SteveMc

In a stirring, harmonically rich coda that brings waves of closure and nostalgia.

I don't think your first is an all that unpopular opinion around here. Your second is quite possibly seditious.

Perhaps so. It is a quite interesting transition score between what I like to call Williams's "heroic" period, and the more weighty, if you will, style he employed in the early 90s.

The pressure of expectations got to her. That and, apparently, anorexia, for which she was treated. She retired from competition a few months ago, only 19. Quite sad, but she is doing quite well now as a skating commentator and is getting into coaching.

Oh, no doubt. These are moments of immense cinematic and musical prowess. Yet, I was referring to the scores as a whole, how all the elements mesh together. In that respect, works like CE3K and E.T. take top billing.

They are good scores. Raiders perhaps too much dependent on the main theme, though. I'm not so very familiar with TOD, but I think TLC is very impressive. I'll agree, though, that none of them really represent Williams's very best work.

There were some complaints four years ago to this effect. Yet, reception to her choice and performance has been mostly positive. Lipnitskaya, who I believe is of partly Jewish heritage, even performed a balletic version at an event organized by a Russian Jewish organization. Also, Spielberg, who was moved by her skate at the Olympics, wrote a letter to her commending her and indicating an intention for him and his family to meet her.

I agree with Tom. The aching beauty of the theme reflects the rebirth and redemption that is forged despite the horrors and evils of humanity. Here's a link to Yulia Lipnitskaya's interpretation of Williams's piece from 2014. https://www.youtube.com/watch?v=ke0iusvydl8

Wow. Perfect example of how music can transport you to another dimension.

Quite a work. Beauty, passion, instability. Perfect for the film, and perfect on its own. I am in particular awe of the strings here. I can't really think of a film composer whose string work is as good as Rozsa's. Williams comes very close, but I seem to feel that Rozsa's strings are fuller, that they have more weight and majesty to them. Any thoughts on why this is?

Disappointing in that the score did not meet the expectations created by TFA tracks like Rey's Theme and Jedi Steps and Finale. Boring in that old and new themes seem to be just repeated with little meaningful variation. The Post exceeded expectations, especially as a score done with little prior notice.

I would have made more sense perhaps for the forbidden aspect to be based on Anakin's common blood/uncertain parentage. You may be right about that.

Rozsa's Young Bess bears a certain resemblance to The Throne Room. Would definitely seem to be at least an inspiration. It is a very lovely piece, indeed. Should be performed, and often.

I wouldn't call The Post boring. Eminently respectable, if not exciting, perhaps. Even fresh with regards to how Williams seems to be integrating his style with the prevalent pseudo-minimalism of the day. Now, TLJ, that was rather boring and disappointing.

Considering that Rozsa wrote the score for Meyer's Time After Time, it would make sense that he would offer Rozsa ST II. I do believe some of SW was temp tracked to Rozsa, though.

Welcome to the Official Miklos Rozsa Thread! Here, we can appreciate the beauty and craft of one of the 20th Century's great composers. Perhaps the the music theory experts among us can increase our understanding of the intricacies of Rozsa's concert and film works. To start things off, here is a recording of Elmer Bernstein conducting Rozsa's suite from "Plymouth Adventure." The piece starts off with a rather rousing rendition of a period hymn, before transitioning into a romantic sequence, based on first a heartfelt, passionate melody (one of Rozsa's best, I think), and then followed by a lovely, lighter passage. This segues into an upbeat dance-like episode, which is followed by some very energetic and salty adventure-type music that builds up to a restatement of the hymn melody in fanfare form. The chorus comes back in for the climax, and the very conclusion, I think, is rather Williams-esque. Anyway, here it is:

Quite excellent. As far as I understand, it is a rather recent completion of sketches that RVW had for the second movement of an unfinished cello concerto. Quite a loss to music that he never got around to finishing it.

Its a British remark of approval. Often resounds in Parliament's Question Time.

Hear, hear.

Wolf Totem blew me away when I first heard it. Outstanding level of orchestral writing.

Sounds very interesting so far!

Ladies Event starts tomorrow. As Mari commented above, Satako Miyahara of Japan will skate to Memoirs of a Geisha in her short. Choi Da-bin of South Korea will be skating to what I believe is Williams's arrangement of Legrand's "Papa Can You Hear Me" with Itzhak Perlman on violin. In the free skate, Germany's Nicole Schott will skate to Schindler's List, though I doubt she will match Yulia Lipnitskaya's outstanding interpretation of that piece in Sochi.

I've seen it before. I don't know why they chose that screenshot for the video's title card, though. Looks as if Williams's back was bothering him quite a bit there.

Empire without a doubt. It is cohesive, a true complete musical expression. Williams at his peak, really, or at one of his peaks. Nevertheless, I concede that Star Wars itself has better themes. Princess Leia's Theme is the franchise's best, I think, with the concert arrangement being one of John's finest musical achievements.

The melody featured below may very well be Horner's most purely beautiful. Horner's cartoon scores do indeed contain some of his most joyful, heartfelt work.