Tom Guernsey

Ah cool, I might have to check it out. I also have the recording by the Boston Symphony under Charles Munch which is often regarded as a benchmark recording and, for a 1955 vintage, sounds excellent. However, think it might be a bit tricky to find these days.

My go-to recording is the Berlin Philharmonic conducted by Pierre Boulez. The performance is terrific and Boulez always gets a lot of clarity, which is ideal in such a lustrously orchestrated score; the orchestration and orchestra itself makes sure that it still sounds gorgeous so you get the best of both worlds in terms of clarity and lustre. I also have the LSO conducted by Claudio Abbado which is very fine too.

I forgot there was one more little missing snippet of music!  About thirty seconds or so of rather static tense strings and woodwind interjections were cut from The Sentry Reel on the OST:

Not an unreasonable edit for an OST, sure, but I'd still say it'd be worthy of a "contains previously unreleased music" tag.
 
Here's how I handle it in my newest fanedit:
34;56 - The Sentry Reel.mp3
 
Also, while it's not "missing" music, I'd have to say one of the things I'd look forward to the most on a NIMH expansion is being able to hear Flying Dreams Lullaby completely discrete without the Cable music at the end:
 
To be able to bask in its cozy loveliness without then being forced to listen to this shady sneaking-around music in the same track that spoils the mood of the wonderful song you just heard.

I have to admit that I had a similar kind of realisation when I discovered just how much James Horner and (to a lesser extent) JW owed to the classical composers of the past. That first time you hear Schumann's 3rd Symphony (Willow) or Death and Transfiguration (Love Theme from Superman), for example and you realise that your favourite composers aren't perhaps as original as you hoped, but then you realise that it matters less that it's not 100% original and that what they did with the music they referenced is to turn it into something of their own (as I've commented a few times, James Horner pretty much always manages to sound like James Horner no matter how much he pilfered from the classics and other film composers). Same goes for Star Wars which, while referencing these various things to a greater or lesser extent, is still its own thing. There's nothing new under the sun.

My go-to recording is the Berlin Philharmonic conducted by Pierre Boulez. The performance is terrific and Boulez always gets a lot of clarity, which is ideal in such a lustrously orchestrated score; the orchestration and orchestra itself makes sure that it still sounds gorgeous so you get the best of both worlds in terms of clarity and lustre. I also have the LSO conducted by Claudio Abbado which is very fine too.

I second this. I’m actually not that big of a Ravel fan in general (he’s fine, his orchestrations just feel overly surface level show-off to me a lot of the time) but the complete Daphnis et Chloe ballet is easily my favorite work of his, and is a perfect gateway work for a film music fan to get into classical music. It sounds very much like a (really excellent) film score.
 
Yavar

Definitely a wide range of music, but somehow it all fits together really well - probably tempting fate to suggest that James Horner used it as a template for how he (very successfully) approached his animated scores which mix a similar set of classical composers and range of styles (albeit a lot less Ravel - seriously, everyone who likes this score should listen to Daphnis et Chloe, not in a "it's all borrowed" kinda way, but more in a "if you like NIMH, you'll love this" kinda way - one one of my favourite pieces of classical music).

Always like this album as it's an interesting time capsule as much as anything, seeing which scores are more or less regarded as classics (Die Hard, Roger Rabbit, Beetlejuice etc.) and which ones nobody really remembers (Crossing Delancy,Madame Sousatzka etc.) any more!

Ditto - think it was last year (or it could have been pre-Covid... that time is a bit of a blank in all our memories at times I think!) that I saw it live conducted by Esa-Pekka Salonen in London and it was a terrific performance. However, quite agree that it feels like an impossibly expensive work to stage as a ballet. To be honest, the music stands perfectly well on its own as a concert piece/tone poem (like the Stravinsky ballets), indeed it's a piece where I'd rather focus on the music!

Definitely a wide range of music, but somehow it all fits together really well - probably tempting fate to suggest that James Horner used it as a template for how he (very successfully) approached his animated scores which mix a similar set of classical composers and range of styles (albeit a lot less Ravel - seriously, everyone who likes this score should listen to Daphnis et Chloe, not in a "it's all borrowed" kinda way, but more in a "if you like NIMH, you'll love this" kinda way - one one of my favourite pieces of classical music).

Ditto - think it was last year (or it could have been pre-Covid... that time is a bit of a blank in all our memories at times I think!) that I saw it live conducted by Esa-Pekka Salonen in London and it was a terrific performance. However, quite agree that it feels like an impossibly expensive work to stage as a ballet. To be honest, the music stands perfectly well on its own as a concert piece/tone poem (like the Stravinsky ballets), indeed it's a piece where I'd rather focus on the music!

The Secret Of NIMH by Jerry Goldsmith
 

 
...I'll be honest, I can't listen to this score as frequently as I do other scores.  I refuse to make a work playlist for it; if I did I'd break down in tears in the middle of the shift!  The Flying Dreams theme seems scientifically engineered to make you cry every time you hear it...  Especially in the middle of Story Of NIMH when Mrs. Brisby reads Nicodemus' logbook.
 
I hope everyone who wanted a copy of the Intrada managed to get their hands on it...  and those who didn't at least manage to get the OST somewhere.

NIMH is such a... I won't say "mix of styles" because it all holds together. But you have the big soaring hopeful stuff, the the Mickey Mousey Prokoviev stuff, and then they spooky haunting stuff. (Wait, let me say "stuff" one more time. Stuff.) Also the Jerry action material. (Er, stuff.)
 
I certainly wouldn't mind having First Stretch. The rest of it seems FAIRLY well represented by what we have.
 
(Good heavens, I never realized how many of Jeremy's lines I still say! "It is? I mean... It is!")

You're welcome!  In the meantime, here's a little clip that demonstrates what I meant by the Flying Dreams demo being an alternate take; the left channel is the demo released on the Intrada, and the right is from the Italian mix.
77;47 - Flying Dreams - End Title (Demo).mp3

Empire of the Sun is  definitely not one of these more-of-the-same expansions. Compared to the OST there is so much beautiful and very different stuff to be found. It is almost like a whole additional score.
Big recommendation!

Neither would I although one would rather hope that the tapes exist somewhere... there isn't a great deal missing is there? (I'm too lazy to trawl through lol). Such a great score, Jerry does Ravel, what's not to like?!

I have to admit that I had a similar kind of realisation when I discovered just how much James Horner and (to a lesser extent) JW owed to the classical composers of the past. That first time you hear Schumann's 3rd Symphony (Willow) or Death and Transfiguration (Love Theme from Superman), for example and you realise that your favourite composers aren't perhaps as original as you hoped, but then you realise that it matters less that it's not 100% original and that what they did with the music they referenced is to turn it into something of their own (as I've commented a few times, James Horner pretty much always manages to sound like James Horner no matter how much he pilfered from the classics and other film composers). Same goes for Star Wars which, while referencing these various things to a greater or lesser extent, is still its own thing. There's nothing new under the sun.

I have to admit that I had a similar kind of realisation when I discovered just how much James Horner and (to a lesser extent) JW owed to the classical composers of the past. That first time you hear Schumann's 3rd Symphony (Willow) or Death and Transfiguration (Love Theme from Superman), for example and you realise that your favourite composers aren't perhaps as original as you hoped, but then you realise that it matters less that it's not 100% original and that what they did with the music they referenced is to turn it into something of their own (as I've commented a few times, James Horner pretty much always manages to sound like James Horner no matter how much he pilfered from the classics and other film composers). Same goes for Star Wars which, while referencing these various things to a greater or lesser extent, is still its own thing. There's nothing new under the sun.

Walton's Coronation Te Deum
(Philharmonia on Chandos)
 
And this...
 

Yes.

I have to admit that I had a similar kind of realisation when I discovered just how much James Horner and (to a lesser extent) JW owed to the classical composers of the past. That first time you hear Schumann's 3rd Symphony (Willow) or Death and Transfiguration (Love Theme from Superman), for example and you realise that your favourite composers aren't perhaps as original as you hoped, but then you realise that it matters less that it's not 100% original and that what they did with the music they referenced is to turn it into something of their own (as I've commented a few times, James Horner pretty much always manages to sound like James Horner no matter how much he pilfered from the classics and other film composers). Same goes for Star Wars which, while referencing these various things to a greater or lesser extent, is still its own thing. There's nothing new under the sun.

I have to admit that I had a similar kind of realisation when I discovered just how much James Horner and (to a lesser extent) JW owed to the classical composers of the past. That first time you hear Schumann's 3rd Symphony (Willow) or Death and Transfiguration (Love Theme from Superman), for example and you realise that your favourite composers aren't perhaps as original as you hoped, but then you realise that it matters less that it's not 100% original and that what they did with the music they referenced is to turn it into something of their own (as I've commented a few times, James Horner pretty much always manages to sound like James Horner no matter how much he pilfered from the classics and other film composers). Same goes for Star Wars which, while referencing these various things to a greater or lesser extent, is still its own thing. There's nothing new under the sun.

I listened to the main score program (not alternates yet) and really, really enjoyed it. The score as a whole feels nicely fleshed out, is not too repetitive to me and is a nice overall length at 53+ minutes. 
 
I really enjoy the nice woodwind writing and performances throughout the score, and the warmth of the writing throughout. I liked hearing the different keyboards sprinkled throughout the score in addition to the beautiful piano playing. There is the Randy Kerber celeste sound in some tracks, there is the harpsichord bits which are fun, and then some other synth noises, similar or the same as the synth 'chime' (?) sounds in Home Alone and reminding me of the synth bell noise in 'Hide and Seek' from ChatGPT A.I. 
 
It's a beautiful score with a lot of nice intimate moments, along with more grand flourishes of romanticism. Really happy to have this expansion! 

Powell would be great! Also HGW would be interesting.

I'm definitely not hoping for John Powell ;-)