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Got mine on Friday and have been thoroughly enjoying the remastered tracks & previously unreleased cues. Lots of little surprises to discover in this score, which I had dismissed years ago based on the OST. Reassessing this one has been fun! Thanks to all involved. 
Agreed, I'm discovering a few small things I had just never noticed. For instance, how the liner notes state that Ba'ku village contains a reference to Goldsmith's low strings/low brass descending 3rd Starfleet theme all the way back from ST:TMP.
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Agreed, I'm discovering a few small things I had just never noticed. For instance, how the liner notes state that Ba'ku village contains a reference to Goldsmith's low strings/low brass descending 3rd Starfleet theme all the way back from ST:TMP.
I'm not sure I agree with that. They're similar, but it's also a pretty "Goldsmithian" rhythm. You can find similar in Explorers.
I haven't read the notes (or bought the CD) but do they mention the history of what I call the "B theme"? It's the theme that opens "A Busy Man" in ST V. It became a Starfleet theme in First Contact (you hear it in the middle of the Courage theme at the opening of FC), it's the base of the love theme in Insurrection, and I think it's the Riker / Picard theme in Nemesis. I always thought that Goldsmith used this theme to replace his mission theme from TMP.
It may be that everyone already knows this.
I may have to catch up and get the TNG CDs. Maybe Christmas.
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Does "New Sight" on the new GNP release still have the action bit at the end of it? I only have the film on an old VHS and I have no VHS player anymore, so I'm not able to check if that was different in the film.
Oh, how I'd love that cue without that action ending.
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I believe my exact phrasing was that the passage "distantly recalls" the Federation theme, in addition to the conspiracy motif from CAPRICORN ONE. It was not my intention to suggest that he quotes the motif specifically.
And yes, the connection between the "Busy Man" theme (called the "Quest motive" in this series of releases) and the Insurrection love theme is definitely pointed out!
Awesome! Thanks! I always loved how Goldsmith repurposed this theme from film to film. By the time of Nemesis I was wondering where it would show up before I saw the film.
Then the expanded TMP score FINALLY came out (the one from ’99) and I realized that he had used a similar device there, he had just simplified it from STV on.
On the other hand, Goldsmith does quote the Federation Theme in Star Trek Nemesis, although not on any of the cues on the Varese release which is a pity!
Chris
Interesting. Where?
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What would we be calling The Federation Theme? Where would it be in TMP? All I can think of is the main theme. 
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One of the distinguishing features of Insurrection is its recording engineering... the score has a much "wetter" sound than any of Goldsmith's other Trek scores. The electronics also seem to share this wet, reverby sound which has led me to wonder if they were played live along with the orchestra. Anyone know if this was the case? I know Jerry did this with some of his very early scores with electronics, but didn't think this was the case for the later scores.
Chris.
I was just about to post the same thing when I found this post. My speculative guess about this is that Goldsmith, especially in the later years, may have been more fond of a "concert hall" type sound like that heard on classical recordings as opposed to the typically dry sound achieved in L.A. orchestral stages. (Note Botnick complaining in the "One Little Indian" liner notes that the sound on the Disney stage was "dry as a bone.") This is nearly the exact sound of the LSO Telarc Goldsmith recordings also. Also maybe Paramount's stage was boomy compared to the other stages, because I don't think he recorded much stuff there except for the later Trek scores. First Contact is wet enough, but Insurrection goes over the edge such that some of the orchestral parts just lack definition to my ears. I think the new mastering helps bring a little more crispness than the old CD.
And as to the content, the expansion is an essential purchase. My criticism of the old CD was that the score had little room to breathe--it was either this very tender, fantastic pastoral stuff or it was fierce 90s Goldsmith action. The expansion solves the problem by revealing that some of the other little bits add a lot of color to the score. And I've never liked the action in Insurrection as much as the more subdued bits, where I think he wrote two of his absolute best "tender" melodies ever--the Ba'ku village theme and the love theme.
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Double Post
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And yes, the connection between the "Busy Man" theme (called the "Quest motive" in this series of releases) and the Insurrection love theme is definitely pointed out!
I always thought there was a connection between the Quest theme and the Insurrection theme.
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Don't have the liner note with me but was Insurrection recorded on the, then new, Newman recording stage? I know Small Soldiers was also recorded there earlier that year and that score has a similar acoustic quality.
Pretty sure it was recorded on Paramount Stage M and that the acoustic quality is more the mix and post reverb than the stage... there are other productions recorded there that are quite dry.
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Also as to the question of where the federation motif shows up in Nemesis, it's the scene that starts on the bridge where Picard orders the away team on the shuttle to the planet just before the big fanfare statement that accompanies the shuttle actually leaving.
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