artguy360

Yeah, the lack of a noticable b-part makes the theme feel slight. I do think it is a minor Star Wars theme, it sounds like what would have happened in any of the minor new themes like Rose's theme or the Luke in Exile theme received their own concert arrangement. Not enough meat on that bone to make a full-fat concert piece.

I'm just happy to know William Ross is still out here doing his JW stand in thing. No one does it better.

Here's the end credits music: https://youtu.be/HTxk5TT4Nds

The credits are weird. It seems like Holt wrote the entire score and then JW delivered his theme so they hired William Ross to record new material adapting the theme into the show itself? Also, the theme is used everywhere, I think we hear it more in episode 1 than we heard the Force theme in A New Hope. Lastly, is the end credits something JW recorded? It starts differently than what he conducted today.

To me the "epicness" is very similar to how JW scored signature moments of TLJ like Lesson One, Holdo's Resolve, The Spark, and The Last Jedi. The ostinato and brass in the Obi Wan theme remind me of those moments. The melodic sense of burden reminds me of the Luke in Exile theme. All together it is a slow, heavy theme that seems to be about Obi Wan's state of mind.

I like the surprise opening on strings and the slow rise of the main melody. Overall, it does remind me of the Luke in Exile theme from TLJ when it goes ostinato and brassy. I hope we get an official release very soon.

I don't think that's it. People on this forum always jump to label some random 5 seconds of music new JW music and rarely is that conjecture correct.

Of the JW scored films I've seen that are post 1990, and all Star Wars films aside, I would name: Sabrina - I think the romance doesn't feel authentic. The two leads just don't work for me. I like JW's score for the film although I don't listen to any of it aside from the main theme. Stepmom - the story is compelling but there are some real cliche moments and a lot of the child acting is rough. Another solid score from JW. The Patriot - frankly the film is insulting in many ways both historical and in terms of characterization. A score with very good moments. Some period-tinged, full blast JW Americana is always fun. Maybe the 2nd Harry Potter movie and definitely the 4th Indiana Jones movie. I love JW's new themes for the 2nd HP movie. I don't love anything about IJ4, and that includes JW's score.

I actually really enjoy JW's concert music. I also enjoy when he reworks his film music into concert pieces, including when he really does to town on them like with several pieces on the Across the Stars album. However, in the case of With Malice Towards None, the earnest simplicity of the original on the Lincoln OST works best for what the music is trying to evoke.

This new version of With Malice Towards none is a real demonstration of how JE likes to take a film themes and classical-them-up. He plays with the melody, takes it apart, complicates it, takes it in new directions, and it's all quite interesting. However, in the case of With Malice Towards None, one of the major strengths of the theme is its simplicity. It has an earnest, simple, directness to it that seems to speak to something JW felt was core to Abraham Lincoln. This version loses that earnestness and simplicity by complicating the main melody and with JW's stylistic concert music touches.

Sleepers isn't a bad film, but it does have one of my least favorite JW dramatic scores. When I watch the movie, I can't help but feel that his sound is just the wrong fit for the movie. It was one of the only times I can recall where I heard a JW score for the first time with the film and immediately felt like the music didn't fit the film. I haven't listened to the music outside of the film enough to have a deeper opinion of it.

With one important exception: The Star Wars movies because John Williams Star Wars music is it's own genre. Also, since 1990. John Williams heightens any movie he works on, some say he breathes life into films. He has also worked on some of the most successful and well-regarded movies or all time. But what about the bad movies he scored? What's that list look like? And how did his score impact those movies? Did he knock it out of the ballpark? Did his music heighten the movie? Did he *GASP* write a bad score?!

Really enjoying the whole album so far including the revised concerto.

Just started listening. I didn't realize the album released today. I'm really enjoying this lilting new version of the Krakow Ghetto piece. The cello kind of skips and dances around.

There weren't enough narrative opportunities for it. JW did use it near the beginning of TLJ where it makes sense. Does it appear in TROS when Rey goes back? I don't remember.