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1. 20th Century Fox Fanfare (:23)
This rerelease opens with an archival (1954)
version of Alfred Newman's 20th Century Fox Fanfare. The sound on
this is truly horrid, especially compared to the rerecorded version that
John Williams made for the latter two films. Oh well, I guess they
wanted to preserve every single nuance of the score.
2. Main Title/Rebel Blockade Runner (2:14)
The heroic, noble main title comes next.
I don't think anything needs to be said about this, and if you haven't
heard it there's something terribly wrong with you ;) Actually, after
three films full of references to this theme, it becomes somewhat wearing,
although not necessarily in this track. As a matter of fact, this
is my favorite performance of the theme out of all three films, especially
the spacious sound quality and orchestration of the opening brass fanfare.
On the old album, this segued into a version of the end titles, to give
it the feeling of an overture. I enjoy it much more on here without
that annoying jump. The short epilogue is the first statement of
the grand Rebel action fanfare.
3. Imperial Attack (6:43)
Continuing from the previous track, this opens
with an ominous statement of the Rebel fanfare over a pulsing timpani ostinato.
A trumpet fanfare heralds the coming of the Imperials, and a violent action
cue erupts, giving us the first hint of the Imperial theme (not the march
from TESB, but a less over-the-top action motif.) What follows is
more action based on the Rebel fanfare. After a few seconds of quiet,
we get our first glimpse of the Force/Ben's theme along with the first
statement of Leia's theme. A violent horn ostinato leads into ominous
brass glissandi under harps as Vader chokes a guard. Following another
brass outburst, there are various statements of Leia's theme & assorted
action sections, along a quiet version of the Imperial theme & a pleading,
soaring string passage as the droids land on the planet. Truly inspiring.
After this, we hear variations on the Imperial motif in several keys.
A first statement of the foreboding Death Star motif ends the track.
4. The Dune Sea of Tatooine/Jawa Sandcrawler (5:01)
Now we hit the desert music, which opens with
desolate chords on strings. The second part of the track is the introduction
of the repetitive, playful Jawa music. Their theme is first introduced
on the bassoon under a swinging horn ostinato. The rest of the track
is a collection of permutations on this theme, eventually played by all
sections of the orchestra. I think this cue goes on too long, and
a few minutes could have been shaved off. The last section opens
with the Death Star motif, followed by a wandering version of the Imperial
motif.
5. The Moisture Farm (2:25)
More Jawa music. Yay. It expands
on the theme somewhat, and ends with the first statement of Luke's theme
since the main title. A previously unreleased short coda that's not
based on any thematic material ends the track.
6. The Hologram/Binary Sunset (4:10)
Opens with various flute meanderings, leading
to the first full statement of Leia's theme under string chords.
Binary Sunset, one of the most potent cues on the album, opens with a yearning
statement of Luke's theme followed by an expansion of surging Force theme.
Following more meanderings and another variation of Luke's theme, the Force
theme returns in a celestial arrangement. IMHO, the alternate was
better. I think that the Force theme actually gets pretty tedious
after you've heard it a few times.
7. Landspeeder Search/Attack of the Sandpeople (3:20)
This semi-action cue begins with a running horn
ostinato, and a playful version of Luke's theme follows. This leads
into harsh, percussive music for Sand People. The actual attack begins
with an ominous string run followed by a flute motif, followed by more
percussive Sand People stuff. This section is slightly reminiscent
of the Skeleton Battle from Herrman's Seventh Voyage of Sinbad. Eventually
comes another statement of the Force theme.
8. Tales of a Jedi Knight/Learn About the Force (4:29)
Another celestial arrangement of Ben's theme
opens the track, followed by ominous Sand People music. The second
part is a quiet arrangement of the Imperial theme, along with more Force
theme. Already it's becoming tedious! Oh yeah, Leia's theme
appears too.
9. Burning Homestead (2:50)
A mournful trumpet solo opens this, leading to
an ominous woodwind motif. As Luke races home to find his Burning
Homestead (hence the name) Williams does a desperate version of the Force
theme. The rest accompanies Leia's torture scene, which begins with
a full statement of the Death Star motif, Imperial motif, and Leia's theme.
The track ends with a desperate string motif followed by timpani.
10. Mos Eisley Spaceport (2:16)
More thematic meanderings, which lead to a brass
fanfare depicting Mos Eisley Spaceport from overhead. The rest is
various ostinati and an unremarkable flute rendition of the Imperial motif.
More Force theme ends the cue.
11. Cantina Band (2:47) - Source Music
Everyone knows this. It's the jazzy source
music from, gasp!, the Cantina!
12. Cantina Band #2 (3:56) - Source Music
See above.
13a. Binary Sunset (Alternate) (2:19) - Archival Bonus Track
I think this would have worked much better in
the movie than the one chosen. It doesn't utilize the overused Force
theme, and is more ominous, describing Luke's future. A string motif
plays over chromatic trumpets in the opening, and the rest is minor key
passages.
13b. Main Title Archive (12:00) - Archival Bonus Track
At the end of disc one, the producers inserted
a nice extra - all five takes of the main title. The orchestrations
vary between each one, and the early versions had no trace of the opening
brass fanfare. It's interesting to hear once, but that's probably
all you'll want to hear.
CD 2: For the second CD, Williams really lets loose, giving us many signature action cues and a stunning 9 minute climactic battle.
1. Princess Leia's Theme (4:27) - Concert Arrangement
Basically an expansion on Leia's theme.
It's pretty good, but sticks out like a sore thumb in this position.
I think it would go better at the end of the disc.
2. The Millenium Falcon/Imperial Cruiser Pursuit (3:51)
Underscore returns with this ominous cue, with
various chromatic passages (chromaticism (is that a word?) is really prominent
in this score, especially in the first CD with the desert music.)
The middle portion of "The Millenium Falcon" is (not surprisingly) based
on Luke's theme. The second cue begins with a march version of the
Imperial motif, followed by an outburst of action based on the Force theme.
More harsh chromatic horn passages occur, as well. The action continues
to build, climaxing in an awe-inspiring statement of the Death Star motif,
now fully developed.
3. Destruction of Alderaan (1:32)
For this mechanical march, no thematic material
is utilized. A hovering flute motif represents Leia as she
realizes that her home planet's toast. For the actual destruction,
Williams uses a threatening horn march.
4. The Death Star/The Stormtroopers (3:35)
One of my personal favorite cues on the album,
this opens with dissonant brass chords as the Millenium Falcon approaches
the Death Star. The chords become a military march, and the bass
ostinato segues into an incredible variation of the Rebel Fanfare.
The cue ends with a pounding string ostinato. Previously unreleased,
"The Stormtroopers" opens with (yawn) the Force theme, which leads into
a march of the Imperial motif. Following a timpani outburst, Williams
uses a tension-building rendition of the Imperial motif. Another
outburst of action, with hints of Luke's theme.
5. Wookie Prisoner/Detention Block Ambush (4:01)
Previously titled "Mouse Robot" this opens with
a playful passage that segues into a trombone call followed by various
percussion stuff. Hints of the dissonant brass chords, this time
played on the strings, figure into the piece. Luke's theme
returns and more tension music follows. Eventually another of Williams'
signature brass action cues breaks into the orchestra, based on Luke's
theme. The Rebel Fanfare returns near the end, which precedes a short
statement of Leia's theme, and the rest is more Luke theme. Joy.
6. Shootout in the Cell Bay/Dianoga (3:48)
Another one of my personal favorite action cues,
this is based mostly on the Imperial theme and the Rebel fanfare.
IMHO, "Dianoga" should have been thrown on to the beginning of the next
track, since the two are related. Unused in the film, it introduces
the trash compactor theme, played on horn with fluttering flute accompaniment.
7. The Trash Compactor (3:07)
Finally, another track that doesn't utilize thematic
material! Basically it is an expansion of the trash compactor theme,
introduced in "Dianoga." It continues to build, eventually reaching
epic proportions as our heroes nearly get crushed by the compactor.
But, of course, they're all immortal, so nothing bad happens. Another
one of my favorite cues.
8. The Tractor Beam/Chasm Crossfire (5:18)
Fittingly titled "Ben Creeps Around" on the conductor's
score, this is a collection of foreboding string passages punctuated by
various percussion. The second part is another swashbuckling action
cue based entirely on Luke's theme. I like the nice ostinato that
opens it, but the rest is repetitive variations on Luke's theme.
As I said above, I really find that particular theme tedious after about
the, what, 50th time we've heard it? Oh well, I guess it's nice the
first few times.
9. Ben Kenobi's Death/TIE Fighter Attack (3:51)
Now we get to the absolute highlights of the
score. This epic set piece fits the movie like a glove. It
opens with a melancholy statement of the Force theme, followed by variations
on the most tragic theme of the score, Leia's theme. The rest of
the track is an exhilarating action cue based on the Rebel Fanfare, one
of my favorite themes of the entire trilogy. After more Force theme,
a bouncing motif plays in the strings, which builds into the bulk of the
piece, permutations on the Rebel Fanfare. As the last fighter explodes,
Williams gives us a triumphant version of the Death Star motif. Also,
the motif of chromatics figures prominently into this, appearing a couple
times.
10. The Battle of Yavin (9:07) - Easily my favorite suite on the entire
set. The themes meld together seamlessly.
a. Launch From the Fourth
Moon
As the fighters launch, Williams plays desolate string chords. The
rest of the cue is based on a militaristic ostinato.
More chromatics, too.
b. X-Wings Draw Fire
This is partially based on the Force theme. The Imperial motif appears
for the last time. Much of this will later be used in one cue from
Return of the Jedi. The action becomes more dissonant and desperate
as the piece progresses.
c. Use the Force
After a long pause, a morose horn fanfare enters. More dissonant
action. Like the previous track, the action becomes more desperate
and hopeless as the piece progresses. My favorite moment starts when
the minor key version of Luke's theme enters. As it becomes more
and more hopeless, the Force theme enters in a soaring statement, and Luke's
theme becomes a major key. It is transposed back down into a minor
key, but even while the dissonant death throe chords of the Death Star
are playing, we know now that nothing bad is going to happen. Hints
of the Rebel fanfare end the track.
11. The Throne Room/End Title (5:38)
The final scene is based on a clever variation
of the Force motif. The end credits, as we all know, is Leia's theme
bookended by two renditions of the main theme/Luke's theme.
Even though the 20+ playings of Luke's theme and the Force theme eventually become wearing and tedious, and the first disc is mostly desert music (not necessarily boring or bad, just very slow and repetitive,) Star Wars is, simply, the father of most modern film scores. (The grandfathers are the adventures of the 30's and 40's composed by Steiner and Korngold.) This CD release has excellent liner notes, improved sound, and a host of other surprises. Although I don't really think it's the best score of all time (that place is reserved for the sequel) I must still highly recommend this.
| Music Rating | 9/10 |
| Packaging/Liner Notes | 10/10 |
| Orchestral Performance | 10/10 |
| Sound Quality | 9/10 |
| Length | 8/10 |