As a bit of fun in honor of May 4th’s Star Wars Day (“May the fourth be with you!”) members of the staff here at Nashville Public Radio have chosen our favorite musical moments from the Star Wars films for your listening enjoyment.
Ever since the original Star Wars film (which we now know as Episode 4) was released, the soundtrack’s epic nature has played a huge role in making these stories feel both magical and iconic. Audiences know for whom they should cheer, boo, and be in awe of thanks to composer John Williams.
Duel of the Fates
The entire trilogy of trilogies is marked by the conflict between the dark side of the force, and those who reject it. Nowhere is that more dramatically expressed musically than in the theme that runs through the entire prequel trilogy, known as the “Duel of the Fates.” This was 91Classical host Kara McLeland’s pick. Her reasons are both analytical and personal.
Kara McLeland, Sith LordKara McLeland91Classical
If Williams’s epic Carmina Burana-esque theme doesn’t get you HYPE, then you’re doing it wrong. This music is so good, it almost completely makes up for Jar Jar Binks, putting a rattail on Ewan McGregor, and the many other questionable decisions that make The Phantom Menace the worst Star Wars movie (don’t @ me). This theme has it all: an 88-voice choir singing like they’re about to perform an ancient human sacrifice ritual, bubbling ostinatos that double as ear-worms, and energetic countermelodies that really up the musical tension— all performed with the full weight of the London Symphony Orchestra.
I also have some personal, painfully nerdy history with this theme. In junior high, I unapologetically performed a tap dance routine to it while dressed as some sort of vague Sith Lord. Fortunately, Sith Lords don’t smile, so at least you can’t also see the rainbow braces I was sporting at the time.
The lightsaber battle at the end of Episode 1 that bears this title is amazing to watch, even with its gruesome conclusion. But it also represents the conflict of the entire prequel series: will Anakin Skywalker stick with the force, or turn to the dark side? And despite the audience knowing the result in advance, the theme still gives the conflict its requisite dramatic weight.
Jyn Erso & Hope
Continuing chronologically through the staff’s picks, WPLN Morning Edition host Rachel Iacovone selected a soundtrack piece that was not composed by John Williams, but rather by Michael Giacchino: Jyn Erso & Hope Suite from Rogue One.
“Jyn Erso’s Theme“ features throughout Rogue One, and it quotes a rather evocative expression from classical music: its opening notes are also those of the Dies Irae of Gregorian chant – a piece associated with death. The “Hope Theme” evokes the original “Main Theme” of all of Star Wars, with the ascending fifth at the beginning, and the large leap upward at the end. Iacovone was drawn to how in the middle of the Star Wars universe, this piece of music fit, but just felt a little different from the others.
The Force Theme
Like the presence of Duel of the Fates throughout the prequel trilogy, “The Force Theme” occurs at a memorable moment in the first of the original trilogy, and then continues to appear throughout the rest of the subsequent films. The audience can try to hide their emotion at the moment when Luke Skywalker stares at the binary sunset and makes his decision to follow Obi Wan Kenobi, but goosebumps abound. Despite the lyrical nature of its first appearance, the theme is also able to be presented as a march. So, the more capable Luke becomes with the force, the more driving the theme is able to be.
Music Director Nina Cardona selected this theme, knowing that of all of the pieces of music in the entire set of films and shows (and even radio drama!) this is the moment everyone knows that it’s Star Wars.
The Throne Room
The galaxy has been saved from the evil empire! The Death Star has been destroyed! And the rebels thank their conquering heroes with an award ceremony. When you consider the massive body count that led to this triumphant moment, it does lend some credence to fan theories and even op-eds that the rebellion were actually the bad guys.
So, as WPLN Senior Editor Chas Sisk has offered, it’s a good thing that we’re given such a wonderful soundtrack to this moment. Comedy podcast Auralnauts actually removed the music to show just how awkward the scene would have been without that march.
Modeled after marches from English and American military bands in both structure and instrumentation, it is a reinterpretation of “The Force Theme,” complete with glorious fanfare.
Hey Mando!
The Star Wars films are an epic, part of a genre of science fiction battle stories called “space opera.” But we know from the first downbeat of Ludwig Göransson’s soundtrack to The Mandalorian that this part of the universe is something different: a western. And that’s why it appealed to Live in Studio C and Classically Speaking host Colleen Phelps.
In a dystopian wasteland, a set of gritty characters populates a bar, and in walks a wandering stranger. The title character is represented with the low hooting tones of a bass recorder. Mando, as we come to know him, never shows his face to another living person, and his voice is even filtered under his helmet. His emotions are shown through his actions, and through the soundtrack that accompanies his journey. Unlike the films, we don’t yet know the conclusion of Mando’s story. But there’s sure to be more gunslinging ahead as he works to protect The Child, who audiences have affectionately dubbed Baby Yoda. After all, “this is the way.”
Rey’s Theme
One of the greatest musical enigmas in all of cinema? Or, a spoiler for musically-minded audience members? “Rey’s Theme” could be either, depending on how carefully you listen.
It was a pick of Membership Manager Zea Miller, who described it as sounding like adventure and hope.
I think it conveys the clarity of purpose that she embodies – her desire to be more than what she is: more than an orphan, more than a junk collector, more than a by-stander in the Resistance, more than a pawn for Palpatine and Kylo, and more than how others have defined her.
This was also another personal favorite for Kara McLeland, as Rey is her favorite character in the saga.
I love that her theme starts out spunky and subdued (Williams makes great use of winds and percussion here), then blossoms into a sweeping melody reminiscent of the Force Theme. It’s just the perfect musical embodiment of her character getting in touch with her own power. It’s also another brilliant example of the character connections Williams makes with his leitmotifs, since Rey’s theme shares motives with the themes of both Kylo Ren and (SPOILER ALERT) Emperor Palpatine.
Plus, I read that Williams agreed to score the final trilogy because he loved Daisy Ridley and the character Rey so much and didn’t want anyone else writing music for her. So we basically have this theme to thank for three more movies of John Williams excellence.
It’s All True
The gruff Han Solo has one of the most tender and moving lines of the entire series of films when, standing on board the Millennium Falcon, he tells Fin and Rey that all the stories they have heard are true. The Force Theme comes wide open for this moment, a favorite of WPLN’s All Things Considered host Jason Moon Wilkins. For fans who waited so long for the next chapters of the story, it’s the moment when it sinks in that their beloved story is continuing.
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