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2. Duel of the Fates (4:14)
Williams now presents us with two concert versions of the new principal
themes. "Duel of the Fates" can be described as the main theme of
The Phantom Menace. It's a harsh, cataclysmic choral anthem.
The London Voices perform flawlessly, adding the needed zest and passion
to an already memorable composition. This actually gives us three
different motives that will recur several times later. The first
is the main chorus melody which begins the track. It'll form the
basis for "Qui-Gonn's Noble End." Next comes a five-note running
ostinato. On top of this is a new 9 note theme, which I assume is
for Qui-Gonn Ji. These three elements mix in several permutations,
each more exciting than the last.
3. Anakin's Theme (3:08)
The complete reciprocal of Duel of the Fates is Anakin's theme.
Taking up where ROTJ's "Luke and Leia" left off, this is a completely tranquil
pastoral composition. It builds continually, reaches a soaring climax,
and backs down into darkness, ending with several variations of the infamous
Imperial March. When I first got the CD, this theme left me somewhat
cold, but once I realized all of its complexities, it became one of my
favorite tracks. For instance, as well as being the basis for the
ending, Darth Vader's theme provides nearly all of the intervals.
Also, one section is written in the atonal 12-tone scale, but it's impossible
to discern without listening closely.
4. Jar-Jar's Introduction/The Swim to Otoh Gunga (5:07)
This track begins with the first statement of Jar-Jar's theme, which
could be described as a weaker cousin to the Ewok material in ROTJ.
Although Williams tries his best to write an unobtrusive theme for the
annoying comic relief of the movie, it comes across as quite grating.
Fortunately this doesn't last long, and it's broken off by a light statement
of Darth Vader's theme. Next comes a section that harkens back
to the original score, but with the added element of chorus. The
mysterious, awe-inspiring female chorus segment is one of the most memorable
on the album, and it'll appear again during the appearance of Darth Maul.
Rounding out the rest of the track is a new playful motif, probably to
represent the Gungans, Jar-Jar's race.
5. The Sith Spacecraft/The Droid Battle (2:37)
Although this is the shortest track, it's one of the best. For
an idea of the overall sound, think "Scherzo for Motorcycle and Orchestra...Part
II" (from Indy Jones & the Last Crusade) We get an awesome triplet
ostinato that is actually the first six notes of Vader's theme played over
and over. Williams incorporates his usual virtuoso woodwind flourishes,
rollicking pace, and stunning orchestral climaxes. Qui-Gonn's theme
from Duel of the Fates forms the basis for one passage, played on brass.
The prelude to this action music is "The Sith Spacecraft," which is basically
a simple drum cadence followed by a dissonant motif also present in the
beginning of "Anakin Defeats Sebulba."
6. The Trip to the Naboo Temple/The Audience with Boss Nass (4:07)
Before doing this review, I hadn't really noticed this track, but it's
admittedly pretty good in a few sections. "Trip" features an oppressive,
dissonant march for low strings with an audible timpani part. This
ends in yet another massive trumpet fanfare. "Audience" is more ambient
and therefore less interesting. There's not much material except
for brief hints of the Gungan theme from "Swim to Otoh Gunga." Also,
in the last couple of minutes there's another pastoral string passage,
giving hints of Anakin's theme.
7. The Arrival at Tatooine/The Flag Parade (4:04)
This begins with a (blessedly brief) statement of Jar-Jar's theme,
which segues into an appropriately oppressive ambient march. It's
almost like some of the more desolate sections of the original score, but
infinitely more mature, and with more synth backing. At one point,
Williams uses something almost unheard of for him - a synthesized chorus.
It's very brief, but very effective and doesn't ruin the cue in the least.
This fades out, and The Flag Parade takes over. This may be my favorite
section of the entire score, introducing most of the fanfaral material
for the Pod Race. It harkens back to such Golden Age greats as Rozsa's
"Parade of the Charioteers" from Ben-Hur. A martial horn march complete
with glissando is the main attraction, punctuated by gloriously bombastic
trumpet fanfares, woodwind runs, and what sounds like a synth keyboard
instrument.
8. He Is the Chosen One (3:53)
This features the first real thematic development of Anakin's material
since his concert arrangement. General string passages, subtle hints
of the Force theme, and sections from Anakin's theme intertwine and play
off each other for a few minutes, climaxing in the first entire statement
of the Force theme. Luckily, for this score, Williams uses his Force
theme in moderation, so when it finally does appear it has infinitely more
meaning than the thousands of times in the original Star Wars.
9. Anakin Defeats Sebulba (4:23)
We're back to the trademark Williams action cues. This particular
one opens with the dissonant motif from "Sith Spacecraft," segues into
the Force theme, and breaks into one of the best fanfares John has ever
composed. Although it's based on the thematic material from "Flag
Parade," he adds something completely unexpected - Jabba's theme!
Who would have thought that a lumbering, lackadaisical tuba theme could
ever be turned into a martial fanfare? Well, Williams obviously pulled
it off. After some more of the fanfare, we get another typical action
cue, this one like a combination of some of ROTJ's "Into the Trap" and
his Lost World action material from 1996. That synthesized harp instrument
from "Flag Parade" becomes more apparent here. Unfortunately, this
action material is ultimately without form, just a random collection of
orchestral bombast. A great brass cadence gives it some life, however,
and a swashbuckling permutation of Anakin's theme ends it.
10. Passage Through the Planet Core (4:39)
More unsettling ambience, basically. There's only one motif,
a wistful horn melody. The use of choir is great as always, and towards
the end there's an excellent action cue combining orchestra and chorus,
but I usually end up skipping this track.
11. Watto's Deal/Kids at Play (4:57)
This is another pretty nondescript track, featuring Anakin's theme
a few times, as well as the Force theme.
12. Panaka and the Queen's Protectors (3:24)
After the string of duds, Williams gives us perhaps the most Korngoldian
of all the action cues on here. It opens with an orchestral passage
which leads into one of the only statements of the main Star Wars theme;
this seems almost an afterthought. However, we then get an action
segment based on Anakin's theme. (This is the most Korngoldian section.
Hear that string descant? Pure Erich Korngold.) Next comes a rousing
version of Qui-Gonn's theme with syncopated low brass accompaniment.
A quiet passage for muted snare drums comes next, followed by more action
music. The last minute is particularly noteworthy. Overall,
"Panaka" is one of the best tracks on the album.
13. Queen Amidala/The Naboo Palace (4:51)
Not much happens in this track. The first half is a few minutes
of foreboding ambience, and "The Naboo Palace" plays verbatim to "The Arrival
at Naboo."
14. The Droid Invasion/The Appearance of Darth Maul (5:14)
Another awesome action track. This opens with the Sith Spacecraft
motif, eventually joined by timpani. The drums form the basis for
a new melody, the droid theme. It's a lot like the Nazi theme from
Indiana Jones and the Last Crusade, but still a great march. An action
cue based on this march ensues, and, while not as good as "Droid Battle,"
it's still noteworthy. This quiets with what sounds like a synthesized
wolf call, which segues into The Emperor's theme, to represent Darth Maul
and Darth Sidious. That mysterious female choral melody returns to
round out the track, which officially ends with the five note Duel of the
Fates ostinato.
15. Qui-Gonn's Noble End (3:48)
Williams now throws out an unsettling action cue, which opens with
the Duel of the Fates choral theme (on brass) and introduces a new running
motif. This goes through several permutations, and a whispering chorus
and tribal drums serve as the harbinger of doom for the Jedi master of
TPM. A violent lament plays as Obi-Wan realizes that Qui-Gonn is
dead, which is made up of the Duel ostinato.
16. The High Council Meeting/Qui-Gonn's Funeral (3:08)
This is a moving, tranquil lament, not unlike the Smallville sequences
of Williams' Superman scores. There's even a blatantly Americana
chord progression. Next comes a brief, one second appearance of Yoda's
theme, part of the Imperial March, and a mournful choral funeral track
with one statement of the Force theme. I'm so glad that Williams
didn't give into temptation and make this exclusively the Force theme,
as it would have sounded corny and out of place. The track ends in
morbid despair.
17. Augie's Great Muncipal Band/End Credits (9:38)
As soon as I first heard this track, I immediately said, "Oh great,
Ewok Celebration Part II." It's a Calypso-styled celebration passage
with intolerble children's choir and grating synth trumpets and various
other effects. However, if you listen closely, you'll realize that
the children's choir line is actually a major key version of, guess what,
the Emperor's theme! As soon as it hit me, I couldn't believe it,
it's so well disguised. Anyway, I still don't particularly care for
it, but at least it's somewhat meaningful with that little thematic flourish.
It segues into the familiar overture-style Star Wars credits, first giving
a brief statement of the traditional Rebel fanfare and Star Wars theme,
and segues into a disappointing cut and paste job of Duel of the Fates
and Anakin's theme. I couldn't believe how utterly uninspired this
was: even the performances are the same. Still, these are two great
cues, and the tactic of ending with a foreboding statement of the Imperial
theme was utter genious. (In the movie, I'm told that the end credits
end with Darth Vader breathing sound effects.)
Overall, this is not to be missed for Star Wars fans or fans of great music. There are a few mediocre tracks, and the lack of much leitmotif may put some off, but don't let any of this stop you from enjoying John Williams' return to the rousing 19th Century idiom.
| Music Rating | 10/10 |
| Packaging/Liner Notes | 4/10 |
| Sound Quality | 10/10 |
| Orchestral Performance | 10/10 |
| Length | 7/10 |