Okay, I'll bite-- but it's in the making, in no particular order; I'll try and justify my choices...
"Pillow Talk" (Basic Instinct)-- wonderful eroticism with not a hint of sleaziness
"The Enterprise" (Star Trek-- The Motion Picture)-- grand, noble
"Jenny" (The Rocketeer)-- lovely, delicate, romantic
"Looking at Heaven" (Tombstone)-- the wonderful waltzy love theme and the thrilling rumbling heroic theme
"The Inner Light" (Orchestral Suite-- "The Inner Light", Star Trek: The Next Generation)-- most beautiful and elegant
"Passacaglia" (Battlestar Galactica, Season 1 of the new series)-- same as above; both are simple yet bewitchingly beautiful
"The Grand Finale" (Edward Scissorhands)-- beautiful melancholy grand finale, which makes for a moving conclusion with the images
"Flying" (E.T.)-- like "The Enterprise", there's a majesty to it, yet in a "simple" way (ie, not overdone, in-your-face majesty)
"Love Theme from Superman" (Superman)-- my favorite love theme (Basic Instinct's being my favorite physical love theme); there's something quiet, gentle, soothing, yet soaring as well
"All Time High" / "That's My Little Octopussy" (Octopussy)-- my favorite of Barry's Bond songs-themes; as always with him, there's a wonderfully natural flow to the melody
"Romance for Guitar and Orchestra" (Deadfall)-- beautiful
"Claudia's Theme" (Unforgiven)-- the simplicity, the beauty, the soaring strings... and personal reasons
"Steel Magnolias" (Steel Magnolias)-- Delerue's wonderful melody sensibility and extraordinary knack for incredibly beautiful themes
"Open for Business", "Reading the Letters", "Care of the Spitfire Grill" (The Spitfire Grill)-- lovely Americana
"Building the Barn" (Witness-- the orchestral version featured on the Maurice Jarre at Abbey Road album)-- beautiful, with a great build-up (quite natural too; it literally builds up, grows, as the cue develops)
"Maid Marian", "Marian at the Waterfall" (Robin Hood, Prince of Thieves)-- Kamen wrote a very very nice, quite delicate, love theme
"The Riddle's Solved / End Credits" (Young Sherlock Holmes)-- Broughton at his melodic best; as I said for Goldsmith & Williams, there's a lot of elegance & class to his music
"Lost in Space" (Lost in Space)-- a thrilling, exciting, energetic Broughton cue
"The Bad Boys" / "Car Trouble" (Looney Tunes Back in Action)-- marvellous proof of Goldsmith's genius and dedication to the end: a splendid, exciting Western-flavored theme; an exciting, incredibly energetic, precisely, intricately orchestrated action piece
"Ba' Ku Village" (Star Trek-- Insurrection)-- one of Goldsmith's loveliest cues, if not the loveliest
"Theme from Powder" / "Everywhere" (Powder)-- wonderful music, great beauty, awesome climax
"The River", "Growing Up", "Pony Ride" (The River)-- deliciously refreshing, joyful Americana
"The Water is Wide", "Gale's Theme (Main Title)", "Family Reunion (End Title" (The River Wild)-- Goldsmith did wonders with this traditional song; i love that theme, the superb, gentle way he arranged it
"Main Title" (The Yakuza)-- let's be original a minute, shall we? I would have to check in order to specify other titles; I love the theme and I love the mysterious opening of the album, those whatever-they-are, sort of hanging-wylophones-whatever-you-call-them or something, which were often featured in such things as Columbo episodes of the period
"The Plan" (original version), "A Deal / End Credits" (Extreme Prejudice)-- extremely cool, exciting action by Goldsmith, with a great, dramatic build-up to wrap it up
"Twin Peaks Theme" (Twin Peaks)-- marvellous, gentle, most soothing, beautiful, peaceful theme
"Tennessee" / "Brothers" (Pearl Harbor)-- an incredibly sumptuous theme by Zimmer; there's a lot of heart in there; like Goldsmith, Williams, Broughton, ..., the best of the best's, there's an incredible simplicity and elegance to this theme
"Always a Winner", "When You've Gone Away" (Babe)-- most beautiful melancholy music, quite moving; as always, simple and elegant, carefully balanced (no over-the-top melodrama)
"The Fields of Ambrosia" (The Traveling Executioner)-- same as above
"The Getaway / Riding As One", "We'll Be Back" (Silverado)-- quintessential Western music by Broughton; listening to it this afternoon, I was struck (and pondered starting a thread here about) how important the percussion are, beyond crash-bang effects and punctuation; they are an integral part of the music, its evolution, of the melody in a "can"t take it away nor modify it" way
... and a lot more...
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As a fact, a list of my favorite 200 single tracks does exist, but I will molest you with just the upper 25:
