Falstaft

Brilliant work, @BrotherSound. Heard in the right context, like this, you can really tell how much Williams knocked it out of the park in TROS when it came to emotionally satisfying, musically coherent long spans of densely thematic underscore.

Went with Princess Leia's theme, though it's a hard call. Ultimately, it's the concert arrangement for Leia that clinches it, that thing is without peer. I mean, not to minimize Pope's contribution, but it's still 90% Williams, right? The only part that would be "original" Conrad Pope is the lovely introduction, especially in the way it hints at Han Solo & the Princess in the horn part. After that, it follows the form of the original concert arrangement exactly, with (presumably Pope's) solo writing for ASM and some other slight reorchestrations here and there, all

Fantastic connection, @crumbs! I hear some additional similarity in the string writing and harmonic sensibility to a closely related (and hugely underrated) track, "Watching the Eclipse," from Angela's Ashes, both w/ the beginning of "Healing Wounds" and its successor cue "Advice."

Here's my attempt to encapsulate the thematic make-up of these alternate end credits sequences. Not necessarily the easiest thing to read, but contains most of the pertinent thematic info, I think:

ESB, of course, and Close Encounters. The LOTR scores do come to mind, but FOTR has some serious longueurs, especially the Extended Edition. I would think ROTK makes for the more involving listen, start to finish, though the longer I listen, the more Shore's orchestrational tendencies might start to grate on me. Maybe I'm a minority, but I think start to finish, Goldsmith's Star Trek: The Motion Picture is about as satisfying, continually gripping a long-listen as you can ask for. Even as highly rated as ST:TPM tends to among film score fans, it's not rated highly enou

Last night was crazy. And now I'm walking to work with a -4F wind chill blasting in my face.

Hmm, I've never made that connection with the Henry V score, though it is blindingly clear to me now. But I'd hardly say the JP cue is a downgrade on the Doyle, quite the opposite! The Grusin ripoff I'm with you on, as fun as the cue it is. Though for the Delerue/Face of Pan, that's a piece that completely transcends its temp track after about 15 seconds, no? And I love Delerue and the Agnes score in particular.

Wow! Never heard that before, what a striking resemblance. Pretty hard to fathom it was an intentional allusion -- esp. when more likely candidates exist -- some blend of Tchaikovksy's Swan Lake Finale, Elgar's 1st Symphony 2nd Movement, and the Tarnhelm motif from Rheingold and a few others models. But this is delicious music!

Not only Luke's Theme in one version of the TLJ Finale (9M85 Alt Insert), but a quite different sounding set of variants of the Force Theme (9M85 and 9M85A), a few hints of Jedi Steps here and there, even one version of Luke's death that directly recalls the Desperation motif, aka Holdo's Sacrifice (9m85B). Not clear what of these various alternates were actually recorded. Time, hopefully, will tell.

I think the simple explanation is that all these cues were indeed temped with Haab's Battlefront scores. Obviously, Haab was riffing on Williams in the first place, so it's hardly a serious creative impropriety, just another example of Williams not inventing his ideas out of thin air. In the case of The Adventures of Han, Disney probably offered that Battlefront cue to JW to give him a sense of what sort of general heroic, rousing vibe was suitable to the film. The resulting AOH is still 100% Williams, and a brilliant piece at that. As for TROS, I suspect the moments i

Nice one -- it's definitely scattered across these scores, TLJ in particular. Think I included a form of it as an "Bad Feelings on Ahch-To" incidental motif. Its contour is also sort of suggested by the "Desperation" theme and its derivatives from time to time. Not bad company to be in! (Or the Beethoven "Muss es sein?" cell that inspired Liszt, and Franck as well in his Dm symphony)

Great catch, @Arpy! IIRC, there are a quite a few more instances of that motif, or something like it. This comes to mind: Suspect it's not an intentional or meaningful repetition, but rather a melodic gesture that was just sort of on Williams mind while composing TROS. Still, maybe worth adding to the lexicon as another incidental motif!

Speaking of joyousness, surprised there's only one mention of E.T. so far. (Or the Les Baxter piece, "Joy" that Williams was spuriously alleged to have swiped the theme from! :P) And let us not forget this insipid little gem! Something worthy of Always Sunny in Philadelphia, no?

This is fantastic, @BrotherSound. Lots to chew on... Funny how, for each of the main trio characters in the ST, there's a cue about them awakening at some point: TLJ 1M2: "Finn Wakes Up" TLJ 7M61: "Poe Wakes Up" TROS 1M9: "Rey Wakes Up"