Star Wars

The Empire Strikes Back

Return of the Jedi

Music by John Williams

 

 

 

To mention Star Wars as a basic item or classic soundtrack is as redundant as inevitable. Opening with the famous fanfare of 20th Century Fox the soundtrack of Star Wars made history with its deliberately extravagant arrangements that took from instrumental color, the maximum effect.

During filming and first copyes George Lucas used as temporary tracks musics by Gustav Holst, William Walton and even tracks from Ben Hur. John Williams soon be convinced that the classical language of nineteenth century was indeed the most appropriate to support the film. And so he did not intending to sound modern or innovative but academic to the "futuristic fairy tale." Tracks like the debussyan Princess Leia's Theme and even stylized jazz for sequences of canteen are clear examples of intent to familiar. It is also easy to see the composer option in referencing what has been done in previous decades in film music. So there is the quote Bernard Herrmann in suspense of Dianoga and Trash Compactor, the score close to the action, as did Dimitri Tiomkin, in Imperial Attack, or the epic lyricism of westerns Ennio Morricone in Binary Sunset. Besides that, of course, pure John Williams in the heroic sound explosions of The Millenium Falcon, Tie Fighter Attack, and Shootout in the Cell Bay. Excess flourishes and the use of Wagnerian leitmotifs (specific themes for characters or situations) have great function during the movie in numb the senses and immerse viewers in the sound mass and consequently in the fantasy of narrative. The result was so effective that became inseparable from the saga. It is possible that a whole generation of cinefanatics will need a handkerchief to hear the conclusion in The Throne Room.

 

With the sequel The Empire Strikes Back (1980), Williams inevitably repeat the flowery language, but with a significant maturation in the arrangements making the sound most direct and powerful. It stands out immediately on the score, the majestic and menacing Imperial March, theme already incorporated into the movie universe, games, etc, and so emblematic of the series as the fanfare of main theme. New themes are integrated naturally to the general spirit as the lyrical and jovial Yoda's Theme, as well as the romantic Han Solo and the Princess used to great effect at the end of The Rebel Fleet. The suite The Battle of Hoth (14 minutes) is one of the highlights, and its session Imperial Walkers, with its percussive pianos, is among the great creations of the composer. Similarly, the lush fluency The Asteroid Field, easily stands out as one of the best and most expressive scores for an action sequence.

 

In turn, the score for The Return of the Jedi (1983) has few new themes to offer, and works as a great exercise of variations over the themes of the first two films. Still can be mentioned Luke and Leia, and the evil presence of the Emperor, marked by dark corals in The Emperor Arrives, Emperor's Throne Room and several other passages that make a gruesome variation over Imperial March theme. The fun Jaba's Baroque Recital and Jedi Rocks bring sound alternative. Of course could not be missed the usual scherzos and the composer action suites as Speeder Bike Chase, and Battle of Endor, presented in three parts totaling 28 minutes in the larger symphony piece made for the series.