Gurkensalat

I would love another big Williams score, but when I look at the Indy 5 soundtrack, for which he had to resort to copying old works to fill in the blanks despite having lots of time due to the constant delay of release, I don't think that he has a big action wall to wall score in him any more. Once you get that old, the energy level just goes down and everything takes much more time. But on the other hand if this movie is more of a kind like Fabelmans or the Post, requiring no wall to wall scoring, he might still be able to pull it off, if he really wants to do it and it really happens in the next 1-2 years.
 
By the way, what I would really like is him writing another Tintin score, but I think that window of opportunity is passed, even if another Tintin movie will be made one day.

This movie was awesome. That is all.

Watched this (for the second time) in the cinema last month. And gotta tell ya that's the best way to see it. 
 
It's interesting to hear that the reviews where positive, I've always heard it was poorly received or at least that was the impression I got. 
 
A general sentiment is Willie's really annoying, which I agreed with, but after watching with an cinema audience and everyone laughing at just how over the top she is it clicked into place that that's the point of her. The juxtaposition between not only her and Indy but Marion as well makes her more memorable, that she's not just a copy of Marion and a completely different character who arguably has something of an arc in this film. 
 
Then there's of course Short Round, the chemistry between Ke Huy Quan and Harrison Ford comes through their performances so naturally. That you really feel that Indy cares for this little pickpocket. 
 
Also like the film the score was something that I only really appreciated after the various leaks had been combined and @rubisetcie put out their version and it was in this most complete form that I have been able to really enjoy it. 
 
As for what I'll do, well an Indy marathon (of just the first 3) and probably a revisit of the scores as well. 

My favorite Indiana Jones movie.  I had the foldout poster magazine, I had the Marvel adaptation, and I got the collectors edition movie program when I saw it opening day.  Here are the original newspaper clippings I've saved from over the years (there's some Raiders in there too)
 

 
I remember my sister had a job at the local (brand new) multiplex theater, so she saw everything back then.  She hated the stuff I was into, mostly Spielberg and Lucas stuff.  I remember opening up the poster mag to the gatefold image of Indy on the rope bridge surrounded on both sides, and even my sister admitted "Yeah, I gotta admit that was pretty cool".  High praise from her back then.
 
I wear a fedora daily.  It is based on Temple of Doom style, and has an image of the 3 Sankara stones inside the sweatband, with the inscription "Fortune and Glory"
 
I'll watch it again.

I would love another big Williams score, but when I look at the Indy 5 soundtrack, for which he had to resort to copying old works to fill in the blanks despite having lots of time due to the constant delay of release, I don't think that he has a big action wall to wall score in him any more. Once you get that old, the energy level just goes down and everything takes much more time. But on the other hand if this movie is more of a kind like Fabelmans or the Post, requiring no wall to wall scoring, he might still be able to pull it off, if he really wants to do it and it really happens in the next 1-2 years.
 
By the way, what I would really like is him writing another Tintin score, but I think that window of opportunity is passed, even if another Tintin movie will be made one day.

I would love another big Williams score, but when I look at the Indy 5 soundtrack, for which he had to resort to copying old works to fill in the blanks despite having lots of time due to the constant delay of release, I don't think that he has a big action wall to wall score in him any more. Once you get that old, the energy level just goes down and everything takes much more time. But on the other hand if this movie is more of a kind like Fabelmans or the Post, requiring no wall to wall scoring, he might still be able to pull it off, if he really wants to do it and it really happens in the next 1-2 years.
 
By the way, what I would really like is him writing another Tintin score, but I think that window of opportunity is passed, even if another Tintin movie will be made one day.

I would love another big Williams score, but when I look at the Indy 5 soundtrack, for which he had to resort to copying old works to fill in the blanks despite having lots of time due to the constant delay of release, I don't think that he has a big action wall to wall score in him any more. Once you get that old, the energy level just goes down and everything takes much more time. But on the other hand if this movie is more of a kind like Fabelmans or the Post, requiring no wall to wall scoring, he might still be able to pull it off, if he really wants to do it and it really happens in the next 1-2 years.
 
By the way, what I would really like is him writing another Tintin score, but I think that window of opportunity is passed, even if another Tintin movie will be made one day.

I would love another big Williams score, but when I look at the Indy 5 soundtrack, for which he had to resort to copying old works to fill in the blanks despite having lots of time due to the constant delay of release, I don't think that he has a big action wall to wall score in him any more. Once you get that old, the energy level just goes down and everything takes much more time. But on the other hand if this movie is more of a kind like Fabelmans or the Post, requiring no wall to wall scoring, he might still be able to pull it off, if he really wants to do it and it really happens in the next 1-2 years.
 
By the way, what I would really like is him writing another Tintin score, but I think that window of opportunity is passed, even if another Tintin movie will be made one day.

I agree. His late style is so organic and free. His transitions so smooth you don’t even know they’re happening. He has fully absorbed all influences and precedents, and created the most unique-in-voice style of his career. It’s like late Beethoven.

Somehow I fail to connect the thread title with the first post. Perhaps somebody can spell it out for me?

Somehow I fail to connect the thread title with the first post. Perhaps somebody can spell it out for me?

Crush, compress and clip the hell out it? No thanks!

Yes, it is nice. But still another recording of the Viola Concerto, the Horn or the Clarinet Concerto would have been more welcome.
 
By the way, his most recorded concerto remains the Tuba Concerto?

With exceptions, I can't really stand the sound of Classical Music and Film Scores on vinyls with all that noise. I think it works fine with other genres but not these.

Best Instrumental Composition
I interpret this to mean that all other categories at the Grammys either refer to non-instrumental music or to instrumental and non-instrumental arrangements. Thus, "Best Instrumental Composition" is possibly the supreme discipline at the Grammys when it comes to music.

I would include the songs from the main program, if I were fiddling with disc 3: We don't want to grow up, Pick them up and When you're alone. And if I would attempt a "Songs and other non-orchestral Material" album, what your inclusion of Concertina Medley suggests, I would also include Banning back home here. Saying that, perhaps I will do that now; could be a neat idea.

I would include the songs from the main program, if I were fiddling with disc 3: We don't want to grow up, Pick them up and When you're alone. And if I would attempt a "Songs and other non-orchestral Material" album, what your inclusion of Concertina Medley suggests, I would also include Banning back home here. Saying that, perhaps I will do that now; could be a neat idea.

Yes, with it me it was similar; I was giddy with joy when I discovered this box. It was expensive for a student like me, but for this I treated myself. It was during some free weeks between my diploma and the beginning of my doctorate, so I had plenty of time to listen to it. I also discovered some of the flaws like the suddenly reversed channels in the Boba Fett sequence in Empire, but did not mind much. 

Played violin since I was 8; from time to time also viola. Do so regularly in chamber music formations and sometimes amateur orchestra. Had also some piano lessens. And tried a bit of composing, but lacking currently the time to pursue this more. If you are interested in one of my works, just click on the signature :-)

What a treat. Only strengthens my opinion that TROS is the best musical entry in the sequel Trilogy. Not just the thematic variants (though those are great too). It's all about the transitions!:
 
*The way the Force theme in Dm is flanked, first by that beautiful dissonant texture that seems to coalesce on a E♭-maj pandiatonic cluster, then a post half-cadential sustain on the ♭II(ma7) chord (also E♭). Both bookending sections have a nice rising line [G3-C4-D4-G4 before, G3-A3-D4-Eb4 after]. Kind of Mountain Motif from CE3K-esque.
 
*The little idea starting at 0:28 in B-major. That quick progression, B to Bdim7 back to B, is a crucial harmonic ingredient in the Friendship Theme that comes a few minutes later.
 
*The interstitial material after Rey's theme gives us, for the first time I think in a long while in Star Wars, that wonderful Waltonian harmonic sensibility. Chords are Bma7/A♯ <=> D♭/G♭ => E♭ma7/B♭ => D♭ma7/B♭ => C/G. There are a few other patches where Williams re-channels Walton in TROS and it's just so satisfying to hear that sound return.

I kinda regard 'The Last Crusade' as "Indiana Jones lite"...
 
'Raiders' had an edge, and 'Temple of Doom' went too dark, so Spielberg made a more "palatable" sequel for general tastes.
 
It's not bland by any means...just not exciting to me in the way the previous two were. But I still wouldn't change a thing about it.

Fitzwilly 
 
Dial of Destiny 

There are a lot of nerdy things that I can go on about at length. This is certainly one of them.
 
I don't remember what the magazine was where I saw an ad for this box. Starlog? The Star Wars fan club? It was NOT a prominent ad. But... What the hell was this? The description was... Vague? I wish I still had a copy of it. There had to be something that made me drop everything I was doing (probably not much) and drive to the music store. ( @Yavar Moradi do you remember Hastings in Prescott?) And they had it. I remember my jaw dropping and staying there when I read the contents. Final Duel. Everything from the 2 LP Empire. The second Cantina song.
 
It's still the prettiest collection I own, IMHO. The Blue Box and the Star Trek TOS box come close. I think it's the larger format book that puts it over the top. The notes are wonderful. And you can't go wrong with Star Wars OT pictures and art. I still love the black disc covers with the nearly black logos on them. And the three discs with McQuarrie art and the fourth with Williams. It's sitting to my immediate right, next to the Blue Box.
 
I know we have a bunch of old timers like me around here. You understand. You probably have your own memories about this box. Do share!
 
For you youngsters: You have no idea. Not just in terms of Star Wars, but even in terms of expansions like this just weren't done back then. This might not have been the first but it had to have been close. We kind of take it for granted that if we just hold out long enough that eventually one of the THREE or FOUR specialty labels will crack the arrangements and we'll get Star Trek, or Harry Potter, or even something like Lord of the Rings that comes out expanded / complete almost out of the gate.
 
I love the SE disks. And I still listen to the original LP programs regularly. But I can't think of any soundtrack release (yes, even including the Star Trek discs) that had the emotional high that this box did. It still kind of does!
 
Thirty years. Amazing. A long time ago....

You guys should listen to more classical music

Ok, I dug through old email drafts and found the following fragmentary work. That is, I came up with timestamps for every cue based on watching the film, but at least on the version I was able to find (again this was almost half a decade ago) I didn’t have a title or description for every cue. But for those who find the breakdown useful, here’s what I can share based on watching the film:
 
Pieces recorded for the album only which do not appear in the film: Love Theme from Jane Eyre (track 1, concert arrangement), To Thornfield (track 4, unused action scherzo), Festivity at Thornfield (track 5, unused original party source music), Meeting (track 7, chamber arrangement of love theme), Restoration (track 10, album/concert arrangement of music for St. John)
 
0:03-4:14 1. Main Title (Overture) 4:12
(album recording track 2, 3:58)
Album recording seems more tightly performed at times; film recording has an ugly edit at 2:51.
First half minute introduces the mysterious long-lined (over 20 notes!) Rochester theme on harpsichord (most prominent in the album action cue To Thornfield), followed by an even more mysterious and ominous theme for the mystery of Thornfield itself led by a 7 note motif 29 sec in (25 of album recording), as the title “Jane Eyre” appears onscreen.
At 1:04 (0:58 of album) a strident related motif grows out of this. Pay attention to how much Williams is doing with counterpoint here.
At 1:35 (1:28 of album) the love theme is introduced, sounds as if it were something of a love child between a couple of themes in Nino Rita’s beloved score for Franco Zefirelli’s Romeo and Juliet a couple years before
Around 2:11 (2:06 of album) love theme transitions to a bridge melody
At 2:30 (2:26 of album) the strident 1:04-1:35 material returns. Ugly edit/cut at 2:51, equivalent to 2:47-2:52 on album, right before return of 7 note mysterious Thornfield motif, and then back to a more subdued version of strident motif, and back to the Thornfield motif again as the cue winds down.
 
6:28-9:04 2. Deceitful
“Let’s see who it is...” begins cue
 
9:56-10:54 3. Lowood
(album recording track 3, 2:28)
Film cue initially mixed so low you can barely tell it's there, and the cue cuts off abruptly just before a minute in.
A new mysterious theme is introduced here, more subtle than any of the themes introduced in the Main Title.
 
12:44-14:37 4. Relics of Satan
Hair forcibly cut, punished
 
17:57-19:04 5. Forever and Ever
Childhood friend's death, and passing of time.
 
20:14-21:01 6. Thornfield
Thornfield theme (2nd theme from Main Title) given further development as Jane approaches the manor.
 
24:44-25:27 7. Laughter
Mysterious (almost horror) music with the Thornfield theme developed over threatening strings.
 
27:23-29:55 8. The Meeting
First different development of main theme; good candidate to mention in podcast
 
33:16-33:56 9. Jane Plays
The love theme played in-scene on solo piano by Jane.
 
35:06-36:03 10. Good Night
Further development of the main theme for Jane, and then the mysterious Thornfield theme.
 
41:39-42:14 11. Good Night
Threatening development of the Thornfield theme.
 
44:11-44:36 12. The Fire
Another horror cue with the Thornfield theme.
 
46:17-47:42 13. Do Me Good
Brief Thornfield mystery, then first proper appearance of the love theme on harpsichord, and then strings.
 
48:29-50:02 14. Flowers
Love theme on woodwind, gets more intense near end.
 
51:14-53:29 First Dance
53:39-53:52 Second Dance
56:14-57:18 Youth's the Season Made for Joys (song from The Beggar's Opera)
57:30-58:41 Piano Source
 
59:54-62:21 15. Mason's Arrival
63:11-66:10 16. She Bit Me
68:58-71:08 17.
72:26-73:30 18. The Veil
74:30-75:50 19. 
76:05-79:15 20. 
82:50-85:09 21. She Still Lives
85:45-88:17 22. Jane Leaves
 
89:23-91:06 23. St. John
Shorter film cue used as basis for album "Restoration"; brief interlude for Jane/Rochester love theme as Jane remembers.
 
92:51-94:18 24. I Accept
Second shorter film cue with St. John's theme, this time with a brief interlude with the mysterious Thornfield motive as her letter is returned, transitioning immediately afterwards to another in-film solo piano performance by Jane of her love theme with Rochester.
 
99:37-100:59 25. God Alone
101:15-102:37 26. The Tragedy
 
102:37-107:58 27. Reunion (End Title)
Longer version of album cue (which starts at 103:16 and still seems to run shorter on album).
 
—
 
I’ll bet Williams also wrote and originally recorded some music that got dialed out of the film.
 
Yavar