STAR WARS

JOHN WILLIAMS

Rating:

Original Review: What can you say that hasn't already been said about the score for Star Wars. It's quite possibly the best-loved score of all time and, while I don't think it's quite the best that John Williams has ever done (E.T. just scrapes it for me), it still stands as one of the landmark scores of cinema history. The world famous Main Theme with its big, bold brass fanfares and war drums lead into what is now titled 'Rebel Blockade Runner', which underscores one of the most memorable scenes in cinema, when the gigantic Imperial Star Destroyer soars over the heads of the audience as it chases the tiny prey. Many themes are developed throughout the course of the album, which disappear and reappear with the characters in a style which is known as a 'leitmotif', first used by the classical composer Wagner. My own personal favourite cue on Disc One is the one entitled 'The Hologram/Binary Sunset', where, after finding the recording of Princess Leia in R2-D2's memory banks, Luke Skywalker leaves the Lars homestead and rests his foot on a mound of sand, gazing wistfully at his home planet Tatooine's two setting suns. The underscoring music begins with flutes playing first Princess Leia theme's and then Luke's theme in turn. Then a French horn begins playing the first part of what is known as Ben Kenobi's theme, but becomes a wonderful, almost operatic piece as the full orchestra joins in to complete the statement. This theme is utilised again in the second half of 'Burning Homestead', when Luke finds the bodies of his uncle and aunt at their home after they are killed by Imperial troops. Disc Two is mainly made up of differing variations and combinations of the threatening 'Imperial' and 'Darth Vader' Themes, but with a couple of highlights: a tender rendition of the lovely 'Princess Leia's Theme' and, of course, the breathtaking 17-minute finale which begins with the tragic moment of Ben Kenobi's death, played with heartfelt passion on high strings; this then soon becomes the vibrant, exciting action cue 'TIE Fighter Attack', formerly known as 'Here They Come!' with its throbbing horns and pounding drums. The climactic end to the film is scored by 'The Battle of Yavin', again, possibly one of the best action cues ever written, beginning with 'Launch from the Fourth Moon', a military string-and-brass theme with a rattling snare drum as the rebel pilots prepare for their final assault on the Death Star: then 'X-Wings Draw Fire' underscores the battle scene as the rebels and imperials dogfight for control - this is made up of intermingling the Imperial and Kenobi themes with dancing strings and rhythmic percussion. A glorious rendition of the Force Theme marks the beginning of the tense final assault down the deadly trench as Luke Skywalker finally destroys the Death Star. The finale of the album comes with the best piece on Disc Two - 'The Throne Room and Finale', which has always been one of my favourites. It can really be stated that John Williams music for Star Wars forever changed the face of film music scoring, and that this music will go down in history as one of the greatest scores ever written.

Track Listing:

DISC ONE DISK TWO *As an interesting addition to the score, the end of Disc One contains a 'Main Title Archive', where the original recordings of the first five takes of the Main Title are presented, with background noise and everything. Apparently, 'Take 16' is of special historical note, as this was the world's first recording of the Star Wars Theme.

Running Time: 105 minutes 50

RCA Victor 09026-68772-2 (1997/1977)

Music composed and conducted by John Williams. Performed by The London Symphony Orchestra. Orchestrations by Herbert W. Spencer. Recorded and mixed by Lionel Newman and Eric Tomlinson. Edited by Kenneth Wannberg. Mastered by Dan Hersch. Album produced by John Williams and Nick Redman.


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These web pages were designed and maintained by Jonathan Broxton copyright 1997. All opinions and views expressed on these pages are my own and are in no way intended to reflect those of my employer, the Trent Institute for Health Services Research, or those of the University of Sheffield.