Madmartigan JC

Biker Hounds had always felt a little odd to me. Not only for the huge departure from style, but for many other reasons I cannot put down.
I remember upon release it was unknown that it was Joseph who had actually written it, and many reviewers at the time praised JW for trying new ground outside of his usual style for that little piece of music (I think it may have even been mentioned in some of the cast & crew promotional interviews).
Such collaborations are not uncommon or anything to be hidden, and I often wish they were more openly communicated (and properly credited in the albums). 
I confess I felt somehow relieved to find that it was Joseph's composition; it finally made sense. In any case, in no way does it detract from the masterpiece that is A.I.

Additionally, I have never seen this mentioned anywhere else, but the vocal part is sampled! I ignore the original source, but I remember being rather confused when I first heard it in Stewart Copeland's score for "Gridlock'd". I don't think that score has been released, but the sample can be clearly heard here (at 3:39):
 
 
For comparison: 
 
 

The voice sample is also used somewhere in David Newman's score for The Phantom

Oh yes! I loved reading the liner notes, but in theeend kept taking out Debney's re-recording off the shelf.

I have plenty of space, and I'd be glad to help you in case you're getting rid of more CDs.

I think it just fully hit me this morning and I am a bit in shock and awe.
 
John Williams is doing another Indiana Jones score.
 
Just remarkable.
 

Me too.

Thank you. Amazing job.

I had a go at restoring 'The Speeder Chase' from The Rise of Skywalker, filling in missing footage with some concept art and storyboards as placeholders:
 
https://drive.google.com/file/d/17-D5f9NIfu6U4UCH8RcjfTT5RYMNPRJy/view?usp=sharing
 

Returning to the prequels for a while...
some small detail...

I listened to "Are You a Jedi" from TPM a lot, and I didn't think that there might be any editing here, although this cue is a little slowed down in the film.
When I was looking at the score, I noticed one bar, which is absent on the recording (users on this board have probably known about this for a long time), where the general elegiac mood for a short moment gives way to a more playful one.

 
 
Honestly, it's difficult to understand whether this place was missed during the recording process, or cut out later. Anyway, I think it syncs with Anakin's objection to Shmi, ("Watto doesn't know I've built it...").
 
In the video, I had to cut out a pause in the dialogue, it seems that it matches better (marked it with b/w transition), although it is certainly not easy to find synchronization points here (for example, the cor anglais melody might have been intended for a longer shot with Shmi, who knows...)
 

 
If this really was editing, then this is perhaps the most "wise" editing in the entire film, the cue feeling some different way...
 

While we wait for the LLL tracklist announcement, here's a rough idea of the alternates we can expect to be included somewhere on the release.
 
Firstly, the film verison of Pete's Death. This is similar to the OST version, but with additional synth and celeste elements throughout (Williams used a strings-only version on the OST).
Cue Status: Unreleased
 
Presumably revised after his initial version (as heard in the OST track), the film version is more playful and sounds like a precursor to music he would write for The Last Crusade. The ending also eschews the heavy synth elements of the OST equivalent.
Cue Status: Unreleased
 
Perhaps one of the more bizarre alternates in JW/Spielberg's collabs, this sounds more like an excerpt of The Fury than a lighthearted chase sequence. It leaked with a Born on the Fourth of July bootleg but was not included on the OST or used in the film.
Cue Status: Unreleased & unused
 
Paired with the final film version in the OST track of the same name, this alternate for Pete & Dorinda is a more wistful, longing presentation of their theme than the romantic version used in the film. It's equally as affecting though, providing a different tone to the film alternate. The ending echoes a cue Williams would write in years to come (8M4 Believe Your Eyes).
Cue Status: Unused in film, OST T11 Pete and Dorinda (1:35-end).
 
The most significant alternate in the film, Dorinda Survives is an early version of the film's final cue -- and it's truly stunning. For this presentation, I've combined it with the preceding cue (Among the Clouds, as it appears on the OST) so you can enjoy Williams' intended scoring for the entire 8+ minute sequence (though the actual alternate cue begins at 4:33).
 
This cue (revised in the final cut with Dorinda Solo Flight) scored a slightly longer underwater sequence, presumably showing more interaction between Dorinda and Pete (or perhaps lingered on Dorinda's decision to remain in the flooding plane, rather than escape). It's a darker, less heroic interpretation than Williams' revised climax, especially with its comparatively restrained approach to the film's closing shot. In all likelihood, this will make a fitting finale to LLL's upcoming expansion.
 
Side note: pay close attention to Holly Hunter's performance in the early section of this video. For all the film's perceived faults, Hunter's performance here does an amazing job at capturing the longing, the grief and the heartbreak that accompanies losing people we love. Paired only with Williams' touching score, it's all the more affecting.
Cue Status: OST T7 Among the Clouds (only the second half is unused)

John Williams conducts John Williams (Berliner Philharmoniker, John Williams conductor, Bruno Delepelaire cello)
The history of film music would be different without him: John Williams. Cinema classics like Star Wars, Indiana Jones and Harry Potter are inextricably linked with his soundtracks. They have unforgettable, radiant themes, an impressive range of atmospheres and sounds and, at the same time, the always unmistakable style of the composer. John Williams makes his debut with the Berliner Philharmoniker at these concerts. The programme includes several of his most famous scores – and of film music in general.
https://www.berliner-philharmoniker.de/en/concerts/calendar/details/53783/
___________________________________________________________________________________________________________________________________________________________
Releases:
There are 8 releases (if I didn't miss anything) that are available right now:
 
VINYL
2 LP (Gold foil cover) + gold vinyl (only initial applause, no moderations) 2 LP (Gold foil cover) + black vinyl (only initial applause, no moderations) 1 LP (Gold foil cover) + gold vinyl ("Harry's Wondrous World" + "Superman March" ONLY) DELUXE CD + BLURAY
2CD + 2 Bluray (Gold foil cover) (with moderations) Japan 2 CD + 1 Bluray (Gold foil cover) CD ONLY
2CD (Gold foil cover)(with moderations) Japan 2 CD (Yellow label) (with moderations) DIGITAL (Yellow label) (no moderations)
 

 
Japan Release (2 CD) - says 2 CD in the description even though it's not mentioned in the title

Japan Release (2 CD+ 1 ! Bluray) - seems to miss one Bluray (probably High res audio bluray because of High res CDs?)

 
Digital (without moderations)

___________________________________________________________________________________________________________________________________________________________
Rehearsal:
If you're between 16 and 28 year old, you can attend the first part of the final (general) rehearsal with Williams on 13th Oct 16pm, for free! There are still tickets left! Proof of age required!
https://www.berliner-philharmoniker.de/education/projekte/john-williams/
Visiting information (Corona, 3G rules etc.) https://www.berliner-philharmoniker.de/en/concerts/visiting-information/
Description from the Website (in German only)
___________________________________________________________________________________________________________________________________________________________
Program:
John Williams
Olympic Fanfare and Theme
Close Encounters of the Third Kind: Excerpts
Far and Away Suite
Harry Potter and the Philosopher's Stone: Hedwig's Theme
Harry Potter and the Philosopher's Stone: Nimbus 2000
Harry Potter and the Philosopher's Stone: Harry's Wondrous World
Theme from Jurassic Park
- INTERMISSION -
Superman March
Indiana Jones and the last Crusade: Scherzo for Motorcycle and Orchestra
Indiana Jones: Raiders of the Lost Ark: Marion's Theme
Indiana Jones: Raiders of the Lost Ark: The Raiders March
Elegy for cello and orchestra (Bruno Delepelaire cello)
Solo: A Star Wars Story: The Adventures of Han
Star Wars: Episode V - The Empire Strikes Back: Yoda's Theme
Star Wars: Episode IV - A New Hope: Throne Room and End Title
- ENCORES -
Star Wars: Episode IV - A New Hope: Princess Leia's Theme (only on 14.10.21)
E.T. The Extra-Terrestrial - Flying Theme
Star Wars: Episode V - The Empire Strikes Back: Imperial March
___________________________________________________________________________________________________________________________________________________________
Additional Links:
-> Visiting Information for Berliner Philharmonie during Corona times: https://www.berliner-philharmoniker.de/en/concerts/visiting-information/
-> The program brochure has been published as PDF, for the moment available in German only. Looks like this will also be sold as print version at the concerts for 3.50€.
https://www.berliner-philharmoniker.de/fileadmin/Dateien/Programmhefte/2021_22/BPH_Programmheft_2021_10_14.pdf
-> Digital Concert Hall Program (PDF): (English) https://apps.digitalconcerthall.com/website/season_21_22/programme_brochure_en.pdf
-> John Williams Portrait on BerlinPhil Website: https://www.berliner-philharmoniker.de/en/stories/john-williams-portrait/
___________________________________________________________________________________________________________________________________________________________
Ticket Presale: 09 August 2021, 9:00      | 35 to 98 €, special prices for subscribers
-> Thu, 14 Oct 2021, 20:00                                  https://www.berliner-philharmoniker.de/en/concerts/calendar/details/53783/
-> Fri,   15 Oct 2021, 20:00
-> Sat, 16 Oct 2021, 19:00 + Livestream  https://www.digitalconcerthall.com/en/concert/53783
___________________________________________________________________________________________________________________________________________________________
https://www.berliner-philharmoniker.de/en/concerts/box-office-tickets/

I was just in the kitchen doing stuff and my iPod touch started playing this without warning. It made me think for a second my washing machine broke down or that I left keys in in it or something. 😂
 
Karol

Have a feeling I previously did a score restore for just this cue's ending, but seeing as almost the entire cue was replaced by tracked music from TFA, this gorgeous track seemed a worthy contender for a score restore.
 
Patchy guesswork was required in places, but hopefully this gives some idea of Williams' original intentions for the sequence.
 

I’ve attempted to recreate the edit JW scored of the penultimate sequence of The Force Awakens, 8M72 Finding the Map and 8M73 The Complete Map:
 

https://drive.google.com/file/d/1FUoI-0d63VheebkFyPefQW9l7-OyS_5a/view?usp=sharing
 
Notes:
 
This initial meeting of Rey and Poe made it into the novelization. Abrams and Johnson may not have agreed on much, but they did both share the vision of an oddly boring, awkward initial meeting for these two. 🤷‍♂️
 
It was also apparently followed by a shot of R2 boarding the Falcon, but I couldn’t find a decent substitute for that. Rey saying goodbye to Finn was much shorter in the cut JW scored, just 19 seconds.
 
There’s additional dialog in the novelization when Rey says goodbye to Leia. There doesn’t seem to be sufficient time for all of it, but I’d bet at least some of it was originally used, so I’ve made a guess at what might have appeared.

Back with a new (and highly speculative) score restoration video for The Rise of Skywalker. 'Anthem of Evil' is a bit of a mystery: while one section near the end appears to be 6M12 Six Twelve, a cue for the destruction of Kijimi, it's still completely unknown what the first part is. But here's my take:
 

https://drive.google.com/file/d/1J6N8q2VvRP57ETvuz9N8hXAlUMtIBgYe/view?usp=sharing
 
We can definitively say the first part of 'Anthem of Evil' is not 8M4 Psalm of the Sith, because there's sheet music for that cue fairly visible in one of the documentaries, and it actually matches music used in the middle of 'Join Me' instead.
 
@Falstaft recently expanded our list of known cues with several more, most or all of which appear to be choral or choral additions to other cues (e.g. 8M4C), and on this list is 8M1 Approaching the Throne #2, a cue which is not used in the final cut of the film. So, my speculation is that perhaps the first part of 'Anthem of Evil' is 8M1, for Rey walking into the Exegol temple and first encountering the Emperor, presumably a version without all the noisy thunder and lightning effects and running slightly longer.

Falstaft beat me to it with the link to the fifteen year old thread, so here's a contemporaneous one from FSM (with classic Ford Thaxton):
https://www.filmscoremonthly.com/board/posts.cfm?threadID=42799&archive=0

Clemmenson claimed The Train sounded like more of a Williams action cue. I don't agree with that but I do agree that it was a rather intense action cue from him in 2005 with a lot of moving parts, counter-point and theme interaction. Its quality took me by surprise but did not make me think of another composer

The 20th Century Fox fanfare.

Anne-Sophie posted some photos of her sheet music as she was just beginning to work on the pieced and that title was visible. I'll try dig it up...
 
 
The photo doesn't show up now, but here's the post that first mentioned it, and I remember seeing the pic. It seems like it was amongst the first batch of arrangements she received and for whatever reason, it was dropped - perhaps they thought they had enough Star Wars pieces.
 
Here you go... I went digging on Instagram. The sheet music on the left at the start of the video, you can see the title ends with "....the Princess". 

https://www.instagram.com/p/Bsvqs0mnfsq/?utm_medium=copy_link

The Tanglewood performance is going to be broadcast on WCRB:
 
https://www.classicalwcrb.org/blog/2021-05-28/tanglewood-2021-on-the-air-and-online
 

She hasn't been confirmed for Indy 5 yet, so no!

https://www.carnegiehall.org/calendar/2022/04/21/across-the-stars-the-music-of-john-williams-0700pm

I agree!
I might me misremembering the film, since I last saw it many years ago. But I remember it as not a very subtle film -at all-. As I recall it, the message of 'love transcending all barriers, even death' and the way the story is portrayed was rather in-your-face. That's why I mostly associate it with Amazing Stories, which were very high concept stories (and perhaps also because of the episode "The Mission", scored by JW 4 years before this film, has many points in common with Always).
I guess a different composer could probably have focused more on the schmaltzy romantic aspect of it. But Williams tinges it with other elements (be it grief, longing, even heroicism and a bit of magic when needed), to transcend what the script is telling. And he does those things in way I find structurally different from other scores of that period. I feel particularly the harmonies sometimes give us a glimpse of paths he would take in future score (around the 2000s).
 
I didn't mean to say it's not an emotional score. On the contrary, it's can be very moving at moments, but at the same time I find it much richer and reflective than the script. This is true of probably every JW score, but I guess it shows a bit more when the film it's accompanying is more one-note. 

I'm so excited about this new release!

I think you are misremembering, because that is not the message of the film.
 
Their love didn't transcend death; Hap tells Pete early that his life is over, and anything he does as a ghost for himself is pointless.  His role as a ghost is to help Dorinda get over him, be able to move on with her life, and love someone else (and also help Ted be a better pilot I guess). 
 
Pete and Dorinda weren't a healthy couple before his death; it isn't actually quite clear if they were really even technically in a relationship or not, I don't think.  But they never say "I love you" out loud to each other, until just before he takes off of his last flight, when she says it to him, but by the time he realizes he is willing to say it finally and does so, his plane's engine drowns out his words and she never hears it.  He dies with her never knowing that he finally was capable of providing the love she desired.

Several months back I started working on an isolated score presentation for Always, using material contained on the OST. With the announcement of a remastered expansion coming from LLL, it became a 'now or never' moment to finish what I started. I've since gone back and expanded the project to include the film's unreleased music, in the hope these videos whet people's appetite for the upcoming expansion.
 
Despite all the knocks this score has received over the years, when finally watching the film I was surprised to discover a very nuanced work from Williams. While Spielberg's collaborations with Williams through the early 80s would be associated with large-scale, virtuosic orchestral brilliance, the director's shift towards restrained dramas was well underway by the mid-80s. A trilogy-capping Indiana Jones film notwithstanding, Always rounded out the tail end of a boisterous decade of film scoring for Williams. While moments of lush scoring would prove scarce, the score's greatest strength is the impressive restraint of its central love theme, equal parts tender and wistful.
 
Although commonplace in collaborations to follow, the surprisingly late first instance of a score cue (22 minutes into the film) was unusual for its time in a Spielberg feature.
 
We begin with a short, atmospheric cue that underscores a (seemingly prophetic) moment of unease for Dorinda, as she sights the fateful plane of her partner's (Pete) future demise.
Cue Status: OST T15 Intimate Conversations (0:00-0:31)
 
A similar moment of retrospection follows soon after, as Dorinda notices something amiss with the glowing blue halo that engulfs Pete as he opens the fridge door.
 
Interestingly, Spielberg opted to track the immediately preceding cue into this moment. Williams' intended score is therefore both unused and unreleased, but the tracking works effectively.
Cue Status: Tracked from OST T15 Intimate Conversations (0:00-0:31), JW's Intended Version Unreleased & Unused
 
Increasingly worried over Pete's cavalier attitude towards the dangers of his work (flying planes over raging bush fires, dousing them with fire retardant), Dorinda begs Pete to consider a new role in Colorado. This cue is unreleased.
Cue Status: Unreleased
 
Two pilots down with a new burn in the South Rim, and despite being his layoff day, Pete is called for help.
 
With the previous night's discussion weighing on her mind, Dorinda rushes to the airfield before Pete's departure. In one of the score's highlights, Dorinda expresses her love for Pete, insisting he can't leave the ground without knowing.
 
As Dorinda returns to her bike, Pete returns the gesture... but his declaration of love goes unheard, drowned out by the propellers.
Cue Status: OST T10  Saying Goodbye (2:46 onward dialed out in the film, omitting Williams' dramatic conclusion).