stravinsky

Yes of course I hadn't thought of it that way. Very cogent points. It's just that the actual musical archaeology of the Star Wars Scores fascinates me.

No way. Really?

I'm listening to this magnificent score again now. I just wonder why Williams dropped the Droid motif from Empire. He composed a new idea (although I don't think it's repeated anywhere else in the ROTJ score) first presented when we see C-3P0 & R2D2 journeying towards Jabba's Palace at the beginning of the Movie. Possibly just another example of Williams' inexhaustible invention with the desire not to repeat himself. The Droid Motif from Episode V is one of my favourite lesser themes from the orginal Star Wars trilogy.

Thank you v much for this info. As I say I'm really hoping once 2027 comes along we'll get the Deluxe treatment for all 9 Scores that we've been waiting for all these years. 3 CDs for Return of the Jedi?

In three years time with the 50th Anniversary I expect all 9 Scores will be released in their entirety(?). As far as the sheer amount of material written for the Prequels & Sequels would this amount to about 3 CDs per Movie? I realise this question has probably been asked many times.

Surely this will be sorted out in 3 years time for the 50th Anniversary.

I just booked a ticket for this event plus flights and a hotel. I'm coming down from Scotland. If there are any more Scots (or anyone) who wants to go for a pint after the event please let me know. Cheers Raymond

I'm thinking of buying this new re-master. Can anyone tell me the cheapest way to buy it considering postal fees and how to avoid possible extra postal fees on recieving the discs. Is it best just to order straight from Lalaland or perhaps some other retailer. I live in Scotland.

Wow that's a lot of music. Thank you

Can I ask how much material there would be if all of the Sequel Scores had the Mike Matessino treatment. Would it be like 3 discs per movie or something? I'm 54 in a couple of months time and I don't think there will be such a future release in my lifetime. Maybe by 2027 though which is 50 years I guess. Christ what a thought...

Can I ask what the melody is at the close of Track 1 on the Album? Saw the movie yesterday here in Glasgow Scotland. It was alright/disappointing. Stupid dumb plot. Also they still can't get the Deepfake thing tuned to perfection yet. The best thing about it as a Glaswegian was seeing Glasgow double as New York City in the parade scenes. P. S My question has been answered already. Does track 1 constitute the only appearance of this theme on the Album?

Just read this handy little guide. I pray that if a new release of the OT scores ever happens again we will be treated to clean endings and openings for every cue. Each and every cue separated as they were recorded. It would be transformative and definitive. Also there is a Flute Solo in one of the Bespin cues (I can't exactly remember the exact cue title) that was prominent on the old RSO Double LP, but appears to have been buried in every other mix released after. I hope this will be rectified in the future.

I picked up the LP second hand when I was a teenager. The minute I heard "Out to Sea" I knew it was greatness.

Can I ask if the last 10 Tracks on Disc 1 are genuinely comprised of alternate (different) music, or just different takes of the same cues?

So funny Tom you should mention the old Dorati/Connery recording of Britten/Prokofiev. It was the first record I ever bought (on Cassette) when I was 12 years old. I never played side B containing Peter & the Wolf though. We were played the Britten recording in first year music class and I was mesmerised. The final Fugue is genius. As you know Britten recorded his own version without narration for Decca with the LSO. All best wishes to you from Scotland. P.S I'm currently listening to the Intrada complete Spacecamp. Truly an embarrassment of riches...

Hello Tom. It's precisely the kind of Bluegrass Banjo stuff I love about The Reivers Score. I even copied a CD of the isolated score tracks from the Bluray of "Conrack" for the same reason. Although I've never gotten into the Missouri Breaks score in the same way. Probably because there's no Orchestral backing. The same honky tonk style permeates The Sugarland Express but JW nipped that in the bud. Also thanks for clarifying what made up the Reivers Suite. As I say It would be great to hear the music on its own but that'll never happen. I remember a beautiful cue from the original score where they win the horse race and I hope it gets a release someday.

I have just listened to the Reivers Concert Suite from the BPO "Music for Stage & Screen" album for the first time. Unfortunately it represents an example of my most hated genre of music. Namely that of orchestral music with added narration. With these kind of Spoken Word recordings, the talking always just gets in the way for me. I was so happy to buy the version of Copland's Lincoln Portrait from the "He Got Game" album with Henry Fonda's voice totally removed. I would have much preferred this Reivers Suite in a version without Burgess Meredith. But there it is. I know this is probably old hat but can anyone tell me if the underscore for the suite I've just heard is comprised solely of cues from the actual film score? Or did Williams add extra music just for this arrangement? Also will the complete original score tracks for The Reivers ever see the light of day in a new deluxe edition? Or have the original tapes been irretrievably lost to time? Thankyou.

JW conducted from full scores for the sessions for TPM, AotC and ROTS which I was involved in. In this photo from Abbey Road he has the full score for Episode II in his hand. Oh no wait a minute. On closer inspection perhaps that is the short score he is holding. With two leafs doubled up into one page?

For some reason I always thought the Bassline was reinforced by Tuba and ARP Synth at the very opening of the movie when Vader's shuttle mysteriously glides towards the new Death Star. However looking at the written music there is no Bass underpinning. Only Celli and Double Basses. Weird. "Approaching the Death Star" is a truly magical moment musically and all the more fascinating now since learning the "Trap" motif is first utilised in this cue. And this revelation after 40 years of listening to this music!

I don't think it's all that bad. But I agree with you. The quotations from earlier scores (obviously not Williams idea) just lessen the score that little bit. I'm neither here nor there in regards to the Ewok music but the original and re-done choral endings are pure dairy product. For what it's worth I would say ANH 10/10 TESB 9.5/10 RotJ 9/10

I know the consensus is that RotJ is the weakest of the Star Wars OT Scores. But there are so many amazing cues in this movie. The scene where Leia/Boussh releases Han Solo from Carbonite, The Rebel Briefing scene, The Speeder Bike Chase to name but a few. To compare the first three scores is like asking which one of Mozart's last three Symphonies is best. 39, 40 or 41? Pointless really. RotJ is a marvellous score. With one of his most beautiful and underused themes for Luke & Leia. Even after 40 years of listening this music continues to reveal its secrets to us thanks to the intrepid sonic archaeologists here.

Yes Empire is marred by the constant repeats of the Imperial March. But that very first iteration on Piccolo at the very start. Its one of countless golden moments. Thank god none of us have to choose which score to bring with us to the desert island. I love all three.

It would amazing if the early unrecorded versions of cues from ANH were somehow tracked down and recorded anew. I guess this will never happen though. Do the full scores exist somewhere? The Princess Theme 2-01 Princess Leia's Theme 4:28 1-14 Princess Leia's Theme 4:23 03 Princess Leia's Theme 4:24 Early, never-recorded versions 2M2 The Little People Shorter opening, ends without the Imperial Motif 2M3 More Little People Shorter opening and other minor differences 3M1 The Princess Appears Sme additional passages and different orchestration 3M2 Lost R2 Ending features Imperial Motif 3M3 The Sand Speeder Shorter cue before scene was re-edited 3M4/4M1 The Sandman Attacks Shorter cue before scene was re-edited, Force Theme at end used woodwinds instead of horns 4M4 A Home Destroyed 5M1 A Hive of Villainy Unleaked, but leaked sheets indicate bars 25-42 were replaced by new bars 25-43 5M6 The Inner City Bars 24-35 have a "sinister" timpani and drum passage for the Vader and Chief Bast scene shown in the Holiday special 7M1 The Hatch Opens Harp and woodwind passage around 1:30 is slightly different 8M2 The Rescue First 5 bars replaced by 8M2 Rev New Introduction To The Rescue 8M3 The Water Snake 11M2 Approaching the Target

Good God I've been listening to this music for 40 years and until now I never realised the material from "Into the Trap" was used elsewhere in the score. How could I not have noticed this?