lairdo

Regardless of one's impression of the movie, I think it's hard to deny there is some great music in Indy 4, with a lot not officially available. 
 
As for the Disaster Box Set, ordered at 3:01 EST while standing in the Modern Museum of Art in NYC with my wife sort of starting at me.

Regardless of one's impression of the movie, I think it's hard to deny there is some great music in Indy 4, with a lot not officially available. 
 
As for the Disaster Box Set, ordered at 3:01 EST while standing in the Modern Museum of Art in NYC with my wife sort of starting at me.

I have this as well (I was lucky to get it when it was first released). I did not find the movie all that compelling (other than the climbing footage), but I will watch it again since I just watched the three disaster movies (total coincidence to the scores releasing!).
 
I loved the Trevanian novels (upon which the move is based) when I was in high school. In fact, there is a sequel to this story called the Loo Saction, and I suppose if Eiger had done better, Eastwood would have made Loo Section too. The movie did make back its costs though, so who really knows.
 
I will listen to the Williams score again this morning as I too had forgotten it, and I like the thinking about this as part of wrapping up this period of his scoring career. I might put Missouri Breaks into this period too (despite it overlapping time wise with Jaws). I think Midway & Black Sunday belong in the Jaws-forward period.

I have this as well (I was lucky to get it when it was first released). I did not find the movie all that compelling (other than the climbing footage), but I will watch it again since I just watched the three disaster movies (total coincidence to the scores releasing!).
 
I loved the Trevanian novels (upon which the move is based) when I was in high school. In fact, there is a sequel to this story called the Loo Saction, and I suppose if Eiger had done better, Eastwood would have made Loo Section too. The movie did make back its costs though, so who really knows.
 
I will listen to the Williams score again this morning as I too had forgotten it, and I like the thinking about this as part of wrapping up this period of his scoring career. I might put Missouri Breaks into this period too (despite it overlapping time wise with Jaws). I think Midway & Black Sunday belong in the Jaws-forward period.

I came up with a breakdown of Williams' film output into style periods for an academic chapter I wrote on Williams' theme writing a couple of years ago. It was in John Williams: Music for Films, Television, and the Concert Stage. See below.
 

There are several points supporting the divisions between the periods, but my study of his theme writing further bolstered them. Basically, I took one theme from each of his films to be the "main" one (if he composed the theme, of course, so excluding those based on others' pop songs or musicals) and included a primary new theme from any sequels.
 
What I found was that:
Whereas in the first period, Williams' main themes tended to state an idea and repeat it (e.g., Daddy-O, The Man Who Loved Cat Dancing, and The Poseidon Adventure) Williams' second period showed a marked shift towards themes that stated an idea then varied it (e.g., Superman fanfare, E.T., Imperial March). I think this is something we all kind of know about Williams' style, and it really became apparent in this period. While the first two periods showed an overwhelming preference for long-lined themes based on 8-bar models, his third period regularly included either much shorter themes (like Nixon, Amistad, and Minority Report) or ones that are more amorphous because they're drawn out way beyond a more regular 8-bar model (e.g., the dinosaur theme in Jurassic Park, Duel of the Fates, and Catch Me If You Can). The fourth period shows a return to the long-lined theme as the norm, the sole exception thus far being Tintin's motif from The Adventures of Tintin. I did this work to justify some further conclusions I made about Williams' theme writing and their associations in the film, but it was good to draw some divisions in his output. As others above have stated, you could certainly get more granular with further divisions, but the four I proposed seemed to me pretty convincing distinctions at a very broad level. And it seems many others here agree with 1975, 1993, and 2008 as new beginnings of sorts.
 

I think there is an interesting parallel to (although not identical to) Williams' performance periods. I am including playing, band leading and arranging (for other people's music)
 
1950's-1965 - Keyboard/Band Leader: Jazz player / film score session pianist - here I include his own band, the work at Fox, playing for Henry Mancini & Elmer Bernstein, Shelly Manne, Mahalia Jackson and his work with Previn on various albums. 
1965 - 1979 - Quiet Period: Occasional performance work including his mostly arranging work on Valley of the Dolls and Fiddler, the Paul Williams album and his classical piano duet Serge Prokofiev: Sonata for Cello & Piano; David Ward-Steinman: Duo for Cello & Piano.
1980 - 1993 - A Performance Conductor Emerges: Boston Pops leadership period. Also includes leading things like the LA Olympic Opening Ceremonies and Oscars telecasts.
1993 - 2015 - Conductor Emeritus I: Regular Boston Pops, Tanglewood, Hollywood Bowl and other full concerts
2015 - Present - Conductor Emeritus II: Handful of performances each year, often splitting duties with another conductor
 
 

Personally, I'm thrilled for the release, and while there is a lot of material here from other sources, having a new package, with as much as we can get and album presentations is a plus for me. (The Earthquake score was released in quad sound, so I guess that is missing - glad I have it, not that I ever listen to it since I have to pump it though my home theater!)
 
Looking forward to the podcast from @TownerFan and Mike M. 
 
Order date is apparently Tue, Dec 3, 12 pm PST along with La-La Land's other 4 releases (ST Voyager Vol 2, Karate Kid, Paramount Westerns and Stargate).

Personally, I'm thrilled for the release, and while there is a lot of material here from other sources, having a new package, with as much as we can get and album presentations is a plus for me. (The Earthquake score was released in quad sound, so I guess that is missing - glad I have it, not that I ever listen to it since I have to pump it though my home theater!)
 
Looking forward to the podcast from @TownerFan and Mike M. 
 
Order date is apparently Tue, Dec 3, 12 pm PST along with La-La Land's other 4 releases (ST Voyager Vol 2, Karate Kid, Paramount Westerns and Stargate).

Well, it's 0 for 4 at the Grammy's.
 
JW Noms
Last Jedi lost to Black Panther (no real surprise there in terms of the voting) for soundtrack album
Mine Mission from Solo lost to Blud und Boden (Blood and Soil) by Terrance Blanchard (who composed for Lucas on Red Tails) for instrumental composition.
 
JW related
Dallas Winds' John Williams At the Movies lost in Engineering to the BSO and Andris Nelson's Shostakovich Symphonies 4 & 11 (with previous Williams mixer Shawn Murphy co-winning on that) and then lost on Classical Compendium to Fuchs: Piano Concerto 'Spiritualist'; Poems Of Life; Glacier; Rush
 
 

Yep. I think they chose that for a few reasons. First, it was released as a single for free, so it was out there longer and probably more widely heard. Second, it is probably the most widely known and without controversy of the tracks. What I think I mean by that is if they had chosen a Star Wars track, then it could have looked too shameful related to the upcoming movie release. Third, it does have a very difficult cadenza, so it's more than say Rey's Theme that is closer to the original piece. (Personally, I still prefer the Dracula arrangement or The Duel, but Hedwig's Theme is quite good.) And fourth, I think Anne-Sophie really likes this piece. 
 
Just guesses! I was a bit surprised the album itself was not nominated, but then again it was not clear which category it really belongs in. There is not a classical crossover category, and it is not suitable for a visual medium award (where soundtracks show up) since it is not that.
 
 

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

John Williams added to his impressive list of Grammy Nominations today, one for composition (Galaxy’s Edge) and one for arranging (Hedwig’s theme form Across the Stars). Winners will be announced January 26, 2020.
 
 
62. Best Instrumental Composition
A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN
Fred Hersch, composer (Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
  CRUCIBLE FOR CRISIS
Brian Lynch, composer (Brian Lynch Big Band)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, composer (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  STAR WARS: GALAXY'S EDGE SYMPHONIC SUITE
John Williams, composer (John Williams)
  WALKIN' FUNNY
Christian McBride, composer (Christian McBride)  
 
63. Best Arrangement, Instrumental or A Cappella
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES
Kris Bowers, arranger (Kris Bowers)
  HEDWIG'S THEME
John Williams, arranger (Anne-Sophie Mutter & John Williams)
  LA NOVENA
Emilio Solla, arranger (Emilio Solla Tango Jazz Orchestra)
  LOVE, A BEAUTIFUL FORCE
Vince Mendoza, arranger (Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
  MOON RIVER
Jacob Collier, arranger (Jacob Collier)

I recently watched The Reivers on blu-ray (actually really liked the film a lot - the score fits it well). I was not keeping track of the score and comparing it to the CD release, but I am almost 100% sure that the music that plays at the end of the horse race is not represented on any release. There is likely more missing, but that definitely stood out to me particularly because the first part of the horse race is not scored at all (or at least if it was scored, the music was not used in the film mix).
 
So, I am hoping there is more to get from that film should sessions be found. Next year is the 50th anniversary.
 
I think it's a very, very important part of JW's output being around the point when he went from his TV work and comedy films to full time big film projects and because the score was a big influence on Spielberg hiring him. (And also Mark Rydell and JW did 4 films together which is 3nd most (tied with George counting only his 4 directed SW movies) for a director collaboration behind Chris Columbus and Steven Spielberg.) Anyway, I want more Reivers!