The Best Musical Pieces From Each 'Star Wars' Movie Part 3 (The Original Trilogy)
Although the original trilogy movies are, chronologically, the "middle" trilogy in the Skywalker Saga, they were the first batch of Star Wars movies produced and, as such, John Williams' compositions for these films laid the groundwork for the subsequent trilogies. Presented here are the best musical pieces from each of the original trilogy movies. Nearly all the cues have been released on CD and digital download, although the expanded soundtrack releases with detailed liner notes and demos seem to be out of print at this time. Disney remastered and re-released the original scores to these movies on CD,LP, and digital download in recent years, which contain most of the essential cues from the original trilogy movies. A re-release of the expanded scores would definitely be welcome, eventually.
Star Wars Episode IV: A New Hope
There's almost nothing that I can say about Williams' iconic score for the very first Star Wars movie that probably hasn't already been said before, but many of the leitmotifs and cues composed for this film, especially "Binary Sunset", which is played over Luke watching the twin suns of Tatooine setting, have become the backbone of every piece of Star Wars music since. The theme has gone on to essentially become the theme symbolizing the Force and the Jedi in almost every single Star Wars movie or series to come. My personal favorites are "Ben's Death/Tie Fighter Attack", which plays over Obi-Wan Kenobi's self-sacrifice in front of Luke, and the Rebels' subsequent escape from the Death Star, as well as the lengthy cue for "The Battle of Yavin", which, of course, plays over the Rebel fighter attack on the Death Star. The movie closes with "The Throne Room," which leads right into the end credits. If I could have chosen any music playing at my High School (or College) graduation, I would choose the triumphant "The Throne Room" in a heartbeat.
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Star Wars Episode V: The Empire Strikes Back
John Williams returns to the Star Wars universe with a whole set of new themes to add to some of his themes established in A New Hope. The two most significant leitmotifs that Williams brings to The Empire Strikes Back are a new Imperial theme, "The Imperial March", which has come to be more colloquially known as "Darth Vader's Theme" and is heard whenever Vader and/or the Empire are onscreen. "Yoda's Theme" was written for the diminutive Jedi Master who trains Luke in the ways of the Force. Yoda's theme follows his character throughout the remainder of the original trilogy and even throughout the prequel trilogy and other places where he makes an appearance. It is one of my favorite overall Star Wars themes, and I love to listen to it in all it's forms. Williams also establishes an iconic love theme for Han Solo and Princess Leia, who gradually fall in love throughout the movie ("Han Solo & The Princess"). This too follows them throughout the remainder of the original trilogy and even into The Force Awakens, when they reunite. Other notable cues include one written for the Battle of Hoth, where the Rebels make a stand against the might of the Imperial war machine, as they struggle to evacuate Echo Base.
Star Wars Episode VI: Return of the Jedi
The original trilogy concludes in Return of the Jedi and Williams returns to many of the leitmotifs established in the first two movies, including the Imperial March but also created some new ones, such as a new "sibling" theme for Luke and Leia, which acknowledges their newly discovered relationship as siblings. He also writes a whimsical theme written for the furry little creatures known as Ewoks, who later join the Rebels in their fight against the Empire on the moon of Endor. Williams also created a dark and menacing theme for the Emperor, who Luke confronts during the film ("The Emperor"). His theme also crops up throughout the prequel trilogy, as well as in The Rise of Skywalker. Some of my favorite musical cues for this movie are "Return of the Jedi", which plays over the Rebels' triumphant escape from Jabba The Hutt at the Sarlacc Pit and the almost operatic cue (complete with chorus), played over Luke lashing out at Vader during the climax of their lightsaber duel at the end of the movie.
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