JJA

Two major epics loosely based on the same historical event, namely the disastrous reign of Emperor Commodus (180-192 AD). Both stories involve the previous Emperor, Marcus Aurelius, appointing another heir (Livius / Stephen Boyd in FOTRE, Maximus / Russell Crowe in GLADIATOR) to replace the heir presumed Commodus, a plan which obviously gets thwarted in both films by the death of Aurelius. Eventually, Livius/Maximus defeats Commodus in arranged personal combat at the end. In a sense, GLADIATOR could be considered a quasi-remake of the earlier film, which makes them worthy of comparison.
 
Both scores are quite good and effective, but I will have to go with FOTRE here. I'll admit it's partly my bias towards the golden age sound in general, but it's also more interesting and complicated in terms of it's musical architecture, not to mention that GLADIATOR has some instances of temptrackitis, namely the Holst-inspired bits in battle scenes.
 
The films are a more complicated matter.
 
I find Maximus to be a superior protagonist to Livius. While Stephen Boyd is a fine actor, he's a tiny bit of a charisma void when trying to carry a lead role whilst surrounded by the talents of Alec Guinness, James Mason, and Christopher Plummer. From a certain perspective, one might argue this gives Livius a diminutiveness that fits in well with the story arc of him being a hero who procrastinates on seeing the need to do what needs to be done. But that arc may precisely be a part of the problem, as both stories hinge on Aurelius viewing Livius/Maximus as a worthy candidate to lead Rome towards a better age. GLADIATOR easily convinces me that Maximus might be such a person, whereas FOTRE is less successful at this (Livius just sort of gives up when his succession can't be proven, and gives up again at the end when offered to lead the empire). +1 for GLADIATOR
 
The political subplot is more meaty and developed in FOTRE, which overall feels like the smarter, more literate film of the two. GLADIATOR also has that anachronistic and stupid bit about Aurelius wanting Maximus to restore democracy (WTF!?), whereas FOTRE more wisely just has him consider Livius better as a potential leader than Commodus. FOTRE has its own anachronistic bits (some allusions to the contemporary civil rights movements), but they somehow bother me less. +1 for FOTRE
 
While both are in their own ways effective in the role of Commodus, Christopher Plummer is probably better than Joaquin Phoenix. The more esoteric reasons to dislike Plummer's Commodus (his bad governing etc) just appeal to me more than the cliche of a villain killing the hero's family and now it's personal. His version also feels more strongly like the historical character in certain ways. +1 for FOTRE
 
Richard Harris as Aurelius is very good, but Alec Guinness simply inhabits the role. +1 for FOTRE
 
As a small miscellaneous issue, there's one really terrible scene in FOTRE that makes me cringe, namely the chariot chase between Livius and Commodus early on. Seems like the filmmakers threw it in to compete with similar scenes in QUO VADIS and BEN-HUR, and it seems clumsily overdramatic as a way of externalizing the temporary animosity Commodus feels towards Livius at that moment. -1 for FOTRE
 
So probably FOTRE here too, but I do enjoy both films.

Some examples I can think of:
 
Joseph Haydn - String Quartet No. 62: The middle movement is a set of variations on Haydn's own Austro-Hungarian imperial hymn Gott erhalte Franz den Kaiser, later repurposed as the German anthem (with new lyrics).
 
Carl Czerny - Variations on "Gott erhalte Franz den Kaiser" - Self-explanatory
 
Henryk Wieniawsky - Variations on the Austrian National Anthem - Ditto
 
Bedrich Smetana - Triumphal Symphony: Fleeting appearances of Haydn's imperial hymn throughout the work, and finally concluded by a grand statement of it.
 
Ludwig Van Beethoven - Wellington's Victory - Quotes God Save The King/Queen.
 
Pyotr Ilyich Tchaikovsky - Quotes God Save The Czar very prominently in Marche Slave, 1812 Overture (along with La Marseillaise), Festival Coronation March, and Festival Overture on the Danish National Anthem (along with the Danish royal anthem).
 
Charles Gounod - Fantaisie sur l'hymne national Russe - Variations on God Save The Czar for pedal piano and orchestra
 
Sergei Bortkiewicz - Symphony No. 1 - A rousing quotation of God Save The Czar precedes the final closing flourish, though allegedly the instructions on the written score allow for the quotation to be skipped (?)
 
Jean Sibelius - Karelia Music - The complete work (not the more famous suite) closes with an arrangement of the Finnish national anthem Maamme.
 
Reinhold Gliere - Quotes The Internationale (the Soviet anthem between 1918-44) in The Red Poppy (ballet), Fantasy for the Komintern Festival, and Heroic March for the Buryiat-Mongolian ASSR. The last of these also has a brief quote of God Save The Czar.
 
Giuseppe Verdi - Hymn of Nations - Quotations of La Marseillaise, God Save The King/Queen, and Il Canto degli Italiani throughout the work. Toscanini later expanded the work with an extra coda containing The Internationale and The Star-Spangled Banner.
 
Multiple composers - The Yellow River Piano Concerto - Subtle hints of March of the Volunteers (the Chinese anthem), concludes with a statement of The Internationale.

The opening 40 seconds have noticable strains of the Imperial March embedded within, and these reappear several times later on in the concerto (which incidentally doesn't deserve to be as forgotten as it is)

Found the opening 6 notes of the Force Theme in Haydn  
 
5:02 - 5:06
 

Which of the SW OST programs are the best/worst in your opinion?
 
Please try to not allow your ranking of the scores themselves to influence your decisions. Rather consider how well these OST programs represent those scores, how many of the highlights are present or missing, how well the program flows as a musical experience, and so on.
 
My choices:
 
Best OST: TFA (SW and TLJ come close)
Worst OST: ROTJ
 
Best OT OST: SW
Worst OT OST: ROTJ
 
Best PT OST: AOTC
Worst PT OST: TPM (really tough to choose between this and ROTS)
 
Best ST OST: TFA 
Worst ST OST: TROS
 

I think the Luke+Leia appearance is a case of expanding the purpose of a theme beyond its original conception, kinda like the Force Theme began as Obi-Wan’s theme. Remember that the scene is implying that Jannah is Lando’s daughter. So it has now become a ”emotionally satisfying kinship revelation theme”, rather than representing that merely for L&L.

I have a hard time deciding which is worse. I think TPM has better visuals (more practical effects) and action, while AOTC makes (relatively) more sense, and the dual protagonists are an improvement on the messy ensemble of TPM. Can't decide whether Jar Jar or the AOTC romance is more cringeworthy.
 
These two and TLJ are pretty much tied for me as the worst SW film, though purely as a film, TLJ is somewhat better due to its superior technical merits, such as acting and directing. 

The gender/diversity quota debate is a minefield we shouldn't walk into. My policy is, if you're an actor and you fit the role, you're hired. 
 

To my mind, the 2018 edition of ANH is largely superior in sound compared to the SE, which sounds far more "artificial" (hard to explain what I precisely mean), and has some loudness war issues in louder passages. Listening to the SE is rather fatiguing to the ears for these reasons.

To my mind, the 2018 edition of ANH is largely superior in sound compared to the SE, which sounds far more "artificial" (hard to explain what I precisely mean), and has some loudness war issues in louder passages. Listening to the SE is rather fatiguing to the ears for these reasons.

To my mind, the 2018 edition of ANH is largely superior in sound compared to the SE, which sounds far more "artificial" (hard to explain what I precisely mean), and has some loudness war issues in louder passages. Listening to the SE is rather fatiguing to the ears for these reasons.

In regards to Herrmann, I must admit I rarely enjoy his music in C&C or other long presentations, with some exceptions. Not really sure why, as I generally prefer most other film composers' works in complete form. His music is however terrific in the films themselves, needless to say. 

The Vikings – MARIO NASCIMBENE
The Vikings – MARIO NASCIMBENE
CD | PROMETHEUS XPD 181 | Price: £ 15.95 CD | Price: £ 15.95 | PROMETHEUS XPD 181
PROMETHEUS RECORDS
&
TADLOW MUSIC
Present
The World Premiere Recording of the Complete Score to
THE VIKINGS
Composed by
MARIO NASCIMBENE
The Classic Epic of 1958 Starring Kirk Douglas, Tony Curtis, Janet Leigh, Ernest Borgnine and Frank Thring
A Special Collectors Edition featuring the greatest of all film scores from the Composer of
CREATURES THE WORLD FORGOT * THE MUMMY * ONE MILLION YEARS BC * SWORDSMAN OF SIENNA * BARABBAS * FRANCIS OF ASSISI * SOLOMON AND SHEBA * A FAREWELL TO ARMS * ALEXANDER THE GREAT * THE BAREFOOT CONTESSA
Premiere Recording The Complete Score Plus an additional “BARABBAS” Main Theme Full-Colour CD Booklet Gorgeous Cover Artwork by Jim Titus Newly Recorded in Stunning and Dynamic Digital Sound as the Original Italian Soundtrack had always suffered from terrible recorded sound even by late 1950’s standards Performed by the Acclaimed and Award-Winning City of Prague Philharmonic Orchestra and Chorus Conducted by Nic Raine. Produced by Veteran Film Score Producer James Fitzpatrick of Tadlow Music for Prometheus Records New Score & Orchestration Reconstructed by Nic Raine Informative Sleeve Notes Frank K DeWald From the same team who recorded Tiomkin’s complete scores for THE ALAMO * THE FALL OF THE ROMAN EMPIRE, Rozsa’s QUO VADIS * SODOM AND GOMORRAH, Poledouris’ CONAN THE BARBARIAN * CONAN THE DESTROYER, Jerry Goldsmith’s QBVII * THE SALAMANDER * HOUR OF THE GUN , John Barry’s THE BETSY * MISTER MOSES Recording Produced by James Fitzpatrick for Prometheus Records
Executive Producer: Luc Van De Ven
CD
1. Prologue From The Vikings / Violences and Rapes of the Vikings (3:20)
2. 20 Years On / Escape From the Dungeon (1:09)
3. Regnar Returns / Viking Horn Calls / Into Port (4:51)
4. Drunken Vikings Song (1:46)
5. Eric Is Rescued by Odin’s Daughters / “You Can Keep Him” / “A Woman Will Point the Way” (4:33)
6. “It’s the Vikings!” / Pretty Bird (3:07)
7. Return From Wales / Dancing on the Oars (3:00)
8. Eric and Morgana Escape (2:54)
9. Run Aground / “Our Souls Must Be Touching” (Love Theme From The Vikings) (6:01)
10. After the Pit / Aella Cuts Off Eric’s Hand (2:28)
11. “Who Sails With Me?” / Setting Sail / The Fog (film version) (5:15)
12. Voyage and Landing in Britain (album version) (7:26)
13. Vikings On Foot / Castle Attack / Einar Storms the Gate (5:17)
14. Into the Castle / The Death of Aella / The Tower (4:23)
15. Inside the Tower / “Where Are You Taking Me?” / Duel – Eric Kills Einar (5:18)
16. The Viking Funeral / End Titles From The Vikings (3:48)
BONUS TRACKS
17. Main Theme From Barabbas (5:11)
18. Eric Is Rescued by Odin’s Daughters (alternative version without percussion) (2:21)
19. Theme From The Vikings (1:32)
TT: 73:40
Catalogue Number: XPCD 181
Release Date: NOVEMBER 8th 2018
For More Information and Mail-Order Enquiries
Please Contact: Tadlowmusic@hotmail.com
  Related Videos:
 

THE SHOOTING PARTY is the most essential.

Other composers have been mistaken for Williams many times on this forum. It's stylistically designed to be that way and you can't undo that, but we can diminish the effects of it.

It seems to me that the Superman march (the A-melody of the march, that is) and The Fanfare are assumed to be merely two interchangeable representations of the title character, but I feel this is inaccurate, at least in the initial score. 
 
Every time you hear the A-march outside of the credits in the original film (heard just thrice!), it plays specifically when the focus is on Superman's heroics being admired by other non-main characters. The helicopter rescue is an obvious application of this, as are the ways it later underscores the amazement of the police officers ("The Burglar Sequence"), and the amazement of the Air Force One pilots ("Super Rescues"). Thus, the A-march is a theme for Superman-The-Celebrity, while The Fanfare is a more general tag for the character + his heroics when admiration for Superman isn't the main focus. It seems that when the potential admirants are in grave distress themselves, the fanfare is preferred for heroic scenes (see the bus rescue part in "Superfeats"). In contrast though, I'm not sure the B-section of the march has any specific purpose as a theme even in the first score.
 
In Superman II, Ken Thorne more or less follows this pattern, by accident or otherwise. The main showpiece for the A-march comes in the Niagara Falls rescue scene, where the context is again placed on the public admiration for the character's actions. Notice that the march fails to appear in "Superman Triumphs Over The Villains", where the fanfare and the B-march are used instead (the heroics are not accompanied by an admiring public in this scene).
 
It might get slightly hazy in Superman III, due to the March being used in "The Final Victory". I suppose this might be justified by Superman restoring his good public persona in that scene after triumphing over his evil self that caused such infamy, or something.
 
As much as I love the score for Superman IV, the A-march feels completely misused, assuming I'm right about all of the above. The original purpose of the march was either ignored or went unnoticed. It should not appear in "Nuke 1 Fight", "Net Man", "Lift To The Moon", or "The Moon Fight", among possibly other appearances. On the other hand, the march should probably appear in the United Nations scene when the crowd cheers at Superman's plan, as well as the scene where Superman has the PSA moment with the public after the subway rescue. 
 
Needless to say, the Superman poster moment in Supergirl also misuses the march, as the scene isn't about human non-main characters admiring him. The Fanfare would have been better.
 
I'll admit I've never seen Superman Returns aside from fragments, so I''ll leave that commentary in more capable hands. How closely is the original purpose of the march adhered to?
 
Any thoughts on this?
 
 
 
 

1. No official statement on it, so let's look at the other two...
2. Pretty sure all 3 appearances in the first score (not counting the credit sequence appearances here) are standalone statements.
3. Each of these 3 appearances involve non-main characters having "WOW!" moments at Superman's heroics.
 
Seems pretty clear to me.

It seems to me that the Superman march (the A-melody of the march, that is) and The Fanfare are assumed to be merely two interchangeable representations of the title character, but I feel this is inaccurate, at least in the initial score. 
 
Every time you hear the A-march outside of the credits in the original film (heard just thrice!), it plays specifically when the focus is on Superman's heroics being admired by other non-main characters. The helicopter rescue is an obvious application of this, as are the ways it later underscores the amazement of the police officers ("The Burglar Sequence"), and the amazement of the Air Force One pilots ("Super Rescues"). Thus, the A-march is a theme for Superman-The-Celebrity, while The Fanfare is a more general tag for the character + his heroics when admiration for Superman isn't the main focus. It seems that when the potential admirants are in grave distress themselves, the fanfare is preferred for heroic scenes (see the bus rescue part in "Superfeats"). In contrast though, I'm not sure the B-section of the march has any specific purpose as a theme even in the first score.
 
In Superman II, Ken Thorne more or less follows this pattern, by accident or otherwise. The main showpiece for the A-march comes in the Niagara Falls rescue scene, where the context is again placed on the public admiration for the character's actions. Notice that the march fails to appear in "Superman Triumphs Over The Villains", where the fanfare and the B-march are used instead (the heroics are not accompanied by an admiring public in this scene).
 
It might get slightly hazy in Superman III, due to the March being used in "The Final Victory". I suppose this might be justified by Superman restoring his good public persona in that scene after triumphing over his evil self that caused such infamy, or something.
 
As much as I love the score for Superman IV, the A-march feels completely misused, assuming I'm right about all of the above. The original purpose of the march was either ignored or went unnoticed. It should not appear in "Nuke 1 Fight", "Net Man", "Lift To The Moon", or "The Moon Fight", among possibly other appearances. On the other hand, the march should probably appear in the United Nations scene when the crowd cheers at Superman's plan, as well as the scene where Superman has the PSA moment with the public after the subway rescue. 
 
Needless to say, the Superman poster moment in Supergirl also misuses the march, as the scene isn't about human non-main characters admiring him. The Fanfare would have been better.
 
I'll admit I've never seen Superman Returns aside from fragments, so I''ll leave that commentary in more capable hands. How closely is the original purpose of the march adhered to?
 
Any thoughts on this?
 
 
 
 

The title is pretty self-explanatory. But I'll clarify a couple of things:
 
- The expanded releases don't count.
- Your ranking of the scores themselves is irrelevant. This is about their representation on their respective OSTs.
- In the case of TESB, we'll speak of the 2-LP program (but you can rank the shorter one if you want).
- I'll personally forego discussing sound and mixing issues in my list, as I'm only familiar with the OT original albums from the recent reissues, which obviously don't accurately reflect the sound of the original releases. But feel free to include analysis of that aspect if you want.
- You can include the non-JW SW scores if you want (I chose not to, since I'm still familiarising myself with SOLO).
 
 
Anyway, my own choices best to worst:
 
1. THE FORCE AWAKENS
+ Almost everything important is present (save for "The Resistance", the imperial march fragment, and the Falcon crash landing cue)
+ Well judged near-chronological (and the deviations are well-judged) track order.
 
2. STAR WARS (A New Hope)
+ Almost everything important - and almost all music, for that matter - is present (Important omissions: the Mos Eisley arrival; the final battle intro cue)
+ The suite assemblies are absolutely sublime (particularly "The Rescue of the Princess" and "The Last Battle")
- Most of the big rebel fanfare renditions are concentrated on the first half of the album, making it a bit lopsided "blows it's load too soon" experience.
 
3. ATTACK OF THE CLONES
+ Most highlights are present (Missing mainly: Anakin's confession music; Carrying Shmi home + the funeral; The heroic statement of Yoda's theme at the end)
+ Well judged near-chronological (and the deviations are well-judged) track order.
- The development of the B(or C?)-section of the love theme (the part resembling Dies Irae) is poorly represented due to the Anakin's confession cue being omitted.
 
4. THE EMPIRE STRIKES BACK
+ While many highlights are not present ("Carbon Freeze" is sure an odd omission, and there's a LOT more...), it's nonetheless a generous amount of music, with all the themes well represented.
- Side 4 makes no musical sense whatsoever in it's sequencing, and suffers as an album climax due to having no action tracks in it.
 
5. THE LAST JEDI
+ Well judged near-chronological (and the deviations are well-judged) track order.
+ Thematic material pretty well represented...
- ...save for the desperation motif being only barely present.
 
[The more unsatisfying ones are below:]
 
6. THE PHANTOM MENACE
+ Some of the suite assemblies are great, especially the bit where the creepy voices seque into the Darth Sidious theme (track 14)
+ It mostly flows well as a listening experience (except in the middle, where it meanders)
- Why is the Coruscant arrival music included twice?
- Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music
- Missing thematic material (Qui-Gon's theme)
- "The Tide Turns" is omitted (omitting your action climax cue is rarely a good thing)
- Lots of missing highlights in general, much of it more important than some of what was included
 
7. REVENGE OF THE SITH
+ [Nothing stands out in particular, save for the music being good]
- Many omitted highlights, much of it more important than some of what was included.
- The needle-dropped and out-of-place Throne Room segment (see the previous point also)
- Missing thematic material (the theme introduced in "Another Happy Landing")
- Nonsensical (and often awkward) edits and microedits.
- Insane and nonsensical sequencing that flows poorly.
 
8. RETURN OF THE JEDI
+ The sequencing isn't terrible, I guess...
- Missing so much important music in general.
- Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music (Personally, I would have edited the end credits bookends into a continuous cue, especially considering the short running time allotted to representing this music)

The title is pretty self-explanatory. But I'll clarify a couple of things:
 
- The expanded releases don't count.
- Your ranking of the scores themselves is irrelevant. This is about their representation on their respective OSTs.
- In the case of TESB, we'll speak of the 2-LP program (but you can rank the shorter one if you want).
- I'll personally forego discussing sound and mixing issues in my list, as I'm only familiar with the OT original albums from the recent reissues, which obviously don't accurately reflect the sound of the original releases. But feel free to include analysis of that aspect if you want.
- You can include the non-JW SW scores if you want (I chose not to, since I'm still familiarising myself with SOLO).
 
 
Anyway, my own choices best to worst:
 
1. THE FORCE AWAKENS
+ Almost everything important is present (save for "The Resistance", the imperial march fragment, and the Falcon crash landing cue)
+ Well judged near-chronological (and the deviations are well-judged) track order.
 
2. STAR WARS (A New Hope)
+ Almost everything important - and almost all music, for that matter - is present (Important omissions: the Mos Eisley arrival; the final battle intro cue)
+ The suite assemblies are absolutely sublime (particularly "The Rescue of the Princess" and "The Last Battle")
- Most of the big rebel fanfare renditions are concentrated on the first half of the album, making it a bit lopsided "blows it's load too soon" experience.
 
3. ATTACK OF THE CLONES
+ Most highlights are present (Missing mainly: Anakin's confession music; Carrying Shmi home + the funeral; The heroic statement of Yoda's theme at the end)
+ Well judged near-chronological (and the deviations are well-judged) track order.
- The development of the B(or C?)-section of the love theme (the part resembling Dies Irae) is poorly represented due to the Anakin's confession cue being omitted.
 
4. THE EMPIRE STRIKES BACK
+ While many highlights are not present ("Carbon Freeze" is sure an odd omission, and there's a LOT more...), it's nonetheless a generous amount of music, with all the themes well represented.
- Side 4 makes no musical sense whatsoever in it's sequencing, and suffers as an album climax due to having no action tracks in it.
 
5. THE LAST JEDI
+ Well judged near-chronological (and the deviations are well-judged) track order.
+ Thematic material pretty well represented...
- ...save for the desperation motif being only barely present.
 
[The more unsatisfying ones are below:]
 
6. THE PHANTOM MENACE
+ Some of the suite assemblies are great, especially the bit where the creepy voices seque into the Darth Sidious theme (track 14)
+ It mostly flows well as a listening experience (except in the middle, where it meanders)
- Why is the Coruscant arrival music included twice?
- Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music
- Missing thematic material (Qui-Gon's theme)
- "The Tide Turns" is omitted (omitting your action climax cue is rarely a good thing)
- Lots of missing highlights in general, much of it more important than some of what was included
 
7. REVENGE OF THE SITH
+ [Nothing stands out in particular, save for the music being good]
- Many omitted highlights, much of it more important than some of what was included.
- The needle-dropped and out-of-place Throne Room segment (see the previous point also)
- Missing thematic material (the theme introduced in "Another Happy Landing")
- Nonsensical (and often awkward) edits and microedits.
- Insane and nonsensical sequencing that flows poorly.
 
8. RETURN OF THE JEDI
+ The sequencing isn't terrible, I guess...
- Missing so much important music in general.
- Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music (Personally, I would have edited the end credits bookends into a continuous cue, especially considering the short running time allotted to representing this music)

The title is pretty self-explanatory. But I'll clarify a couple of things:
 
- The expanded releases don't count.
- Your ranking of the scores themselves is irrelevant. This is about their representation on their respective OSTs.
- In the case of TESB, we'll speak of the 2-LP program (but you can rank the shorter one if you want).
- I'll personally forego discussing sound and mixing issues in my list, as I'm only familiar with the OT original albums from the recent reissues, which obviously don't accurately reflect the sound of the original releases. But feel free to include analysis of that aspect if you want.
- You can include the non-JW SW scores if you want (I chose not to, since I'm still familiarising myself with SOLO).
 
 
Anyway, my own choices best to worst:
 
1. THE FORCE AWAKENS
+ Almost everything important is present (save for "The Resistance", the imperial march fragment, and the Falcon crash landing cue)
+ Well judged near-chronological (and the deviations are well-judged) track order.
 
2. STAR WARS (A New Hope)
+ Almost everything important - and almost all music, for that matter - is present (Important omissions: the Mos Eisley arrival; the final battle intro cue)
+ The suite assemblies are absolutely sublime (particularly "The Rescue of the Princess" and "The Last Battle")
- Most of the big rebel fanfare renditions are concentrated on the first half of the album, making it a bit lopsided "blows it's load too soon" experience.
 
3. ATTACK OF THE CLONES
+ Most highlights are present (Missing mainly: Anakin's confession music; Carrying Shmi home + the funeral; The heroic statement of Yoda's theme at the end)
+ Well judged near-chronological (and the deviations are well-judged) track order.
- The development of the B(or C?)-section of the love theme (the part resembling Dies Irae) is poorly represented due to the Anakin's confession cue being omitted.
 
4. THE EMPIRE STRIKES BACK
+ While many highlights are not present ("Carbon Freeze" is sure an odd omission, and there's a LOT more...), it's nonetheless a generous amount of music, with all the themes well represented.
- Side 4 makes no musical sense whatsoever in it's sequencing, and suffers as an album climax due to having no action tracks in it.
 
5. THE LAST JEDI
+ Well judged near-chronological (and the deviations are well-judged) track order.
+ Thematic material pretty well represented...
- ...save for the desperation motif being only barely present.
 
[The more unsatisfying ones are below:]
 
6. THE PHANTOM MENACE
+ Some of the suite assemblies are great, especially the bit where the creepy voices seque into the Darth Sidious theme (track 14)
+ It mostly flows well as a listening experience (except in the middle, where it meanders)
- Why is the Coruscant arrival music included twice?
- Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music
- Missing thematic material (Qui-Gon's theme)
- "The Tide Turns" is omitted (omitting your action climax cue is rarely a good thing)
- Lots of missing highlights in general, much of it more important than some of what was included
 
7. REVENGE OF THE SITH
+ [Nothing stands out in particular, save for the music being good]
- Many omitted highlights, much of it more important than some of what was included.
- The needle-dropped and out-of-place Throne Room segment (see the previous point also)
- Missing thematic material (the theme introduced in "Another Happy Landing")
- Nonsensical (and often awkward) edits and microedits.
- Insane and nonsensical sequencing that flows poorly.
 
8. RETURN OF THE JEDI
+ The sequencing isn't terrible, I guess...
- Missing so much important music in general.
- Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music (Personally, I would have edited the end credits bookends into a continuous cue, especially considering the short running time allotted to representing this music)

The title is pretty self-explanatory. But I'll clarify a couple of things:
 
- The expanded releases don't count.
- Your ranking of the scores themselves is irrelevant. This is about their representation on their respective OSTs.
- In the case of TESB, we'll speak of the 2-LP program (but you can rank the shorter one if you want).
- I'll personally forego discussing sound and mixing issues in my list, as I'm only familiar with the OT original albums from the recent reissues, which obviously don't accurately reflect the sound of the original releases. But feel free to include analysis of that aspect if you want.
- You can include the non-JW SW scores if you want (I chose not to, since I'm still familiarising myself with SOLO).
 
 
Anyway, my own choices best to worst:
 
1. THE FORCE AWAKENS
+ Almost everything important is present (save for "The Resistance", the imperial march fragment, and the Falcon crash landing cue)
+ Well judged near-chronological (and the deviations are well-judged) track order.
 
2. STAR WARS (A New Hope)
+ Almost everything important - and almost all music, for that matter - is present (Important omissions: the Mos Eisley arrival; the final battle intro cue)
+ The suite assemblies are absolutely sublime (particularly "The Rescue of the Princess" and "The Last Battle")
- Most of the big rebel fanfare renditions are concentrated on the first half of the album, making it a bit lopsided "blows it's load too soon" experience.
 
3. ATTACK OF THE CLONES
+ Most highlights are present (Missing mainly: Anakin's confession music; Carrying Shmi home + the funeral; The heroic statement of Yoda's theme at the end)
+ Well judged near-chronological (and the deviations are well-judged) track order.
- The development of the B(or C?)-section of the love theme (the part resembling Dies Irae) is poorly represented due to the Anakin's confession cue being omitted.
 
4. THE EMPIRE STRIKES BACK
+ While many highlights are not present ("Carbon Freeze" is sure an odd omission, and there's a LOT more...), it's nonetheless a generous amount of music, with all the themes well represented.
- Side 4 makes no musical sense whatsoever in it's sequencing, and suffers as an album climax due to having no action tracks in it.
 
5. THE LAST JEDI
+ Well judged near-chronological (and the deviations are well-judged) track order.
+ Thematic material pretty well represented...
- ...save for the desperation motif being only barely present.
 
[The more unsatisfying ones are below:]
 
6. THE PHANTOM MENACE
+ Some of the suite assemblies are great, especially the bit where the creepy voices seque into the Darth Sidious theme (track 14)
+ It mostly flows well as a listening experience (except in the middle, where it meanders)
- Why is the Coruscant arrival music included twice?
- Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music
- Missing thematic material (Qui-Gon's theme)
- "The Tide Turns" is omitted (omitting your action climax cue is rarely a good thing)
- Lots of missing highlights in general, much of it more important than some of what was included
 
7. REVENGE OF THE SITH
+ [Nothing stands out in particular, save for the music being good]
- Many omitted highlights, much of it more important than some of what was included.
- The needle-dropped and out-of-place Throne Room segment (see the previous point also)
- Missing thematic material (the theme introduced in "Another Happy Landing")
- Nonsensical (and often awkward) edits and microedits.
- Insane and nonsensical sequencing that flows poorly.
 
8. RETURN OF THE JEDI
+ The sequencing isn't terrible, I guess...
- Missing so much important music in general.
- Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music (Personally, I would have edited the end credits bookends into a continuous cue, especially considering the short running time allotted to representing this music)

The title is pretty self-explanatory. But I'll clarify a couple of things:
 
- The expanded releases don't count.
- Your ranking of the scores themselves is irrelevant. This is about their representation on their respective OSTs.
- In the case of TESB, we'll speak of the 2-LP program (but you can rank the shorter one if you want).
- I'll personally forego discussing sound and mixing issues in my list, as I'm only familiar with the OT original albums from the recent reissues, which obviously don't accurately reflect the sound of the original releases. But feel free to include analysis of that aspect if you want.
- You can include the non-JW SW scores if you want (I chose not to, since I'm still familiarising myself with SOLO).
 
 
Anyway, my own choices best to worst:
 
1. THE FORCE AWAKENS
+ Almost everything important is present (save for "The Resistance", the imperial march fragment, and the Falcon crash landing cue)
+ Well judged near-chronological (and the deviations are well-judged) track order.
 
2. STAR WARS (A New Hope)
+ Almost everything important - and almost all music, for that matter - is present (Important omissions: the Mos Eisley arrival; the final battle intro cue)
+ The suite assemblies are absolutely sublime (particularly "The Rescue of the Princess" and "The Last Battle")
- Most of the big rebel fanfare renditions are concentrated on the first half of the album, making it a bit lopsided "blows it's load too soon" experience.
 
3. ATTACK OF THE CLONES
+ Most highlights are present (Missing mainly: Anakin's confession music; Carrying Shmi home + the funeral; The heroic statement of Yoda's theme at the end)
+ Well judged near-chronological (and the deviations are well-judged) track order.
- The development of the B(or C?)-section of the love theme (the part resembling Dies Irae) is poorly represented due to the Anakin's confession cue being omitted.
 
4. THE EMPIRE STRIKES BACK
+ While many highlights are not present ("Carbon Freeze" is sure an odd omission, and there's a LOT more...), it's nonetheless a generous amount of music, with all the themes well represented.
- Side 4 makes no musical sense whatsoever in it's sequencing, and suffers as an album climax due to having no action tracks in it.
 
5. THE LAST JEDI
+ Well judged near-chronological (and the deviations are well-judged) track order.
+ Thematic material pretty well represented...
- ...save for the desperation motif being only barely present.
 
[The more unsatisfying ones are below:]
 
6. THE PHANTOM MENACE
+ Some of the suite assemblies are great, especially the bit where the creepy voices seque into the Darth Sidious theme (track 14)
+ It mostly flows well as a listening experience (except in the middle, where it meanders)
- Why is the Coruscant arrival music included twice?
- Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music
- Missing thematic material (Qui-Gon's theme)
- "The Tide Turns" is omitted (omitting your action climax cue is rarely a good thing)
- Lots of missing highlights in general, much of it more important than some of what was included
 
7. REVENGE OF THE SITH
+ [Nothing stands out in particular, save for the music being good]
- Many omitted highlights, much of it more important than some of what was included.
- The needle-dropped and out-of-place Throne Room segment (see the previous point also)
- Missing thematic material (the theme introduced in "Another Happy Landing")
- Nonsensical (and often awkward) edits and microedits.
- Insane and nonsensical sequencing that flows poorly.
 
8. RETURN OF THE JEDI
+ The sequencing isn't terrible, I guess...
- Missing so much important music in general.
- Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music (Personally, I would have edited the end credits bookends into a continuous cue, especially considering the short running time allotted to representing this music)