artguy360

Are you questioning why we still have original scores? Film is still an art form and most directors want original music for their movies. Also scores can be huge selling points like with Disney musicals like Frozen and Moana with their original songs. Imagine a Disney film reusing a song from a previous film. That would be hilarious!

couldn't have said it better, artguy.  The cues sound OK but reinforce the fears that someone on here had expressed earlier ---- that Giacchino just tries too damn hard and doesn't have the natural gift that JW has, so his cues just lack a certain something special.  
 
Sure, it sounds Star Wars-esque, but the cues feel woefully lacking in the complexity that we've been so spoiled with with JW's Star Wars scores and end up feeling like the music is tripping over itself, trying its best to emulate JW's style.
 
 I haven't heard giac's medal of honor music, but all of his scores for modern blockbuster movies have been terribly lacking for me ---- even Star Trek.  I am a life-long JW fan here, since age 3, and know his Star Wars music inside and out.  Personally, I don't think Giac should be given the "keys to the kingdom" for future Star Wars scores.  Maybe a score here or there, if the rest of this Rogue One score sounds better and more naturally Star Wars in nature.......but he really shouldn't be considered the go-to guy for the Star Wars saga movies once JW hands off the baton permanently.
 
Edit:  2nd listen yielded a little more enjoyment.  It still feels like it lacks the complexity of JW's classic form, but I'm interested in hearing the rest of the score.  There should be some good gems in there.  Still would like others to get their chance future Star Wars films.  i just want 1 score that rises to the satisfaction of the Empire Strikes Back score --- whomever accomplishes that, book him/her for all future saga films....

The clip of the 2nd cue sounds like typical Gia music when he is trying to cover too much ground in different directions all at the same time. Maybe it will work perfectly in the film, but this clip makes the cue sound musically confused with itself.

Great to hear some less often (never) performed JW pieces. I think the inclusion of more obscure pieces that cover different ground could really break up the greatest hits nature of most JW music concerts that present 1 full blast soaring melody after another. 

Great to hear some less often (never) performed JW pieces. I think the inclusion of more obscure pieces that cover different ground could really break up the greatest hits nature of most JW music concerts that present 1 full blast soaring melody after another. 

I'm in the same boat as many others in being initially disappointed by TLW score. I remember being unimpressed by the new theme (although I always liked it's energy) and how little in stood in the film. It was many, many years later that I grew to love the score. I think it took me really exploring JW's whole body of work and growing to understand his style of action music and the features that made TLW unique like the percussion and dark music. Now it is one of my favorite JW scores that is always, ALWAYS fun to listen to.

I'm cool with JW sticking with the LA players. They did a great job on TFA and I like the sound of the brass.

This is an odd observation but hear me out: JW does epic and adventure effortlessly whether it's Star Wars, Indy, Jurassic Park, or Harry Potter. He writes music that feels effortless and inevitable which he himself talks about all the time. But Gia's music almost always sounds strained when he tries to go epic. His Jurassic World score sounds that way to me, as do some parts of his Star Trek score, especially the Yorktown music. The music itself sounds like it's trying really hard. Maybe that's his musical rigidity or just the fact that JW is a unique talent, idk.

I'm cool with JW sticking with the LA players. They did a great job on TFA and I like the sound of the brass.

This is an odd observation but hear me out: JW does epic and adventure effortlessly whether it's Star Wars, Indy, Jurassic Park, or Harry Potter. He writes music that feels effortless and inevitable which he himself talks about all the time. But Gia's music almost always sounds strained when he tries to go epic. His Jurassic World score sounds that way to me, as do some parts of his Star Trek score, especially the Yorktown music. The music itself sounds like it's trying really hard. Maybe that's his musical rigidity or just the fact that JW is a unique talent, idk.

No I'd definitely keep the set if I bought it. The package and linear notes are probably amazing so I'd treasure that. 

Not much to judge with such a short clip but I do remember the short clip of Follow Me being catchy and fun while this just sounds like Gia's musical noise.

New clip sounds like Giacchino's signature "trumpet diarrhea" sound.  

The theme to my ears is first and foremost about wonder and awe of the dinosaurs.
 
Williams of course gets a lot of different aspects out of it through the miracle of orchestration.

These re-releases are incredible. I hope every JW score gets this kind of treatment going forward. I would love a version of TFA, Lincoln, War Horse, Tintin, and Book Thief like this.

True that is score is very unrestrained, but I love it and think it's totally effective. All 3 films in the JW/Oliver Stone trilogy are overbearing in nature, with big themes, visual hysteria (look at his editing style), and big performances. In my view, JW wasn't being overbearing, he was matching the tone of Stone's film. I'm kind of amazed that JW was able to find the right musical language to match Stone's sense of extreme melodrama. 

Apologies if this has already been mentioned, but I just stumbled upon this revised version of "The Face of Pan" from Hook and I was wondering if anyone had heard of this new version. According to the description, the performance is from 2013 conducted by Williams himself. I'm personally still trying to wrap my brain around the new orchestration, given that I'm so accustomed to the Boston Pops records version, but I'm giving it several more listens to try and better appreciate it. Interested to hear others' opinions.
 
 

Well, this ought to contain something to please almost everybody!  The Piano Guys—who broke through to prominence partly on the strength of their awesome "Cello Wars" and did a slowed-down version of the Jurassic Park theme when Jurassic World came out—just released "Indiana Jones and the Arabian Nights," a medley of the Raiders March (with a quick Grail theme quote, since they filmed the video partly in the Canyon of the Crescent Moon ) and Rimsky-Korsakov's Scheherezade.  It's not as good as "Cello Wars," but it's got their usual high production values and amazing cinematography, and it's always neat to see how these guys combine film music with classical.  Plus there's some nice piano reductions of some of the connective tissue of the march.
 
Enjoy!
 
 

I definitely agree with this, but that's what made me love the score even more. Rey's theme is the key to the whole thing, and once you know what the components to her theme are it "unlocks" the rest of the score and it all comes flooding to the fore. One of the most rewarding JW scores for repeated listens in recent memory.

I completely agree with all of this

I think the War Horse OST is great JW music to listen to on it's own. The whole album is a fantastic listening experience. I love the lush, full string writing, the numerous themes, and all the musical development of those short themes throughout the album. It's become one of my favorite JW albums.
 
But in the film itself, I still find the music to be overbearing. There's too much of it in general and it's way too hyperactive. But on it's own, the music is great JW stuff.

I think the concert arrangements deserve their own track on an album and sometimes are different than the version featured in the end credits suite. Also, the concert arrangements are of major themes that play throughout the OST so having the concert arrangements on their track, often early in the album prepares the listener for the thematic material throughout the OST and makes for a more satisfying listening experience.

Its so strange to me to think that some reviewers did not like JW's HP1 score or felt that it was too heavy-handed. It is loud and dense and very present, but it's absolutely fitting and majestic and magical in all the ways I expect and want a Harry Potter score to sound.
 
I think Tintin did feel like it had some "beating you over the head" kind of moments with the score. But I didn't enjoy the movie that much overall and felt that the score was trying to provide what the film itself didn't.

Its so strange to me to think that some reviewers did not like JW's HP1 score or felt that it was too heavy-handed. It is loud and dense and very present, but it's absolutely fitting and majestic and magical in all the ways I expect and want a Harry Potter score to sound.
 
I think Tintin did feel like it had some "beating you over the head" kind of moments with the score. But I didn't enjoy the movie that much overall and felt that the score was trying to provide what the film itself didn't.

enjoy ! (or not)