Star Wars Episode V: The Empire Strikes Back – John Williams

I’m just going to say this before I go into any details: Star Wars Episode V: ESB has got to be one of the best movie sequels of all time, alongside The Godfather II, Terminator 2, LOTR The Two Towers and The Dark Knight. It did everything a sequel is supposed to do: build on the already established characters, move the plot in a new direction and bring the bad guys back with a vengeance. The decidedly darker tone of ESB allowed for some more complex character motivations and a generally greater sense of thrill and excitement which basically means I thought it was awesome, OK? Also, one of the best movie twists of all time too (although Obi-Wan should really have told Luke about Vader before he went to face him).

The same can be said about the movie’s score, which as you might expect brings back a lot of content from the first movie, but instead of simply replaying it, Williams establishes the themes in new settings and variations, reinforcing any on screen character or plot development. In a way, these reiterations and the moments when they are played to their fullest are actually my favourite parts of the score, allowing for a fusion of recognising the familiar and experiencing the new all at once. Of course, the famous ‘Main Title’ is there, playing in full as the yellow credits roll, and then it segues seamlessly into ‘The Ice Planet Hoth’, which sets the stage in the rebel base on the ice planet with a few military brass and snare rolls, reiterations of Luke’s theme (the Main Title) in a few new and interesting arrangements mixed with a few statements of Leia’s theme, which pops up occasionally throughout the rest of the score. Luke’s theme is also heard in ‘The Battle of Hoth’, and after that it takes on a minor key change in ‘Arrival at Dagobah’, ‘Jedi Master Revealed’, ‘Yoda and the Force’ and ‘Lando’s Palace’ as Luke experiences new challenges and faces new dangers. The Force Theme makes a few standout appearances, notably in ‘Vision of Obi-Wan’, ‘Jedi Master Revealed’ ‘Yoda and the Force’, ‘Lando’s Palace’, ‘Rescue from Cloud City’ and ‘The Rebel Fleet’, often with some kind of reworking or new arrangement, making for compelling listening.

But of course it’s not just reworkings of past themes! ESB four new themes, each as wonderful as the last. The first is instantly recognisable, almost as iconic as the ‘Main Title’, synonymous with the dark side and representative of one of the most infamous movie villains of all time.

You all know it, so sing along: BA BA BA BUH BAH-BA BUH BAH-BA, BAH BAH BAH BAH BA-BA BUH BA-BA!

Darth Vader’s 9 note theme on all the brass gets a full concert arrangement in ‘The Imperial March’ (and it has been played in concert suites of Star Wars globally ever since), but we first hear it in its film context in the track ‘Aboard the Executor’ which also uses harsh brass, high sliding strings and percussion to establish the Galactic Empire. Subsequently it receives prominent restatements in tracks that underscore a moment of the Empire winning or in an apparent position of power, such as ‘The Battle of Hoth’ ‘The Asteroid Field’ ‘Imperial Starfleet Deployed’ ‘Deal with Dark Lord’ ‘Carbon Freeze/Darth Vader’s Trap’ and ‘Rescue from Cloud City’ (the last track underscores that big reveal btw). My favourite arrangement however is in ‘The Clash of Lightsabers’, which starts quiet, building tension, and then plays the theme at a slowly advancing pace, surrounded by a string whirlwind, cymbal crashes and brass accents. Very dark, and very cool. But that’s not the end of it. Vader’s theme also seems to act as a transitional piece of music, featuring in other tracks where scenes change and a ‘wipe’ is used on screen, which reinforces the viewer’s memory of the theme until it’s almost inescapable! Clever, Mr Williams, so clever.

The second new theme is a love theme for Han Solo and Leia. It’s a grand and sweeping 6 note theme on the strings, using all the conventional scoring methods employed by Williams when creating a love theme, and its beautiful. It’s first heard in ‘The Ice Planet Hoth’, as Han and Leia argue about staying with the rebel fighters, and gets subsequent reiterations in ‘The Asteroid Field’ and ‘Han Solo and the Princess’, with a slower, sadder feel in ‘Betrayal at Bespin’, and with a sense of tragedy in ‘Carbon Freeze’. This theme forms the emotional heart of the film, as Han and Leia’s relationship develops into love. (“I love you!” “I know.” – so sweet!).

The third new theme is for the 900 year old tiny green alien that trains Luke to become a Jedi and use the force. ‘Yoda’s Theme’ is mystical and grand, 4 notes, and spiritually linked to E.T in its sense of wonder and its portrayal of a creature linked to something infinitely more powerful than itself. It has a concert arrangement, but we hear it first in ‘Luke’s Nocturnal Visitor’ on playful plucked strings and woodwind since we are introduced to Yoda not as a powerful Force master but as a little, rather irritating nuisance. It gets subsequent reiterations in tracks featuring Yoda, such as ‘Jedi Master Revealed’, ‘The Training of a Jedi Knight’, ‘Yoda and the Force’ and ‘Lando’s Palace’.

Finally, the fourth new theme is one often overlooked in the grand scheme of things, but in my mind is no less deserving of credit for its memorability etc. – it’s the theme for Lando Calrissian and his palace at Bespin. A regal, slightly pompous march for strings, it conveys a sense of governmental authority. It’s first heard in ‘Lando’s Palace’ (obviously), and gets subsequent reiterations in ‘Betrayal at Bespin’ and ‘The Clash of Lightsabers’. I really like this theme as well, and unlike some I would put it on the same pedestal as the rest of the memorable themes from this saga.

In addition to all this, Williams provides us with some fantastic action sequences, better than A New Hope in my opinion. ‘The Asteroid Field’ is particularly noteworthy for introducing a completely different theme used solely for the scene it underscores, and even so it is a brilliant action theme. Williams also makes use of other themes in an action setting, which works surprisingly well. Tracks such as ‘Darth Vader’s Trap/Departure of Boba Fett’ and ‘The Clash of Lightsabers’ use Yoda’s theme, Lando’s theme and Han and Leia’s love theme as the basis for some action music. Like I said, I didn’t expect it to work, but it really does!

There are a few album highlights for me. ‘The Asteroid Field’ has the best action chase sequence. ‘Jedi Master Revealed’ and ‘Yoda and the Force’ have fantastic arrangements of the Force theme, Yoda’s theme and Luke’s theme. ‘Lando’s Palace’ has a bit of everything! ‘The Clash of Lightsabers’ has the fantastic arrangement of Vader’s theme as well as the aforementioned action music. And finally, ‘The Rebel Fleet’ reworks the Force theme and Han and Leia’s love theme for a very real sense of catharsis, before the ‘End Title’ wraps it all up with reiterations of all the main themes in their best settings. Most people have ranked the Star Was scores and put ESB at the top of that ranking. I would have to put it there too, I think. The ultimate sequel deserves the best music it can get.

Here’s a YouTube link to this excellent score, please listen to it.

God bless.

---

Purchase this album from iTunes here

Track Listing

Disc 1

1. 2oth Century Fox Fanfare
2. Main Title/The Ice Planet Hoth
3. The Wampa’s Lair/Vision of Obi-Wan/Snowspeeders Take Flight
4. The Imperial Probe/Aboard the Executor
5. The Battle of Hoth
6. The Asteroid Field
7. Arrival on Dagobah
8. Luke’s Nocturnal Visitor
9. Han Solo and the Princess
10. Jedi Master Revealed/Mynock Cave
11. The Training of a Jedi Knight/The Magic Tree

Disc 2

1. The Imperial March
2. Yoda’s Theme
3. Attacking a Star Destroyer
4. Yoda and the Force
5. Imperial Starfleet Deployed/City in the Clouds
6. Lando’s Palace
7. Betrayal at Bespin
8. Deal with Dark Lord
9. Carbon Freeze/Darth Vader’s Trap/Departure of Boba Fett
10. The Clash of Lightsabers
11. Rescue from Cloud City/Hyperspace
12. The Rebel Fleet/End Title