Trope

Whoops! Oh well, I never listen to that track anyway 😛
 
My understanding is the elements provided by WB for POA were less than satisfactory, so I don't necessarily trust that whatever was provided to Mike was "accurate," so to speak. 
 
I'd love to see a standalone 3CD reissue of Azkaban someday, if all the correct elements are found and more of the film mix versions of cues can be presented (whether Williams' intent or not). Not to mention the alternates that may or may not have been recorded... 

I don’t know about everyone here, but I’m really relishing a new JW soundtrack day.  We don’t know how many we have in front of us - just feeling so thankful. 

If music is not enough and want to hear some first reactions blabber, there you go
 
https://thelegacyofjohnwilliams.com/2022/11/11/the-fabelmans-first-listen

And I think we discovered that the revision is just Patronus Light (without the loops applied to the album version) and a separate brass WttP overlay, the same one also used sped up for the album Dementors Converge. And that Dementors Circle is likely an unused choral element for Dementors Converge's opening, since it gets reprised in a hurried form in Watching the Past!

Correct! Crazy innit? 

Good news for anyone who missed out on Omni Music Publishing’s (excellent) full score of Willow. They’ve now made it available again digitally: https://www.sheetmusicplus.com/title/willow-score-only-digital-sheet-music/22381156?ac=1&aff_id=742017

Actually, that is part of the alternate as it was composed, conducted and recorded.

I just finished my second complete listen through of all 7 CDs over 3 days (1 day per film) on my new headphones. Wow, these are truly brilliant scores, and the expansions allow JW to take the listener on an incredible musical journey. 
 
I believe that somewhere it was mentioned that the first section of the last track on the Prisoner of Azkaban score (Trailer) was written by someone other than John Williams. However, this was the first time I realised that the concluding statement of JW's family theme (tracked with Reunion of Friends from Chamber of Secrets?) has the stereo channels reversed. I never noticed this before! I wonder if it is like that in the actual trailer itself... Also the whole track is mastered much louder than anything else, making the opening synthetic orchestra/drum strikes even more obnoxious.
 
Other than that slight hiccup (and the strange decision to include a portion of The Dementors Converge on the alternate Watching the Past track), I absolutely love this release. I was very impressed by Philosopher's Stone this time through, particularly the inventiveness of the children's suite and JW's masterful orchestrations. I enjoy how each movement in the suite focuses its attention on one particular section of the orchestra at a time, giving each a unique tone colour. 

I just finished my second complete listen through of all 7 CDs over 3 days (1 day per film) on my new headphones. Wow, these are truly brilliant scores, and the expansions allow JW to take the listener on an incredible musical journey. 
 
I believe that somewhere it was mentioned that the first section of the last track on the Prisoner of Azkaban score (Trailer) was written by someone other than John Williams. However, this was the first time I realised that the concluding statement of JW's family theme (tracked with Reunion of Friends from Chamber of Secrets?) has the stereo channels reversed. I never noticed this before! I wonder if it is like that in the actual trailer itself... Also the whole track is mastered much louder than anything else, making the opening synthetic orchestra/drum strikes even more obnoxious.
 
Other than that slight hiccup (and the strange decision to include a portion of The Dementors Converge on the alternate Watching the Past track), I absolutely love this release. I was very impressed by Philosopher's Stone this time through, particularly the inventiveness of the children's suite and JW's masterful orchestrations. I enjoy how each movement in the suite focuses its attention on one particular section of the orchestra at a time, giving each a unique tone colour. 

I just finished my second complete listen through of all 7 CDs over 3 days (1 day per film) on my new headphones. Wow, these are truly brilliant scores, and the expansions allow JW to take the listener on an incredible musical journey. 
 
I believe that somewhere it was mentioned that the first section of the last track on the Prisoner of Azkaban score (Trailer) was written by someone other than John Williams. However, this was the first time I realised that the concluding statement of JW's family theme (tracked with Reunion of Friends from Chamber of Secrets?) has the stereo channels reversed. I never noticed this before! I wonder if it is like that in the actual trailer itself... Also the whole track is mastered much louder than anything else, making the opening synthetic orchestra/drum strikes even more obnoxious.
 
Other than that slight hiccup (and the strange decision to include a portion of The Dementors Converge on the alternate Watching the Past track), I absolutely love this release. I was very impressed by Philosopher's Stone this time through, particularly the inventiveness of the children's suite and JW's masterful orchestrations. I enjoy how each movement in the suite focuses its attention on one particular section of the orchestra at a time, giving each a unique tone colour. 

Very nice!

Does anyone else hear this weird tapping noise all over the album?  Like at 1:17 in "Deciding to Publish"?  It's really obnoxiously loud.  That's not intentional, is it?  It doesn't sound like studio sounds or seem to correspond to any instrument playing, but maybe I am being naive.  It seems to be in almost every track.  Seems like they must have goofed badly when mastering this album to let that into it.

I’m already absolutely in love with this score. The two themes are gorgeous, it bears all the hallmarks of Williams’ handwriting that I love so much while never defaulting to autopilot.

Considering this will probably be the final collaboration between Spielberg and Williams, it feels appropriate and bittersweet at the same time that it is such an introspective, quiet score.  But I wouldn’t want to have it any other way.
 
I agree with @artguy360 that the classical pieces form an integral part of the soundtrack album, fitting very naturally with the restrained, chamber-like scoring of the film score itself. I especially loved the way Williams adds the orchestra to the Haydn piano sonata and then segues to his own material; it reminded me a bit of “Home and Hearth” from Empire of the Sun, where he integrated the Chopin Mazurka in a similar fashion. 
 
It’s such a bittersweet feeling, listening to a new John Williams soundtrack, full well knowing it will be one of the last. I cherished every moment of it. 

Love the main theme.

After very few listens I can hum the main theme.  He has worked his magic.

I can confirm that all the major musical moments that I remember (including the entire end credits cue) are on the OST! "Mother and Son" and "The Journey Begins" are instant highlights on the OST (as they were for me in the film!). Much of the rest may take longer to warm to, but I will reiterate that the main theme is absolutely gorgeous. Has that wonderful JW feeling of being both new and at the same time feeling almost inevitable, like the melody was always out there just waiting to be discovered. JW is still the greatest. 

Thanks for demonstrating (at least to me) that they made the right choice going for Nicholas Britell or under mixing the music.
Not that this theme is bad, but this is everything I can't stand anymore in these Disney productions. When they over score and try to tell the audience what they should feel.
I'm glad they realized they had no need to over dramatize the situation and left the action and acting carry that emotion. It's much more impactful that way if you ask me.
 

Omni just shared the (fantastic) cover for Horner’s Wrath of Khan on their Facebook page:
 

From the samples, this score is exactly what I thought it would be. Mother and Son is absolutely lovely. The score sounds small and intimate with a warm family theme and a second theme that is colder and more dramatic. Can't wait to listen to the entire soundtrack and discover what depth there is to the music.

Yes they do perform them, no idea why that wasn't in the booklet.

Nice use of guitar in "Mother and Son". One last score to confuse people about which John Williams is which.

Yes the original album was mastered gaplessly, with ambient room sound used for the transitions between tracks.
For the 2018 release, this album master was used but the transitions between tracks seem to have been altered.
I guess this is a mistake since we can indeed hear a small pop sound several times...but the issue is minor in my opinion as those noises really aren't loud.

Just realized there's a contact us part on that site. It'd be a shame if they received a bunch of letters from us...