Conducting at 90 years old...

The thing about the Indy 5 soundtrack is that it seems mostly built out of one recurring theme. If you listen carefully, Helena's Theme is a variation on the New York, 1969 music (or vice verse), and several other motifs in the score seem to be derived from that melody as well. Now, I do think that Helena's Theme is one of the more memorable things he's written in a while purely in terms of melody. However, I wouldn't be surprised if this piece had already been composed as a stand alone work for solo violin and orchestra. Williams has written a lot more concert music in the last decade than film music, and cementing a niche for himself in concert music seems to be a higher priority for him at this stage. So the motifs of Indy 5, if all variations on a single theme, while admirable on the level of concert music, perhaps don't work as well as hooky motifs for each character and object as in the previous films.

Some listeners have complained that the Dial itself doesn't really have a theme. And they're right, the music representing the Dial is also derived from the New York, 1969 and/or Helena's Theme motifs. The theme is reorchestrated slightly to sound a bit ancient Greek, but it isn't as strongly disticive as the Ark, Grail, or Skull themes of previous films, because it isn't an entirely distinct melody from the other motifs as they were.

In classical parlance, Wiliams is using the Cesar Franck/Franz Liszt technique thematic transformation, which is the deriving of an entire score from variations on a single motif heard at the beginning. This is opposed to the Wagnerian leitmotif technique (and Williams usual practice) of having a single theme for each individual person/object that are distinct and separate from each other.

The only other distinct theme, aside from "Marion's Theme" and "Indy March" of course, is "Germany, 1944". I'm not sure if this is derived from the Helean's Theme as well, but it doesn't sound like it. However, it isn't used the way the villians motifs were used in previous Indy movies. It doesn't really recurr again, or if so, not memorably, whenever Voller reappears. Not a bad piece of music (if derivative of Wagner's Siegried Funeral Musc), but it doesn't register as much as previous villians themes in Indy.

Puts another layer of meaning on "family tree".