hen Star Wars exploded onto the cinematic scene in 1977, along with unforgettable characters and an engaging plot the film also exposed science fiction fans to the masterful music of John Williams. The composer had certainly produced memorable motifs for previous projects, including Jaws and the Lost in Space TV series. Yet many filmgoers, upon hearing his grandiose SF soundtrack for the first time, found the experience incredible and indelible.
On Star Wars: Episode I - The Phantom Menace, the acclaimed artist revisits what is arguably his most famous set of scores with an inventive fusion of fresh and familiar themes. Opening with the stirring "Star Wars Main Title," the 17-track CD smoothly fades into an all-new number dubbed "The Arrival at Naboo." Like many of the cuts, these two tunes are introduced as a coupled work, with one melody flowing directly into the next. A few compositions on the album are offered as singular selections, such as "Duel of the Fates" and "He Is the Chosen One," but most of the pieces, like "Jar Jar's Introduction" and "The Swim to Otoh Gunga," or "The Droid Invasion" and "The Appearance of Darth Maul," are presented in pairs.
Each work is performed by the London Symphony Orchestra, with sporadic accompaniment from the London Voices and The New London Children's Choir. The heavily illustrated liner notes, which unfold into a small poster, also contain brief testimonials written by George Lucas and the composer.
A forceful performance
Since the earliest rumors began circulating about The Phantom Menace, SF-movie mavens have been eagerly anticipating Williams' return to the Star Wars saga. Now that this impressive collection has been released, it's evident that the wait was worthwhile. These compositions, which represent only a portion of the film's complete score, are both memorable and meaningful.
For those intimately acquainted with the original Star Wars trilogy, the most significant melody is clearly "Anakin's Theme." This bucolic cue, which ingeniously features subtle elements from the infamous (and ominous) "The Imperial March (Darth Vader's Theme)," is pastoral yet slightly portentous, serving as a marvelous musical harbinger of the character's dark destiny. Other recognizable leitmotifs briefly appear in works like "Anakin Defeats Sebulba" and "The High Council Meeting," unobtrusively reminding the audience that this new adventure serves as a fundamental component of the overall Star Wars story line.
The soundtrack is also remarkably enjoyable from a purely musical perspective. "Passage Through the Planet Core" exhibits a wonderfully eerie ambiance, while the rousing "Panaka and the Queen's Protectors" generates a terrifically exhilarating atmosphere. Even the rollicking "Augie's Great Municipal Band," which features a chirpy children's chorus that could easily have been overly cloying, is entertaining, and functions as a satisfactory--though not terribly scintillating--wrap-up before segueing into the uplifting (and instantly recognizable) "End Credits." Nevertheless, when all is said and done, it's abundantly clear that The
Force is with Williams on The Phantom Menace.
