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Every time the discussion about one of these revised pieces ramps up, I wish for some highly musically literate person to create an infographic that lays out and color-codes the different sections of each piece by theme, instrument group, etc. I’m not capable of doing it myself, but if I were a 17th-century Prussian duke, this would totally be one of the targets of my aristocratic patronage.

Did any of Yelena's theme make it to either soundtrack, and does anyone have timestamps? I just finished this half-satisfying series and am delving into its half-satisfying score today. I like Beck's themes for Clint and Kate, but they're a bit short and flimsy, and I keep expecting Aslan to show up when the opening notes of Clint's theme play. I also absolutely love the interpolation of Christmas melodies, but I wish he'd done it more than twice in the series. Those are two of my absolute favorite cues. A lot of the rest of it is fading into action anonymity for me. The writing is fun, but the themes don't have enough melodic meat to latch onto. Neither is as memorable as his themes for Wanda or Ant-Man, or even the Wasp. I didn't latch on to any of Balfe's Black Widow themes in the theater, so I'm curious. (UPDATE: Found it in "Dustup on a Housetop" and then sampled the eponymous track from Balfe's score. That theme doesn't suit Yelena's personality at all! It's like all Balfe knew was her ethnicity when he wrote the theme.) I agree that Beck is becoming the new champ of thematic integrity (or really always has been). I do actually find it a little odd, though, that in a series spotlighting an original Avenger, using some Silvestri material, and featuring a scene actually set during the Battle of New York, we don't get a single snatch of the Avengers theme. And not to look a gift horse in the mouth, but a couple of Hawkeye's arrows definitely presented unrealized potential

"Wait, wut?" —everyone in Chicago

I'll be there! I had some pandemic credit built up from the original cancelled Jurassic Park concert, so I finally ponied up for the entire CSO at the Movies series, which then enabled me to buy tickets for the Williams show (while seeing JP and Return of the Jedi to boot). I've never spent so much on tickets for anything at one pop before, but every accessible Williams show becomes more valuable with each passing year.

I think we can all agree it's great to have another Williams cue called "The _______ Scene" in the canon.

Someone really needs to composite a brachiosaurus into those long shots.

I finally ponied up for the DCH recording this week. So great! And something about the recording (or mixing or mic placement or my headphones) seemed to bring out elements of even very familiar pieces that I had never paid attention to before. (Turns out there are some very cool low string lines in E.T.!) This Blu-Ray news couldn't have dropped at a better time for me. In what sense is the DCH version edited? Are there pieces excised, or just transitions between applause and talking?

Top 10 possibilities for the second Blu-Ray... Fully orchestrated performance of the original draft of Rey's Theme World premiere of the First Order March, written for TLJ and rejected by Rian Johnson A medley of all themes from The Eiger Sanction expertly hummed by Anne-Sophie Mutter Outtake of JW conducting Jurassic Park in an inflatable T. rex suit Attack of the Clones and Revenge of the Sith Ultimate Editions (Blu-Ray Audio only, no clean endings) Premiere performance of the Love Theme from The Terminal for Orchestra (I will never stop talking about this) Complete performance of the full BPO concert program by the Berlin Symphony Orchestra, for broadcast in Russia in case the Iron Curtain goes back up The Secret Ways with isolated score The Olympic Dream of the Spirit of the Champion Heroes, composed for LA 2028 Orchestral premiere of "Battleforce" from the TLJ Verizon ad, ending with Williams pulling off a Mission: Impossible mask to reveal himself as William Ross, before being run through with a baton by Gordy Haab, who then picks up the baton and conducts "Han's Kessel Run" from Battlefront 2

Totally agree about the unfortunate timeline of these two musical nostalgia bursts. I actually find the reuse in ROTJ lazier from a musical standpoint, particularly since it shows up in both Sail Barge Assault and Superstructure Chase (right?). Honestly, what marred the appearance in TLJ for me was more that it was the third major needle-drop of that score, after the concert suite appearances for Leia and Yoda (with all those scenes' attendant baggage in the lore). By the time the salt cave chase arrived, TLJ had so thoroughly lost me that the recycled music hit differently than it would have in a film I was enjoying. Regardless of my reaction to TLJ's plot, though, I also found the staging of that sequence so similar to the Star Destroyer wreckage chase from the immediately prior film (Millennium Falcon dueling a small number of TIE fighters in a long, narrow tunnel) that it struck me as a boring choice in the middle of an already derivative speeders-and-walkers battle. This is off-topic, but it leads me to articulate a particular bugaboo of mine about TLJ that I don't think I'd thought of before: for a film that was so determined to torch the Star Wars playbook (and received nonstop fawning in the entertainment press for doing just that), nearly every major sequence in it has an immediate analogue in either ESB or ROTJ: base escape, reluctant mentor meeting, protracted space pursuit, opulent resort interlude, abortive departure from would-be mentor, self-turn-in to woo villain to the light, throne room torture/betrayal scene, infiltration of enemy capital ship (that's from ANH), "snow" battle with speeders and walkers. The two lightsaber duels are the film's most iconic scenes because they're two of its only totally original ideas.

My only exposure to this score was one of the poppier arrangements of the main theme, so I pretty much subconsciously wrote off the rest of the score for years. Not available, not intriguing, not a problem for me. But thanks to the new release—and, even more so, thanks to@TownerFan's excellent podcast with Mattessino commemorating it—I was exposed to cues like "Top of the World" and the training material, and this became an instant buy. One of the joys of the mature phase of my Williams fandom has been discovering that there's something worth having even on the Williams scores you think you don't care about (even that one cue on Images that I can't bring myself to buy the whole album for... )

It can't be the same suite, because that recording features Perlman on solo violin. (Speaking of which, I wonder if that's the only Williams piece to have been rearranged by the Maestro two separate times for the same solo instrument? Maybe Geisha would be the other.) Unrelated: if this does get released, will it be the fastest Jurassic Park Williams has ever recorded?

Sorry if this has already come up, but was the Far and Away suite new or rare in some way? I'm familiar with the Perlman recording from Cinema Serenade and the new Mutter arrangement, but I don't know of a place where this suite has been recorded (even though it's likely, now that I think about it, that I heard it live in Chicago in 2007 under the title "County Galway, 19XX").

Welcome (back to my) home, Maestro! Does Corporate Night mean it's only for bigwigs, or just that it's priced for bigwigs?

I'd be surprised if the tweaked "Across the Stars" made it to the album, since she already recorded it in the studio. Wasn't that itself an update of an earlier violin arrangement she performed somewhere in Europe the year before the album came out? Upshot: there's plenty of room on the album for "Crimebuster for Violin and Orchestra." Unrelated: this would never happen, but wouldn't it be cool for Williams to do a Halloween album with Mutter? Tracks 1-3 are done already! Devil's Dance Hedwig's Theme Night Journeys The Chamber of Secrets Duel of the Fates Anthem of Evil Highwood's Ghost Family Plot The Fury In Search of Unicorns

Well, you should be!