stravinsky

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. 

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. 

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. 

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. 

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. 

I just brought the issue up since the episode is not mentioned in the Filmography section on JWFan (perhaps because there is so little evidence of its composition plus the fact the actual film isn't easy to track down) so unless I had read your liner notes for Heidi I would never have heard of it. Thankyou! Also since it is late 60s Williams and he was nearing the stage of sounding more and more like the mature Williams we love today then perhaps his music for a mostly unknown feature length TV movie might be worth unearthing. As I say if something as obscure as Goldsmith's gorgeous Americana score for "A Girl Named Sooner" can be sourced and released then who knows what gathers dust in the vaults. It continues to fascinate and hearten me that cutthroat Hollywood still has a human side when it comes to being unwilling to trash something as precious as music. Surely there would have been no reason to store thousands of film and TV scores back in the day but they did. And thank god they did. 

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

Oh Incanus your work is fantastic. This is worthy of a book! Is there a similar breakdown of JP? 

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 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 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 

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. 

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. 

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... 

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? 

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! 

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 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. 

There are 1, Jaws, 2, Star Wars, 3, Superman, 4, Raiders of the Lost Ark, 5. E.T.the Extraterrestrial, John Williams scores that are better in the 74 to 84 period.  
 
It is not the pinnacle. 
It will always be second to Star Wars, which is simply unmatched by any other Star Wars followup.
And yet its a great great score 

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? 

I have 14 of these titles. All of them magnetic and wonderful. My only niggle was the sound quality of the Towering Inferno in the Box Set. I suppose I was hoping brand new tapes had been found but to my ears I just didn't get the impression of any marked improvement. Despite my disappointment I know full well that the producers did the very best with the elements they had for this major restoration project. What puts the cherry back on the cake for me is the sheer beauty of design in terms of art work, liner notes and everything else with Lalaland. Truly albums to be cherished. Roll on the next 500!