Taikomochi

Expanded version.
 

I was really bugged by how claustrophobic the original album cover felt so I used a desktop wallpaper and expanded the canvas in Paint3D. I tried to keep the "Original Soundtrack" and "Music by" text as close to the official font as possible. 

You can do a lot worse for a disposable demo than booking Dame Julie Andrews!

Those extra tracks would have made a great bonus on the end of disc 4, right after the OST
 

I will say that the pleasure of this set has been rediscovering a score I thought I knew like the back of my hand from the sessions and previous LLL album. Having the songs and alternates really has added a ton of depth to the grandeur of what exactly Williams was going for with this score in a way previous presentations did not. Themes like the Mothers and Believe melodies previously blended together to me as generic Williams sentimental themes, but hearing them in song form has helped me understand their dramatic purposes much better.

But if they tried that this would pop up:
 

I think that is a "schtick" of his rather than a senior moment. He conveniently "forgets" Connery's name in most concerts, making the audience get involved. I think it's very deliberate (as opposed to certain other faux passes, which may be down to foggy memory).
 
In either case, thanks for all the reports and pictures. Looks wonderful, and not envious at all, LOL! Any pics of the social get-togethers, if there were any?

Removing the middle cue of Farewell Neverland on disc 3 allowed the instrumental When You're Alone, alternate Exit Music, and vamp section of Take Me Out To The Ball Game to be added. You wouldn't have those if the track contained all three cues again.

A truly magnificent evening! The Maestro was in top form and still sharp as a nail (except only a couple self-described “senior moments”, and during one I helped him remember Sean Connery’s name!). The new version of “Scherzo” was great fun and very much tailored for Anne-Sophie’s style, but the bigger highlight for me was the new version of “Anakin’s Theme” that was also done for her. It took the changes from the version debuted at Tanglewood this past summer and greatly expanded on them, ending on a haunting harp rendition of the Imperial March very similar to what’s played when the character dies at the end of Return of the Jedi - a truly unexpected and chill-inducing callback!
 
My photos:
 

 

 

 

 

 

 

Scherzo for violin and motorcycle? Has that been debuted elsewhere? I don’t recall hearing of that ASM arrangement before now.

I would ask Czech Pierre, he has connections with John Williams.

https://edition.cnn.com/videos/tv/2023/12/11/amanpour-mutter-williams.cnn
John Williams and Anne-Sophie Mutter: Music takes us to a spiritual place | CNN

Scherzo for violin and motorcycle? Has that been debuted elsewhere? I don’t recall hearing of that ASM arrangement before now.

Program:
 
Susanna Mälkki Conducts: 

Ludwig Van Beethoven: Overture to The Creatures of Prometheus, Opus 43 
 
Ludwig Van Beethoven: Concerto in C major for Piano, Violin, Cello, and Orchestra, Opus 56, "Triple Concerto ( Anne-Sophie Mutter, Pablo Ferrández & Yefim Bronfman)

Intermission 

John Williams Conducts: 
 
John Williams: "The Duel" from The Adventures of Tintin (Anne-Sophie Mutter & Pablo Ferrández) 
 
John Williams: "Helena's Theme" from Indiana Jones and the Dial of Destiny (Anne-Sophie Mutter) 
 
John Williams: "Scherzo for Violin and Motorcycle" from Indiana Jones and the Last Crusade (Anne-Sophie Mutter)
 
John Williams: "Raiders March" from Raiders of the Lost Ark 
 
John Williams: "Across the Stars" (Love Theme from Star Wars Episode II) (Anne-Sophie Mutter)
 
John Williams: "Rey's Theme" from Star Wars: The Force Awakens (Anne-Sophie Mutter) 
 
John Williams: "Anakin's Theme" from The Phantom Menace (Anne-Sophie Mutter) 
 
John Williams: "The Imperial March" (Darth Vader's Theme) from The Empire Strikes Back
 
John Williams: "Scherzo for Violin and Motorcycle" from Indiana Jones and the Last Crusade (Anne-Sophie Mutter) 
 
John Williams: "The Imperial March" (Darth Vader's Theme) from The Empire Strikes Back
 
https://dpb-web.instantencore.com/program/44368/mutter-williams--friends/page/103523/program-listing?cid=5099677
 
Hell of a program, and the Maestro is conducting way more of it than I expected. How exciting! Curious that the Scherzo is listed twice, wonder which one is the mistake and what’s supposed to be there instead.
 
Clip of Raiders March rehearsal:
 
https://instagram.com/stories/itsbrandonmax/3255705932792364674?utm_source=ig_story_item_share&igshid=MzRlODBiNWFlZA==

I will say that the pleasure of this set has been rediscovering a score I thought I knew like the back of my hand from the sessions and previous LLL album. Having the songs and alternates really has added a ton of depth to the grandeur of what exactly Williams was going for with this score in a way previous presentations did not. Themes like the Mothers and Believe melodies previously blended together to me as generic Williams sentimental themes, but hearing them in song form has helped me understand their dramatic purposes much better.

That’s a truly absurd thing to say. It’s not among his very best, and there are certainly creative compromises, but I’m so glad he wrote what he did. This is not a blemish by any means. Stop being so dramatic.

To Athens is too low 

I will say that the pleasure of this set has been rediscovering a score I thought I knew like the back of my hand from the sessions and previous LLL album. Having the songs and alternates really has added a ton of depth to the grandeur of what exactly Williams was going for with this score in a way previous presentations did not. Themes like the Mothers and Believe melodies previously blended together to me as generic Williams sentimental themes, but hearing them in song form has helped me understand their dramatic purposes much better.

Yes, once you have listened to the songs, the internal logic of certain theme choices during the score really comes into focus. (Debuting the "Believe" melody alongside Peter's first panoramic view of Neverland, for example.)

I will say that the pleasure of this set has been rediscovering a score I thought I knew like the back of my hand from the sessions and previous LLL album. Having the songs and alternates really has added a ton of depth to the grandeur of what exactly Williams was going for with this score in a way previous presentations did not. Themes like the Mothers and Believe melodies previously blended together to me as generic Williams sentimental themes, but hearing them in song form has helped me understand their dramatic purposes much better.

I bet! That song in particular was a huge surprise for me. I had no idea that melody was originally a song; it always just sounded a bit to me like Home Alone leftovers. (Not that that was ever a bad thing!) And after hearing “Believe,” I will never hear “Exit Music” (nor the many appearances of that theme in the score itself) the same again! It basically becomes an instrumental version of the song, and hearing those lyrics in your head while it closes out the score, changes everything. 

I will say that the pleasure of this set has been rediscovering a score I thought I knew like the back of my hand from the sessions and previous LLL album. Having the songs and alternates really has added a ton of depth to the grandeur of what exactly Williams was going for with this score in a way previous presentations did not. Themes like the Mothers and Believe melodies previously blended together to me as generic Williams sentimental themes, but hearing them in song form has helped me understand their dramatic purposes much better.

I will say that the pleasure of this set has been rediscovering a score I thought I knew like the back of my hand from the sessions and previous LLL album. Having the songs and alternates really has added a ton of depth to the grandeur of what exactly Williams was going for with this score in a way previous presentations did not. Themes like the Mothers and Believe melodies previously blended together to me as generic Williams sentimental themes, but hearing them in song form has helped me understand their dramatic purposes much better.

Rey's already got a theme

This. I'd much rather have a UE of RotS where most of the more notable unreleased bits are fine in the film, than be dealing with fan edits cobbling together video game snippets.
 
So while LLL's first set is missing some music and uses stems, if that was the best that was possible for LLL to do at the time (IIRC, Sony had one of their employees put the set together, right?) then wouldn't we rather have that, than wait literally another decade for the proper sources to be found?
 
I reckon it should be expected that occasionally an expansion will happen with less than ideal sources, but with knowledge that probably a few years later it'll be redone as studios organise their stuff. Ghostbusters 2 - perfect example. I'm thrilled we got an album of sorts, and I'm not going to begrudge anyone if in a few years someone's finally found the masters.