Star Wars’ epic musical canvas suited the operatic aspirations of Lucas. ‘An elegant weapon, for a more civilized age …’Īfter the gorgeous excesses of Hollywood’s lush musical scores through the 1930s and 40s, overly grand orchestral scoring took a back seat until Williams revitalised the neoromantic approach in the 70s. When the action and dialogue turns to the past, the music follows, as Han and Leia’s Love Theme from the original trilogy surfaces, followed by a magisterial arrangement of the portentous Force Theme (which has here acquired a soaring choral accompaniment).Ī crescendo to an unresolved climax follows, a pregnant pause, then a glowing, soft, and slumberous statement of the march generally known as the Star Wars theme, but also associated with Luke Skywalker as a symbol of hope.
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The piano chords are repeated lower, then lower again in a full orchestral arrangement unleashed by timpani, as the villainous Kylo Ren is revealed. The austere opening is only the pointy end of a narrative wedge shape – as characters are introduced, so too does the music develop. The trailer opens with the understated novelty of solo piano, a rarity in the Star Wars soundworld – four intimately enigmatic chords, poised above a shimmering acoustic spaciousness, musically matching the cavernous vault of the mysterious visual setting.
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