Fabulin

When I heard of this, I began a correspondence with him, pretending to be Daisy... The things we said to each other would make you blush. And he promised me a symphony.

Williams has already forgotten he wrote a theme for Rey... I mean... 8 years ago.
 
So he'll offer to KK to write another one, then we'll have two!
 
And JWFanners' playlists are thrown into chaos as they have two tracks called 'Rey's Theme' and they're different themes... 

100% this.
 
Not to dismiss the impact of Tchaikovsky's Violin Concerto, or general melodic/harmonic vocabulary on Williams, but there are a half dozen or so pieces closer in sound and chronology to the Han Solo and the Princess that I'd argue are more likely models for the theme -- passages from Rachmaninoff, Gliere, Rózsa, Khachaturian, etc.. Granted, all of whom were influenced in turn by Tchaik! 

John Mauceri did it as early as 1991 (48:12)
 

Speaking of the tenth decade... Williams namedropping Lauren Bacall of the 1940s fame is as if someone of my gen were to mention Emma Watson in 2089. We will all be soylent green by that point 

That's just the Williams fanboy in you talking. All of those films would be great even without Williams' scores. His music, however, was the icing on the cake.

Although I enjoy the topic, I honestly don't think any film was a blockbuster or classic just because of John Williams' score.

I am processing the numbers. I plan to post it on Christmas day. Fyi i had a huge audit wich I finished  Friday. I can concentrate on this count
Please forgive me for being slow

Jedi Raps (since we already have Jedi Rocks)

I cannot take seriously anyone who unironically uses the word “woke”. Please search for other words to communicate your opinions.

Having listened to the full Isolated Score, I still find some of the copy-pasted sections hard to listen to on their own: they sound jarring, and unnatural (I don't know how Williams was able to conduct some of these), and I find myself trying to identify every small segment before it jumps to another. 
I'm OK with taking an idea from a previous score and expanding it (Spiders from MR or The Duel from Tintin). I can even accept taking a big chunk from a previous score and copy-pasting it (Belly of the Steal Beast or On The Tank). But I just can't stand the almost-random usage of a couple of bars from a previous score pasted together with another couple of bars from another score (and on and on)... It doesn't sound good, it doesn't sound musical.
 
On the other hand, the score is wonderful in many other areas: the variations on Helena's theme, the new Nazi themes and, particularly, the Dial and Archimides themes are lovely, exotic and unique.
 
It's definitely a mixed bag, this one.

Dumb ol' Disney

It’s really $1 a piece for the first four scores and then $146 for the DoD CD

And with that, the actual expansions of the Indiana Jones scores produced by Mike Matessino have just been postponed... To 2081!
 
Whoever is still alive for the 100th anniversary of Raiders and not been enslaved by despotic AI or selected to help on the Mars Terraforming project will be able to buy it using neural-quantic bitcoins. 

ASM will be f*cking proud that she's made it to the slipcase of a complete OST edition.
 

 

JWFan forum member reacting to the "good news" from DME

Speaking of the tenth decade... Williams namedropping Lauren Bacall of the 1940s fame is as if someone of my gen were to mention Emma Watson in 2089. We will all be soylent green by that point 

Speaking of the tenth decade... Williams namedropping Lauren Bacall of the 1940s fame is as if someone of my gen were to mention Emma Watson in 2089. We will all be soylent green by that point 

Speaking of the tenth decade... Williams namedropping Lauren Bacall of the 1940s fame is as if someone of my gen were to mention Emma Watson in 2089. We will all be soylent green by that point 

Speaking of the tenth decade... Williams namedropping Lauren Bacall of the 1940s fame is as if someone of my gen were to mention Emma Watson in 2089. We will all be soylent green by that point 

“He says he would want to ask Beethoven how much of his style came from the counterpoint teacher, Johann Georg Albrechtsberger.
But then, sounding a lot like Steven Spielberg, Williams admits: They are all dead.”

On the moon?

This treat popped up in my YouTube feed, and I thought I'd share...
 
 

Bumping this because I've just re-watched all of this stuff recently, and who doesn't love pointless debate?
 
Star Wars, Star Wars all the way down. Shore's use of harmony is always compelling, and he's good for a memorable theme. The whole-cloth, narratively nuanced nature of his work makes it enjoyable to analyze, but as always, the lack of texture, rhythmic banality, and, occasionally, amateurish orchestration bring the whole enterprise down. 
 
Williams is Shore's equal in themes, but develops them better, or, at least to my ears, in a more interesting way. He plays with them in a way Haydn or Beethoven would have. A kind of worked improvisation, or thematic development in the classical sense.
 
Williams's love of Brahms and the Russian masters is apparent in his use of rhythm. He's great at using syncopation to generate energy, and of using cadential extension, harmonic rhythm, and rhythmic counterpoint. He has few equals in orchestration, or polyphonic writing, in the history of western music. The prequel scores overfloweth with this sort of mastery, and it's not exclusive to the action music; the underscore is rarely uninteresting. 
 
The Hobbit films are...fine. I've come around on them a bit, but BoFA is vehemently anti-Tolkien. The first two are enjoyable. To me, the prequels are pop-art masterpieces. 

Tuba concerto.