fommes

I went to see Prisoner of Azkaban in Rotterdam, and it was amazing. A couple of the great things about it:
- the choir, obviously
- the live back-and-forth mixture of source music and underscore was pretty incredible; must have been a nightmare to conduct and perform.
- you could hear the quieter underscore so much better than in the film; it was almost like listening to new JW music
- they played the entire end credits music (except for the Hedwig theme and Pettigrew motif that closes the film)
- the one drawback of this otherwise perfect film has always been the rather low mix of the score: this live to projection fixes that, and it's just an mind-blowing experience from beginning to ending.
Highly, highly recommended, if you have the chance to go to this.

I went to see Prisoner of Azkaban in Rotterdam, and it was amazing. A couple of the great things about it:
- the choir, obviously
- the live back-and-forth mixture of source music and underscore was pretty incredible; must have been a nightmare to conduct and perform.
- you could hear the quieter underscore so much better than in the film; it was almost like listening to new JW music
- they played the entire end credits music (except for the Hedwig theme and Pettigrew motif that closes the film)
- the one drawback of this otherwise perfect film has always been the rather low mix of the score: this live to projection fixes that, and it's just an mind-blowing experience from beginning to ending.
Highly, highly recommended, if you have the chance to go to this.

Just saw your question, here are the recordings used in the film for the classical pieces:
Tchaikovsky: Symphonies Nos. 4-6 Schubert: Symphonies Nos. 3 & 8 I only just discovered the sessions, which amazes me, since I spent so many hours at the time the film came out figuring out where the album cues went and where all the source cues came from, going as far as calling Fox Music to clarify exactly which recordings of "Moon River" were used.
 
Anyway, I thought it was really interesting to hear the cue "Anderton in Halo," because it is the score for a scene deleted at the VERY last minute. After being put in containment, Anderton had a fantasy conversation with the nine-year-old version of his son Sean, played by Spencer Treat Clark from Gladiator. It's a moving scene, assuming they filmed it as it is in the shooting script. I can only assume it slowed the film down that late. The scene was deleted so late that the credits had already been finalized, and I remember the release prints of the film had "Spencer Treat Clark - Sean at Nine" listed in them at the end. Since Spielberg doesn't believe in sharing deleted scenes (except the ones on CE3K), I suppose this music and the script pages are as close as we'll ever get to seeing that deleted scene, like the big "Camelot" action sequence deleted from WOTW,

I need to move to London

I just saw a commercial on TV indicating season 11 begins airing on January 3rd
 
https://en.wikipedia.org/wiki/The_X-Files_(season_11)

That's easy: Dunkirk. Easily destroys the whole film.

I saw and "in" and "the" were capitalized and I was too offended to speak

Zzz...
 
The last time I bought a SW original trilogy album was around 1998 (or was it 1999?). Guess that won't be changing anytime soon.
 
I meant "new releases", of course. Got myself a copy of Anthology a couple years ago. But that one is worth getting for sound quality at least.
 
The fact they keep repackaging the same thing all over again is getting really embarrassing. I mean...it's been 20 years since the last time...
 
Karol

If this helps clear up anything: these are my notes on my own edit of the finale ("The Appearance of the Visitors / Inside the Mothership / The Visitors / End Credits").
There are two options for the "Inside the Mothership" music (which you can find on Pops in Space, By Request, as well as more recent Boston Pops compilations):
1. Keep the original last track from the SE CD, and then as the last bonus track, put "Inside the Mothership / The Visitors / End Credits (Concert Version)", edited from the Boston Pops track (starting at 2:47). In this way you also have the concert version, which overlaps the ending of The Visitors with the beginning of the End Credits and cuts out the When You Wish upon a Star theme at the ending. Or alternatively just put "Inside the Mothership" recording there (stops at 4:59).
2. Insert the "Inside the Mothership" cue at precisely 5:36,5 in the finale track. The result actually sounds pretty good.
(Note: of course if you want to be precise, the title "The Appearance of the Visitors / Inside the Mothership / The Visitors / End Credits" isn't entirely correct, as there's a short portion of "The Visitors" between "The Appearance of the Visitors" and "Inside the Mothership". By the way, the SE film featured a tracked segment in that place.)

If this helps clear up anything: these are my notes on my own edit of the finale ("The Appearance of the Visitors / Inside the Mothership / The Visitors / End Credits").
There are two options for the "Inside the Mothership" music (which you can find on Pops in Space, By Request, as well as more recent Boston Pops compilations):
1. Keep the original last track from the SE CD, and then as the last bonus track, put "Inside the Mothership / The Visitors / End Credits (Concert Version)", edited from the Boston Pops track (starting at 2:47). In this way you also have the concert version, which overlaps the ending of The Visitors with the beginning of the End Credits and cuts out the When You Wish upon a Star theme at the ending. Or alternatively just put "Inside the Mothership" recording there (stops at 4:59).
2. Insert the "Inside the Mothership" cue at precisely 5:36,5 in the finale track. The result actually sounds pretty good.
(Note: of course if you want to be precise, the title "The Appearance of the Visitors / Inside the Mothership / The Visitors / End Credits" isn't entirely correct, as there's a short portion of "The Visitors" between "The Appearance of the Visitors" and "Inside the Mothership". By the way, the SE film featured a tracked segment in that place.)

Hello There: A Star Wars Story

Well, you know, a lot can happen to your teeth in over 20 years and that T-Rex you can see on the logo might have a bit of a trouble brushing it every day. Poor thing.
 

 
Karol

Also, knocked out dinosaur teeth are known to have occurred.

Also, knocked out dinosaur teeth are known to have occurred.

The Terminal

Complete score breakdown by Jason LeBlanc
 
 
For of all, HUGE ENORMOUS thanks to @filmmusic who did all the hard work comparing the sheet music to the album for this project!
 
 
Google Doc link
 
 
 
COMPLETE CUE LIST:
 
01 Krakozhia National Anthem [speculated title]
02 1M2 War In Krakozhia
03A 2M1 Viktor's Theme
03B 2M1 Rev
04 2M3 Refusing To Escape
05 2M5 Finding Coins
06 2M7 Learning To Read
07 3M1 A Stallion
08 3M2 Visitor To Dixon's Office
09 3M4 Looking For Work
10 4M3 Napoleon and a Lunch Offer
11 4M4 Medicine for Goat
12 5M1&2 A Legend Is Born
13 5M3 Viktor Buys Clothes
14A 5M4 Amelia
14B 5MA Theme Ending
15 5M6 Engagement and Wedding
16 6M1 The Fountain Scene
17A 6M2 The Old Boyfriend
17B 6M2 Alt Revised Version
18 6M4 Gupta and the Plane
19 7M1 Viktor's Leaving
20 7M4 Destiny... Cannaloni
21 End Credits
22 End Credits Tango Ending
23 End Credits Part II
 
 
 
COMPLETE CUE LIST, with notes about film and album appearances:
 
01 Krakozhia National Anthem [speculated title]
FILM: The first 20 seconds of the cue are used twice OST: Appears in its entirety in track 9, from 0:00-0:44. 02 1M2 War In Krakozhia
FILM: Used as intended OST: Does not appear; This cue is completely unreleased 03A 2M1 Viktor's Theme
FILM: Does not appear (2M1 Rev is used instead) OST: Does not appear; This cue is completely unreleased NOTE: It is possible this was never recorded, if 2M1 Rev was written before they got to record this. 03B 2M1 Rev
FILM: Used as intended OST: Does not appear; This cue is completely unreleased 04 2M3 Refusing To Escape
FILM: Used as intended OST: Appears in its entirety in track 8 05 2M5 Finding Coins
FILM: Used as intended OST: Appears in its entirety in track 12, from 1:24-end NOTE: There could be an earlier take with different instrumentation recorded, as the flute melody at 1:52 was originally written for oboe 06 2M7 Learning To Read
FILM: Used as intended OST: Appears in track 12, from 0:00-1:24, but bars 1-2 are missing here and remain unreleased.  These bars are used in the film. 07 3M1 A Stallion
FILM: Used as intended OST: Appears in its entirety in track 6, from 0:00-3:50 / 4:27-end.   NOTE: JW inserted a portion of 5M6 into the middle of the cue for the album presentation, from 3:50-4:27. 08 3M2 Visitor To Dixon's Office
FILM: Used as intended OST: Does not appear; This cue is completely unreleased 09 3M4 Looking For Work
FILM: Used as intended OST: Appears in its entirety in track 10 10 4M3 Napoleon and a Lunch Offer
FILM: Used as intended OST: Appears in track 11, from 1:04-2:06, but only bars 1-16.  Bars 17-end are unreleased 11 4M4 Medicine for Goat
FILM: Used, but edited down / partially replaced with tracked music OST: Does not appear; This cue is completely unreleased 12 5M1&2 A Legend Is Born
FILM: Used as intended OST: Appears in its entirety in track 03 from 0:00-2:00 13 5M3 Viktor Buys Clothes
FILM: Bars 1-25 are used with internal looping, then it segues to music tracked in from 3M2 (bar 9-end) OST: Appears in its entirety in track 03 from 2:00-end 14A 5M4 Amelia
FILM: Bars 1-165 are used before seguing to 5MA OST: Bars 1-165 appear in track 2 from 0:00-6:55 before seguing to 5MA NOTE: It is possible bars 165-end were never recorded if 5MA was written before 5M4 was recorded in full NOTE: ALSO appears AGAIN on the OST in track 14 from 0:00-1:44 (bars 1-36 only this time, see End Credits Tango Ending notes below) 14B 5MA Theme Ending
FILM: Used as intended, and then additionally most of 5M1&2 appears again afterwards OST: Appears in its entirety in track 2 from 6:55-end NOTE: Sheet music clearly indicates that this is a new ending to 5M4 meant to start at bar 165 of the original cue 15 5M6 Engagement and Wedding
FILM: Used as intended OST: Appears in track 6 from 3:50-4:27, but only bars 15-end. Bars 1-14 are unreleased 16 6M1 The Fountain Scene
FILM: Used in film, but partially replaced with tracked music (including a version of 6M2 Alt, see below) OST: Appears in its entirety in track 5 NOTE: ALSO appears AGAIN on the OST in track 11 from 2:06-end (bars 71-end only this time) 17A 6M2 The Old Boyfriend
FILM: Does not appear (6M2 Alt is used instead) OST: Does not appear; This cue is completely unreleased NOTE: It is possible this was never recorded, if 6M2 Alt was written before they got to record this. 17B 6M2 Alt Revised Version
NOTE: It appears they recorded this cue at least 3 times, with instrumentation changes done at the podium Piano Version: Solo piano all the way through Accordion Version: Accordion and Harp all the way through Clarinet Version: Clarinet and Harp all the way through FILM: The Piano Version is used as intended.  Additionally, a portion of the Clarinet version is heard tracked into a part of 6M1 OST: The Accordion Version in its entirety in track 09 from 0:44-end 18 6M4 Gupta and the Plane
FILM: Used as intended OST: Appears in track 11, from 0:00-1:04, but only bars 1-19.  Bars 20-end are unreleased 19 7M1 Viktor's Leaving
FILM: Partially replaced with music tracked in from End Credits Part II (Jazz Autographs) [an alternate mix without the plucked strings] OST: Appears in its entirety in track 4 20 7M4 Destiny... Cannaloni
FILM: Used as intended OST: Appears in its entirety in track 13 from 0:00-1:33 21 End Credits
FILM: Used as intended? OST: Appears in its entirety in track 1 NOTE: ALSO appears AGAIN on the OST in track 13 from 1:33-end, with bars 82-87 removed 22 End Credits Tango Ending
FILM: Used as intended? OST: Appears in its entirety in track 14, from 1:14-end NOTE: Sheet music clearly indicates that this is a new ending to 5M4 meant to start at bar 36 of the original cue.  This means the repeat of 5M4 that opens track 14 of the OST is completely intentional and not an "album experience" repeat. 23 End Credits Part II
FILM: Partially tracked into 7M1 OST: Appears in its entirety in track 7  
 
 
ALBUM BREAKDOWN
 
OST 01 The Tale Of Viktor Navorski
[all] = End Credits OST 02 Dinner With Amelia
[0:00-6:55] = 5M4 Amelia, bars 1-165 [6:55-end] = 5MA Theme Ending OST 03 A Legend Is Born
[0:00-2:00] = 5M1&2 A Legend Is Born, bars 3-end [2:00-end] = 5M3 Viktor Buys Clothes OST 04 Viktor And His Friends
[all] = 7M1 Viktor's Leaving OST 05 The Fountain Scene
[all] = 6M1 The Fountain Scene OST 06 The Wedding Of Officer Torres
[0:00-3:50] = Beginning of 3M1 A Stallion, bars 1-125 [3:50-4:27] = 5M6 Engagement and Wedding, but only bars 15-end [4:27-end] = Ending of 3M1 A Stallion, bars 126-end OST 07 Jazz Autographs
[all] = End Credits Part II OST 08 Refusing To Escape
[all] = 2M3 Refusing to Escape OST 09 Krakozhia National Anthem and Homesickness
[0:00-0:44] = the Krakozhia National Anthem [0:44-end] = 6M2 Alt Revised Version (Accordion Version) OST 10 Looking For Work
[all] = 3M4 Looking For Work OST 11 Gupta's Deliverance
[0:00-1:04] = 6M4 Gupta and the Plane, but only bars 1-19 (bars 20-end are unreleased) [1:04-2:06] = 4M3 Napoleon and a Lunch Offer, but only bars 1-16 (bars 17-end are unreleased) [2:06-end] = A REPEAT OF THE ENDING OF TRACK 5 [6M1 The Fountain Scene bars 71-end] OST 12 Finding Coins and Learning To Read
[0:00-1:24] = 2M7 Learning To Read, bars 3-end (bars 1-2 are unreleased) [1:24-end] = 2M5 Finding Coins OST 13 Destiny, Canneloni, and The Tale Of Viktor Navorski (Reprise)
[0:00-1:33] = 7M4 Destiny... Cannaloni [1:33-end] = A REPEAT OF TRACK 1 [End Credits, but with bars 82-87 removed] OST 14 A Happy Navorski Ending
[0:00-1:44] = A REPEAT OF THE BEGINNING OF TRACK 2 [5M4 Amelia, bars 1-36 only] [1:44-end] = End Credits Tango Ending  
 
 
CHRONOLOGICAL ORDER OF THE ALBUM
 
01 09A [0:00-0:44] Krakozhia National Anthem
02 08 Refusing To Escape
03 12B [1:24-end] Finding Coins
04 12A [0:00-1:24] Learning To Read
05 06A [0:00-3:50] / 06C [4:27-end] "A Stallion"
06 10 Looking For Work
07 11B [1:04-2:06] "Napoleon and a Lunch Offer"
08 03 A Legend Is Born
09 02 Dinner With Amelia
10 06B [3:50-4:27] The Wedding Of Officer Torres
11 05 The Fountain Scene        
12 09B [0:44-end] Homesickness
13 11A [0:00-1:04] Gupta's Deliverance
14 04 Viktor And His Friends
15 13A [0:00-1:33] Destiny, Canneloni
16 01 The Tale Of Viktor Navorski ("End Credits")
17 14 A Happy Navorski Ending ("End Credits Tango Ending")
18 07 Jazz Autographs ("End Credits Part II")
 
Notes: 
Track 11C [2:06-end] is a repeat of Track 5's ending and is not needed
Track 13B [1:33-end] is a repeat of Track 1, with a portion removed
Track 14A [0:00-1:44] is a repeat of track 2's opening, but can be kept as it is an intended repeat to segue into the Tango Ending.
 
 
 
NO EDITING REQUIRED, MOSTLY CHRONOLOGICAL ALBUM SEQUENCE
01 - 08 - 12 - 10 - 03 - 02 - 06 - 05 - 09 - 11 - 04 - 07 - 13 - 14
 
 
 
 
 
UNRELEASED MUSIC LIST
 
01 1M2 War In Krakozhia - completely unreleased cue!
02 2M1 Viktor's Theme (if it was recorded) - completely unreleased alternate!
03 2M1 Rev - completely unreleased cue!
04 2M5 Finding Coins bars 1-2 [bars 3-end are on the OST]
05 3M2 Visitor To Dixon's Office - completely unreleased cue!
06 4M3 Napoleon and a Lunch Offer bars 17-end [bars 1-16 are on the OST]
07 4M4 Medicine for Goat - completely unreleased cue!
08 5M1&2 A Legend Is Born bars 1-3 [bars 4-end are on the OST]
09 5M4 Amelia original ending (bars 166-end) [bars 1-165 are on the OST] (if it was recorded)
10 5M6 Engagement and Wedding bars 1-14 [bars 15-end are on the OST]
11 6M2 The Old Boyfriend (if it was recorded) - completely unreleased alternate!
13 6M2 Alt Revised Version (Piano Version) - completely unreleased alternate!
14 6M2 Alt Revised Version (Clarinet Version) - completely unreleased alternate!
15 6M4 Gupta and the Plane bars 20-end [bars 1-19 are on the OST]

No time for love Dr. Williams.

Regarding the discussion about "War of the Worlds" several posts ago, I should point out that Erich Kunzel did record "Escape from the City". This was a companion track on the digital release of "Great Film Fantasies" from 2006, which also included music from the "Star Wars", "Harry Potter" and "Lord of the Rings" series. Those were all on the CD release, and both the "War of the Worlds" and "Batman Begins" tracks were iTunes exclusives.

Williams confuses 3PO with R2? More proof he's never actually seen any of these films!

You wanna know how to get LaLa-Land's Jurassic Park and Lost World 4 CD set from Screen Archives? They pull a knife, you pull a gun. They send one of yours to the hospital, you send one of theirs to the morgue. *That's* the *JWFan* way! And that's how you get this set. Now do you want to do that? Are you ready to do that? I'm offering you a deal. Do you want this deal?

I thought there was already a thread about this, but I can't find it, so here goes.
 
Yesterday the annual Hollywood in Vienna event took place, featuring Alexandre Desplat as the recipient of this year's Max Steiner Awardee.
 
The concert itself was a mixed bag. Science fiction themed (no doubt because Desplat was still attached to Rogue One when the concert was announced), the first half featured Strauss' Also Sprach Zarathustra opening and excerpts and suites from Broughton's Spaceship Earth ride, Goldsmith's STTMP main title and First Contact, Silvestri's Contact, Arnold's Stargate, Price's Gravity, Zimmer's Interstellar, and Williams's Across the Stars and E.T. end credits.
 
As usual though, some pieces were heavily edited. Across the Stars was ruined by turning it into a "suite for violin and orchestra", with a solo violin introduction and then a hectic solo violin part layered on top of the Williams piece. The middle section featured the a cadence that sounded like the soloist was force choking his instrument. At least they had the decency to retitle this abomination to Anakin and Padme.
 
The worse contender though, and by far the worst thing ever to come out of the Hollywood in Vienna series (which has no short list of artistic mutilations) was Goldsmith's First Contact theme gang raped by a choir and heavy operatic soprano. Never mind that having a choir aah theme theme along with the orchestra is odd enough in places (it's not exactly a theme that lends itself well to voices), but the entire thing was based on the soprano singing (on "ah") the melody - and when the melody wasn't there, the vocal line took over bits of the accompaniment. I had to laugh out loudly near the end. One day later, Goldsmith must still be spinning in his grave. The whole thing was a macabre grotesque and I fail to see how anyone could even begin to think this was a good idea, let alone actually deciding to go through with it.
 
The rest of the first half fared much better, although the soloists had some problems and the remaining Goldsmith and Williams pieces weren't the most exciting performances, with some lackluster tempo choices. Conductor Keith Lockhart can hardly be blamed for that, because apparently the entire concert was performed to a click track. Additionally, the whole thing was amplified and turned up to 11, with a good chance of winning the loudness war.
 
The second half belonged entirely to Desplat and fared much better, showcasing his vast range of styles and instrumentations (although it was solely focused on his Hollywood career, starting with Girl With a Pearl Earring). There was a whole array of guest performers, including soloists for the ethnic instruments in Argo and Swiss yodelers and the Don Cossacks Choir on The Grand Budapest Hotel. After accepting the Max Steiner award, Desplat himself stepped up to conduct The Secret Life of Pets.
 
I only have a couple of Desplat CDs so far and always found that most of them leave me mostly cold (notable exceptions being the fun Secret Life of Pets and the gorgeous Grand Budapest Hotel, but I'm much more excited about his music now and added several CDs (and films, for that matter) to my immediate to-buy list.
 
Accompanying the concert, as in most years, was the Film Music Symposium Vienna, featuring among other things Robert Townson (briefly) chatting with Desplat's wife and regular concert master, Dominique Lemmonier, a talk by Laura Engel of Kraft-Engel Management (who was a lot of fun and enjoyed sharing a wealth of anecdotes) and of course a talk and Q&A session with Desplat himself.
 
A few tidbits from the Desplat session:
 
During composing, when stuck, he likes to sleep ("it's a very deep sleep") to clear his mind as part of his usual work process.
 
When asked whether he had any contact with John Williams when composing his Potter scores, he explained that he didn't. "You don't just call John Williams and say, hi John, what the fuck?"
 
Asked about what caused him to drop out of Rogue One, he explained that the recording sessions where originally scheduled for early August, but then moved repeatedly, first to September, and then further, and he was already commited to another project that clashed with the changed schedule.
 
He called John Williams the master (like pretty much every composer at the symposium so far) and mentioned that Roman Polanski never uses temp tracks and always relies on his composers to bring their own ideas to the project (and favourably mentioned Chinatown[/i). During his acceptance speech, concerning Vienna he specifically pointed out Anton Bruckner (always a plus in my book) and Gustav Mahler, joking that he would have loved to have written Mahler's 2nd and Bruckner's 9th symphonies.
 

 

 

 

 

 

The slipcase was rather unattractive but the signature looks nice indeed.
 

 
I wonder whether they were waiting so long with the new release just so that Se7en could be Vol. 7.
 
Karol

SEVEN is coming from Howe Records on September 16th
 
https://www.amazon.com/dp/B01IUYVAFQ/

It would require editing, but the FYC appears to be all the film cues in proper sequence. 

Ditto!