Holko

That's true for you, but not most people. I remember when Rogue One was first released on Blu-Ray, everyone was complaining on the Facebook pages and groups that there were no deleted scenes.

I uploaded tons of unreleased film music to YouTube over the years, never have I heard someone comment "I'm glad this wasn't on the soundtrack".

Hopefully fans will be able to buy all three sets again sometime, in whatever format can be worked out. 

This is your shiny gold OST.  Two coats, guaranteed.  Shovel your way out of the complete score, and into the abridged album presentation.  $29.99, that's right!  Only $29.99.  Plus shipping.

The ROTJ OST is awful.  Even given that JW was given one LP to work with instead of two, it's bad.  So little of the music from the actual movie is on it and a lot of highlights from the score are absent.  Lapti Nek isn't even the film version and though I enjoy it for what it is - it's a waste of space on the OST, but I guess that they thought it was going to be sort of a follow up to the original movie's Cantina Band and that it would be popular...  Three of the tracks are concert versions of themes barely heard in the movie.  That OST is a very very poor representation of the score.

There's no mystical energy field controlling my destiny.

On Saturday, we saw HPSS live with the Houston Symphony (and Chorus)!
 
It was so, SO incredibly good, omg. We truly, thoroughly enjoyed the experience.
 
A few weeks ago, we also saw them do Jurassic Park (for my friend's birthday, with a big group), and we sat far back but in the very middle, really a perfect spot visually and sonically in that hall. And it was absolutely wonderful - in fact I even got all teared up...such memories, then hearing that majestic theme live...it was just overwhelming how, like, utterly thankful I was in that moment for the sheer existence of John Williams and his music.  (Gah, soo sappy. But c'mon I know you've all had the same thoughts!!)
 
This time - we were in the primo seats, about Row 10, off to the left, which was also great, though not necessarily better, just different in the elements that stand out. (Honestly I waited a bit long to get tickets, so the most expensive seats were all that remained!) The orchestra did THREE performances of this one (vs two for Jurassic Park), and apparently all three were sold-out, which bodes extremely well for more of these performances. (Friday night, Sat. afternoon, and Sat. night...brass must've been icing the lips down in-between, jeez!)
 
We went to the Saturday matinee, with I would assume the largest kid attendance, and actually LOVED it! It was totally a giddy atmosphere, with little (and big) witches and wizards excited all over the place in their house colors with wands, so freaking adorable. In addition to the usual drink stations, they even had a special featured station for Butterbeer y'all! (Non-alcoholic though) Sadly we didn't get any Butterbeer though because it was totally mobbed (and we rathered adult beverages anyway), but still, super cool.
 
As others have described, the conductor (lovely Australian chap, Nicholas Buc), did encourage everyone to cheer on their favorite characters, which was fun, it really didn't bother me as I thought it might. Once it all got underway, for the most part everyone including those of tender age were rapt as if "under a spell" (har, har), and listening quite intently, especially during the heaviest-scored sections.
 
One awesome thing I got to see being up-close this time, was the sync system - I was very fascinated with watching it and figuring out how it functioned
 
For anyone who hasn't seen it well yet, I took a zoomed-in clip below as they reach Diagon Alley - you may want to zoom full-screen, here you will see the yellow streamer, and big blinky circle indicating tempo, and in the top right, the counter showing the measure number and beat (ex. 38/1, measure 38, beat 1)
 
The streamer bars come in red, yellow, and green - it appears Yellow indicates "get ready", so right before the beginning of a cue and then right before transitions of tempo/time signature, Green is for the beginning of the cue, and Red is for the end of cue.
 
(For anyone here who actually participates in film scoring etc., please correct me on any parts of that which are wrong!)
 
 
 
 
Couldn't have hoped for a better performance all-around - sometimes I would actually forget to pay attention to the orchestra as they sounded so natural and perfect as the soundtrack!  I was also so very happy the Chorus was there, they sounded marvelous and add so much to the score. The musicians looked to be enjoying themselves immensely, the cutest was on the "Fluffy's Harp" cue, when the harpist flawlessly played her feature solo, and at the end just beamed like "yes, I loved that!" Lots of smiles on players' faces, and of course in their rest periods were also watching the film  
 
I dearly love the JW HP scores, so it was all a dream to hear live, but wow, Quidditch and Wizard Chess were definitely high points!! I've heard these scores so many, many times, and the writing is still just stunning in how richly detailed, complex, and challenging it is, while also seeming to be very idiomatic and just flat out fun to play. Hearing live, I really noticed particularly the involved percussion parts in many cues, so much neat stuff going on that is harder to hear on recording!
 
They did indeed play the full End Credits, and almost everyone stayed - here is a little vid! I have heard the Houston Symphony probably dozens of times, and they were really in tip-top form at both the JW films we attended, sounding as great on this clip as anything I've ever heard from them - style, phrasing, articulation, perfect. The brass were to DIE for here, chills!!
 
 
 
 
 
I think after this doing #2 and #3 are no-brainers...they also did E.T. earlier this year and have done Star Trek etc., these always sell well, many of my friends who don't go to the symphony even went and loved it. Any JWFan here who has a chance to go at all, do it!!

I really like how that whole 14-minute opening piece is almost a 100% self-contained adventure cue. (Except the Raiders March and the Holy Grail foreshadowing, of course.)

I vote for The Cross of Coronado.
 
Ba ba ba Baaaaaaaah     ba ba Ba ba ba Baaah Baaaaaah

By the way I hate Michael Giacchino. Also, does anyone know of any recording session leaks?

@Richard, what kind of crusade are you on here, and why?

We're talking about the great statement of the Slave Children theme heard IN THE FILM just before the Short Round's Theme track begins.  Stop all this boot madness, nobody here is doing anything wrong and you and @Bespin are making people think that they are.
 
Even if people were talking about pressed bootleg CDs that have been sold for money in the past - which they are not, because, again, they are talking about music you can hear by just watching the film - There is no policy banning bootleg discussion on JWfan!
 
Enough!

I don't consider boot music that can be heard on the rear channels of the 5.1 audio from an official DVD/Blu-ray release.

The finale of The Child Returns leading into Short Round's Theme (Fortune and Glory, kid).

I have to go with the Grail theme. Not only is it a great and very fitting theme, but it's probably one of my favorite Williams themes in general. I like how some of the renditions sound borderline medieval at times, and almost feels like it could have doubled as a theme for King Arthur and his knights had Williams ever scored such a film, though I can't quite express why.

I like how the theme is primarily given modest and humble renditions that hint at something more grandiose (and indeed there are a few grander statements later on), almost to play up expectations to an extravagant grail reveal in the final act, while still also befitting the cup's true meager form. 

I feel like this is one aspect of it that I've found, that some of the stuff that seems to inspire the most outspoken frustration or criticism are not for the truly crappy things (can't remember the last time I saw somebody passionately railing against Uwe Boll or even Michael Bay?) but for the things that are almost good.
 
Giacchino is a good example of that here. I don't think any of the biggest critics of him think that he's untalented, far from it. Instead it often seems to come from this constant nagging "He could be better, why isn't he better??" Others include Spielberg, Ridley Scott, Nolan, Williams. It's probably easier to just casually dismiss something like a Transformers sequel when you sort of automatically accept that it never really had a shot of being good. It's not like you have to wrestle those opinions out of your head. Most people here aren't gonna give something like that the time of day, anyway.
 
But then try and ignore a Michael Giacchino superhero score or Christopher Nolan WWII movie or Ridley Scott Alien or David Lynch Twin Peaks or George Lucas Star Wars or Steven Spielberg Indiana Jones. Anything that could be really good becomes a target and people probably take to a forum more readily in those instances because it's like they need to reconcile the much more frustrating dichotomy between the prospect (if not total promise) of something being awesome and that same thing not actually being awesome. It's especially potent if the hype made you concoct some version that you'd now still rather think about after seeing the real thing, which you had hoped would fulfill/replace those vague fantasies of a new favorite which now aren't going away. Those thoughts can be hard to organize in your head so a forum makes a good excuse to put it down in front of you, making comparisons to what you expected vs what you got, what could have been changed or improved. Plus you can get feedback and hopefully positive reinforcement as opposed to just keeping a diary or something.

Well, there are a few things at play here, in my opinion.
 
1)  People are generally more vocal about things that they dislike than things they like.  On the flipside, it's often easier to talk about things you dislike than things you like.  For those reasons, the people who dislike things are usually the loudest voices in the room.
 
2)  Culture has, over time, become less earnest and more sarcastic.  Generationally, that sarcasm has become watered down into a more humorless cynicism.
 
3) Our outreach ability has grown exponentially in the past 20 years.  Instead of using that blessing to expand our horizons and worldview,  we've largely made our worlds smaller by congregating in large groups of people who share our own values and opinions. 
 
In those echo chambers, what once was a maybe slightly disappointed "It wasn't for me" is followed up with a dozen more, until it becomes an angry "IT WASN'T FOR US!"  In my opinion, that makes us hate things instead of just disliking things.

Whether it's new Star Wars, new John Williams, new Twin Peaks, Nolan and Zimmer, Giacchino, superhero movies, Game of Thrones....
 
Don't you feel like people are generally far more negative than they used to be about pretty much everything?  You don't see or hear much effusive praise, that's for sure, unless it's effusive praise for "how things used to be."  Don't you think this is an odd phenomenon?
 
Do you reckon it is actually a question of decreasing quality or overexposure?  I could buy that for certain things.  But is it also a cultural change, a shift towards being more cynical and unimpressed in general?  Is it an internet thing, whereby the ability to soapbox facelessly brings out the armchair critic and contrarian in all of us?  
 
Is it possible to enjoy things in 2017, and if so, is it possible to express that enjoyment without being branded a fanboy?  After all, while many will decry "haters," negative sentiments can nevertheless be painted as insightful criticism.  What can positive sentiments be defended as but naivete?  It is now much easier, and possibly more stylish, to tear down a defense than it is to brush off offense. 
 
I thought this was a more interesting way to broach this subject than some of the "pleas for positivity" we've seen of late.  

I think that's a strong possibility, yet he's also so unpredictable, who knows. The thing with his character is, for the past however many episodes no, 100% of his scenes have been with Sansa, so its hard to predict if he actually has any plans or schemes that aren't about her
 
 
 
 
 
It was clear to me they chose to show these two major battles the way they did for three reasons
 
1) Avoid repetition since we've seen these kinds of battles already
2) Avoid spending a bunch of screen time on mostly unnamed people fighting, since there wasn't any real major characters at the first battle and only Jaime as the second battle
3) Save the budget for some bigger battle, featuring more important characters, coming later this year

The finale of The Child Returns leading into Short Round's Theme (Fortune and Glory, kid).

The theatre-going crowd, and especially the theater critics do not necessarily overlap with the people who like Harry Potter. Those people could have judged it on its own, being ignorant of how it fits into the HP universe. The majority of fans could only read the book, and they are the ones who would be concerned with the botched characterizations, uninspired and unfitting storyline, massacred lore and overall insultingly lazy stuff like 
.

I don't think I listened to it but I did see the tracklist and some descriptions. There was a 10-minute action cue and a swing jazz piece for Canto Bight. Hopefully I'm prophetic. 

You beat me to it!  I love the pondering, somewhat staggered meter, as if the music is dwelling on what we're about to discover (just like Indy and Short Round in that scene). 
 
The "Broken Bridge" one is fantastic too, especially with the twiddly woodwind after the last note! But the one that's the most fun to play full blast through speakers is the end credits version, no doubt.

This bloke does a breathtakingly thorough breakdown of everything wrong with Cursed Child and suggests some good potential alternate rewrites the direction could have gone.
 
 
 

The finale of The Child Returns leading into Short Round's Theme (Fortune and Glory, kid).

Absolutely. I've done liners for albums where I've had to pin down developmental arcs well before the score has even finished being composed. It's often a case of asking the composer, "Well, what do you think might happen?" You have to choose your words incredibly carefully, because you could easily tie yourself to something that makes no sense later. The first Hobbit was particularly tricky. Neither the film nor the score was done when I did the notes. And it was only part one of three, so the initial themes could have gone in almost any direction in future installments. Since I wanted to be able to revisit everything more comprehensively down the line, I tried to avoid naming anything or giving anything more than general structural parameters. But even that was difficult since I had maybe four different sketched out or mocked up versions of the end of the score, and no one knew yet what the final draft would sound like. I wouldn't trade the experience for the world -- and I worked with amazing, supportive people -- but it was a difficult gig!
 
By the way, I'm told that much of the issue with the lead time these days is that CD manufacturing plants are closing down left and right. If you want to press something in semi-large numbers, you basically need to reserve a time months and months in advance ... and that time may or may not be near the actual release window. It's usually not. And woe be he who gets behind schedule and can't deliver materials to the manufacturers on time. You either pay through the nose to adjust the date (which in the case of the niche film score market likely means bye-bye profits) or you get the next available spot, which could -- and likely would -- delay the project by months. 
 
As they say: Creativity is easy. Logistics are hard!
 
 

They could at least release the first two digitally!