ABez

Given what we know of the plot for Star Wars: Episode III, my thoughts turn to the score and I wonder what the inspiration for the centrepiece musical theme will be. For Episode I, we had 'Duel of the Fates' and 'Anakin's Theme'. For Episode II, we got 'Across The Stars'. What concert piece(s) can we expect to see on the Episode III soundtrack and what story point/character will inspire the theme? Any thoughts? Cheers, Abez

I don't believe it has sold out yet. I tried to buy online at the Royal Festival Hall's website (www.rfh.org.uk) and they had all but sold out, two days after going on sale!. I called their Box Office the following day and the folks there told me that the RFH's allocation of tickets had all but sold out but that their allocation was small. The London Philharmonic Orchestra receives and sells a separate allocation of better quality seats and I believe that you can still buy online from their website (www.lpo.co.uk). I hope you're successful. Andrew

I quite like the oboe's use in the early stages of 'Love Theme From Superman (Track 14, Disc 2 of the Rhino release). For a while, it was a cue that passed me by. I wondered if any other cues using the oboe from other albums may have passed me by also. Your suggestions, please... Cheers, Andrew

I bought the score earlier today and have listened to it in its entirity. As was the case with the previous two LOTR scores, I wasn't immediately wowed, unlike I am with much of JW's stuff. All three have grown and grown on me, however; they are, in my opinion, as good as anything JW has done. I'll only really appreciate how brilliant each track is when I see/hear the film. However, early favourites include 'The Ride of the Rohirrim' and 'The Return of the King'. I just wish Shore had reprised 'The Breaking of the Fellowhip' theme to a greater extent and had provided one final bombastic version of the 'Fellowship' theme (of course, he may well do that in the film). Congratulations, Mr. Shore.

Very sad news indeed. My thoughts are certainly with his family. My only Kamen score is 'Licence To Kill' but have you heard his orchestration of the 'Gun Barrel' music for the film's opening? I believe it's the BEST any Bond composer has produced for this signature moment in the films. Brilliant. A composer who will be dearly missed. Thank you, Michael.

I wonder if Shore will compose concert versions of any of the major themes from the trilogy for the 'complete' release. So far, we've only had 'Concerning Hobbits' - the concert version of the Hobbiton theme. What about a concert version of the 'Fellowship' theme, 'Sauron's' theme, etc. JW arranges so many of his themes so well into a concert format, especially for complete releases such as the Star Wars set. Andrew, UK

Certainly., there's little between the BSO and LSO; I can't decide. To digress a little, I've wondered (once, maybe twice at most) about the distinctive qualities of the orchestras with which JW has worked. For example, if the BSO and LSO rerecorded a JW theme tomorrow and you heard both recordings, do you reckon you could tell which orchestra's version was which? I guess I'm asking what folks think are the distinctive sonic qualities of the various orchestras. Cheers, Andrew, UK

In another posting thread ("Helm's Deep...Hacked"), I mentioned how brilliant Howard Shore's reorchestration of 'The Breaking of the Fellowship' is on FOTR: EE End Credits (Official Fan Club Founder Members' Credits). Similarly, I loved Thomas Newman's reworking of a theme used sparingly in The Green Mile for the film's end credits (the last 2 mins). Such reworkings were not part of the films' scores as released on CD so the only way you can obtain the music is by 'ripping' it off the DVD/Video release. This has got me thinking. Can anyone think of an occasion(s) when Williams has reorchestarted a main theme for the End Credits and the End Credits alone i.e. not released the music on the OST? It's great to 'unearth' these hidden gems. Andrew, UK

Another variation on the 'Best of JW' question... What do people think is the best 'snippet' (15/20 secs. or so) of JW's music as heard in a film? I'm interested, too, in folks' reasons for selecting the piece. Is it to do with the way the music works with what is on screen or is it because the music completely overtakes/dominates the pictures? Andrew, UK

For the sheer volume of 'sweeping', it has to be 'Across The Stars'.

What about the second nine . . . third? Couldn't agree more with the above question. One of the reasons that I prefer the ROTJ score to TESB is its greater employment of The Imperial March beyond the first nine notes.

Supergirl's tambourine does nothing for me, I'm sorry. That said, there's an admirable lack of vanity about Goldsmith's (?) decision to have the Supergirl march 'reflect' Williams' Superman effort. A great 'nod'. Similarly, Mark Snow's employment of Williams' stuff in 'Smallville': none of this 'need for a fresh direction' rubbish. I also really like Snow's music that play over the end credits of 'Smallville'. I don't know if it is heard when the show airs in the States but it does here in the UK and is a terrific but unfortunately short piece. Anyone else rate it?

I sincerely hope all three LOTR scores get the extended/complete treatment. Has anyone really enjoyed Shore's reorchestration of 'The Breaking of the Fellowship' which plays over the list of 'LOTR Fan Club Founder Members' in the end credits of FOTR: EE. It's has a slighty softer sound quality to it; I don't know how this was achieved, if it involved electronic instrumentation. Any thoughts? Andrew, UK

What do people think is JW's best use of the piano in his movie scores? I reckon Seven Years... and A.I. take some beating.