Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


Everything posted by Falstaft

  1. 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.
  2. 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
  3. 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."
  4. 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:
  5. 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
  6. Last night was crazy. And now I'm walking to work with a -4F wind chill blasting in my face.
  7. 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.
  8. 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!
  9. 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.
  10. 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
  11. 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)
  12. 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!
  13. 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?
  14. 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"
  15. The Jedi Steps theme is nowhere literally stated in the TROS score as we have heard it. But I'd put very good money on it having been utilized in some unheard or alternate cues. Particularly the Ahch-To Sequence, which almost certainly went through revisions, and where the overall sound-world of Jedi Steps is strongly in evidence, particularly with that establishing shot you mention @igger6. And I completely agree with @wowbobwowthat the theme is embedded, or at least alluded to, in "A New Home."
  16. My ranking, adding a few -- "Adagio," new "Han Solo & the Princess," and all the violin/orchestra arrangements, of which "Across the Stars' is the most transformative. My ranking: 1) Rey's Theme 2) Adventures of Han 3) Rise of Skywalker 4) Galaxy's Edge 5) March of the Resistance 6) Han & Leia (Take 2) 7) Across the Stars (Take 2 for Solo Violin) 8) Rebellion in Reborn 9) Scherzo for X-Wings 10) Jedi Steps, Jedi Steps & Finale 11) Adagio 12) Leia's Theme, Yoda's Theme, Luke & Leia (Takes 2 for Solo Violin, po
  17. Of the choices offered, probably Accidental Tourist. As others have pointed out, The Long Goodbye is technically the best answer, but is so strange I can see why it wouldn't be included. Others to consider? Born on the Fourth of July, in terms of a small set of memorable but heavily repeated thematic material. Munich in terms of general uneventfulness. Black Sunday, Family Plot, Story of a Woman and The Secret Ways for milking a few small ideas for all they're worth.
  18. Happy Birthday to the master! By way of celebration, I've uploaded a rare, very long interview from 1983 JW conducted with Robert Lurtsema on NPR. I've been sitting on this for awhile; not sure it's been heard since '83!
  19. This absolutely made my day, @Marc. A fresh perspective on what may well be the single greatest action cue of all time. (Forgive the hyperbole, but it's true!)
  20. How about "skittish"? If, instead of one word, you'd be willing to indulge ~12,000, an essay of mine on Williams's post-2000 action scoring style just came out. Doesn't focus exclusively on the ST, and barely mentions TROS, which premiered right as I was finishing writing. But touches on some of the ideas raised here. Maybe this is a bit of oversimplification, but the ST action style does represent a kind of synthesis of OT and PT approaches, doesn't it? You have the former's quite thorough integration of leitmotifs, and the latter's more frenetic, less set-piece-theme driven m
  21. No argument there. Huppert's Metropolis is a musical marvel. I suppose the unavailability of a high-quality complete recording (or any recording?) of that score until a two decades ago has something to do with its unfairly marginal status in film music history. Because boy is it a glorious thing to hear. It's easy to see the appeal Shostakovich held for Herrmann -- acerbic, sarcastic, disappointed romantics both.
  22. It's a curious quirk of the way we tell film music history that Shostakovich, despite being the far more productive composer for films, is basically ignored, compared to his counterpart Prokofiev, who only wrote, what, 4 or 5 scores? But those happen to be for more "important" movies, and have enjoyed an afterlife in the concert hall thanks to the composer's savvy -- and their high quality too, don't get me wrong -- Nevsky is a blast. The Prokofiev scores cast both a longer shadow in critical/scholarly discourse (see Eisenstein's Film Sense, Adorno/Eisler Composing for Films, much
  23. Off the top of my head, there is this article, which reports that he lists Shostakovich as an influence, along with Prokofiev and Stravinsky: http://www.jwfan.com/?p=4551 In general, I think the Shostakovich influence on JW's music is far less pronounced than Prokofiev's. Even in places where it's quite Shostakovich-ian, like parts of the Battles of Yavin and Hoth, it often seems to be more of a case of Shostakovich-being-channeled-through-Walton than direct inspiration. (Indeed, that interview emphasizes how William Walton occupies a privileged place in Williams's mind.)
  24. ESB for me, followed by ANH, and not a particularly hard decision. Pinnacles of the form, both of them. Worst, hands down, is ROTS -- a disjointed and frustrating send-off, if a well-performed one. The transition b/t Battle of the Heroes and the Throne Room is one of my least favorite moments in all of JW. The Prequels are all a mixed bag, to be honest. AOTC at least offers that wonderful ending, with the harp/harpsichord statement of ATS, a hint of Anakin's Theme (one of only 3 times its heard out of TPM!) and a great merger of ATS and Vader's Theme. And TPM is, as @oierem and @D
  • Create New...