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PRESS RELEASE - WALT DISNEY PICTURE COMPANY, DISNEY+™ AND LUCASFILM LTD.™ (SAN FRANCISCO, CALIFORNIA)
Walt Disney Pictures, Disney+™ and Lucasfilm Ltd.™ are excited to announce that visionary director JJ Abrams is returning to the galaxy far, far away. Abrams has been commissioned to remaster and reconstruct the original Star Wars™ trilogy (Star Wars™: Star Wars™, Star Wars™: The Empire Strikes Back™, Star Wars™: Return of the Jedi™) in brand-new editions exclusive to Disney+™, finally integrating the Original Trilogy™ with the beloved Star Wars™ Sequel Trilogy™.

Reuniting with screenwriter Chris Terrio (Zack Snyder's Justice League), the pair wrote new dialogue to bridge the old with the new. "I said to Chris, 'man, this trilogy does a terrible job establishing context for Rise of Skywalker,'" recalls Abrams. "No mention of Palpatine's children, no hints about grandchildren... so many missed opportunities. Why shouldn't Rey's Song appear when the Emperor confronts Luke? We need to fix this!"

Abrams credits inspiration for the project to veteran Star Wars composer John Williams. "I remember John saying to me, 'JJ Baby, after what you've put me through, I wouldn't be surprised if you asked me to write new music for Empire next.' That was the light-bulb moment."

The acclaimed sound team from The Rise of Skywalker™ also return to remaster the iconic soundtracks, assembling immersive new Dolby Atmos mixes. "It never made sense that all the musical themes didn't exist in all of the films," muses Abrams. "Finally we can fix those mistakes." Disney+ subscribers can also enjoy isolated scores, further highlighting Abrams' new vision. "This will introduce a whole new generation to John's music. I'm even talking with Disney Records about releasing the new isolated scores on CD. Everyone's excited!"

While Williams could not be contacted for comment, he would undoubtedly approve. Abrams shares Williams' theoretical excitement. "At last, fans will appreciate my vision for the Skywalker Saga."

EXCLUSIVE: First clip from Abrams' newly remastered edition of Star Wars™: Return of the Jedi™:
 

That is the reason. In the theatrical cut (also released on VHS and Laserdisc) only Anakin and Sebulba are introduced. In ~2001 George was able to go back and change a few things for the DVD release, including a longer "flag parade" sequence, longer podrace, and alternate/longer arrival on Coruscant. They also finished up several deleted scenes at the same time for the bonus disc. In the theatrical cut the music fits almost perfectly.

Probably my favorite moment in the Close Encounters score.
 
2:53-3:20.   The dissonant strings leading into the surreal 5 notes theme at 2:59, followed by powerful strings.
 
 
 

I initially thought it was my complete disappointment with the film that impacted my appreciation of this score. I’d come back to the ost hoping to finally connect with it. It’s a friggin’ John Williams Indiana Jones score for crying out loud! But to me both the OST and the Recording Sessions lacked the terrific momentum that the other three releases had (99% the fault of the film I believe!) Half the ost release seemed to focus on skull theme. Which is a great theme. But I needed other material to balance it out. Imagine if the Raiders score was 45% the ark theme. Terrific theme. But it would lose its impact after a while. And the RS goes for long stretches before anything grabs my attention. But I really want to love this score. So here’s my ideal 79min album/ playlist I’ve created from editing tracks together from the recording sessions. 
 
Nevada, 1957 
(“Elvis and the Prairie Dog”+”Nevada,1957+ “Irina Spalko”)
Really needed this on the OST. Not a knock-out cue set by any means. But musically it brings us into the story and rolls out some of the new thematic material for this adventure
The Warehouse and Indy’s Great Escape
( “Revisiting the Ark (Revised)”+”Gun Powder”+”Indy’s Great Escape”+”The Rocket Sled”+”Indy Versus the Russian”+”Prairie Dog and Nuclear Cloud “)
Edited these as a giant 8 minute set piece. Another odd omission from the ost. Skipped on some of the start/stop bits (“unpacking” and “Indy Fights back) “Nuclear Cloud” makes for a great end cap on the piece.
Rough Couple of Years
(“Resignation”+”Remembering Henry Sr. & Leaving Campus”)
Some of my favorite moments on the prior Jones scores were the moments before the call to adventure. “Fathers Study”or “Thought for Marion” etc. Nice little moments to breathe before the plot begins.  
The Legend of Akator
(“Legend of Akator”+”Knife to a gunfight”)
I like this as the first tease of the Skull theme. Similar to “Washington Men” in its story placement musically speaking. And a great build to the next set piece. 
Whirl through Academe
(Same as OST)
Fun Breezy Indy action ala “Basket Games” or the train parts of “Indys First Adventure”
A Trip to Peru
(Same as Recording Session)
Off we go onto the main quest! 
Grave Robbers
(“The Chauchilla Graveyard”+”Grave Robbers”-RS version)
Love the fun spooky atmosphere of Chauchilla Graveyard before the frantic percussion kicks in.
Call of the Crystal
(Same as OST/RS)
Should be the equivalent of “Map Room:Dawn” as we realize musically what powers our characters are meddling with. 
Hello Jonesy
(“Russians Reappear 2”+”Hello Jonesy”)
Nice little map moment as our hero’s are captured by the baddie.
Ideograms
(“Ideograms”+ “Sleeping River Map”)
A little moment of sadness before this “forming a plan of escape” type music kicks in and builds
Quick Step Into Quicksand
(Same as OST/RS)
Another fun “Basket Games” type cue. Works great in the scene.
Marion’s Theme
(From Spielberg/Williams Collaboration v3.)
Nice new arrangement works terrifically here. 
To me as a listener, this creates a moment of reflection and brings in emotional stakes for Indy that were completely absent from the film itself)
The Waterfall
(Same as RS. )
While not Chronologically accurate, I like this as a kind of teaser/warm-up for the action that’s coming with “Jungle Chase” and “Ants!” For some reason placing it after those two it feels a bit redundant to me. Not sure why.
The Jungle Chase
(The Jungle Chase Begins +Irina’s Great Blade+Ugh Vines)
What’s there to say?  Cracking 10 minute action piece worthy of Dr Jones. 
Ants!
(Same as OST&RS)
Temple Ruins 
(Temple Ruins+Ugha Warriors)
Nice reminder of the skull theme since we haven’t heard it for a while on this playlist. Followed by fun frantic jungle percussion.
The City of Gold
(Same as RS)
Love the “War of the Worlds” quote and giant build in this one as our hero’s enter the final stage of their quest
Spalko’s Gift and The Secret Revealed
(Spalko’s Gift+The Secret Revealed)
Fantastic eerie build to the culmination of the Crystal Skull theme as the villains meet their demise. The albums equivalent of “The Miracle of the Ark”
The Departure
(Same as OST/RS)
The final moments of this cue *chefs kiss*
Treasures of Knowledge and Finale
( Knowledge Was Their Treasure+ The Wedding+ Finale*)
Sad the quote of Henry Sr theme never made it on the OST. Having it here is a nice bookended to the “resignation” track. And of course Williams leads us out with great suite of all the films prior themes. So I didn’t include any of the concert versions in this playlist except for the skull theme. Finally I edited in the original end of the Raiders March to replace the one where Williams weaves the Mutt Williams theme in and out. It’s clever. But if it ain’t broke, don’t fix it;)
 
Sorry for the essay. I’m enjoying a lazy Saturday and a rediscovery of JWs (most likely) final Indy score.

And I decided to make mockup of The Freedom March (15M2). This is an old alternative to Liberation - Exultate Justi. It seems that initially Exultate was written only for credits, but then it was decided to insert a shortened version of it into the movie itself.
In this cue there is a choir with lyrics. However, I cannot implement the words in the mockup, so here they are. I don't quite understand what it is, but it looks like fake Chinese or something like that.
 
Soon I will post a video with synchronized mockup and image (as it turned out, the cue fits very well).

Here is a long discussion between Spielberg and Williams in front of students from 2011.
 

And I decided to make mockup of The Freedom March (15M2). This is an old alternative to Liberation - Exultate Justi. It seems that initially Exultate was written only for credits, but then it was decided to insert a shortened version of it into the movie itself.
In this cue there is a choir with lyrics. However, I cannot implement the words in the mockup, so here they are. I don't quite understand what it is, but it looks like fake Chinese or something like that.
 
Soon I will post a video with synchronized mockup and image (as it turned out, the cue fits very well).

Mind that these works (mixed choir a capella) are very consistent throughout, all six-and-a-half hours. They are works of the second half of the 18th century, and while beautiful, don't yet feature that "deep" and perhaps more sophisticated architecture that choral works by Rachmaninov or Tchaikovsky would use.
 
That being said, I'm quite partial to the following selections:
 
From Vol. 1: 
 
From Vol. 2:
 
From Vol. 3:
 
From Vol. 4:
 
From Vol. 5:
 
From Vol. 6:
 
 
 
 
 

Great topic! I still have access to my original impressions of this track before I knew about the embedded Emperor’s Theme, and it was one of the most joyous pieces of music of any kind I’d ever heard. (It’s also worth noting that I formed these impressions after hearing only the album, before the movie was able to sully them with itself.)
 
 

Ewok celebration.

POA is my fave. All three are personal favorites. I'm out of things to say about them. The first one got me hooked on film music, the second was the first time I really got the satisfaction of listening to a soundtrack I'd been hyped up to hear, and the third pushes all my aesthetic buttons and probably established them in many ways. These are just my John Williams scores.
 
The rest are always gonna give me mixed feelings because they're not John Williams but they all have their virtues, even though it's more fun to gripe. I will say I was fully immersed in these things until 2011 and have not really listened to 4-8 since then. The Fantastic Beasts have gotten a few listens apiece.
 
GOF has pretty clear thematic throughlines, nice collection of new melodies and their variants, cool setpieces, strong personality. I think it's a little overcranked without the subtleties that help balance out the first one, for example, but generally with these scores I prefer "too much" to "not enough."
 
OOTP is basically a fun easy listening album. Fireworks, Professor Umbridge, Dumbledore's Army, these are listenable tracks with clean hooks, throw them on the theme park playlist and I'd smile and bop and remember the film. Not nothing.
 
HBP, I think is a pretty interesting one to consider because as far as I've been able to tell, it probably has the biggest disparity between the consensus on this forum and the raves it gets just about anywhere else. It got a Grammy nod! Super weird but I think it's the one that comes closest to being a "vibe" score, just kinda simmering in a hook or sound. It's not quite aimless noodling, there's a structure to stuff like Harry and Hermione, When Ginny Kissed Harry, Dumbledore's Farewell. I get the appeal, I like about half of it.
 
Harmonically and rhythmically, every now and then things come up that I think are interesting.
 
String harmony from 1:08-1:45
 
 
 
String runs and brass/timpani accents from :56-1:13 (also backtrack a second and that quick little 3/4 + 3/8 (?) groove leading directly into it is pretty cool)
 
 
 
Anyway now I'm cancelled for defending Nicholas Hooper.
 
I don't need to make a case for Desplat or JNH. I like what they do, they do it well. I voted Deathly Hallows: Part 2 as worst because even though the Hoopers are technically less sophisticated, I think DH2 has the most lost potential to be a greater score. Also DH2 isn't that much more impressive or enjoyable anyway. Also it's funnier not to vote Hooper. 
 
I only barely recall the first two video game scores from playing them and then I stopped playing Harry Potter video games, haven't listened to the scores or Cursed Child. Not really that interested.

Absolutely disagree with that statement. Especially on an overall level. Gimme the Hooper scores over Zimmer's DC work anyday.
 
Plenty find them dull, but there's a lot I love about them, even Order of the Phoenix, which I will acknowledge isn't as strong as the others, has some lovely highlights (Dumbledore's Army, Umbridge, and Fireworks, etc). The problem I have with HP5 is that some of the pieces (like Flight of the Phoenix) really sound like they're meant for a large orchestra to play them, but for some reason it sounds very small. I guess it sounds quite held back in many places.
 
Half-Blood Prince on the other hand, I feel does better and takes advantage of the smaller sound. While some see it is as dull, I see it as dark, intimate, and atmospheric with a few comedic moments. It doesn't sound as small for me when I listen to it, or at least it doesn't feel small. I actually quite like this score.
 
My highlights:
I quite like the foreboding and pulsing strings and timpani for the Death Eaters in "Death Eater Attack", "Rushes", and "Death Eaters Arrive Pt 1" The theme for Slughorn is honestly beautiful and haunting in "Bye Bye Horace" and "Confession" The two ideas present for Malfoy that I like throughout the film. The "suspicion" that appears in "Diagon Alley", "Peruvian Instant Darkness Powder", "Weasley Workshop", and "Katie Bell Returns". And the ideas throughout the "Malfoy's Mission" cues. And of course "In Noctem" is great. I love utilizing it as the theme of the film pretty much. Some other single track highlights: "Aragog's Funeral", "Living Death", "When Ginny Kissed Harry", "Dumbledore Drinking", "Inferi and Fire", "Killing Dumbledore Pt 2", "Dumbledore's Farewell", and "The Weasley Stomp" Plus, the Hedwig's theme statements are fun. It's not the best of the series by any means, but I find there's a lot that I love and attach to. I think it suits the film well plus, it tracks in some of the best cues from Order of the Phoenix so it's really the best of Hooper. I certainly think calling it shite is ridiculous, but that's just me. I'm well aware I'm in the minority here when it comes to the Hooper scores. Lol. A lot of people particularly think Half-Blood Prince is garbage. 
 
Of course the Williams scores and Doyle's score are the best and are hard to beat, but I still appreciate Hooper's work. I appreciate Half-Blood Prince more than I do Deathly Hallows Pt 2, which, like Order of the Phoenix, has a couple good cues, but I find it overall to be too...blockbustery? Feels like RCP possessed Desplat or something.
 
 
Correct. They are for sale as part of the EA Music Composer series. (Order of the Phoenix is Vol 2 and Half-Blood Prince is Vol 1) I imagine the reason for this is trademark / copyright issues. Some license that expired or something. You'll notice all Hedwig's Theme material has been scrubbed from the release as have any Potter specific names from the track titles. As you can see in these humorous examples:
D and V (Dumbledore and Voldemort) Combat W (Wand Combat) Welcome (Welcome to Hogwarts) F and G Return (Fred and George Return) Quid (Quidditch) Seems like a weird mess though because "Umbridge" "Occlumency" "Death Eaters" "Fred and George" and other terms managed to sneak their way in there in other places. 
 
I'd recommend them! They're very vibrant and lively with beautiful melodic ideas and themes. Although, I'm sure my opinion is tarnished after going to bat for Hooper's "Half-Blood Prince" score, so take it as you will. Lol.

Really like Jeremy Soule's HP2, HP3 and Quidditch World Cup scores. Too good music for not so good games.
 
As for the music for films, then PS and POA. I can't bring myself to like Doyle's GOF, and prefer DH1 over DH2.

To me Williams is probably the film composer with the most varied scores, that I know at least.
He is also the king of sequel scores who always brings something new and interesting musically even when the sequel film doesn't. 
But at least the three scores I put to the poll are by is standards quite repetetive. One main theme that fills almost every musical cue in the film.
Which score of John Williams do you consider the most repetetive?

(Big) update of the post! Changelist:
Updated synchronization of some significant cues (Buckbeak's Flight, Quidditch 2004, Marauder's Map, The Whomping Willow). Now I decided not to rely too much on the movie sync points (it especially helped the Quidditch 2004). I also slowed down some parts to remove really short black screens.  On the transition between the Viewing the Recent Past and Saving Buckbeak, I repeated the video material 2 times, since the cues are layered on top of each other. In Marauder's Map, I rearranged some shots in places for better sync. 2 versions of synchronization of The Sentence.  Added subtitles to Confrontation in the Shrieking Shack (why not). Added the names of the cues and their timecodes. Added lazy and clumsy thematic breakdown to the video descriptions. Combined some short cues into one video (although there are still many videos). Added a section "Miscellaneous" at the end of the post where I also wrote a few facts about the score.  
 
UPD 13.04.21: Fixed the sync in 'Confrontation in the Shrieking Shack' 
 

Happy 89th birthday John!!!!!
 
Here's my orchestral score reduction of John’s “Happy Birthday Variations” composed in 1995.
 
Allow me to promote my YouTube channel a bit guys: I’m going to post videos like this more regularly soon. Stay tuned and please subscribe if you haven’t!
 
 

Happy Birthday to the master!

By way of celebration, I've uploaded a rare, very long interview from 1983 JW conducted with Robert Lurtsema on NPR. I've been sitting on this for awhile; not sure it's been heard since '83!
 
 

(Big) update of the post! Changelist:
Updated synchronization of some significant cues (Buckbeak's Flight, Quidditch 2004, Marauder's Map, The Whomping Willow). Now I decided not to rely too much on the movie sync points (it especially helped the Quidditch 2004). I also slowed down some parts to remove really short black screens.  On the transition between the Viewing the Recent Past and Saving Buckbeak, I repeated the video material 2 times, since the cues are layered on top of each other. In Marauder's Map, I rearranged some shots in places for better sync. 2 versions of synchronization of The Sentence.  Added subtitles to Confrontation in the Shrieking Shack (why not). Added the names of the cues and their timecodes. Added lazy and clumsy thematic breakdown to the video descriptions. Combined some short cues into one video (although there are still many videos). Added a section "Miscellaneous" at the end of the post where I also wrote a few facts about the score.  
 
UPD 13.04.21: Fixed the sync in 'Confrontation in the Shrieking Shack' 
 

The Asteroid Field played by no less than... 24 horns 
Easily the most insane I've done in terms of range  
 
 

(Big) update of the post! Changelist:
Updated synchronization of some significant cues (Buckbeak's Flight, Quidditch 2004, Marauder's Map, The Whomping Willow). Now I decided not to rely too much on the movie sync points (it especially helped the Quidditch 2004). I also slowed down some parts to remove really short black screens.  On the transition between the Viewing the Recent Past and Saving Buckbeak, I repeated the video material 2 times, since the cues are layered on top of each other. In Marauder's Map, I rearranged some shots in places for better sync. 2 versions of synchronization of The Sentence.  Added subtitles to Confrontation in the Shrieking Shack (why not). Added the names of the cues and their timecodes. Added lazy and clumsy thematic breakdown to the video descriptions. Combined some short cues into one video (although there are still many videos). Added a section "Miscellaneous" at the end of the post where I also wrote a few facts about the score.  
 
UPD 13.04.21: Fixed the sync in 'Confrontation in the Shrieking Shack' 
 

All right, buckle up, here we go with the SS trailers...
 
So there were evidently five trailer cues recorded for the film:
 
Hedwig's Theme: Heard in complete form from 0:00-1:04 in the LLL track "Teaser." Used (with edits) in the teaser. Not to be confused with the OST track of the same name, which was a longer concert suite that incorporates the same material. Trailer: Heard in complete form as the remainder of the LLL track "Teaser." Used (with edits) in the teaser. Trailer #2: Heard in complete form as the LLL track "Trailer." Used (with edits) in the theatrical trailer. Trailer #2 Intro: Unreleased and unused. To get an idea for what it would sound like, imagine 1:48-2:00 of the Hedwig's Theme concert suite, but with the periodic descending string runs removed and a one-note intro added at the beginning. (You can also get a good feeling for this by listening to the first 13 seconds of "Mr. Longbottom Flies," but imagine that the first note is shorter and missing all the flourishes, and then omit the pizzicato strings at 0:08.) Then add 2:14-2:31 of the concert suite to the end. New Trailer Intro: Unreleased, but used without edits as the first 0:34 of the theatrical trailer (segueing, as intended, into Trailer #2). Corresponds to 3:55-4:10 of LLL "The Prologue / Privet Drive" followed by 0:41-0:56 of LLL "The Journey to Hogwarts," with the ending being slightly different to segue into Trailer #2.  
(Then, of course, there's LLL "Television Commercial," AKA Hedwig's Tries a Coke, which was written for and used in a TV promo, and which Williams incorporated into the OST track "The Arrival of Baby Harry.")
 
So the missing material @bollemanneke is referring to is the cue New Trailer Intro. But we're also missing Trailer #2 Intro, and we haven't even heard that one in an actual trailer.
 
The only real stretch of music from any of these cues that was never adapted for use in the film and OST is the section of Trailer heard from 1:39-1:52 in LLL "Teaser." Of course, there are noticeable performance differences in numerous other passages, but the writing itself is mostly or completely identical.

So here we are at the end. It's not like this score has no reprises and returning themes, but not all of them return, and we get many new ones and completely different soundscapes to spice things up.

Western - Introduced back in the trailer after part 2, a fun, rollicking Western theme. The score rarely has an opportunity to use its full form, mostly resorts to its first phrase.
Clara A - A more forlorn melody representing the time gap/impossiblity of Doc and Clara's relationship.
Clara B - A delicate childlike love theme.
Time's Running Out - a 3-note shape that dips down and returns to the starting note.
The Train - a 4-phrase figure that gets more elaborate with every phrase.
 
Amazingly, as far as I could tell, this score has no unused cues and little to no messing with cues - no microediting, a single instance of tracking, a single instance of partially dialing out the end of a cue. Goes to show that this was a very well-formed and communicated vision, and the alternates show that they weren't afraid to re- and re- and rerecord things for timing differences, edited down parts and slightly different moods, instead of messing with the picture until 2 seconds before the premiere and adjusting the score in the editing room.
 
 


Back to Back / Courthouse - following 2's lead, the Time Twinkles drop us right into an extended Clocktower reprise. The final cut is shorter and tracks one of 2's Western Unions here instead. From the quality of the performance I could guess say they abandoned this longer approach relatively quickly.
Main Title - After a reprise of I'm Back, we get to the logo, a marchy Main Theme fanfare. The main titles introduce us immediately to the gentle Clara themes, A for the more distant shots of the heroes arriving at Doc's house, the more intimate B on harp and flute for the shot through the home and them sleeping peacefully (enough).
 
 


Into the Mine - A unique bit for strings, flute and harp scores our friends' eager exploration, then more dramatic music scores the dig and the Delorean's reveal. The mysterioso strings return for its investigation.
Tombstone - Fittingly, Mourning returns, Biff echoing in slightly when they read it was Buford who killed Doc.
It's Me - A building, determined phrase ending up on another Biff theme suggestion.
Warmed Up - Everything's Going to be Fine returns again to score the overly optimistic preparations, then an excited Clocktower-like Main Theme scores the acceleration to 88 mph.
Indians - A westerny chase based on parts of the main theme's ending. The final echoing percussion parts are dialed out after the first few strikes. I used the album and bootleg take (Alternate no.2) because something went seriously wrong with the film version here: the actual film loops the percussion over the whole take, but in the Varese main program it stops very jarringly after a short time.
Safe and Sound - Another fitting reprise of Is That You, this time with a harmonica flavouring.
 
 
 

Hill Valley - gentle phrases of the main theme score Marty's interaction with William, then the Western theme's first phrase (with 1985-A) foreshadows its later use in the train setpiece. A buildup leads to a grand 3-note fanfare counterpointed by the Western motif's first phrase again. Piano and harmonica lead Marty along to the clocktower and point at it with an almost mocking 3-note fanfare.
The Hanging - One might expect another reprise of Skateboard Chase for the corresponding scene, but this time Marty isn't as in control of the situation so another westerny chase ensues, this time suggesting parts of Biff.
We're Out of Gas - After a shocked deflated unique phrase, the biggest in-film Western theme rendition scores the futile attempt at a horse-drawn time machine. The 3-note fanfare builds up to another failed attempt, at creating fuel.
There Is No Bridge - Preparations finally enters this score too, this time with an overlay of the Western theme's first phrase.
Doc to the Rescue - As far as I can tell, mostly uniquely new chase material.
At First Sight - Rising harp picks, strings and a harp run transition to a homely main theme, then Clara's themes meekly try to start on woodwinds, then Clara A finally plays on strings and B on flute, its ending section starting up on strings but not quite getting to the climax. Playful woodwinds are interrupted by 1985-A as Doc realises he's just altered the future again by saving Clara.
Clock Dedication /Battle Cry of Freedom - Yeah why not.
Yellow - The stinger from 2 returns, but this time ending up on the Biff motif.
The Kiss - Clara B on its usual harp and flute, with the strings in the second half this time succeeding in reaching the climax, the first half playing again on harp to play it off.
 
 
 

You Talkin' To Me? - Mostly westerny textures, but also featuring the weighty piano Biff motif reduction.
The Future Isn't Written - Main theme fanfares on strings turn into 3-note fanfares, Clara's theme starts seeping in. Mourning takes over as Doc explains he wants to stay with Clara, then a main theme fanfare as Marty helps him change his mind. Clara A plays for Doc's melancholy.
Goodbye Clara - After a reprise of their first meeting, woodwinds take Clara A, then the extended 3-note fanfare on flute ruins the mood, 1985-A playing as she kicks Doc out with one more sliver of Clara A as he places the flower.
What's Up Doc - A new motif, Time's Running Out, starts the cue.
Marty Gallops - After a bigger Time's Running Out, we get our first glimpse at The Train too, as pieces start falling into place. As Doc is conviced, the 3-note fanfare then Preparations play.
Wake Up Juice - A reprise of The Hanging's action bit and Clara A gives way to Running Out of Time in various playful settings.
Callin' You Out - Ominous material building up to Marty's attempted forfeit.
Count Off - The dramatic motif returns, periodically punctuated by Biff's motif as Buford counts off. A verson of 1985-A plays as Marty gets his gun.
The Showdown - Running Out of Time frantically follows Clara as she runs back to Emmett. The Westerny textures from You Talkin' To Me? return, along with the weighty piano Biff.
The Kick - 3-note fanfares and main theme fragments cry out triumphantly.
 
 
 

A Science Experiment - The heroes gear up with Time's Running Out. The 3-note fanfare plays on harp as Clara discovers the time machine model, then the main theme and trainlike percussion/rhythms follow Doc and Marty catching the train. When we cut back from Clara's riding, the Train motif takes over with the 3-note fanfare, the Biff ostinato joining on strings to up the tension near the end.
It's Clara - The extended 3-note fanfare and the main theme sees the train arriving at the Delorean and Preparations returns once again for Doc explaining the details. Time's Running Out follows Clara on her way to the train, which is just starting up, slowly lumbering from piano strikes to a quickening figure, and from here, the cue is full of various train-evoking rhythmic figures, 3-note fanfares and main themes as well as unique melodies. When the yellow log blows, we switch up a gear, and the western theme is played over a Biff ostinato base and more trainlike percussion.
Point of No Return - The cue mostly continues the previous one's ideas. As Emmett notices Clara and tells her to come with him, Clara A plays, and as she and him start climbing toward each other, The Train plays and climbs optimistically higher, made more ominous by 3-note fanfares. After the red log blows, the western-Biff-percussion combo returns, but this time every statement capped off with a less than hopeful main theme fanfare. As Marty prepares the hoverboard and Doc catches it, the main theme plays, as we cut to see the end of the line, Time's Running Out ups the tension. The successful main theme soars away with Doc and Clara, the western+Biff+percussion combo returns once more in its most hurried statement, and the 3-note fanfare screams out as Marty successfully travels back to the future.
 
 
 

It's Destroyed - A somber setting of the 3-note fanfare and main theme very much like Is That You scores the machine's wreck, a dramatic 3-note fanfare seeing Marty home.
Back to the Girlfriend - The Time Twinkles and Clara fragments score Marty's approach, and main theme scores their happy reunion. The 3-note fanfare reminds them of their Hilldale adventures in the future.
It Erased - The Time Twinkles mark the future changing, then a string setting (not unlike Doc and Clara's first meeting) and sad main theme fanfare on harp mourn Doc.
Doc Returns - He sure does once again, with the Time Twinkles of course. The main theme for strings welcomes him joyously, Clara B's second half and a main theme fanfare score Doc handing over the picture, and Clara B supports his explanation of the disappearing writing: Your future is whatever you make it - so make it a good one. As the Time Train gears up, Doc Returns is fittingly reprised, and the end logo calls back to the opening logo's marchy main theme.
End Credits - A reprise of The West (from bttf2), then a bridging main theme and a full rendition of Clara A and B, then a portion of It's Clara (as the train starts up), then a fitting transition into another reprise of the classic end credits ending.
 
 
 

Back to Back, Courthouse (alternate) - Apparently they once tried to edit this opening down to its bare minimum!
I'm Back (alternate) - So, what was our running joke? That's right, Silvestri tried to have the 3-note fanfare for this logo, too.
Into the Mine (alternate) - I can only assume this extended opening is not an earlier abandoned stinger or some wild recording stuck to this cue.
Warmed Up (alternate) - Originally it was all in one piece, the middle part was scored too and the ending was longer.
The Hanging (alternate) - Aside from the longer action part, the interesting bit here is the actual hanging itself.
Goodbye Clara (alternate) - A very different mood with the 3-note fanfare instead of a Clara A reprise.
To The Future - This seems very very much like an alternate for this bit here.
The Kick (alternate) - Fascinatingly, this is for the exact same cut and focuses on the exact same sync points, but without any of the themes, really.
Doc Returns (alternate) - I joined the two alternates to get the more different half of each. The first half features more Clara A and B, the second half has a much longer ending and the good old running joke finale - Once again, Silvestri tries to have the 3-note fanfare (and the main theme) for the end card.

So, let's move onto part 2, shall we?
By nature the movie retreads a lot of material (either intentionally rhyming with the original or even explicitly taking place in the original, so naturally the score doesn't move far beyond the established territory - but still Silvestri adds to the catalogue, while not only reprising pretty much every old theme but taking some of them them to new places.
 
New themes:
Biff theme - Building on the previous one's Biff motif, but enlargening it into a violently threatening theme.
1985-A - A chaotic, sometimes reeling motif for the changes to the timeline.
Mourning - Marty's motif takes a backseat here to this more explicitly somber motif.
 
I'd like to set up two of the more complex settings here - they have already appeared in 1, once each, and I've referred to them, but I didn't want to complicate the theme list too much and decided to only elaborate on them here, since Silvestri elaborates on them much more for part 2:
Preparations - An anticipatory/preparatory setting, characterised by percussion (ratatata-tsss, ratatata-tsss, ratatata-tsss, ratatata-ratatata, loop), a lone note that plays on the beats and jumps up on the offbeat before the loop restarts, and often a melodic overlay of the 3-note fanfare, the dramatic motif and the main theme.
Everything's Going to be Fine - A different kind of anticipatory setting, more optimistic in nature but usually applied ironically as things are about to go wrong (which is why I named after that Doc quote from 1 heard while this setting is playing), characterised by percussion (ratata, ratata, ratata, ratata-tatata, loop), the three-note fanfare and main theme, and what seems at first like a unique melodic line but at closer inspection is a readjusted, differently divided/rhythmised segment of the main theme.
So, without further ado, let's go back to the future... and the past!
 
 

Back to Back - We drop into the pre-film credits with the Time Twinkles, then a harp run brings us back to a reprise of 4x4.
It's Your Kids - A reprise of Doc Returns, but extended - funnily enough, since this cut includes Biff, the cue is longer like the original Doc Returns. The Time Twinkles finish the cue.
Main Title - A spirited full presentation of the main theme for the opening titles. Doc's Theme scores, as usual, his frantic explanation and the absurdity of the situation, until the arrival in Hill Valley Central brings another big main theme rendition. The entire middle Doc portion is unused in the film, the final cut also being sorter than this recording. Interestingly, the version on Disc 2 is much longer instead - I didn't include it in the alternates section.
The Future - The 3-note fanfare's classic setting is followed by a lengthened held version for Doc taking his mask off, then one on strings until Doc takes over again. Preparations returns for him running to survey the situation and Marty dressing up, complete with the overlaid Dramatic Theme and main theme ending. Doc returns again, then a quick glance at what Silvestri does with themes in this sequel, a fusion of Everything's Going to be Fine's percussion with Preparations' "melody", slowing down and returning to a clean Preparations after Marty sees just what they're trying to prevent, the 3-note fanfare, dramatic theme and main theme weaving into each other over it on various instruments. 3-note fanfares build for the town square reveal. The final cut doesn't fit the cue, in one place it's shorter, in one place longer than it should be. The middle part, starting from when Doc runs back to help Marty with the jacket up until Marty walks out into the square was dialed out.
 
 
 

Chicken - Quick short stingers forming the 3-note fanfare.
Hoverboard Chase - Mostly a reprise, reordering and scaling up of Skateboard Chase, though with a new interlude (for Biff's Pit Bull) that showcases the first one's secondary Biff action motif, now beefier and more definite.
 
 
 

A Flying Delorean - Sustained notes lead to a weighty Preparations, then after a short breath and reassessment featuring Doc's dramatic descending motif, we get a unique morphing of Preparations (percussion part) and Everything's Going To Be Fine (melody part, played kind of reservedly), with the 3-note fanfare also playing over them - the mission seems like a success, but not for long. The main theme and a doc+fanfare bit lead to a dramatic strike and pause for the new complications - the almanac, and the cops taking Jennifer away. When Doc explains what might happen when Jennifer sees herself, we get our first 1985-A. After a 3-note fanfare, reprise of Clocktower's opening and Doc's descending motif, Biff's new theme gets introduced as he moves out of the shadows. The opening was replaced by similar tracked music. The ending (Biff over the cops arriving in Hilldale) was unused, I'm not even sure it was ever intended to go over these shots, maybe there's an unreleased deleted scene of Biff getting the cab.
 
 
 

I'm In The Future - Harp runs, sustained notes and Time Twinkles along with well-timed stingers score Jennifer's half-wonder, half-confusion, then tense notes and a swirling rising line see her to a hiding place, with the 3-note fanfare scoring her daughter's reveal. The cue is completely unused here.
Biff Steals Delorean - Biff's theme returns, then in the next cue mysteriously dark textures lead Marty away to take a look around so that Biff's theme can swoop in and cause trouble.
Chicken Needles - More fanfare stingers for Marty's now recurring character flaw.
Jenn Sees Jenn - As Biff returns while almost fading out, a lumbering version of his theme plays, then his ostinato and the Time Twinkles score Doc and Marty's rush back with Jennifer. Biff's theme still comes back as an overlay, then 1985-A is used for the leadup to the time travel as the ostinato gets bigger. The ending after the time jump was dialed out.
 
 
 

Biff's World - The strings from the opening of Twin Pines Mall get a reprise (not sure over what, the opening is much longer than the final cut) and lead into a big statement of 1985-A as Marty stumbles around disorientedly.
27th Floor - A fitting reprise of Is That You.
My Father - A full and violent Biff theme dominates the cue, then in the next one we get a more anxiously searching 1985-A, then a new mourning melody for the graveyard discovery. Doc's appearance tries but fails to start the 3-note fanfare on strings.
Alternate 1985 - The mysterious strings, Doc's descending motif, Biff's theme and the mourning melody punctuate relevant parts of the conversation.
 
 
 

Gray's Sports Almanac - Doc's dramatic descending motif underpins Marty's confidence.
If They Ever Did - The next cue is a violent dash of Biff's ostinato and theme. The heroes defeat Alternate Biff with a joyous explosion of the main theme (the first one after quite some time now), then we get an inverted Preparations/Everything's Going To Be Fine fusion, this time with the latter's percussion and the former's melody (as well as the fanfare, dramatic theme and main theme, of course), and the main theme marks the arrival back in good old 1955.
Something Inconspicuous - A spirited Preparations scores the nth preparatory warning monologue, with the usual fanfare+dramatic+main combo coming in.
 
 
 

You'll Never Lose - The mysterioso strings dominate the cue, with Doc's dramatic motif and of course a couple Biffs peppering it, and a Preparations section taking over for a bit then returning bigger later.
Old New Delorean - The Time Twinkles over shimmering strings reveal the Delorean, with a quick Doc/Time Twinkle stinger scoring his shock.
Pair O'Docs - More Time Twinkles eventually lead to a sweet main theme for the conversation between Doc and Doc, the fanfare and another Twinkle finishing to cue.
The Book - Comedically timed stings, main themes, Biff motifs and fanfares for the sneaky section build to the Biff ostinato on strings for things seemingly going awry, then to mirror George to the Rescue, turning into a full-on reprise, then proceeding with Doc's descending , then more Biff ostinato rises and builds until climaxing in a main title fanfare.
 
 
 

Nobody - the last of our recurring stingers in this one, though fanfareless - here it moves into 1985-A, signifying how Marty's behaviour is jeopardising the mission and making that future more likely again.
Tunnel Chase - Biff's ostinato dominates once again, fittingly. The initial approach is scored by Preparations with a track-specific motif, which then later comes back over the Biff ostinato. The temporary and the ultimate success are both scored with main theme explosions.
Burn the Book - A straight fitting reprise of Everything's Going to be Fine from Clocktower, and also a reprise of a later segment of the same for the lightning storm.
He's Gone - Unexpectedly but fittingly, mourning returns as Doc seems to be gone and the dark car approaches.
Western Union - Time Twinkles score the time anomaly, then finally Marty's theme returns for Doc's letter, a joyous main theme then leads to a reprise of the end of Clocktower.
I'm Back - What starts as a straight reprise of Helicopter turns into a mad dash of the main theme over Everything's Going to be Fine's percussion.
End Logo - More of the same.
The West - A main theme fanfare reveals the unexpected trailer, then we're introduced to the Western theme for the first time.
End Title - Reprises of the Main Title, Burn the Book and Tunnel Chase are capped off by the ending of the first movie's credits.
 
 

Back to Back (alternate) - Instead of the Time Twinkles, Silvestri wanted to use the 3-note fanfare at first. Keep this one in mind, it's like a running joke.
The Future (alternate segment) - This was the original approach instead of the Preparations with the varied instrumentation for the overlays. Here we have 3-note fanfares over Biff's ostinato, and Doc's theme entering here and there a bit.
Western Union (alternate #1) - a similar approach but differently timed.
I'm Back (alternate #1) - A very different approach in this case, the main theme over pedaling percussion, the 3-note fanfare for Doc fainting (see, told you there's a running joke for Silvestri wanting to use it for openings and endings and it getting replaced).
Western Union (alternate #2 - segment) - Again similar but different enough.
I'm Back (alternate #2) - same approach as the other alternate but shorter and faster.
End Logo (alternate) - same approach as the final version but with an extra fanfare for added flavour.
I decided not to include The West (alternate) because it's the same approach but longer, you'd just be seeing the same footage as with the main program version just with some black screen.