aj_vader

Im not worried anymore. Expanded SW scores will eventually turn up and we just will have to wait for them to materialise in proper time. Remember there is only ONE Mike Matessino and right now he is tied up with various projects (both Williams and other) So lets sit tight, prepare for our savings and Enjoy 2017. Its going to be a great, great year. 

I've always longed for The Flag Parade. Another that comes to mind is The Accidental Tourist. 
 
The Far and Away suite that combines the first track with the end credits sans The Chieftans is another.
 
And the JFK suite (Main Theme, Motorcade, and Arlington) includes some transitional material between the main theme and motorcade if memory serves. 
 
And Civil Rights and The Women's Movement has been performed live in extended form. Love that piece. 

Well we got the Spielberg/Williams collaboration 3 but there's still stuff missing:
 
-Getting out the Vote Orchestral Version from Lincoln
-The Lost World Concert Version (I don't like the Kunzel one)
-Irina's Theme
-Double Trouble Orchestral Version from HP3
-Diagon Alley with "concert ending" from HPSS
-Duel of the Fates Orchestral Version
-Stargazers from E.T.

Any news of this going elsewhere, like London?

I like the analogy to the original trilogy, musically. TFA echoes a lot of ANH. Hopefully TLJ echoes TESB... and not AOTC...

Well I picked 'Yes, in Episode VIII: The Last Jedi' because the 2nd chapter in the trilogy is where characters are usually more exposed, challenged. If we look at the score for the Force Awakens it felt like A New Hope (jokes about the similar plot aside), I can see The Last Jedi score following the Empire model, hearing the similar themes again but in a much different context. If you compare the statements of the Force Theme in A New Hope to Empire (Binary Sunset vs Rescue from Cloud City), you'll hear what I mean. I hope the First Order get a fully formed Theme in the next one like Williams did with The Empire in Empire Strikes Back. I'm hoping the film is more of a challenge to score for Williams and it pushes him a little outside of the normal Star Wars model. I don't mean drastically, along the lines of Rey's Theme, it felt fresh to Star Wars, especially the Celeste/Mallet opening. 

Well I picked 'Yes, in Episode VIII: The Last Jedi' because the 2nd chapter in the trilogy is where characters are usually more exposed, challenged. If we look at the score for the Force Awakens it felt like A New Hope (jokes about the similar plot aside), I can see The Last Jedi score following the Empire model, hearing the similar themes again but in a much different context. If you compare the statements of the Force Theme in A New Hope to Empire (Binary Sunset vs Rescue from Cloud City), you'll hear what I mean. I hope the First Order get a fully formed Theme in the next one like Williams did with The Empire in Empire Strikes Back. I'm hoping the film is more of a challenge to score for Williams and it pushes him a little outside of the normal Star Wars model. I don't mean drastically, along the lines of Rey's Theme, it felt fresh to Star Wars, especially the Celeste/Mallet opening. 

It's Star Wars... 1977.. 2017... 40 years... The Episode VIII is coming...
 
I would appreciate a little more enthusiasm.

THIS!!! And that's exactly why I don't want to hear any arguments about the music industry, licence shit etc. If we buy a DVD, the DVD has the complete movie. If we buy a book, the boo is complete. So why, WHY can't film scores be complete? What baffles me most is that composers aren't blatantly refusing to chop up their own works of art. Why don't we remove the fourth movement of Mozart's Night Music while we do remove more than half of an essentially coherent, classical work?

It's amazing how incredibly easy it would be for Disney to slap the sets together from the resources (With talented mastering and audio engineers probably biting to do so), yet it'll probably never happen. The files are there, on a server, on a hard drive, on a USB, just waiting, and I'm here screaming until I can't breathe at why I can't have that music NOW, not 5-10 years from now!
Not releasing filmscores in complete form is like an author removing chapters from a book. "Here's the chapters I like, and you should too, and it might not tell you everything, even missing important details, but it's still better than nothing, right?..."

I think I have the recording sessions for Star Wars episode 9 laying around in my cellar somewhere.

I'm messaging him asking for him to send a sample. If he doesn't, then I'll assume it's fake, as I already do.
Those are not real session leaks. They're just fan edits using video game and DVD rips. The sessions NEVER leaked onto the internet, not yet anyway.

I've never understood why, in an age of surround sound speaker systems, soundtrack releases are only stereo.
 
Why not have a 7.1 surround mix that replicates the orchestra's recording environment in the studio?

If he lives up to 100, he'll have to rearrange the Star Wars Saga as 9 symphonies of 3-4 movements each...
 
If he doesn't do it himself, someone will do it someday!
 
I'm tired of hearing just the "Star Wars Main Theme" or "The Imperial March" in concert...
 
You want to program Star Wars music in concert... play a suite man.... But what titles?  It's why JW have to write Symphonies or Suites.

Terrible interpretation too.  As if they never heard this music before. But I blame the conductor for that. 

...AND he has to make it high-pitched AND he has to make it soft. It's like Williams is writing tricky music on purpose.

A wonderful story and his horn performance was just beautiful.

That was actually a very interesting arrangement of the Han Solo and The Princess theme.  The rest of the suite is lackluster and proves what is most important is the composer/conductor rather than the orchestra.  LSO has never sounded so amateur in the rest of the works and a mediocre mix as well.  For example, in the Princess Leia theme, the original OST has a deeply yearning quality since the high note of every phrase is held much longer than here.  That must have been a direction from JW since it happens regardless of what the instrumentation is and really makes the theme feel so much more longing in a Tristan und Isolde way which makes since since JW thought of this as sort of a Vertigo longing and Herrmann used Tristan und Isolde as his model for that theme.  And what's with the trumpets being so far left in the mix?  It just feels cheep.  I assume this is an old recording that was made to cheaply capitalize on the unexpected success of SW without any real attention to detail or love.  BUT, the Han Solo and the Princess was interesting in the way they interwove the Leia theme. 

Hi Disney, can you put back the SE versions of the scores on Spotify, or release new expanded sets quickly, my playlists don't work anymore!

Just re-record the whole original trilogy and be done with it!

It's a 8-voice women's choir, if I remember well. It will likely be repurposed through a synth patch, as it's a very brief moment.
 
As for ROTJ, I guess the set-up will call for an optional male chorus (I think it's like an 10-12 voice choir) since it's used pretty extensively in all Emperor's scenes. I don't think it can be done with film stems since the choir was recorded together with the orchestra and not on a separate stem (ah, the old days!).

Doesn't Empire have choir on the approach to cloud city?

So much good news since Sony lost the rights.

ROTJ has certain sections with choir.

Two things:
 
1. Europe next, please
2. And hopefully new CD releases