination is probably more meaningful because it's an acknowledgement from his peers.

I'm sure the music branch are just as frustrated as us that he hasn't won since 1994.
 
The best they can do is acknowledge him with nominations and that's fine with me. It's pretty obvious he isn't winning another competitive Oscar; I think that final ship sailed with Fabelmans.

And soon, the only person to lose 49 times!

Williams beating his own records for the oldest person to ever be Oscar-nominated and the most nominations for a living person 

I think I've got a handle on all (?) the tracking in the final film - so going beyond the obvious "Helena's Tutorial" and "Voller's Interview" tracking in the early New York scenes that was mentioned forever ago.
 
First - has it been pointed out the end of Eels is replaced by Centipedes, and the opening of Centipedes is replaced by Eels?
 
1:21:39-1:23:30 (1:51) is supposed to be Eels, however:
1:22:47-1:23:30 (0:43) is tracked from Centipedes - compare to 1:46:31-1:47:18 Then 1:45:021:48:19 (3:16) is supposed to be Centipedes, however:
1:45:02-1:45:14 (0:12) is tracked from Eels - compare to 1:22:07-1:22:17  
 
Second - In Teddy Is Kidnapped, which runs from 1:39:04-1:41:56 (2:52), two portions are other things:
1:39:41-1:39:55 (0:14) is tracked from To The Airport - compare to 1:55:17-1:55:27 / 1:55:52-1:55:57 1:40:20-1:40:54 (0:34) is the wild recording Helena In Action, chopped up a bit (the complete cue is in OST track "Tuk Tuk In Tangiers" from 2:28-end)  
 
Third, I don't think anybody has pointed out that after Helena gets on board the plane and her theme plays as the landing gear door closes behind her, almost all of the music in the next almost 4 minutes (2:02:24-2:06:12) of screen time is tracked music?
2:02:24-2:02:59 (0:35) this is tracked in from Water Ballet - compare to 1:24:38-1:25:03 2:02:59-2:03:08 (0:09) brief section of no music 2:03:08-2:03:36 (0:28) this is tracked in from Melting Wax - compare to 1:34:49-1:35:03 2:03:36 -2:03:47 (0:11) this is tracked in from Centipedes, I believe 2:03:47-2:04:09 (0:22) this is tracked in from Water Ballet, I believe 2:04:09-2:04:38 (0:29) this is tracked in from Helena’s Tutorial - compare to 1:32:52-1:33:18 2:04:38-2:05:18 (0:40) this is Through The Portal, the only music in this entire section that was meant to be here! 2:05:18-2:05:32 (0:14) brief section of no music 2:05:32-2:05:44 (0:12) this is tracked in from Ancient Syracuse - compare to 2:09:23-2:09:29 2:05:44-2:06:12 (0:28) this is tracked in from  Water Ballet - compare to 1:25:48-1:26:12  
Finally, Ancient Syracuse should run from 2:06:43-2:11:56 (4:53), but two sections are replaced by tracked music:
2:10:22-2:10:39 (0:17) is tracked from Through The Portal - compare to 2:04:38-2:05:18 2:10:51-2:10:58 (0:07) is tracked in from Confrontation At The Tomb - compare to 1:54:30-1:54:38  
Phew!  If anybody has any better timestamps or any other commentary, please let me know!
 
(I think some of this tracked music actually contains music that was cut from the scene it was intended for!)

High praise for Thomas Newman, "The Night Window" is the only piece in there since 1989. 
 
And Papa Alfred is the only one who merited two separate entries besides JW himself

yeah they appear to be so proud of it by showing Williams conducting in the videos they could at least release the music as a single. Maybe they don't comprehend that anyone would listen to it outside of a sports montage with sound effects and people talking over it
 

Just watched the video shared a few posts ago with the opening for this year's game (which I did not see as I was flying). I have to say that the new edit this year worked so well with the music. Clearly the editor worked to the music and has respect for it. The lovely shots from the recording sessions emphasize this, and I appreciate how clear the piece starts: This is the anthem for the College Football Championship game and it was written by John Williams. Big text. On long enough to read. Damn straight!
 
And yes, sign me up for the physical album of "John Williams: The Sound of Sports."
 

Well it's good news they're re-using it , it increases the chance we might hear a recording one day

Vienna Philharmonic / Wiener Philharmoniker | Facebook
 

This score is one of the best scores of 2023 for so many members. Maybe we should nominate it for an Oscar.

Yeah, perplexing. To be clear, this is the part that I think goes unheard in the film:
 
 
A real shame. (I also really like the prior portion -- the one that gets repeated -- but the awkward tracking disrupts the flow.)
 
 
Unfortunately it's hard for me to remember exactly where some of the album tracks fit chronologically (in part because, in a few cases, the album tracks seem to combine multiple distinct cues). But I'm fairly certain about these ones (in order):
 
The Boys in the Boat
The Team
Pacific Regatta
First Win
Boat Ride**
Poughkeepsie
Check From Cal
Berlin
Qualifications
Olympic Final
We Were Never Eight
USA Rowing Team (Alternate Version)
 
The end credits are just an edited-down version of the first track, FWIW.
 
**I think this is the right placement for the portion that underscores the big kiss scene:
 
 
The delicate portion at the start of the track was probably intended for a romantic boat ride scene earlier in the film, but seemed to have been replaced with a tracked piano portion of "Love Letter."

Wow, that is crazy to hear.  The ending passage is the highlight of the score and album.  What was Clooney thinking?
 
 
Huh, weird.  Maybe someone just accidentally swapped the two track names and no one caught it.  Or its as you said.
 
 
Fascinating!  I'd love to know the full chronological order of the whole album if you can figure it out.

Just saw the film today! Really enjoyed. I've listened to the score so many times by now that it was great to see where it fits into the movie. Sadly, "We Were Never Eight" is rather awkwardly edited in the film, with the ending passage (the power anthem version of the main title theme) jarringly replaced by a tracked repeat of the big statement of the team theme from earlier in the cue. But the score is otherwise treated quite well, on the whole. It obviously really shines in the main title cue ("The Boys in the Boat"), and it also plays virtually unobstructed by SFX or dialogue in "Training."
 
Although the opening of "Boat Ride" seems to be unused in the film, the sweeping romantic portion is used to wonderful effect in a kiss scene midway through the film (I won't spoil it for those waiting to watch). Interestingly, it seems that "USA Rowing Team (Alternate Version)" is actually the version used in the film! And the "Film Version" is unused. I wonder if that indicates a very late change by the director, after the album had already been finished...
 
The OST seems to not be in chronological order -- for example, "Poughkeepsie" (the last track on the album) is used midway through the film, and "We Were Never Eight" is the second-to-last cue in the film despite appearing midway through the album. 
 
Anyway, an excellent score for a great film. So glad that Clooney gave Desplat these opportunities for his music to shine, and Desplat hit it out of the park.

Just saw the film today! Really enjoyed. I've listened to the score so many times by now that it was great to see where it fits into the movie. Sadly, "We Were Never Eight" is rather awkwardly edited in the film, with the ending passage (the power anthem version of the main title theme) jarringly replaced by a tracked repeat of the big statement of the team theme from earlier in the cue. But the score is otherwise treated quite well, on the whole. It obviously really shines in the main title cue ("The Boys in the Boat"), and it also plays virtually unobstructed by SFX or dialogue in "Training."
 
Although the opening of "Boat Ride" seems to be unused in the film, the sweeping romantic portion is used to wonderful effect in a kiss scene midway through the film (I won't spoil it for those waiting to watch). Interestingly, it seems that "USA Rowing Team (Alternate Version)" is actually the version used in the film! And the "Film Version" is unused. I wonder if that indicates a very late change by the director, after the album had already been finished...
 
The OST seems to not be in chronological order -- for example, "Poughkeepsie" (the last track on the album) is used midway through the film, and "We Were Never Eight" is the second-to-last cue in the film despite appearing midway through the album. 
 
Anyway, an excellent score for a great film. So glad that Clooney gave Desplat these opportunities for his music to shine, and Desplat hit it out of the park.

Yeah, really great!
The album also doesn't feel like almost 80 minutes. It flies by

Yeah I love when a score comes out of nowhere and totally surprises me

Just went through the entire album again.
Together with Society Of The Snow the most pleasant surprises at the end of the year!
 
The orchestrations here are just outstanding. And when the theme from the opening cue is played on brass it's just incredible!
Let's hope the next few Desplat scores remain this good. I've missed him at his best in the last couple of years

Vienna Philharmonic Ball 2024
Press announcement
On January 18, 2024 at 10:00 p.m., the 81st Ball of the Vienna Philharmonic will take place in the halls of the Vienna Musikverein.
Traditionally, the ball is ceremoniously opened by the Vienna Philharmonic in the Great Hall of the Vienna Musikverein. The opening in 2024 will be musically conducted by Philippe Jordan, who will thus make his "ball debut".
The programme of the opening of the ball includes 2 works by Johann Strauss Jr.: the waltz Roses from the South, op. 388, and the Polka Fast Under Thunder and Lightning, op. 324. 100 years ago, the ball of the Vienna Philharmonic took place for the first time. Richard Strauss composed the Vienna Philharmonic Fanfare for the occasion, which can still be heard today at the opening. John Williams also dedicated a ball fanfare to the orchestra last year. His Fanfare for the Vienna Philharmonic Ball will also be heard again.
 
Source:
Press Downloads - Vienna Philharmonic (wienerphilharmoniker.at)
 
Tickets:
81st Vienna Philharmonic Ball - Vienna Philharmonic (wienerphilharmoniker.at)

Website has the first few moments of the bumper at the very end.
https://clios.com/sports/winner/film-craft/espn/of-grit-and-glory-college-football-playoff-nationa-508022