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1. 20th Century Fox Fanfare (:22)
John Williams' magnum opus opens with this spirited
performance of the Fox Fanfare specially recorded for the occasion.
This perfectly sets the mood for:
2. Main Title/The Ice Planet Hoth (8:09)
I really don't think anything needs to be said
about the main title. Like I said in the SW review, unless you've
been in a coma, you have no business not knowing this theme. Although
I don't swear by it as many people do, I find it a nice, heroic theme for
the main character's exploits (but, you have to admit, it's grossly overused
in the previous score. Almost as much as the Force theme.)
The unused Ice Planet Hoth contains introductions to most of the major
themes and motifs, opening with a hint of Vader's theme under dissonant
orchestrations, which perfectly sets the desperate, downcast tone of the
film. After more atonal wanderings, we get some appropriately "snowy"
music
subtly blended with hints of Luke's theme, and segueing into the first,
truncated statement of the new love theme. Dissonant action music
follows as the hero gets kidnapped by a snow monster, followed by traveling
music as Han returns to the base. More hints of Luke's theme precede
a statement of Leia's theme as she is seen for the first time. As
the couple argues, Williams seamlessly interpolates the complete love theme,
followed by the first hearing of the new droid motif, played on flute.
A militaristic variation on Luke's theme followed by a final hint of the
love theme ends the track.
3. The Wampa's Lair/Vision of Obi-Wan/Snowspeeders
Take Flight (8:44)
Along with the previous cue, this was meant as
continuous underscore for the first reel of film. Opening with dissonant
suspense music, it also introduces the Force theme under soaring strings,
followed by a desperate permutation on Luke's theme as he escapes.
More unused traveling music for Han Solo with snippets of the Rebel Fanfare
follow, along with another statement of the flute motif for the droids.
Assorted travel music plays for the next few minutes, interpolated eventually
with Luke's theme. "Vision of Obi-Wan" is a statement of the Force
theme as the departed Jedi Master leaves a few last words of wisdom to
his pupil. As Solo finds the frozen boy, Williams throws out various
desperate motifs (motives?) and after a mournful trumpet solo, he does
one of his ingenious subtleties: just before the next cue starts, he interpolates
the snowspeeder theme quietly in the background of the end of the middle
cue in the midst of the atonality. The busy motif takes the forefront
in the next cue, providing several rousing brass fanfares accompanied by
soaring woodwinds.
4. The Imperial Probe/Aboard the Executor (4:24)
For reasons unknown to me, this opens with the
music that took the place of the opening of "The Ice Planet Hoth."
"The Imperial Probe" is a collection of various militaristic ostinati centered
around the first real statement of Vader's theme in the low brass.
"Aboard the Executor," replaced with the concert version of the Imperial
March in the film, gives us a stunning early version of that theme.
The rest is various low key quiet music based on the march.
5. The Battle of Hoth (14:48)
Note to producers: It's fine with me if you want
to give us the music in a nice interconnected suite, but in the future,
at least separate it into several segueing tracks! Anyway, this is
the biggest action setpiece of the film, much more original than "The Battle
of Yavin." "Ion Cannon" opens with a bittersweet rendition of Luke's
theme, but the militaristic tone immediately enters with a huge statement
of Vader's theme. A clarinet motif accompanied by snare drums segues
into a quiet version of his theme, which builds and eventually becomes
a march for the Rebels as they make their preparations to escape from the
frozen underworld. Various suspense string passages followed by a
menacing statement of Vader's theme soon hits an action cue based on Luke's
theme. The military march returns, ending the cue. "Imperial
Walkers," IMHO the most original action cue in the trilogy, opens with
a piano run punctuated by various percussion. For this, several new
drums were added to the orchestra, adding to the mechanical quality.
Overall, the feel is quite desperate and hopeless as the Imperials slaughter
the nearly defenseless Rebels. This epic cue is simply another reason
why TESB is my favorite score of all time. "Beneath the AT-AT" begins
with a quote of the Rebel military march, along with a short snippet of
the droid motif. The desperate action of the previous section returns
with more percussive music, although this time utilizing the Imperial March.
As Luke attempts to escape from his crashed fighter, the mechanical quality
of this epic suite is evident. For the next few minutes, we get various
minor key renditions of Luke's theme underscoring various shots of destruction
and chaos. As the walker falls, Williams gives several huge trumpet
fanfares, accompanied by a restatement of the military march. Vader's
theme enters again, punctuated by woodwind runs, which ends the cue.
"Escape in the Millenium Falcon" begins with strings, intercut with segments
of Leia's theme and eventually Vader's theme. The love theme surfaces
for a few seconds, only to be swallowed by Vader's theme and the string
runs. The tone finally relents at the end of the track, giving a
triumphant, yet uneasy trumpet fanfare based on the love theme (even containing
a hint of the snowspeeder motif.)
6. The Asteroid Field (4:15)
For the continuation of the Millenium Falcon's
escape from the Imperials, Williams employs a rousing action scherzo.
It opens with Vader's theme, followed by the presentation of the main scherzo
material in the strings and woodwinds. The Imperial march returns,
which leads into the bulk of the frenetic action. This continues
to build, reaching epic proportions, and giving a huge brass theme still
accompanied by the scherzo in the woodwinds. It appears again in
the next section, and the track ends with a soaring performance of the
love theme. "The Asteroid Field" is one of my favorite tracks on
the album, and the main highlight of the first CD.
7. Arrival on Dagobah (4:54)
Things quiet down with appropriately murky swamp
music for Luke's crash landing. His theme is stated once, followed
by a quirky section based on the droid motif as R2D2 is apparently eaten.
Vader's theme abruptly enters, along with a military march and dissonant
descending strings. That little interlude ends with another statement
of his theme. More swampy music follows.
8. Luke's Nocturnal Visitor (2:35)
Yoda's theme is introduced in a mischievous cue
with pizzicato strings as he impersonates an ignorant swamp creature.
After impressionistic flute movement, the first section of that theme is
played completely, and this part ends with a final permutation on his theme.
Returning to the Falcon, Williams ends the cue with timpani.
9. Han Solo and the Princess (3:26)
This fully develops the blossoming love theme,
and segues to a dissonant section as Vader contacts the Emperor.
Although this cue is a weak arrangement of it, this seems as good a time
as any to state my feelings on this theme, so here we go: Quite simply,
I find this the most moving, lush love theme ever written for film.
As a matter a fact, it was the triumphant, yet bittersweet arrangement
in the end credits which sparked my love for film music in the first place,
and I don't see why it's not discussed more often.
10. Jedi Master Revealed/Mynock Cave (5:44)
The calm before the storm is in the form of a
graceful melding of the Force theme and Yoda's theme as Luke realizes who
Yoda really is. This segues into a new orchestration of Vader's theme,
complete with clanging anvil. After a few seconds of suspense music,
the frantic, charging Mynock motif is heard for the first time. It's
a wonderful theme, and one only wishes Williams had utilized it in more
than one cue. The next few minutes are filled with more tension music
flavored with a few sudden outbursts in the orchestra. Eventually
the Mynock theme breaks out in full force on the horns as the Falcon narrowly
escapes the collapsing cave, which is later revealed to be a giant worm.
The frantic motif continues to build, and ends on a cadence. My only
complaint is some minor flubbed notes in the French horns in this extremely
difficult passage.
11. The Training of a Jedi Knight/The Magic Tree
(5:16)
Williams turns to another bouncing scherzo focused
around Yoda's theme and Vader's theme accompanied by pizzicato strings.
The Force theme breaks out in full force, leading to a disturbing, dissonant
passage built around Luke's theme. It's extremely unlike most of
the rest of the score, underscoring one of the scariest passages in the
film. However, Luke's theme gets a fresh new orchestration along
with the atonal, synth-laden, disturbing strings. This is definitely
not for everyone, but many will still enjoy it. Vader's theme intrudes
at the conclusion for a transition.
CD2: For me, this is the best disc in the
entire Special Edition trilogy, expanding all of the themes and giving
some moving revelations.
1. The Imperial March (3:02)
I think we all know this theme, and its placement
here is not nearly as distracting as Leia's concert arrangement in SW.
The arrangement here was partially utilized in the end credits, although
there are some orchestrations of the theme not heard anywhere else in the
score.
2. Yoda's Theme (3:30)
Williams contrasts the tyranny of Vader's theme
with the benevolent, peaceful theme for Yoda. Although much slower
and quieter, this concert arrangement was used in the end credits.
3. Attacking a Star Destroyer (3:04)
Underscore returns with the introduction of the
sinister Boba Fett motif accompanied by timpani. Following the completion
of this, another brassy action cue reminiscent of the Mynock motif appears,
intercut with quizzical moments with suspended strings. The film
returns to scenes of Luke's training, and Williams uses Yoda's theme again.
4. Yoda and the Force (4:02)
As the tiny Yoda performs a miracle, Williams
gives us a grandiose reading of his theme that's quite moving. The
cue opens with harsh synthesizer along with a melancholy rendition of Luke's
theme. As Yoda explains his pupil's mistake, the composer provides
a celestial arrangement of the Force theme with flying harps (this section
was tracked into the film just before the end credits.) After more
lamentation, the Jedi Master's theme appears for the first time in the
track, beginning quietly, but building into a magical, grand rendition.
Another transition to Darth Vader's star destroyer follows, with his theme.
5. Imperial Starfleet Deployed/City in the Clouds
(6:04)
Vader's theme appears again in a typical arrangement.
While Han and Leia search for a safe harbor for the Falcon, subtle woodwind
motifs play, followed by an uneasy, bombastic reading of the love theme.
At the end of the cue, Fett's motif intrudes, foreshadowing later events.
The film cuts back to Yoda and Luke, with various statements of the Force
theme, Yoda's theme, and the main theme. Another of Williams' grand
sections appears at the end, with a desolate, mysterious motif for Cloud
City, complete with a women's choir. Dark, ominous murmurings comprise
the end of the track.
6. Lando's Palace (3:53)
One of the least used themes of the score, Lando's
bustling march is first introduced here. A sinister passage follows
as one of the droids is gunned down. For Luke's departure from Dagobah,
the Big Three themes (Luke, Yoda, & Force) return in their last track
together. (Don't worry, they'll be back for Yoda's Death in ROTJ :)
7. Betrayal at Bespin (3:46)
This begins with a frantic orchestration of Luke's
theme followed by a cello reading of the love theme. Lando's theme
returns as he seemingly innocently takes them to a luncheon. As we
all know, Vader's march abruptly enters, along with a statement of Fett's
sinister motif. Another surging rendition of the main theme enters,
eventually making a transition to a melancholy version of the droid motif
at the end.
8. Deal With the Dark Lord (2:37)
Opens with a bass clarinet playing of Vader's
theme accompanied by a rising horn figure first introduced in the previous
track. It appears again after more of the droid motif, and leads
into a section with the love theme. An outburst of action, a final
statement of the horn figure, and more love theme ends the track.
9. Carbon Freeze/Darth Vader's Trap/Departure
of Boba Fett (11:50)
This, of course, is the epic suite underscoring
most of the climax of the movie. Luke's theme begins it, but the
music dissolves into a funeral dirge rendition of the ever-present Imperial
march. After an abrupt action moment, Williams gives us a tragic
reading of the love theme, that continues to build into operatic proportions
with a mournful brass line. A military motif that will be a constant
presence in this cue is given its first reading, followed by an evil statement
of Vader's theme. The original cue for the raising of the carbon
freeze chamber with dissonant strings comes next, preceding the film version,
which has another tragic playing of the love theme. That military
motif mentioned above becomes prominent, flavored with portions of Vader's
theme. The motif is eventually joined by a dissonant "funeral dirge"
which is also heard a lot in this cue. Williams demonstrates his
creative genius once again with a rousing, brassy action section based
entirely on Yoda's theme, which darkens into a depressing, bass-laden section
intended for the lightsaber battle. The funeral dirge with the military
motif reappears and is expanded upon for the next few minutes, even so
much as bringing back the ascending horn figure. Eventually a restatement
of the operatic love theme occurs, this time adding pulsing bass strings,
and continuing to build. This could be called the counterpart to
the second part of the next track, as it is almost the same, but ending
in anguish instead of triumph. More unused lightsaber music comprises
the rest of this lengthy suite, using a surging, uplifting rendition of
Yoda's theme.
10. The Clash of Lightsabers (4:18)
Out of all the epic, tantalizing tracks on this
album, I'm afraid that I'm going to have to say that this is my favorite.
It opens with menacing strings, and a malicious reading of Vader's theme
with swirling strings comes to the foreground. My favorite section
comes next with the escape from Cloud City. The first part is an
action segment with a pulsing bass line and Yoda's theme. Lando's
march appears for the final time, only to be engulfed by an absolutely
stunning brass fanfare. The love theme continues to build, eventually
hitting a fugal section for trombone and trumpet. As they finally
escape the floating prison to their ship, the bittersweet love theme bursts
into the orchestra, but this time, it's completely triumphant and punctuated
with breathless brass runs. A thunderous fanfare followed by dissonance
ends the track. If anyone asks you why you like film music, just
point them to this cue.
11. Rescue From Cloud City/Hyperspace (9:10)
For Luke's stunning revelation, Williams uses
dissonant strings and an operatic reading of Vader's theme. Falling,
anguished strings and horn lead into a rhythmic, despairing march in the
strings as Luke hangs perilously on to a weather vane. Although I
haven't expressed much love for the Force theme until this point, I find
the statement that follows extremely moving (the best in the entire trilogy.)
Vader's theme reenters, with a running string ostinato. The anguished
march, this time played on horns, fits perfectly with the ostinato.
The march completes itself, segueing into the frenetic "Hyperspace" with
a pulsing, chromatic string action motif, which accompanies several epic
horn and trumpet fanfares. A quiet statement of the Imperial march
is intercut with the pulsing string ostinato, which eventually houses the
final reading of the droid motif. The ostinato exhausts itself with
a final bombastic trumpet fanfare, and the track ends with more Imperial
march. Another one of my favorite tracks of all time.
12. The Rebel Fleet/End Title (6:28)
Fittingly, my favorite film score of all time
ends with my favorite end credits of all time. A final statement
of the Force theme with soaring strings and harp leads into one last bittersweet
rendition of the complete love theme. The end credits begin like
Star Wars with Luke's theme in the low brass accompanied by the Rebel fanfare
in one of its few appearances. A sprightly rendition of the concert
arrangement of Yoda's theme follows, with several sections not heard in
the regular score. This segues into a final version of Vader's theme,
almost verbatim to the concert suite. Finally, the tragic, moving
love theme is given its finest arrangement yet, due in no small part to
the thundering brass chords near the end. The epic score ends with
a final statement of the Rebel fanfare, ending on a cadence.
Well, as you're probably sick of hearing, this is (all together now:) my FAVORITE SCORE OF ALL TIME. This CD release gives us the definitive version of it, and even if you have the box set, I say BUY IT!!! The only thing that detracts this from getting an absolutely perfect rating is that slight flub in the French horns at the end of "Mynock Cave." (I'm sure you're all sick to death of my unflinching worship of this score, and probably think I'm some kind of blathering idiot by now, but just take my word, Get it at all costs. ;) And yes, that was a very long review.)
| Music Rating | 10/10 |
| Packaging/Liner Notes | 10/10 |
| Sound Quality | 10/10 |
| Orchestral Performance | 9.5/10 |
| Length | 10/10 |
| Overall | 49.5/50 |
SCORESHEET BEST SCORE OF ALL TIME AWARD.
I like it so much, I'm giving it two: