Pawel P.

Again, Anne-Sophie Mutter's version it's not in the movie. 
 
Guys, love your comments. I don't treat them as spoilers because I saw the movie. Four more hours for me to listen to this...

Tracklist
Prologue To Indiana Jones And The Dial Of Destiny (6:00) Helena's Theme (3:30) Germany, 1944 (4:42) To Morroco (3:21) Voller Returns (3:06) Auction At Hotel L'Atlantique (2:58) Tuk Tuk In Tangiers (3:35) To Athens (2:17) Perils Of The Deep (2:31) Water Ballet (4:53) Polybius Cypher (2:39) The Grafikos (4:39) Archimedes' Tomb (3:01) The Airport (4:46) Battle Of Syracuse (2:50) Centuries Join Hands (3:02 New York, 1969 (4:17) Helena's Theme (For Violin And Orchestra) [feat. Anne-Sophie Mutter] (4:59) 1:07:06
 
Samples
https://music.apple.com/nz/album/indiana-jones-and-the-dial-of-destiny/1693678408
 

That’s how he looked in the 60s.

That’s not composer John Williams.
The author and VF lifted the picture from another article, even using the same caption.
https://thecritic.co.uk/john-williams-in-vienna-dg/
Williams first had a goatee, but then he was already balding, then later he had his signature beard. And he never had glasses like those. 

Is it really him with those brass instruments? He doesn't look like himself at all.

https://www.vanityfair.com/hollywood/2023/06/john-williams-music-movies-legacy
 
The article says the success of JW's use of orchestra in Star Wars helped pave the way for other composers to use orchestras, and it specifically mentions Jerry Goldsmith as one of those composers.
 
I first thought maybe that's wrong. But on reflection I considered that JG was bowing to the trends at the time and using smaller ensembles.  The success of using an orchestra in SW meant he could return to larger ensembles. 
 
Love the pic they dug up of JW circa 1965.

Sorry, I didn't read carefully.
 
Immediately after Raider's March and Helena's Theme (played in its entirety, without Anne-Sophie Mutter), there was some MacGuffin and action music variations, but I have to say it's quite an unusual End Credits for Williams. More like typical  Horner's End Credits, with slow-paced music. There is no Raider's March at the end.
 
I'm curious if we'll hear a slightly different suite on the album.

Saw the movie on Monday.
 
If I had to compare the score to any of the previous parts in the series, I'd pick  "The Last Crusade". There was also really one leading new theme (Grail) and the compelling action music that dominated the score. There is even more of it here. Helena's Theme we hear more often in the film itself in adventure arrangements (that are really great) than the one we know from last concerts. It's only in its full "Golden Age" glory during the end credits.
 
But there is a lot going on here, it is dynamic and dense, because there is no shortage of action in the movie. There are also some musical surprises. In one of the scenes I heard something that would fit to "Dirty Harry" or "Bullitt" or other Shiffrin's scores form 70's. Very unusual for Williams.  There's another theme, more exotic, similar to "Tintin". And a lot of "Raider's March" and twice
 
 
The music is very intense, just like "The Last Crusade" mixed with "Tintin". And sometimes it rushes like "The Lost World". The music accompanying action scenes, with motifs accompanying the antagonists, is very intense and the whole score is very "busy" , if I may use such a word. Williams had a lot to do here. And must have had fun!
 
And there is theme related to the McGuffin - very simple one. 
 
I can't wait to hear the score from the album and I have no doubt that it will be a great listening experience.
 
Williams and Ross are listed as conductors.
 
And the movie itself? Without giving away any spoilers, I really liked it. A lot of humor, lots of action, with a solid emotion in the background. There were moments that really surprised me. The biggest acting star here is indeed the fantastic Phoebe Waller-Bridge.
 
Can't wait to see it again!

Thor, by comparing this score to The Last Crusade, I meant the fact that there is one dominant new main theme and lots of action music. It's just a very "busy" score with a lot going on. And that's what I meant.
 
You wrote about TLC: 'It's like a string of different concert pieces, both on album and in the film. Dial, on the other hand, is far more in line with Crystal Skull, or the new Star Wars scores — i.e. ‘contemporary’ JW, with lots of small cells alternating and stacked on top of each other, like a puzzle. A short brass outburst there, a cymbal crash there, frenetic strings jumping around the scale. It's very busy, schizophrenic and - to be honest - very close to what I had expected".
 
Well, I just have this feeling with Star Wars Sequel Trilogy scores - most of the pieces at least - that there are a lot of different concert pieces that have a proper beginning, proper middle part and proper end. Of course, old themes return more often in Sequel Trilogy than The Raider's March in TLC, but this is due to the nature of the film.
 
I agree, however, that the mix of music and visuals is not perfect in Dial of Destiny, especially in the numerous action and chase sequences, so it's hard for me to say anything more detailed today about the accompanying music (other than that I really liked what I heard). And yes, I didn't hear another Anderton Great Escape or another Visitor In San Diego here. But like you, with DOD I got what I expected. And this is very good news for me and, I think, for many people who appreciate Williams' music from the last decade much more than you do.

Thank you. I managed to order it too.

I ordered it earlier today and got an error trying to pay via PayPal, but with a credit card it seemed to work fine, although my initial PayPal payment (just for the CD) went through, but has since been reverted, with just the total CD plus postage cost going on my card. Disney have a shonky website, who'd have guessed?!

So no age difference. Just different opinions. I can live with that too.

I think TROS is pretty good, and the track Rise of Skywalker is one of the best concert version of a theme he ever did.
 
And were missing Lando Arrives, probably the best statement of the main Star Wars theme in the 9 movies

Saw the movie on Monday.
 
If I had to compare the score to any of the previous parts in the series, I'd pick  "The Last Crusade". There was also really one leading new theme (Grail) and the compelling action music that dominated the score. There is even more of it here. Helena's Theme we hear more often in the film itself in adventure arrangements (that are really great) than the one we know from last concerts. It's only in its full "Golden Age" glory during the end credits.
 
But there is a lot going on here, it is dynamic and dense, because there is no shortage of action in the movie. There are also some musical surprises. In one of the scenes I heard something that would fit to "Dirty Harry" or "Bullitt" or other Shiffrin's scores form 70's. Very unusual for Williams.  There's another theme, more exotic, similar to "Tintin". And a lot of "Raider's March" and twice
 
 
The music is very intense, just like "The Last Crusade" mixed with "Tintin". And sometimes it rushes like "The Lost World". The music accompanying action scenes, with motifs accompanying the antagonists, is very intense and the whole score is very "busy" , if I may use such a word. Williams had a lot to do here. And must have had fun!
 
And there is theme related to the McGuffin - very simple one. 
 
I can't wait to hear the score from the album and I have no doubt that it will be a great listening experience.
 
Williams and Ross are listed as conductors.
 
And the movie itself? Without giving away any spoilers, I really liked it. A lot of humor, lots of action, with a solid emotion in the background. There were moments that really surprised me. The biggest acting star here is indeed the fantastic Phoebe Waller-Bridge.
 
Can't wait to see it again!

Thor, by comparing this score to The Last Crusade, I meant the fact that there is one dominant new main theme and lots of action music. It's just a very "busy" score with a lot going on. And that's what I meant.
 
You wrote about TLC: 'It's like a string of different concert pieces, both on album and in the film. Dial, on the other hand, is far more in line with Crystal Skull, or the new Star Wars scores — i.e. ‘contemporary’ JW, with lots of small cells alternating and stacked on top of each other, like a puzzle. A short brass outburst there, a cymbal crash there, frenetic strings jumping around the scale. It's very busy, schizophrenic and - to be honest - very close to what I had expected".
 
Well, I just have this feeling with Star Wars Sequel Trilogy scores - most of the pieces at least - that there are a lot of different concert pieces that have a proper beginning, proper middle part and proper end. Of course, old themes return more often in Sequel Trilogy than The Raider's March in TLC, but this is due to the nature of the film.
 
I agree, however, that the mix of music and visuals is not perfect in Dial of Destiny, especially in the numerous action and chase sequences, so it's hard for me to say anything more detailed today about the accompanying music (other than that I really liked what I heard). And yes, I didn't hear another Anderton Great Escape or another Visitor In San Diego here. But like you, with DOD I got what I expected. And this is very good news for me and, I think, for many people who appreciate Williams' music from the last decade much more than you do.

The Anne-Sophie Mutter version of Helena's theme is up:
 

Saw the movie on Monday.
 
If I had to compare the score to any of the previous parts in the series, I'd pick  "The Last Crusade". There was also really one leading new theme (Grail) and the compelling action music that dominated the score. There is even more of it here. Helena's Theme we hear more often in the film itself in adventure arrangements (that are really great) than the one we know from last concerts. It's only in its full "Golden Age" glory during the end credits.
 
But there is a lot going on here, it is dynamic and dense, because there is no shortage of action in the movie. There are also some musical surprises. In one of the scenes I heard something that would fit to "Dirty Harry" or "Bullitt" or other Shiffrin's scores form 70's. Very unusual for Williams.  There's another theme, more exotic, similar to "Tintin". And a lot of "Raider's March" and twice
 
 
The music is very intense, just like "The Last Crusade" mixed with "Tintin". And sometimes it rushes like "The Lost World". The music accompanying action scenes, with motifs accompanying the antagonists, is very intense and the whole score is very "busy" , if I may use such a word. Williams had a lot to do here. And must have had fun!
 
And there is theme related to the McGuffin - very simple one. 
 
I can't wait to hear the score from the album and I have no doubt that it will be a great listening experience.
 
Williams and Ross are listed as conductors.
 
And the movie itself? Without giving away any spoilers, I really liked it. A lot of humor, lots of action, with a solid emotion in the background. There were moments that really surprised me. The biggest acting star here is indeed the fantastic Phoebe Waller-Bridge.
 
Can't wait to see it again!

Jay, saw it at press screening in Warsaw.

 
It was the full version we know from the concerts, immediately after Raider's March (which later didn't return). Without Anne-Sophie Mutter.

If I remember correctly, the music in the last scene was light as a feather and quite touching at the same time
 
It's hard for me to point out individual highlights, because there's a lot going on here. Besides, when watching the film, I didn't always focus enough on the music, because I was following the plot. For example, speaking about the scene with music similar to Spyders or Minority Report, I didn't remember it musically at all! 
 
Certainly, the greatest highlight are the adventure variations on Helena's Theme, the music accompanying fights and chases, two travel map pieces. The entire 20-minute opening sequence from 1944 is a glorious Williams' tour de force, with few very thrilling and exciting entrances of The Raider's March.
 
There is also a lot much more subtle fragments, full of arrangement flavors. Discovering it both in the film at the next screening (I have to wait for the premiere like everyone else) and on the CD will surely be fascinating!

If I remember correctly, the music in the last scene was light as a feather and quite touching at the same time
 
It's hard for me to point out individual highlights, because there's a lot going on here. Besides, when watching the film, I didn't always focus enough on the music, because I was following the plot. For example, speaking about the scene with music similar to Spyders or Minority Report, I didn't remember it musically at all! 
 
Certainly, the greatest highlight are the adventure variations on Helena's Theme, the music accompanying fights and chases, two travel map pieces. The entire 20-minute opening sequence from 1944 is a glorious Williams' tour de force, with few very thrilling and exciting entrances of The Raider's March.
 
There is also a lot much more subtle fragments, full of arrangement flavors. Discovering it both in the film at the next screening (I have to wait for the premiere like everyone else) and on the CD will surely be fascinating!

If I remember correctly, the music in the last scene was light as a feather and quite touching at the same time
 
It's hard for me to point out individual highlights, because there's a lot going on here. Besides, when watching the film, I didn't always focus enough on the music, because I was following the plot. For example, speaking about the scene with music similar to Spyders or Minority Report, I didn't remember it musically at all! 
 
Certainly, the greatest highlight are the adventure variations on Helena's Theme, the music accompanying fights and chases, two travel map pieces. The entire 20-minute opening sequence from 1944 is a glorious Williams' tour de force, with few very thrilling and exciting entrances of The Raider's March.
 
There is also a lot much more subtle fragments, full of arrangement flavors. Discovering it both in the film at the next screening (I have to wait for the premiere like everyone else) and on the CD will surely be fascinating!

If I remember correctly, the music in the last scene was light as a feather and quite touching at the same time
 
It's hard for me to point out individual highlights, because there's a lot going on here. Besides, when watching the film, I didn't always focus enough on the music, because I was following the plot. For example, speaking about the scene with music similar to Spyders or Minority Report, I didn't remember it musically at all! 
 
Certainly, the greatest highlight are the adventure variations on Helena's Theme, the music accompanying fights and chases, two travel map pieces. The entire 20-minute opening sequence from 1944 is a glorious Williams' tour de force, with few very thrilling and exciting entrances of The Raider's March.
 
There is also a lot much more subtle fragments, full of arrangement flavors. Discovering it both in the film at the next screening (I have to wait for the premiere like everyone else) and on the CD will surely be fascinating!

If I remember correctly, the music in the last scene was light as a feather and quite touching at the same time
 
It's hard for me to point out individual highlights, because there's a lot going on here. Besides, when watching the film, I didn't always focus enough on the music, because I was following the plot. For example, speaking about the scene with music similar to Spyders or Minority Report, I didn't remember it musically at all! 
 
Certainly, the greatest highlight are the adventure variations on Helena's Theme, the music accompanying fights and chases, two travel map pieces. The entire 20-minute opening sequence from 1944 is a glorious Williams' tour de force, with few very thrilling and exciting entrances of The Raider's March.
 
There is also a lot much more subtle fragments, full of arrangement flavors. Discovering it both in the film at the next screening (I have to wait for the premiere like everyone else) and on the CD will surely be fascinating!

If I remember correctly, the music in the last scene was light as a feather and quite touching at the same time
 
It's hard for me to point out individual highlights, because there's a lot going on here. Besides, when watching the film, I didn't always focus enough on the music, because I was following the plot. For example, speaking about the scene with music similar to Spyders or Minority Report, I didn't remember it musically at all! 
 
Certainly, the greatest highlight are the adventure variations on Helena's Theme, the music accompanying fights and chases, two travel map pieces. The entire 20-minute opening sequence from 1944 is a glorious Williams' tour de force, with few very thrilling and exciting entrances of The Raider's March.
 
There is also a lot much more subtle fragments, full of arrangement flavors. Discovering it both in the film at the next screening (I have to wait for the premiere like everyone else) and on the CD will surely be fascinating!

All of this is absolutely the most exciting thing I have read about this score yet.  Can't wait!