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I find it more plausible that JW mimicked the stylistic features of a temp track at the eleventh hour for a comparatively minor individual cue than that he cribbed the main phrase of a major theme that was his chief contribution to a score. Listening to "Han's Kessel Run" again as I write this, I also notice that the five notes that make up JW's Han theme actually appear in the second phrase of Haab's theme, as a permutation of the opening melody with the same rhythm but slightly different notes. And the identical notes are really a transition to the louder and more dominant four notes that

Sorry, @Falstaft, not even a scholar of your caliber can pry me out of my denial about the Haab-Solo connection. I’ll go to my fiery grave in the core of Starkiller Base insisting it was a coincidence.

I've been mainlining Star Wars tracks for two days, as is my custom this time of year, and wasn't it a treat to hear this little chestnut spontaneously evolve into existence about a minute into "You Got a Name?" from TFA, as Han leads Rey, Finn, and BB-8 into Maz's bar... I know, I know. But wouldn't it be something if it were?

A belated Star Wars Day gift for us. Welcome the game, Signum Saxophone Quartet! This is really cool:

Tyler's fanfare (like much of his work overall, in my opinion) has bombast without heart. It's a six-note motif that truly goes nowhere other than to repeat itself with the slightest pitch changes here and there. It's the same basic structure four or five times in a row. It also relies solely on ballsy brass and minor-key menace. It's hummable, but to hum it takes five seconds. Giacchino's theme, on the other hand, has two distinct sections, the first of which has a neat, rising and falling, call-and-response pattern of six notes each, incorporating some sonic diversity (high w

I'm not that guy in this case, but I've definitely been that guy.

Does this mean filming has begun? They were supposed to start this spring, right? It's spring!

I actually found this recording of "Nimbus" a little sprightlier and more fun than Williams' tempo. Those twelve seconds they shaved off were well-spent! But I'm a sucker for over-caffeinated conducting, so don't quote me. Overall, I love the sound and quality of these recordings. Welcome the game, City Light! Maybe they can do a dueling-orchestras concert with the Film Symphony Orchestra...

Wait, I’m not clear on where the lolz start in this post. Is there some evidence of an alternate end credits suite for TLJ?

Oy, analyzing the ways I screwed up this poll is perhaps a more interesting exercise than the original question. It's ironic that I'd miss "Last Crusade," because listening to that score after @TownerFan referenced it in his most recent podcast is what inspired me to create this thread in the first place. That and "War Horse" and "Tintin" are back in, but for some reason it totals 50 choices now, which doesn't make sense if JW has been nominated 52 times, won 5 (thus 47 remaining), and I removed two adaptation noms and CE3K. Oh, well. Work beckons. But if anyone can figure out what the he

@Jay, I'll leave that poll to someone with more time. This occurred to me while grading research papers this weekend, and I'm just surfacing long enough to post it before submerging again for the last 13 in the pile. Wow. I mainly made this poll because I was curious what I would choose, and the second half was much harder than I expected. I never realized that Hook's score wasn't nominated. Good grief. I went with both Potters and TFA. [Ducks, covers.]

Welcome to Maestro Madness! John Williams gets to take home six more Oscars in total. Which would you award him? My original thought was to give him another five Oscars (to keep his mantle from sagging lopsidedly), but because polls are limited to 25 options, I had to split it into two questions. I know that makes it a bit more artificial, but it's an interesting exercise to divide his nominations in half all the same—they're sort of like "pre-legend" and "legend" brackets. NOTE: CE3K is excluded because he beat himself that year with Star Wars, and we're not taking away Oscars

It’s great to see a two-disc set that appears to be aiming for a sort of comprehensivity. I’m not sure there’s been one of those since the Sony Greatest Hits 1969-1999 double album. That program is still the gold standard for an overview of Williams’ career if you ask me, but it misses Potter and the rest of the 2000s, so this set of pieces is a nice alternate “best-of,” with a deeper focus on certain newer works like Potter, Escapades, and the sequel trilogy coming at the expense of more one-off inclusions like Munich, War Horse, or most of the early ‘70s. I think those focused suites are a g

We're at ten tracks now. I, for one, am loving the slow drip. It makes me dig into each recording a little more attentively. (Otherwise, I agree that the quadruple-dipping would get a little tiresome.) For example, I know it's not unique to the City Lights recording, but I was just appreciating anew that glorious solo high note at the end of Escapades, where the orchestra suddenly slides off like a snakeskin and leaves the alto skyrocketing alone.

I remember the question of this arrangement coming up before (maybe in this very thread), and I listened to the "Window to the Past" arrangement without it making much impression on me. Not so this time. It's excellent! (Maybe I have better speakers now than I had in 2017?) Thanks for bumping this, @bollemanneke!