DrTenma

None of them do what ESB does better than ESB does it. It's a grandly bittersweet finale, followed by a brisk and exciting summation of all of the score's new major themes, all with minimal redundancy of material in the album setting. It's a powerhouse and I love it.
 
But if you're looking for the fairytale-in-space feel, you can't beat ANH. It just feels like the perfect conclusion of what could have easily been a fun standalone space fantasy film. It's not super long, and the credits completely omit two of the score's most important themes, but boy, is it charming.

That's easy:
 
Black Sunday
vs.
Poltergeist

At least he didn't start ANOTHER DAMN STAR WARS THREAD!
 

Can't get why at least first Star Trek score got so much aprreciation. It is so dull in comparison to SW, no offense to Jerry Goldsmith

If like me you prefer individual covers for each episode I found some great ones here:
 
https://www.facebook.com/blackinkcovers/photos/?tab=album&ref=
 
Multiple versions per episode with different concept art.
 
 
 

There is no concert piece "version" of this.  What we call "Duel of the Fates" was titled "End Credit" by Williams when he wrote it
 

 
 
 
 

 
It's used in the end credits of the film, and Lucas of course also pasted bits of it during the end of the film also.
 
For the OST album, JW decided to put it on the OST in its own track where he titled it "Duel of the Fates", and also put it on the album again in the final track.  In other words the same identical recording appears on the album twice - It's one of 4 pieces of music that does so on this album.

1M2     Star Wars Main Title = The main title recording, recorded using the published suite (bars 1-68) on February 5th 7M3    Throne Room = the recording this thread was created to discuss, ANH's entire end credits recorded using the published suite (bars 107-end) on February 6th Throne Room (End Credits) = either some kind of shorter rendition of the end credits also recorded on February 6th from the published suite that never leaked, or a full blown typo on the Dakota recording log. 7M3    End Credit  = What we know as "Duel of the Fates", recorded on February 10th 7M3    End Credits Insert = The actual opening of the end credits used in the film, the OST, and the UE to bridge from Augie to DOTF, recorded using the published suite (bars 107-124, 127-131) + 4 new bars, on February 16th

Okay, so this is the Lukas Kendall FSM post I'm remembering, from 2014 instead of 2010:
 
 
This description of the elements reads a bit differently to the comment he made in 2010. It had no reference to them being mere album masters. Wouldn't those be stereo dub-downs of the multitracks? Why would album masters be on 16-tracks and 2" tape?
 
This sounds more like the offcuts of the first-gen multitracks (the takes Williams wanted to use for the OST), and I vaguely recall an interview with Mike where he said all the film takes were missing from that source when the SE was assembled (but they did have all the non-film stuff, like the alternate Binary Sunset, because it wasn't used for the album or film).
 
EDIT: Dammit Jay, you edited your post! Well, at least I wasn't misremembering. He just made two different comments.
 
At the risk of further derailing the A.I. thread (maybe this sub-convo could be moved to one of the SW threads?), I wonder if these elements (which someone was selling on eBay 6 years ago) are related?
 

 


 
 
The SQ on the ROTJ Demaster is stunning, so if the whole score sounds that good we're in for a treat.
 
When you say more tapes were found though, are you merely referring to better sounding elements of the film score? Or are you referring to the lost album session tapes (and Max Rebo)?

Travis Scott motif (from the song "The Plan". Probably had to have separate cues for it due to the rules of the academy but now that those stems are gone I'm not so sure. Either way, his song was incorporated throughout the score.

My guess is they didn’t know how long the end credits needed to be, so they recorded the whole thing to make sure they had plenty of material to cut and paste later on.

13th Warrior is an interesting case, from a historical perspective. Musically Goldsmith towers over Revell, but Revell foreshadows the film scoring trends of the next 20 years with his highly atmospheric world music approach sans real themes or a convincing structure. The JG classic adventure approach seems comparably old-school and watching the movie, especially its cutting, this becomes obvious. The more colourful and rich the scoring gets (cf The sword Maker-sequence), the less suited it seems for the images.

A24 Films  LINK 1 or 2
Boys State (T. Griffin) First Cow (William Tyler) Minari (Emile Mosseri) On The Rocks (Phoenix)
 
Aegean Entertainment  https://awards.aegeanentertainment.com/
 
 
Amazon Studios  LINK 1 or 2
All In: The Fight for Democracy (Gil Talmi) All In: The Fight for Democracy [Song - “Turntables” (Janelle Monáe), 2:43] Borat: Subsequent Moviefilm (Erran Baron Cohen) Borat: Subsequent Moviefilm [Song - "Wuhan Flu" (Sacha Baron Cohen, Erran Baron Cohen, and Anthony Hines), 3:21] herself (Natalie Holt) I'm Your Woman (Aska Matsumiya) [10 cues, 21:40] One Night in Miami... (Terence Blanchard) One Night in Miami... [Song - "Speak Now" (Leslie Odom, Jr. & Sam Ashworth), 3:37] Radioactive (Evgueni Galperine & Sacha Galperine Sound of Metal (Nicolas Becker & Abraham Marder) Sound of Metal [Song - “Cet Amour Me Tue” (Mathieu Amalric & Olivia Cooke), 2:24] Sound of Metal [Song - "Green" (Abraham Marder), 4:22] Time (Jamieson Shaw & Edwin Montgomery)  
 
Annapurna Pictures  1, 2, or 3
 
 
Bleecker Street  LINK 1, 2 , 3 or 4
Assistant, The (Tamar-Kali) Military Wives (Lorne Balfe) Ordinary Love (David Holmes & Brian Irvine) Supernova (Keaton Henson) Wild Mountain Thyme (Amelia Warner) World to Come, The (Daniel Blumberg)  
 
CBS Films  1 or 2
 
 
DreamWorks  LINK 1 or 2
 
 
DreamWorks Animation  LINK 1 or 2
 
 
Focus Features  LINK 1 or 2
Emma (Isobel Waller-Bridge & David Schweitzer) High Note, The (Amie Doherty) Kajillionaire (Emile Mosseri) Land (Ben Sollee & Time For Three) Let Him Go (Michael Giacchino) Never Rarely Sometimes Always (Julia Holter) Promising Young Woman (Anthony Willis) [13 cues, 43:05] Promising Young Woman [Song - “Uh Oh” (Cynthia Nabozny, Matias Mora, & Mia Minichiello), 3:11] Promising Young Woman [Song - “Come and Play With Me” (Romy Flores & Andy Rosen), 3:08] Way I See It, The (Marco Beltrami, Buck Sanders, & Brandon Roberts)  
 
GKIDS  https://gkidsawards.com/
Earwig and the Witch (Satoshi Takebe) Lupin III: The First (Yuji Ohno) On-Gaku: Our Sound (Tomohiko Banse, Grandfunk, & Wataru Sawabe) Ride Your Wave (Michiru Oshima) Wolfwalkers (Bruno Coulais)  
 
Lionsgate  http://www.lionsgateawards.com/
Antebellum (Nate Wonder & Roman GianArthur) Arkansas (Devendra Banhart & Noah Georgeson) Barb and Star Go to Vista Del Mar (Christopher Lennertz & Dara Taylor) Fatale (Geoff Zanelli) Quarry, The (Heather McIntosh) Wander Darkly (Alex Weston)  
 
Magnolia Pictures  http://www.magpictures.com/awards/
Collective (Kyan Bayani) Two of Us (Michele Menini)  
 
Neon  LINK 1 or 2
Ammonite (Dustin O’Halloran & Volker Bertelmann) Dear Comrades (?) Gunda (Peter Nashel & Brian Deming) Killing of Two Lovers, The (?) Lodge, The (Danny Bensi & Saunder Jurriaans) New Order (Cormac Roth) Night of the Kings (Olivier Alary) Notturno (?) Painter and the Thief, The (Uno Helmersson) Palm Springs (Matthew Compton) Possessor (Jim Williams) Quo Vadis, Aida? (Antoni Lazarkiewicz) She Dies Tomorrow (Mondo Boys) Shirley (Tamar-Kali) [21 cues, 33:07] Spaceship Earth (Owen Pallett) Totally Under Control (Peter Nashel & Brian Deming)  
 
Netflix  LINK 1, 2, 3, 4, or 5
Athlete A (Jeff Beal) Becoming (Kamasi Washington) [11 cues, 25:08] Boys in the Band, The (?) Canvas [animated short] (Jermaine Stegall) Cops and Robbers [animated short] (Jerry Compere) Crip Camp (Bear McCreary) Da 5 Bloods (Terence Blanchard) [10 cues, 31:35, WAV format] [1 or 2] Da 5 Bloods (Terence Blanchard) [10 cues, 31:35, M4A format] David Attenborough: A Life on Our Planet (Steven Price) Devil All the Time, The (Danny Bensi & Saunder Jurriaans) Dick Johnson is Dead (SYZYGYS) Dig, The (Stefan Gregory) Disclosure (Franceso Le Metre) Endless Trench, The ( Pascal Gaigne) Eurovision Song Contest: The Story of Fire Saga (Atli) Eurovision Song Contest: The Story of Fire Saga [Song - "Husavik" (Savan Kotecha, Rickard Goransson, & fat max Gsus), 03:22] Father of the Bride - Part 3 (ish) [short] (Alan Silvestri) Father Soldier Son (Nathan Halpern) Forty-Year-Old Version, The (?) Giving Voice (Bryan Senti) Half of It, The (Anton Sanko) Hillbilly Elegy (Hans Zimmer & David Fleming) [9 cues, 21:28] His House (Roque Baños) I Care a Lot (Marc Canham) I'm No Longer Here (?) I'm Thinking of Ending Things (Jay Wadley) I'm Thinking of Ending Things (Jay Wadley) [score featurette, 4:16] If anything happens I love you [animated short] (Lindsay Marcus) Jingle Jangle: A Christmas Journey (John Debney) [38 cues, 1:14:51] Jingle Jangle: A Christmas Journey (John Debney) [24 cues, 58:21] Jingle Jangle: A Christmas Journey [Song - "Sqaure Root of Possible" (Philip Lawrence, Michael Diskint, & Davy Nathan), 04:27] John Was Trying to Contact Aliens (?) Life Ahead, The (Gabriel Yared) [14 cues, 20:03] Lost Girls (Anne Nikitin) Love Song for Latasha, A (Minna Choi) Ma Rainey's Black Bottom (Branford Marsalis) Malcolm & Marie (Labrinth) Mank (Trent Reznor & Atticus Ross) [57 cues, 1:21:47] [1 or 2]  Midnight Sky, The (Alexandre Desplat) [31 cues, 1:16:14, MP3 & WAV (1 cue) format] Midnight Sky, The (Alexandre Desplat) [12 cues, 35:07, M4A format] Miss Americana (Alex Somers) Miss Americana [Song - "Only the Young" (Taylor Swift & Joel Little), 2:38] Mucho Mucho Amor: The Legend of Walter Mercado (Jeff Morrow) My Octopus Teacher (Kevin Smuts) Old Guard, The (Volker Bertelmann & Dustin O'Halloran) Over the Moon (Steven Price) [41 cues, 1:05:08] [1 or 2]  Over the Moon [songs] (Christopher Curtis, Marjorie Duffield, Helen Park, & Michael Wyckoff) [9 songs, 26:49] [NOTE:  Total length includes relatively long portions of silence at the beginnings and/or ends of each song.] Over the Moon [Song - "Rocket to the Moon" (Christopher Curtis, Marjorie Duffield, Helen Park, & Michael Wyckoff), 03:47, M4A format] Penguin Bloom (Marcelo Zarvos) Pieces of a Woman (Howard Shore) Prom, The (David Klotz & Matthew Sklar) Prom, The [Song - "Wear Your Crown" (Adam Anders, Peer Astrom, Matthew Sklar & Chad Beguelin), 03:05] Rebecca (Clint Mansell) Rising Phoenix (Daniel Pemberton) Shaun the Sheep Movie, A: Farmageddon (Tom Howe) Social Dilemma, The (Mark Crawford) Speed Cubers, The (Dan Vidmar) Sun, A (Sheng-Xiang Lin) Trial of the Chicago 7, The (Daniel Pemberton) [14 cues, 41:50, MP3 format] [1 or 2] Trial of the Chicago 7, The (Daniel Pemberton) [11 cues, 40:37, M4A format] Trial of the Chicago 7, The [Song - "Hear My Voice" (Celeste), 3:08, MP3 format] Trial of the Chicago 7, The [Song - "Hear My Voice" (Celeste), 3:08, M4A format] What Would Sophia Loren Do? (?) White Tiger, The (Danny Bensi & Saunder Jurriaans) Willoughbys, The (Mark Mothersbaugh)  
 
Netflix (series)  https://www.playlistnetflix.com
Crown, The (Martin Phipps) - Season 4, Episode 3 [11 cues, 13:21] Julie and the Phantoms [Song - "Edge of Great" (David Amber & Andy Love), 03:01] Ozark (Danny Bensi & Saunder Jurriaans) - Episode 10 [1 cue, 02:02] Queen's Gambit, The (Carlos Rafael Rivera) - Season 1, Final Episode [11 cues, 32:24] Queen's Gambit, The [Song - "I Can't Remember Love" (Anna Hauss & Robert Wienroder), 3:17]  
 
Open Road Films  http://openroadfilms.com/AWARDS/
 
 
The Orchard  https://awards.theorchard.com/
 
 
Paramount Pictures  LINK 1 , 2, or 3
 
 
Roadside Attractions  http://roadsideawards.com/home
 
 
Searchlight Pictures  LINK 1 or 2
Nomadland (Ludovico Einaudi) Personal History of David Copperfield, The (Christopher Willis) [47 cues, 51:33]  
 
Solstice Studios  https://www.solsticestudiosguilds.com/
Joe Bell (Antonio Pinto)  
 
Sony Pictures  LINK 1 or 2
 
 
Sony Pictures Classics  http://www.sonyclassics.com/awards- information/
Climb, The (Martin Mabz & Jon Natchez) Father, The (Ludovico Einaudi) French Exit (Nick deWitt) Human Factor, The (Eugene Levitas) Human Voice, The (Alberto Iglesias) I Carry You With Me (Jay Wadley) Nine Days (Antonio Pinto) Truffle Hunters, The (Ed Côrtes)
 
STX Entertainment  LINK 1 or 2
Mauritanian, The (Tom Hodge)  
 
United Artists Releasing  1, 2, & HFPA
 
 
Universal Pictures  LINK 1 or 2
Croods, The: A New Age (Mark Mothersbaugh) [24 cues, 39:11] [1 or 2] Croods, The: A New Age [Song - "Feel the Thunder" (Alana Haim, Danielle Haim, Este Haim, & Ariel Rechtshaid), 2:48] Invisible Man, The (Benjamin Wallfisch) [15 cues, 49:41] [1 or 2] King of Staten Island, The (Michael Andrews) News of the World (James Newton Howard) [19 cues, 1:11:49] [1 or 2] Trolls: World Tour (Theodore Shapiro) Trolls: World Tour [Song - “Just Sing (Trolls World Tour)” (Justin Timberlake, Ludwig Göransson, Max Martin, & Sarah Aarons), 3:41]
 
Walt Disney  LINK 1 or 2
Hamilton (Lin-Manuel Miranda) Mandalorian, The (Ludwig Göransson) Mulan (Harry Gregson-Williams) [13 cues, 35:04] One and Only Ivan, The (Craig Armstrong) Onward (Mychael Danna & Jeff Danna) [69 cues, 1:13:59] Soul (Trent Reznor, Atticus Ross, & Jon Batiste) [31 cues, 46:35] Soul (Trent Reznor & Atticus Ross) [23 cues, 40:03] [Note: Site has been updated to the 31-cue version above.]
 
Warner Brothers  AMPAS, HFPA, & BAFTA
Birds of Prey (Daniel Pemberton) Crisis (Raphael Reed) Judas and the Black Messiah (Mark Isham, Craig Harris, Quelle Chris, & Chris Keys) [17 cues, 26:42] Judas and the Black Messiah [Song - "Fight For You" (H.E.R., Dernst Emile II, & Tiara Thomas), 4:32] Little Things, The (Thomas Newman) [25 cues, 58:37] [AMPAS or BAFTA] Locked Down (John Powell) Scoob! (Junkie XL) Tenet (Ludwig Göransson & Daniel Pemberton?) [51 cues, 2:15:27] [Note:  Site has been updated to the 18-cue version below, but the streamable AAC links are still active. 3m16, 3m16B, & 4m26S attributed to Pemberton.] Tenet (Ludwig Göransson) [18 cues, 1:08:07] [AMPAS or BAFTA] Tenet [Song - "The Plan" (Travis Scott, Ebony Naomi Oshunrinde, & Ludwig Göransson), 3:05] [1 or 2] Way Back, The (Rob Simonsen) Wonder Woman 1984 (Hans Zimmer) [19 cues, 1:18:57]  
 
MISCELLANEOUS
Blizzard of Souls (Lolita Ritmanis) [28 cues, 1:04:10] Dissident, The (Adam Peters) [65 cues, 2:36:56] [General FYC site: https://thedissident.com/awards/] Sound of Identity, The (Nicolas Repetto) [4 cue excerpts, 03:27] Stand! (Danny Schur) [24 cues, 34:22] [General FYC site: https://www.standfyc.com/] WiNDUP (Joaquin Garcia) [animated short] [General FYC site: https://unity.com/demos/windup]  
 
NOTES:
ARCHIVES OF PAST YEARS' THREADS:  2019, 2018, 2017, 2016, 2015, 2014, 2013, 2012, & 2011 Links to film sites above provided only for those featuring score/music excerpts. Direct links to audio files provided in the Spoilers below the film titles. Please post other studios and film sites featuring music below and I will add them to this master list. Sources for the sites listed above (in part): http://www.richiesolomon.com/screenings/#films Historical: http://www.awardscircuit.com/oscar-predictions/103406-2/fyc-awards-season-tracker-2016-2017/  

For the scores is a clear win for Williams, and by far. I feel the Hobbit trilogy has weak and boring scores. I have tried to listen them many times and I always end up stoping them. They lack the excellence of the Lord of the Rings and precuels scores.
 
The movies... For me, the better movie of the six is the Phantom Menace (unpopular, I know). It feels the better done, there have some things that I dislike but overall is an ok movie. The rest are simply bad movies. My main problem with the Hobbit trilogy is that apart from bad they are also boring. The novel is very entertaining, but making it into an almost 9 hour set of films makes the whole story slow and uninteresting. 

I've read through Derek Connolly and Colin Treverrow's script. Its reads better than the finished film, but still not good.
 
I often compare this film more to Gladiator, with The Rise of Skywalker being the equivalent of giving Commodus a redemption arc. A line from Doctor Zhivago springs to mind when he expires: "Spare me your expressions of regret. He was a murderous neurotic and no loss to anyone."
 
Its nuts that 2.5-hours of Gladiator achieve more than 20 hours of Star Wars: an arena battle that doesn't suck, senate politics that don't put you to sleep and a patricidical villain who doesn't suddenly go on a pedestal because he did CPR on a girl once...

I'm guessing Hook.  I believe Jay already mentioned a premier release is happening of one of his 'most listened to scores.'  Can't find the topic, but I remember he said that.  And i've been here long enough to know Hook is his favorite score.
 
And if another Hook comes out, I'm presuming it could at least be a 3 disc set (i think?), which would have a bunch of bonus tracks.
 
But I'm just guessing...

The first 3 tracks are the most enjoyable Zimmer in years. As many others I feel the score tanks a little bit when it gets less heroic and more dark in the Zimmer style. 

With kazoo orchestra!

The End Credits cue was recorded on the final day of recording sessions, the same day the revised sail barge assault cue ("The Return of the Jedi") and all the album concert arrangements ("Luke and Leia", "Parade of the Ewoks", "Jabba The Hutt", and "The Forest Battle') were recorded.
 
You can hear the End Credits cue in full in the original 1983 movie, the original 1983 OST album, and disc 3 of the 1993 Arista box set.  In all three spots, the final cue of the movie is still finishing up when the End Credits cue begins - they are overlapped, meaning the opening of the end credits is not available "clean" in any of these places.
 
For the 1997 Special Edition version of the movie, the final cue of the movie is replaced with the new "Victory Celebration" cue, which for whatever reason John Williams did not end in the same key as the End Credits cue starts in, making a proper segue difficult.  For the actual film, they did some pitch-shifting manipulation to pull off the standard transition.

For the 1997 2CD set, they just kind of let the Victory Celebration cue finish up then start the End Credits cue right after. However, the conundrum was that there was no clean opening of the End Credits cue available to them.  Why? Because the original recording masters from that final day of recording sessions were not located when making either expanded album, and as far as we know could still be missing to this day.  
 
This is why the 1997 set was unable to provide us the full "Jabba The Hutt" concert arrangement; The original 1983 OST album combined the beginning of the film cue "The Big Thaw" with the ending of the concert arrangement "Jabba The Hutt" to create the track "Han Solo Returns (at the Court of Jabba The Hutt)".  On the 1993 Arista box set, the tracks "Han Solo Returns (At the Court of Jabba the Hutt)", "The Return of the Jedi", "Luke and Leia", "The Forest Battle", and "Ewok Celebration / Finale" all come directly off the 1983 album master.
 
For the 1997 set, "The Return of the Jedi", "Luke and Leia", and "The Forest Battle", all come directly off the album master too, and the snippet of "Jabba The Hutt" is simply not included at all - they instead released the entire "The Big Thaw" cue as "Han Solo Returns". 
 
So back to the end credits cue, with the album master containing the end of the original finale cue mixed over the start of the end credits cue, they grabbed the Empire Strikes Back end credits cue (which they had the proper clean opening for) and used that until the point where the finale cue was no longer overlapping, and then segued from there into the rest of the ROTJ end credits cue, again taken off the album master.

I hope that makes sense!

The new logo is fine, although I think it looks too modern, while the aesthetic of Star Wars has always leaned more toward nostalgic and deliberately old-timey design, nothing slick or shiny.  This looks like an animated logo for the company that designed the Naboo starfighter (always the most incongruous-looking Star Wars ship in my book). 
 
The logo's music, though, fails to echo either the melody or texture of any familiar Star Wars sound.  I admit that I don't really know the Blake Neely sound, but I used him because his Flash theme is a prominent recent member of the fast-minor-arpeggio club that, to me, is the antithesis of Star Wars.  As a card-carrying musical curmudgeon who's only tolerating Ludwig's outlier approach to Star Wars scoring, and as somebody for whom the symphonic (not just orchestral, and certainly not synth-orchestral) sound of Star Wars is the sonic equivalent of its nostalgic visual aesthetic, this logo seems both visually and aurally dissonant.
 
I recently said to someone that I think the most fitting additions to the Star Wars universe are the ones inspired by real-world elements that existed before 1977.  That's why the WWI-looking troops on Corvus in Mandalorian Chapter 13 look appropriate to me, even if that hasn't been a primary source of the aesthetic so far, while, say, a pinch-and-zoom touchscreen in a spaceship cockpit would look out-of-place.  That's also why synths and electrics, by and large, take me out of the score (including in "The Chase Through Coruscant"), while, say, the bass clarinet does not.  I know Williams dabbled in synths here and there, but the main aesthetic was what it was―because Williams chose to make it that way, not because it was all he knew how to do.  That's mostly blown out of the water in Mando, and it's thrown into sharpest relief when the old sound does show up.  It's interesting to me because the show leans so hard into the visual aesthetic but departs so strongly from the aural.  The new logo seems to depart in both ways.
 
</rant>

I do 100% agree that Kathleen Kennedy should have asked John Williams to compose a proper fanfare that got recorded at the TFA sessions, and that should be used on all the movies and TV shows

@The Illustrious Jerry That's a great breakdown of the album!
 
There's something I noticed in the track Long Live The Empire. There are parts of what you call Gideon's Theme that I think correspond to variations on the theme for Season 1 that resembled Kylo Ren's theme and was a sort of Mando and Baby Yoda's Theme.
 
Here are some examples:
 
This segment, which is the one that resembles kylo's theme the most, I think is a direct connection to that theme from Season 1, as the scene is related to some events of that season
 
This is a similar variation on Season 1
 
And then, when the action starts, there's a segment that I think is like a B section of that theme
 
That same melody is what plays after the big statement of Mando and Baby Yoda's theme on Chapter 8, which is what leads me to believe they are the same theme
 

I feel quite disappointed with this first CD of the second season... But to be fair I'm not a huge fan of Göransson's score for the series, there're some good moments as @Jay showed but overall the heavy electronic style doesn't fit with my taste specially in the majority of the action music.

I do... For me it feels cheap and very generic. I don't feel nothing related with Star Wars with that music.

I do... For me it feels cheap and very generic. I don't feel nothing related with Star Wars with that music.