John Williams (b. 1932) 

         Suite from Star Wars

                 Main title

                 Princess Leia’s theme

                 The Imperial March (Darth Vader’s theme)

                 Yoda’s theme

                 Throne room and end title

Star Wars was originally released in 1977 by 20th Century Fox, and became a worldwide pop culture phenomenon.  It was followed by two sequels and twenty-two years after the initial Star Wars release, the creator George Lucas began the release of yet another trilogy.  One of the most successful film franchises ever created, the series is also credited as the beginning of a revival of grand symphonic scores in the style of  old Hollywood.  John Williams used a technique that had been introduced by the grandest of opera composers, Richard Wagner, in his epic music dramas – the “leitmotif,” a phrase or melody that signifies a character, place, plot device, mood, idea, relationship, etc. 

The main theme is associated with the hero of the saga, Luke, and heroism and adventure.  It is heard in full splendor over the opening titles at the beginning of all the films.  Next comes the lush theme for Princess Leia representing at various times her romanticized vulnerability and later, her stalwart independence.  The Imperial March represents the dominant villain Darth Vader and his implacable hold over the Galactic Empire.  Interestingly, it has evolved from its original use as an “evil” theme to widespread use as portraying power at public events such as athletic competition.  Yoda’s theme conjures up the gentle teacher of Luke.  The throne room is the final sequence of the first film and brings it to a triumphant conclusion.

Holst, Gustav (1874-1934)

The Planets, op. 32 (1914-16)

       Mars, the Bringer of War

       Venus, the Bringer of Peace

       Mercury, the Winged Messenger

       Jupiter, the Bringer of Jollity

       Saturn, the Bringer of Old Age

       Uranus, the Magician

       Neptune, the Mystic

The concept of Holst’s grand orchestral suite is based not so much on descriptions of Roman deities as it is on the astrological and psychological associations they present in Greek mythology.  It was the Greeks who introduced the idea of the “Music of the Spheres,” and they knew of seven “planets”: Sun, Moon, Mercury, Venus, Mars, Jupiter and Saturn.  In Holst’s suite the Sun and Moon are displaced by the more astronomically correct Uranus and Neptune; the Earth is not included, nor is Pluto, which was not discovered until 1930.  Originally scored for a piano duet, except the use of an organ for “Neptune,” the suite was later imaginatively and colorfully orchestrated.  Holst did not consider The Planets anything like his best work, and complained for the rest of his life that its popularity completely surpassed his other works.  Other than The Planets, Holst is remembered and heard today primarily through some compositions for concert bands.

The suite opens with “Mars, the Bringer of War” dominated by a strong rhythmical figure which continues through the entire movement.  It is a sound of menace, of inexorable marching and suggestive of the terrible destruction which war brings.  Ironically, the frightening power of this movement is a harbinger, not a remembrance, of the horrors of World War I which Holst had yet to experience.  The conductor Sir Adrian Boult commented: “I well remember the composer’s insistence on the stupidity of war as well as all its other horrors…. I feel the movement can easily be played so fast that it becomes too restless and energetic and loses some of its relentless, brutal, and stupid power.”

The violence of Mars is contrasted with the peace, calm, and beauty of “Venus, the Bringer of Peace.”  Instead of the harshness of the brass of “Mars,” the instrumentation now favors the serenity of harp, woodwinds, solo violin, solo cello, and celesta.

The fleet-footedness of “Mercury, the Winged Messenger” is suggested by the quicksilver darting from instrument to instrument, especially the elusive celesta in this barely four minute movement.

“Jupiter, the Bringer of Jollity,” with its Falstaffian sense of humor, is the most popular of the movements and it conveys the astrological significance of Jupiter as benevolent and generous.  Perhaps the cause of its popularity lies in the very English tune which is introduced toward the middle of the movement.  Solemn and carol like, the melody was later arranged as the hymn tune Thaxted, after the village where Holst lived for many years. Adapted to fit a poem by Sir Cecil Spring-Rice, “I vow to thee, my country,” the music became associated with the strong patriotic feelings resulting from the human cost of World War I.  Later, the tune was incorporated in the hymn “O God beyond all praising.”  It has even been used as the theme of the Rugby Union World Cup since 1991.

“Saturn, the Bringer of Old Age” gives a moving picture of old age and a sense of mortality and finality.  It is serene and somber, especially with its rhythmical base suggestive of a tolling bell which reaches a frightening climax, but gives way to a calm and peaceful resolution.

The staccato and bouncy bassoons which characterize “Uranus, the Magician” sometimes remind listeners of Dukas’s “The Sorcerer’s Apprentice,” but Holst had never heard the work, nor seen the score when he wrote this movement. Present also is a four note figure which in its various permutations might be thought of as the conjuring or “spell” motif. There is a rather macabre middle section, a sort of grotesque march, but the music returns to a mystical and magical quietness in the close.

To convey “Neptune, the Mystic,” every instrument plays pianissimo in a succession of chords and tones which convey a sense of timelessness.  Especially contributing to the effect is a women’s chorus which so quietly enters as to go almost unnoticed and which continues until it melts away with an undulating two chords which fade into silence.