DrTenma

I'm not quite as hyped about TROS as you are, but it is the one score of the bunch that I liked right from the word go. I don't think it makes it the best score though, somehow....
 
I agree 100% on 1917 and Little Women. (Haven't seen the latter, but the score is unbelievably boring to me).

Rey...

I was just listening to The Rocketeer tonight, and... is this villain theme the Death Star motif from A New Hope?
 
 

Well hello Rose Tico’s Theme!
 
 
 

That is obscene.
 
I wonder what JW/Disney Records would say if they knew about this? They're sitting on hours of this material and doing nothing with it, when 20 minutes of unreleased music (that was already freely available in slightly lesser quality) yielded over $2,000 USD!
 
Surely, at some point, someone will wake up and realise the monetary value of releasing this music properly!

I love how JW brings back that little Desperation-related action ostinato from TLJ at 1:23 of They Will Come, right before that big statement of the Resistance march. Depending on how you look at it, this could count as the only bit of thematic material original to TLJ that reprises in TROS, no?
 
EDIT: Just checked Frank's list and I see in the footnotes he counts it as an evolution of the Tension motif from TFA.
 
 
 
 

Gabriel's oboe?

Imagine if the dunderheads at Disney realised people were willing to fork out hundreds of dollars to get 20 minutes of unreleased music from TROS in lossless quality... maybe they'd put two and two together.

The £15 one didn't have 'FYC' in the title - maybe most people didn't find it because they were only searching using that term.

This is a tough one.  The revised version is what we all grew up with, what was on the OST and both expanded releases in the main program, and what's in the film.. and all we ever heard until 10 years after the movie came out.  The original version therefore just always "sounds" like I'm listening to a bonus track to me, I can't shake it.
 
But on the other hand, that original version is a great piece of music, and  if had never been revised, I don't think we'd think it was odd, or out of place in the score... and the revision is more or less just existing Star Wars music re-arranged.  So by rights the original version should be int he main program and the revision be the bonus track, but I dunno, it's hard for me to think of them that way, still, even after all these years.

No, but it’s possible to recognize it’s Thomas Newman from other sheet music he’s written. He’s got a distinctive way of boxing in time signatures, for one thing:
 
Vader’s Death is not the only cue he orchestrated for RotJ, either: he also did ‘Vader Contacts Luke’ and ‘After the Bike Chase’.
 
It’s not very unusual for orchestrators apart from the lead orchestrator not to receive credit for working on these scores, for whatever reason. Only Herbert Spencer is officially credited for Return of the Jedi, but Alexander Courage and Gordon Langford also contributed, in addition to Newman.

I can understand why Williams removed the music in those two scenes. I hope to listen to those cues and maybe I'll love them as much as the music not used in Empire Strikes Back, but I can see why the sound effects and the silence works well there. 

I can understand why Williams removed the music in those two scenes. I hope to listen to those cues and maybe I'll love them as much as the music not used in Empire Strikes Back, but I can see why the sound effects and the silence works well there. 

Definitely not historical.  Well, let me clarify because this is multilayered.  We are hearing a romantic French version of what ancient Arabian music sounded like.  That influenced the next generation of modal composers like Ravel, Vaughan Williams, Respighi ergo Miklos Rozso in his biblical epics ergo JW in the closest thing he did to a biblical epic, Raiders of the Lost Ark, when he needs to draw on that tradition quickly.  So we are sort of hearing a romanticized French impressionistic version of this style that we associate with the period.  Hollywood dumbs epochs of styles because they might use an element from 4,000 years ago plus french romanticism with something from contemporary islamic heritage (like a call to prayer) to immediately establish an expected sound world with primitive instrumentation (heavy percussion and emphasis on rhythms and archaic modes) and that is what you are hearing.  My point is that you "hear" this as historically arabic because you are western and heard the western version of what traditionally arabian music sounds like.  This is what the authentic stuff sounded like which if we heard it in a film would be authentic but wouldnt make us think of ancient arabia:
 

So 226 minutes of music recorded in only 11 days. That's staggering!
 
And this has to be Williams' longest film score of all time, correct? Amazingly it will still fit on 3CDs if Mike gets the chance to expand it properly. Can't imagine what hidden gems exist in the 100+ minutes of music we haven't heard a note of.

I can understand why Williams removed the music in those two scenes. I hope to listen to those cues and maybe I'll love them as much as the music not used in Empire Strikes Back, but I can see why the sound effects and the silence works well there. 

Well, according to the sheet music itself, both versions of Jabba's End as well as Superstructure Chase were composed by John Williams and orchestrated by Herb Spencer.

To be fair, the wording in this part of his obituary is, I think, misleading (and I blame the L.A. Times writer): “Steiner contributed music to more than two dozen episodes of the original Star Trek TV series, music that resurfaced in 1979’s Star Trek: The Motion Picture”. Yes, I do think at least one of his TOS themes made it into TMP, i.e., was used by Goldsmith. But Steiner is also known for composing several cues directly for the film; however, in those cues, as far as I can tell, he does not use his own themes from TOS, but rather Goldsmith’s new thematic material, especially Goldsmith’s main (“Starfleet”) theme. I believe he was uncredited for these for a long time, for this reason, and it sounds like he was content with that. It sounds a lot like Goldsmith, except he gives it a sort of fun, TV punchiness that stands out in Goldsmith’s serious score.
 
So then there’s this bit, “He also provided music, although uncredited, for Star Wars Episode VI: Return of the Jedi in 1983.” If his uncredited work on ROTJ’s score is what’s suspected (i.e., the cues with a lot of recycled SW77 material), it is very similar to his work in TMP—it’s Williams’ themes, but stands out in its unserious nature compared to the rest of the score.

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I'll take a serious stab at trying to get this for you guys (assuming the price doesn't get too crazy). Outside of JWFan donations, I'd like to try and give back to this community somehow to repay the great amount it has given me. 

I agree there. Going down the list, very few of the themes consistently underscore characters or ideas on a recurring basis throughout the whole series.
 
Let's take a look at some that aren't really held down by any on-screen connections:
 
Recorder Riff 
There was never any really leitmotific association with this theme. I feel like it's main role is to capture the musical aura of the series as a whole. Plus, I'm fairly convinced that both the flashback sequences and some of the blurg scenes provide major variation on this, making it even more broad.
 
Main Fanfare 
Once again there's no need for any other association- it's simply the main theme, and can be used for anything from riding blurgs to soaring through space.
 
"Razor Crest" 
Used most often in relation to scenes involving Mando's ship, the Razor Crest, although Chapter 4 broke the barriers right from the start, opening the village prologue with the theme on acoustic guitar, and no ship present whatsoever.
 
"Travelling" Motif 
Another very loosely used motif. Initially used in the first three episodes for "travelling" scenes (i.e. Mando walking through the street in Episode 1, Mando and Baby Yoda walking through desert in Episode 2, Mando landing on Navarro in Episode 3). However, it reappeared in the last episode as part of the big emotional finale, when Mando and Baby Yoda leave Navarro. 
 
Then there are a few that play by the rules a bit more:
 
The Client 
As far as I can recall, this plays exclusively in scenes involving Werner Herzog's character, appearing in Chapters 1, 3, and 7.
 
Jawa Motif 
Definitely to be associated with the jawas in Chapter 2, although @Holko pointed out that the rhythm reappears in Chapter 5's Speederbikes.  
 
The Child 
The guitar line appears first in Chapter 1's The Asset, and also plays in Chapter 3 with a beautiful oboe counterpoint. Both scenes are focused on our dear friend Baby Yoda. My memory isn't the greatest on where else it appears, but as far as I can recall the relation is clear.
 
Raiders
Exclusive to Chapter 4, particularly scenes with the raiders and villagers. More of a theme for the episode as a whole than anything else.
 
IG's Theme
Heard in the final two chapters and only used in relation to IG as a reprogrammed nurse droid. It plays under his "training" montage, his rampage on Navarro and his final sacrifice.
 
Moff Gideon's Theme
Also heard in the final two chapters and used for Moff Gideon's character, but for his stormtroopers as well it would seem. Notable moment is when it plays under the shot of the flametrooper in Chapter 8.
 
As for Mandalorian Culture, I concur with @Disco Stu. Goransson uses it more as a utility for scenes that call for something dramatic.
 
Man, I love this score but analyzing it is no piece of cake. 
 

A bit overdramatic.

I know about Superman 2: Composer John Williams was originally slated to score Superman II in which he was given a screening with Ilya Salkind and Richard Lester. When Salkind left the projection room, Williams and Lester fell into an argument, and when Salkind returned, Williams told him that he "could not get along with this man". To take his place, Richard Lester's frequent composer Ken Thorne was selected to score the sequel. (Wikipedia)
 
I want to see someone argue with him or how Williams yell at someone 

Fact - Alexander Desperatelat has 11 Best Score nominations. And 9 of them came for Best Picture nominees and 2 for Best Animation nominees.
 
Do you think if Desperatelat were not doing oscar bait after oscar bait, would he ever rack up so many nominations?
 
For comparison, in Williams' past 11 noms, only 3 were Best Picture nominees and 0 were Best Animation nominees.

Oops...
 
 
What's more surprising to me is how I watched the whole of Mad Men without realising this chap was the lead in Clash of the Titans.