The Illustrious Jerry

Nope! As Stu said, that's from the trailer music, which does not reference Williams' score.
 
 
Yep, although I think there are more piano solos in the film than there are on the album, so maybe not necessarily this one.
 
 
There we go! You can hear the celeste playing the reflective, melancholy theme for all of three seconds. I'm pretty sure this is track 11, The Letter.
 
 
I didn't watch the whole featurette but that's not really the case at all. His parents' separation is the film's major conflict, albeit secondary to Stevie's filmmaking! I think it's just a more interesting perspective because it focuses on his relationship with his parents individually during the family drama, rather than the relationship between the parents themselves. We understand everything through Steven's perspective.

Nope! As Stu said, that's from the trailer music, which does not reference Williams' score.
 
 
Yep, although I think there are more piano solos in the film than there are on the album, so maybe not necessarily this one.
 
 
There we go! You can hear the celeste playing the reflective, melancholy theme for all of three seconds. I'm pretty sure this is track 11, The Letter.
 
 
I didn't watch the whole featurette but that's not really the case at all. His parents' separation is the film's major conflict, albeit secondary to Stevie's filmmaking! I think it's just a more interesting perspective because it focuses on his relationship with his parents individually during the family drama, rather than the relationship between the parents themselves. We understand everything through Steven's perspective.

Nope! As Stu said, that's from the trailer music, which does not reference Williams' score.
 
 
Yep, although I think there are more piano solos in the film than there are on the album, so maybe not necessarily this one.
 
 
There we go! You can hear the celeste playing the reflective, melancholy theme for all of three seconds. I'm pretty sure this is track 11, The Letter.
 
 
I didn't watch the whole featurette but that's not really the case at all. His parents' separation is the film's major conflict, albeit secondary to Stevie's filmmaking! I think it's just a more interesting perspective because it focuses on his relationship with his parents individually during the family drama, rather than the relationship between the parents themselves. We understand everything through Steven's perspective.

Nope! As Stu said, that's from the trailer music, which does not reference Williams' score.
 
 
Yep, although I think there are more piano solos in the film than there are on the album, so maybe not necessarily this one.
 
 
There we go! You can hear the celeste playing the reflective, melancholy theme for all of three seconds. I'm pretty sure this is track 11, The Letter.
 
 
I didn't watch the whole featurette but that's not really the case at all. His parents' separation is the film's major conflict, albeit secondary to Stevie's filmmaking! I think it's just a more interesting perspective because it focuses on his relationship with his parents individually during the family drama, rather than the relationship between the parents themselves. We understand everything through Steven's perspective.

Nope! As Stu said, that's from the trailer music, which does not reference Williams' score.
 
 
Yep, although I think there are more piano solos in the film than there are on the album, so maybe not necessarily this one.
 
 
There we go! You can hear the celeste playing the reflective, melancholy theme for all of three seconds. I'm pretty sure this is track 11, The Letter.
 
 
I didn't watch the whole featurette but that's not really the case at all. His parents' separation is the film's major conflict, albeit secondary to Stevie's filmmaking! I think it's just a more interesting perspective because it focuses on his relationship with his parents individually during the family drama, rather than the relationship between the parents themselves. We understand everything through Steven's perspective.

The length of The Fabelmans score reminds me of something Williams said during the Seventh Annual Career Achievement Award in the early 90’s.
 
Back then he said:
 
’I think it could be just as interesting to write a ‘Satie-like’ miniature score which is 10 minutes long. That can be the jewel in the hands of a master as a hundred-minute bombast can be in the hands of a fool.’ 

Source: Score Magazine (Dutch), 1991
 

I could be misremembering but length-wise it looks like the film's short final cue plus the credits suite, in which case I think the Haydn is interpolated as part of the score rather than being particularly distinguishable from any Williams material. I honestly can't recall the melody of the last bit of music before the credits but tonally it was very different from the rest of the score and could definitely have been rooted in something classical, as a nice bookend for the mother. The Haydn piece is certainly enough of a lighthearted allegro to fit the bill, but I really can't say for sure. Whatever it was must have transitioned right into the credits suite, although I imagine they were recorded separately, so that might "solve" the FYC problem. Who knows! 
 
In any case, it looks like the opener must be an album arrangement. If so, curious to hear how it differs from any theme variations in Mitzi's Dance and The Journey Begins. I also listened to a recording of that Bach adagio and man, it serves such an effective dramatic function in the context of the film that my brain thought for sure it was Williams scoring that scene. Props to Spielberg for that choice!
 
Piecing the album together in my head only makes the combination of Williams' score and the classical selections more and more coherent. This is going to be a lovely listen.

I'm not gonna play any samples this time, read any opinions or impressions on the album, if they come up. Next Thursday, I'll wait until midnight, put my headphones on, and move to another world.
 
 

I could be misremembering but length-wise it looks like the film's short final cue plus the credits suite, in which case I think the Haydn is interpolated as part of the score rather than being particularly distinguishable from any Williams material. I honestly can't recall the melody of the last bit of music before the credits but tonally it was very different from the rest of the score and could definitely have been rooted in something classical, as a nice bookend for the mother. The Haydn piece is certainly enough of a lighthearted allegro to fit the bill, but I really can't say for sure. Whatever it was must have transitioned right into the credits suite, although I imagine they were recorded separately, so that might "solve" the FYC problem. Who knows! 
 
In any case, it looks like the opener must be an album arrangement. If so, curious to hear how it differs from any theme variations in Mitzi's Dance and The Journey Begins. I also listened to a recording of that Bach adagio and man, it serves such an effective dramatic function in the context of the film that my brain thought for sure it was Williams scoring that scene. Props to Spielberg for that choice!
 
Piecing the album together in my head only makes the combination of Williams' score and the classical selections more and more coherent. This is going to be a lovely listen.

I could be misremembering but length-wise it looks like the film's short final cue plus the credits suite, in which case I think the Haydn is interpolated as part of the score rather than being particularly distinguishable from any Williams material. I honestly can't recall the melody of the last bit of music before the credits but tonally it was very different from the rest of the score and could definitely have been rooted in something classical, as a nice bookend for the mother. The Haydn piece is certainly enough of a lighthearted allegro to fit the bill, but I really can't say for sure. Whatever it was must have transitioned right into the credits suite, although I imagine they were recorded separately, so that might "solve" the FYC problem. Who knows! 
 
In any case, it looks like the opener must be an album arrangement. If so, curious to hear how it differs from any theme variations in Mitzi's Dance and The Journey Begins. I also listened to a recording of that Bach adagio and man, it serves such an effective dramatic function in the context of the film that my brain thought for sure it was Williams scoring that scene. Props to Spielberg for that choice!
 
Piecing the album together in my head only makes the combination of Williams' score and the classical selections more and more coherent. This is going to be a lovely listen.

All three of your options are wrong

whoo, we get a full 17 minutes of JW music mixed with classical source music  for his final Spielberg OST . How exciting.

I could be misremembering but length-wise it looks like the film's short final cue plus the credits suite, in which case I think the Haydn is interpolated as part of the score rather than being particularly distinguishable from any Williams material. I honestly can't recall the melody of the last bit of music before the credits but tonally it was very different from the rest of the score and could definitely have been rooted in something classical, as a nice bookend for the mother. The Haydn piece is certainly enough of a lighthearted allegro to fit the bill, but I really can't say for sure. Whatever it was must have transitioned right into the credits suite, although I imagine they were recorded separately, so that might "solve" the FYC problem. Who knows! 
 
In any case, it looks like the opener must be an album arrangement. If so, curious to hear how it differs from any theme variations in Mitzi's Dance and The Journey Begins. I also listened to a recording of that Bach adagio and man, it serves such an effective dramatic function in the context of the film that my brain thought for sure it was Williams scoring that scene. Props to Spielberg for that choice!
 
Piecing the album together in my head only makes the combination of Williams' score and the classical selections more and more coherent. This is going to be a lovely listen.

I could be misremembering but length-wise it looks like the film's short final cue plus the credits suite, in which case I think the Haydn is interpolated as part of the score rather than being particularly distinguishable from any Williams material. I honestly can't recall the melody of the last bit of music before the credits but tonally it was very different from the rest of the score and could definitely have been rooted in something classical, as a nice bookend for the mother. The Haydn piece is certainly enough of a lighthearted allegro to fit the bill, but I really can't say for sure. Whatever it was must have transitioned right into the credits suite, although I imagine they were recorded separately, so that might "solve" the FYC problem. Who knows! 
 
In any case, it looks like the opener must be an album arrangement. If so, curious to hear how it differs from any theme variations in Mitzi's Dance and The Journey Begins. I also listened to a recording of that Bach adagio and man, it serves such an effective dramatic function in the context of the film that my brain thought for sure it was Williams scoring that scene. Props to Spielberg for that choice!
 
Piecing the album together in my head only makes the combination of Williams' score and the classical selections more and more coherent. This is going to be a lovely listen.

I could be misremembering but length-wise it looks like the film's short final cue plus the credits suite, in which case I think the Haydn is interpolated as part of the score rather than being particularly distinguishable from any Williams material. I honestly can't recall the melody of the last bit of music before the credits but tonally it was very different from the rest of the score and could definitely have been rooted in something classical, as a nice bookend for the mother. The Haydn piece is certainly enough of a lighthearted allegro to fit the bill, but I really can't say for sure. Whatever it was must have transitioned right into the credits suite, although I imagine they were recorded separately, so that might "solve" the FYC problem. Who knows! 
 
In any case, it looks like the opener must be an album arrangement. If so, curious to hear how it differs from any theme variations in Mitzi's Dance and The Journey Begins. I also listened to a recording of that Bach adagio and man, it serves such an effective dramatic function in the context of the film that my brain thought for sure it was Williams scoring that scene. Props to Spielberg for that choice!
 
Piecing the album together in my head only makes the combination of Williams' score and the classical selections more and more coherent. This is going to be a lovely listen.

What a welcome truffle this is. Nothing particularly showy, nor venturing into pastiche, just an intelligent score well-versed in the romantic stylings of the chamber Gothic voice that Hart adopts here, and cast in the mould and tradition of better days to boot, the ones when you could expect this level of no doubt serviceable artistry on a consistently workmanlike basis. One of the few "real" scores in recent memory, possibly the one I've taken to the most since Blanchard's Da 5 Bloods, making it basically chocolate in the waning months of 2022. Recommend. 

Homophobia on JWFan? WTF? 
 
Take these thoughts somewhere else, JTWfan77

Decision to Leave (Park Chan-Wook)
 
Incredible camerawork and a riveting romantic police procedural, plus great score!
 
After Yang (Kogonada)
 
Gorgeous calm sci-fi with another great score and a great soulful Colin Farrell. 

Typical JWFan to have confirmation of an album release for John Williams’ latest and potentially last collaboration with Steven Spielberg in 2022 at the age of 90, and a significant portion of the response is that it’s “not enough”.
 
Scoring a film is never about how much music there is but where it goes and how it supports a scene. Being fortunate enough to know what to expect from this, a 30 minute “concept” album with a healthy serving of the main theme, rounded out coherently by the classical piano, sounds like a perfect presentation and a guarantee for many reflective listens in the years ahead. Rest assured Williams has delivered a gorgeously restrained outing that’s no less effective than his most wall-to-wall work. I said it before, but being reminded of his grace and deftness after the sequel trilogy years of blockbuster bombast is almost doubly impactful. I welcome something smaller like this, because it will always stir that same feeling of hearing the maestro’s work for the first time. That’s why we love JW, because he’s always finding ways to bring us back to that moment, while still transporting us to new ones.
 
Anyway, the runtime comes basically as expected after seeing the film. People will probably spend the next decade talking about the 20-second toy train insert we never got to hear clean, and I say why not, that’s their right. I’m thinking the opener must be the 4-5 minute credits suite, but then I’m not sure what the last track is made up of. And that’s all I can remember really, other than Mom’s Dance.

I can’t wait to hear this with you all. 

Typical JWFan to have confirmation of an album release for John Williams’ latest and potentially last collaboration with Steven Spielberg in 2022 at the age of 90, and a significant portion of the response is that it’s “not enough”.
 
Scoring a film is never about how much music there is but where it goes and how it supports a scene. Being fortunate enough to know what to expect from this, a 30 minute “concept” album with a healthy serving of the main theme, rounded out coherently by the classical piano, sounds like a perfect presentation and a guarantee for many reflective listens in the years ahead. Rest assured Williams has delivered a gorgeously restrained outing that’s no less effective than his most wall-to-wall work. I said it before, but being reminded of his grace and deftness after the sequel trilogy years of blockbuster bombast is almost doubly impactful. I welcome something smaller like this, because it will always stir that same feeling of hearing the maestro’s work for the first time. That’s why we love JW, because he’s always finding ways to bring us back to that moment, while still transporting us to new ones.
 
Anyway, the runtime comes basically as expected after seeing the film. People will probably spend the next decade talking about the 20-second toy train insert we never got to hear clean, and I say why not, that’s their right. I’m thinking the opener must be the 4-5 minute credits suite, but then I’m not sure what the last track is made up of. And that’s all I can remember really, other than Mom’s Dance.

I can’t wait to hear this with you all. 

Typical JWFan to have confirmation of an album release for John Williams’ latest and potentially last collaboration with Steven Spielberg in 2022 at the age of 90, and a significant portion of the response is that it’s “not enough”.
 
Scoring a film is never about how much music there is but where it goes and how it supports a scene. Being fortunate enough to know what to expect from this, a 30 minute “concept” album with a healthy serving of the main theme, rounded out coherently by the classical piano, sounds like a perfect presentation and a guarantee for many reflective listens in the years ahead. Rest assured Williams has delivered a gorgeously restrained outing that’s no less effective than his most wall-to-wall work. I said it before, but being reminded of his grace and deftness after the sequel trilogy years of blockbuster bombast is almost doubly impactful. I welcome something smaller like this, because it will always stir that same feeling of hearing the maestro’s work for the first time. That’s why we love JW, because he’s always finding ways to bring us back to that moment, while still transporting us to new ones.
 
Anyway, the runtime comes basically as expected after seeing the film. People will probably spend the next decade talking about the 20-second toy train insert we never got to hear clean, and I say why not, that’s their right. I’m thinking the opener must be the 4-5 minute credits suite, but then I’m not sure what the last track is made up of. And that’s all I can remember really, other than Mom’s Dance.

I can’t wait to hear this with you all. 

Typical JWFan to have confirmation of an album release for John Williams’ latest and potentially last collaboration with Steven Spielberg in 2022 at the age of 90, and a significant portion of the response is that it’s “not enough”.
 
Scoring a film is never about how much music there is but where it goes and how it supports a scene. Being fortunate enough to know what to expect from this, a 30 minute “concept” album with a healthy serving of the main theme, rounded out coherently by the classical piano, sounds like a perfect presentation and a guarantee for many reflective listens in the years ahead. Rest assured Williams has delivered a gorgeously restrained outing that’s no less effective than his most wall-to-wall work. I said it before, but being reminded of his grace and deftness after the sequel trilogy years of blockbuster bombast is almost doubly impactful. I welcome something smaller like this, because it will always stir that same feeling of hearing the maestro’s work for the first time. That’s why we love JW, because he’s always finding ways to bring us back to that moment, while still transporting us to new ones.
 
Anyway, the runtime comes basically as expected after seeing the film. People will probably spend the next decade talking about the 20-second toy train insert we never got to hear clean, and I say why not, that’s their right. I’m thinking the opener must be the 4-5 minute credits suite, but then I’m not sure what the last track is made up of. And that’s all I can remember really, other than Mom’s Dance.

I can’t wait to hear this with you all. 

Typical JWFan to have confirmation of an album release for John Williams’ latest and potentially last collaboration with Steven Spielberg in 2022 at the age of 90, and a significant portion of the response is that it’s “not enough”.
 
Scoring a film is never about how much music there is but where it goes and how it supports a scene. Being fortunate enough to know what to expect from this, a 30 minute “concept” album with a healthy serving of the main theme, rounded out coherently by the classical piano, sounds like a perfect presentation and a guarantee for many reflective listens in the years ahead. Rest assured Williams has delivered a gorgeously restrained outing that’s no less effective than his most wall-to-wall work. I said it before, but being reminded of his grace and deftness after the sequel trilogy years of blockbuster bombast is almost doubly impactful. I welcome something smaller like this, because it will always stir that same feeling of hearing the maestro’s work for the first time. That’s why we love JW, because he’s always finding ways to bring us back to that moment, while still transporting us to new ones.
 
Anyway, the runtime comes basically as expected after seeing the film. People will probably spend the next decade talking about the 20-second toy train insert we never got to hear clean, and I say why not, that’s their right. I’m thinking the opener must be the 4-5 minute credits suite, but then I’m not sure what the last track is made up of. And that’s all I can remember really, other than Mom’s Dance.

I can’t wait to hear this with you all. 

Typical JWFan to have confirmation of an album release for John Williams’ latest and potentially last collaboration with Steven Spielberg in 2022 at the age of 90, and a significant portion of the response is that it’s “not enough”.
 
Scoring a film is never about how much music there is but where it goes and how it supports a scene. Being fortunate enough to know what to expect from this, a 30 minute “concept” album with a healthy serving of the main theme, rounded out coherently by the classical piano, sounds like a perfect presentation and a guarantee for many reflective listens in the years ahead. Rest assured Williams has delivered a gorgeously restrained outing that’s no less effective than his most wall-to-wall work. I said it before, but being reminded of his grace and deftness after the sequel trilogy years of blockbuster bombast is almost doubly impactful. I welcome something smaller like this, because it will always stir that same feeling of hearing the maestro’s work for the first time. That’s why we love JW, because he’s always finding ways to bring us back to that moment, while still transporting us to new ones.
 
Anyway, the runtime comes basically as expected after seeing the film. People will probably spend the next decade talking about the 20-second toy train insert we never got to hear clean, and I say why not, that’s their right. I’m thinking the opener must be the 4-5 minute credits suite, but then I’m not sure what the last track is made up of. And that’s all I can remember really, other than Mom’s Dance.

I can’t wait to hear this with you all. 

Typical JWFan to have confirmation of an album release for John Williams’ latest and potentially last collaboration with Steven Spielberg in 2022 at the age of 90, and a significant portion of the response is that it’s “not enough”.
 
Scoring a film is never about how much music there is but where it goes and how it supports a scene. Being fortunate enough to know what to expect from this, a 30 minute “concept” album with a healthy serving of the main theme, rounded out coherently by the classical piano, sounds like a perfect presentation and a guarantee for many reflective listens in the years ahead. Rest assured Williams has delivered a gorgeously restrained outing that’s no less effective than his most wall-to-wall work. I said it before, but being reminded of his grace and deftness after the sequel trilogy years of blockbuster bombast is almost doubly impactful. I welcome something smaller like this, because it will always stir that same feeling of hearing the maestro’s work for the first time. That’s why we love JW, because he’s always finding ways to bring us back to that moment, while still transporting us to new ones.
 
Anyway, the runtime comes basically as expected after seeing the film. People will probably spend the next decade talking about the 20-second toy train insert we never got to hear clean, and I say why not, that’s their right. I’m thinking the opener must be the 4-5 minute credits suite, but then I’m not sure what the last track is made up of. And that’s all I can remember really, other than Mom’s Dance.

I can’t wait to hear this with you all.