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Falstaft

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Falstaft last won the day on October 15

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About Falstaft

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  1. Hrm, to each their own, I suppose. But it seems odd to me to deny yourself hearing one of the standout action tracks, not just of TROS, but Williams's post 2010 output as a whole. And it's just 2:23 minutes long! Spoil yourself a little, @mstrox!
  2. I couldn't agree more with your interpretation, @Ludwig. So much of the impact in that particular cue comes from the instrumentation -- fairly sure it's a solo English Horn, a rarely used but very affecting timbral color in these scores. It gives the theme a haunted, exposed quality I'm not sure we've ever heard before. I dare say there's more "emotional range" in these various treatments of Palpatine's Theme in Episode 9 than there were through the whole Prequel Trilogy. (In fact, "I Am The Senate" and "Anakin's Dark Deeds" hold the only iteration I can think of that's something o
  3. We get some really nifty statements of The Emperor's Theme in Episode 9. What's your favorite, and why? These are the instances I could discern, but may be missing one or two. It's not always clear to me what was intended where, and there are a few statements that are clearly tracked in multiple places. (And who knows what else lurks in the unheard pages of Williams's phantom TROS score). Notes on the poll: * - This is a very slightly rearranged, chorus-free restatement of the theme from ROTJ, R10P2 (The Emperor Confronts Luke) ** - This appears to be a tracked restatemen
  4. I'm not sure I'd call the tumultuous part "generic" but I strongly agree with you otherwise that it's much too heavy. Everything up to 1:12 is superb and atmospheric, and then all hell kind of breaks loose. One of quite a few spots in TLJ that I wish Williams had approached in a subtler way.
  5. It's so interesting to revisit this thread, and to see folks' opinion on Attack of the Clones when it was still fresh. Have any of your opinions changed on 3M3 "The First Kiss"? @King Mark? For musical reference, the musical cue in question: (I know the thread is about scoring, not music on its own... but seriously, I don't want anyone to be subjected to the to the actual scene in question, which remains as cringe-worthy as it was in 2002...)
  6. ANH is basically untouchable. Its biggest flaw is that, somehow, its successor ESB manages to be even better. TPM is brilliant, boundlessly energetic and inventive. If we were able to hear the real, originally intended score for the Battle of Naboo, I suspect it would be even more highly ranked. Its biggest flaw is that its Prequel Trilogy successors don't really follow through with what it sets up thematically (in particular Anakin's Theme & DoTF). TFA is a solid A score, but not transcendent in the same way ANH is, or extravagantly enjoyable like TPM. The dramat
  7. There are plenty of cases of sound-alike cues whose similarities are overrated, but at least for the first 20 seconds, "The Face of Pan" & Agnes of God isn't one of them. I mean, the opening few measures of FoP are so clearly modeled on the Delerue -- right down to the voicing of chords -- that you could practically overlay them and it would still work. They're not carbon copies of course, but the churchy progression, upper-voice melody, orchestration, and texture is the same. The differences aren't enough to obscure the similarities, but they do exist: a slightly slower harmon
  8. In truth, this is probably my least favorite arrangement by Williams, though I'm glad others seem so fond of it. To me, it's little more than an awkward cut-and-paste job, with no actual arranging happening besides the choice of when to cut off one excerpt and begin the next. That said, I always get a chuckle out of the abrupt shift from Titanic to Psycho, which nicely punctures the romantic gooeyness of the former.
  9. Fantastic as always, @Ludwig. Can't wait to follow this series of posts, and to come to an even appreciation of Morricone's artistry.
  10. Hard not to choose the huge set-pieces, which, especially as presented on the Intrada album are simply phenomenal. The big three -- "The Intersection Scene," "Escape from the City," and "The Ferry Scene" -- are, in my mind, peerless depictions of musical panic and violence. But this expanded release is giving me appreciation of some of the less obvious, more atmospheric corners of the score. So here are three underdogs: "Surveying the Wreckage/Watch the Lightning" "Woods Walk" "Harlan Ogilvy"
  11. This is really remarkable, @Ludwig, and strengthens my feeling that "Farewell" is one of the cues Williams pored the most effort and attention to. I'm also struck by how this semitonal figure is prefigured earlier in the score. I have to thank @BrotherSound for pointing out one particularly ingenious usage: as the counter-melody against Leia's theme during her elegy in "Healing Wounds" -- first following Kylo Ren's melodic contour, then inverting it, then combining both up and down forms at 2:10. Superb.
  12. I think you're right about this, though it's a pretty subtle transformation. Cool! I myself can't help but hear the B-section of the Men of Yorktown march in that little snippet:
  13. To me, one of The Rise of Skywalker's most endearing qualities is the number of short, transient melodies and motifs that are heard just once or twice. These tend to be unrelated to the series's main catalogue of leitmotifs, and they aren't really set-piece themes either since they don't draw attention to themselves like "The Asteroid Field" or "Flag Parade" do. Nevertheless, I find these little one-offs quite essential to the overall warm, humane tone of this score as a whole. Here's a sample of what I'm talking about: Leia Trains Rey. Two distinct statements, at 0:10
  14. Since that video, I did catch two subsequent, somewhat loose usages, one in The Post (listen especially at 3:16-3:19)... ...and one, quite loose, in The Rise of Skywalker.
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