artguy360

He better start working on that aunt Beru theme.

You seem a little fixated with Holt's gender. Plenty of men write passable soundtracks, including for other Disney+ shows and their work hasn't been rejected. The fact that you haven't watched the show but are willing to make the judgment and assumption that had Holt been male her score would have been rejected is really something.

So far none of the music has been standout except for the moments JW's theme is used and even those moments are just ok. The music just isn't having much of an impact in the show. I'm not sure it's bad music, it's just generic and just kind of there.

You seem a little fixated with Holt's gender. Plenty of men write passable soundtracks, including for other Disney+ shows and their work hasn't been rejected. The fact that you haven't watched the show but are willing to make the judgment and assumption that had Holt been male her score would have been rejected is really something.

You seem a little fixated with Holt's gender. Plenty of men write passable soundtracks, including for other Disney+ shows and their work hasn't been rejected. The fact that you haven't watched the show but are willing to make the judgment and assumption that had Holt been male her score would have been rejected is really something.

You seem a little fixated with Holt's gender. Plenty of men write passable soundtracks, including for other Disney+ shows and their work hasn't been rejected. The fact that you haven't watched the show but are willing to make the judgment and assumption that had Holt been male her score would have been rejected is really something.

Listening to it more (at least 14 times now), it is a decent minor SW theme. It's perfectly nice to listen to as almost all JW music is, and it fits the psychology and state of Obi Wan at this time. But it's the least interesting of all JW's recent SW themes. Even Galaxy's Edge and Adventures of Han are both better.

Touché. But while the ostinato offers variety, it preserves and contributes to the unabashedly serious and dramatic mood. Rebellion is Reborn is a nice contrasting piece where that is not the case.

Listening to it more (at least 14 times now), it is a decent minor SW theme. It's perfectly nice to listen to as almost all JW music is, and it fits the psychology and state of Obi Wan at this time. But it's the least interesting of all JW's recent SW themes. Even Galaxy's Edge and Adventures of Han are both better.

I don't think the word suite was used in any official way. I believe Holt said suite when she referred to what JW recorded. I assume she was referring to the theme and a series of variations he composed. I think JW did something similar for Solo. He wrote a theme and several cues to show how the theme could be used in the film.

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.

William Ross gets credit for theme adaptation. 

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.

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.

From the SW Facebook page

I would never have thought that Star Wars makers would give Williams an opportunity to write a concert piece on a topic of tragedy and focus on the psychology of a traumatized character. This is the kind of unconditional dramatic seriousness that Williams's blockbuster scores has often been accused of lacking in contrast to operas or, say, Herrmann's scores. But even with that being the case in this assignment, the choice of Wagnerian/Brucknerian tonality and rhythm is not something I expected from Williams, certainly not to that extent. Always a step ahead of us he is.

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.
 

Eh? There’s a whole wonderful, wistful melody in there, played several times, with deliberate resemblance to The Force theme, Luke in Exile, Jedi Steps etc.
 
listen harder.

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 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. 
 

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.