Jurassic Park : The Lost World - 1997

Jurassic Park: Original Motion Picture Soundtrack is the film score to the 1993 Steven Spielberg film of the same name, composed and conducted by John Williams. Alexander Courage, John Neufeld, Conrad Pope, Aimee Vereecke and Dennis Dreith served as orchestrators.

MCA Records released a soundtrack album for the film on May 25, 1993.[2] Also produced by Williams, this album includes most of the film's major cues, sometimes edited together into longer tracks and often containing material that was unused in the film. Several passages are also repeated in different tracks. A 20th anniversary edition of the soundtrack was released by Geffen Records on April 9, 2013, featuring additional unreleased music. A John Williams collection edition, joint with the soundtrack to The Lost World, was released by La-La Land Records on November 29, 2016, remastered and featuring more additional unreleased music. The score received critical acclaim and is often considered to be one of the most iconic and beloved scores of Williams' career.

Williams began writing the Jurassic Park score at the end of February 1993, and it was conducted a month later; because Williams sustained a back injury during the scoring sessions, several cues were conducted by Artie Kane[3] (Kane is uncredited in the film, but receives special thanks in the 1993 soundtrack album's credits and is listed as a conductor in the La-La Land Records set). The score was orchestrated by Alexander Courage, John Neufeld, Conrad Pope, Aimee Vereecke and Dennis Dreith.[4] The composition process was done in Skywalker Ranch concurrently with the sound editing process, leading Williams to get inspiration from Gary Rydstrom's work with dinosaur noises.[5][6] Williams described it as, "a rugged, noisy effort—a massive job of symphonic cartooning". He also said that, while trying to, "match the rhythmic gyrations of the dinosaurs", he ended up creating, "these kind of funny ballets".[7] As with another Spielberg film he scored, Close Encounters of the Third Kind, Williams felt he needed to write, "pieces that would convey a sense of 'awe' and fascination", given that the movie dealt with the, "overwhelming happiness and excitement", that would emerge from seeing live dinosaurs. In turn, more suspenseful scenes, such as the Tyrannosaurus rex attack, earned frightening themes.[8] For the first time, Spielberg was unable to attend the recording sessions for one of his own movies, as he was in Poland filming Schindler's List. Instead, Williams gave Spielberg demo tapes with piano versions of the main themes prior to his travel, and the director would listen to them daily on the way to the sets.[9]

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