THE EMPIRE
STRIKES BACK

- Special Edition -

(1997)

German Title: Das Imperium schlägt zurück

LP - CD - Anthology

Track Listing

CD 1 (62:41)

1. 20th Century Fox Fanfare (Alfred Newman, 1954) (0:21)
2. Main Title/Ice Planet Hoth** (8:08)
3. The Wampa's Lair/Vision of Obi-Wan*/Snowspeeders Take Flight (8:48)
4. The Imperial Probe*/Aboard the Executor* (4:24)
5. The Battle of Hoth
    (Ion Cannon/Imperial Walkers/Beneath the AT-AT/Escape in the Millenium Falcon) (14:48)
6. The Asteroid Field (4:15)
7. Arrival on Dagobah** (4:52)
8. Luke's Nocturnal Visitor (2:35)
9. Han Solo and the Princess (3:26)
10. Jedi Master Revealed/Mynock Cave** (5:44)
11. The Training of a Jedi Knight**/The Magic Tree (5:15)

CD 2 (61:42)

1. Imperial March (Darth Vader's Theme) (3:02)
2. Yoda's Theme (3:29)
3. Attacking a Star Destroyer (3:04)
4. Yoda and the Force (4:02)
5. Imperial Starfleet Deployed*/City in the Clouds (6:03)
6. Lando's Palace (3:53)
7. Betrayal at Bespin* (3:46)
8. Deal with the Dark Lord* (2:36)
9. Carbon Freeze**/Darth Vader's Trap/Departure of Boba Fett (11:50)
10. The Clash of Lightsabers (4:17)
11. Rescue from Cloud City/Hyperspace (9:08)
12. The Rebel Fleet/End Title (6:26)

*Previously Unreleased
**Contains Previously Unreleased Material

JOHN WILLIAMS STRIKES BACK

Composing the musical score for an outer space epic would seem a daunting task, but in the case of The Empire Strikes Back, the grand scale of the film was only one of John Williams' challenges. The music for Star Wars had ushered in a renaissance of film scoring, earning Williams his third Academy Award©. The record album had become the biggest-selling orchestral soundtrack in history, its success part and parcel of the global phenomenon that had turned Star Wars into the most popular movie in history. For the sequel, Williams had to avoid retreading territory he'd already covered but not stray too far from what had been established and accepted. In his composition, Williams continued to employ the Wagnerian technique of "leitmotif"-the application of distinct thematic material associated with specific characters and storylines. A library of themes had already been developed for the first film-the main Star Wars theme, the Rebel Fanfare, Princess Leia's theme, and the theme associated with Ben Kenobi and the Force. "With that as a basis," the composer explains, "I wanted to try to develop material that would wed with the original and sound like part of an organic whole. So, in the creation of new themes and the handling of the original material, the task, both in concept and instrumentation, was one of extending something that I had written three years before. I had to look back while at the same time begin again and extend." Williams' musical extensions to the evolving Star Wars universe consisted of three major new themes and several recurring motifs, all written, like their predecessors, in the 19th-century Romantic idiom. The most distinct is the Imperial March, a dark, but fun musical depiction of the might of the Empire which serves as a malevolent "Hail to the Chief" for its principal figure, Darth Vader. This is balanced by the benign Yoda's Theme, representing the wisdom of the Jedi Master. These two themes were first unveiled on April 29, 1980, three weeks before the opening of the film, on the occasion of John Williams' first official concert as the new conductor-in-residence of the Boston Pops Orchestra. The third major addition is a love theme associated with Han Solo and Princess Leia, a sweeping melody used throughout the score in a variety of arrangements. Added to this are motifs for the droids, the bounty hunter Boba Fett, and a march for Cloud City and its administrator, Lando Calrissian. Although several elements distinguish the music for The Empire Strikes Back from its earlier sibling-most notably the use of synthesizer and dissonant orchestration-the superb performance of the London Symphony Orchestra remains a constant. Of the 129 musicians contributing to Empire, 72 had also played in the sessions for Star Wars. Between the two projects, Williams had also used the LSO for The Fury, Superman, and Dracula (while Jaws 2 and 1941 were recorded at 20th Century Fox in Hollywood). Recording on Empire began right after Christmas of 1979, with sessions being divided between Anvil Studios, where the first score had been recorded, and EMI Studios at Abbey Road, "We did 18 sessions of three hours each spread over a period of two weeks," Williams discloses. "That's quite a bit of time, but we had two hours of music for the film. In a normal symphonic setting you wouldn't need 18 sessions, but in recording for film you have problems of synchronization that slow down the process, especially in a score for a film so complex as The Empire Strikes Back." As with Star Wars, Williams was supported by the team of recording engineer Eric Tomlinson, orchestrater Herbert Spencer, music editor Kenneth Wannberg, and supervisor Lionel Newman, the head of the 20th Century Fox music department. The Empire Strikes Back was released on Wednesday, May 21, 1980 and, like its predecessor, surpassed the box-office gross of Jaws to find its place Just below Star Wars on the list of all-time popular films. The soundtrack album sold one million copies by the end of August, and the score garnered another Oscar nomination for Williams, who only a year later would be back with the LSO to record the score to Raiders of the Lost Ark while waiting, along with the rest of the world, for the saga to continue. In the meantime, Star Wars and film score enthusiasts were treated to one of John Williams' most diverse and ambitious works for the cinema.

THE SPECIAL EDITION

1997 is the 20th Anniversary of the original Star Wars, marked by the major theatrical release of "Special Edition" versions of the film and its two sequels. Never-before-seen and newly-created footage has been incorporated into all three films, with both picture and sound fully restored and enhanced. Part of this restoration includes new presentations of the John Williams scores on compact disc. The music from The Empire Strikes Back was first released as a 75-minute double LP set on Friday, May 16, 1980, five days before the premiere of the film. Within five years, however, the demise of the vinyl format brought about the reconfiguration of the Empire soundtrack as a bargain item. The first compact disc release, the only one available for many years, reflected this alteration and ran only half the length of the original 2 LP set, an issue further complicated by the existence of re-recordings containing material not available elsewhere. Although the content of the double album was restored for an anthology boxed set in 1993, much of the music has remained unreleased until the 1997 Special Edition made it possible to present the complete score on a 2 CD set for the first time. All the music has been re-mastered for unprecedented clarity, and many of the track titles have been changed from previous releases in order to reflect the chronological story action. It is hoped that the resulting listening experience makes a far away galaxy sound a little closer.

CD 1

The 20th Century Fox Fanfare was composed and originally recorded by Alfred Newman in 1933, when Twentieth Century Films first merged with Fox Movietone. In 1939, Newman became head of the studio's music department, and in 1954 he prepared an extended version of the fanfare for use on Fox's CinemaScope stereophonic presentations. The fanfare was eliminated from the studio's 70mm TODD-AO productions in the 1960's, and by the 1970's both long and short versions were used arbitrarily and inconsistently. Star Wars reintroduced Newman's original version to the cinema-going masses, and for the sequel Williams and the London Symphony Orchestra made a new recording of Newman's extended fanfare for the first time in a quarter century. This recording, presented here, is followed as in the film by the Main Title, the classic Star Wars march performed here with slightly modified orchestrations from those for the first film. The "Main Title" leads into The Ice Planet Hoth, the beginning of which was eventually rescored with "The Imperial Probe" (see track 4). Both versions start with dancing flutes and a rising horn phrase over which Darth Vader's theme is introduced by a solo piccolo. This original version continues with the entrance of trumpets, leading the orchestra to a great crescendo of Vader's theme and beginning an extended sequence of more than sixteen minutes of continuous music. Nine minutes of this music was either dropped, rescored, or replaced by other cues. A grandiose passage leads to a rhythmic section featuring the tuba, followed by a sudden quietness as Luke's tauntaun is seen striding across the glacier. Strains of the main Star Wars theme are played by a solo trumpet as Luke appears, and then, as he converses via comlink with Han Solo, the French horns introduce the new theme for Han and his growing relationship with Princess Leia. Bombastic percussion and trumpets intervene when Luke is suddenly attacked by a wampa ice creature. This is followed by unused militaristic music for Han Solo's arrival at the Rebel base. The main theme is heard subtly in the violin section, and then prominently by trumpets as Han checks in with his first mate, the Wookiee Chewbacca. Flutes and trombones recall Princess Leia's theme from Star Wars as Han enters the command center. As he informs General Rieekan that he and Chewbacca must leave to settle a debt with Jabba the Hutt, the orchestra gently modulates into another playing of the theme by oboes and flutes. The violins swell, leading to the first full presentation of the Han/Leia theme as the Princess voices her objection. This melody perfectly complements the earlier theme, but trades in its pure innocence for a more mature love theme infused with an appropriate hesitancy and a sweeping 19th-century Romanticism. Williams next introduces a playful new motif for C-3PO and R2-D2 as the droids appear. As the mystery of Luke's whereabouts develops, the rest of the cue features various shades of his theme by French horn, violins, and oboe/flute. The track ends with a dramatic violin flourish of Solo's theme as Han mounts a tauntaun to search for his friend. The Wampa's Lair continues the action as Luke's fate is revealed. Suspended upside-down in the wampa's cave, his feet frozen in the ice, Luke regains consciousness. Piccolos, bassoons, sinister strings, muted brass, and a synthesizer contribute to the atmospheric music accompanying Luke's attempt to use the Force to retrieve his lightsaber before the wampa returns. After a French horn statement of the Force theme, the trumpets explode as Luke frees himself, only to emerge from the cave into a raging blizzard. The balance of the track features more unused music including the Rebel Fanfare as Han continues searching, the droid motif as C-3PO and R2-D2 keep a vigil at the shield door, and an ethereal rendition of Luke's theme as the young Rebel collapses face down in the snow. Vision of Obi-Wan, a section of previously unavailable music, takes the action back to the Rebel base, with a mournful rendition of Luke's theme accompanying the sadness of his friends. A dissonant section then leads to another French horn statement of the Force theme as the spectre of Ben Kenobi appears to Luke, instructing him to travel to Dagobah to continue his training with Yoda, the Jedi Master. This is followed by a dramatic passage as Han finds Luke and sets up an emergency shelter in which they will brave the cold Hoth night. As the cue ends, a repeating two-note horn phrase can be heard faintly, which then becomes prominent at the start of Snowspeeders Take Flight, a rousing and rhythmic piece written for the scene in which Rogue Flight rescues Luke and Han at daybreak. Following Luke's recovery, the focus returns to The Imperial Probe, beginning here with the subtle, atmospheric piece which in the finished film replaced the first portion of "The Ice Planet Hoth." Vader's theme is again played by solo piccolo, and then suggested subtly by the quiet chord progressions heard during the probot's landing. Back at the Rebel command center, the droid's presence is detected as Aboard The Executor begins. A tense rhythm builds to a muted trumpet playing Darth Vader's theme, followed by atonal music written for the scene where Chewie distracts the probe, allowing Han to destroy it. The opening rhythm returns, leading to a fullbodied statement of the Imperial theme as the Starfleet is seen in another part of the galaxy. This was replaced in the film by the first part of the formal "Imperial March" (CD2, track 1), and combined with the end of this original version, in which Williams begins demonstrating the theme's versatility as Captain Piett shows Admiral Ozzel and Darth Vader the fragmented probe transmission from Hoth. The Battle Of Hoth consists of four sophisticated and complex action cues. The Ion Cannon is first, beginning quietly with the main theme on clarinet as Luke exchanges reluctant farewells with Han and Chewbacca. The Imperial theme returns as the action moves again to Darth Vader's Star Destroyer, now entering the Hoth system. Various permutations of the theme play as General Veers delivers a report to Vader, who executes Admiral Ozzel a moment later. Strings enter in a military mood as Princess Leia conducts a hurried briefing for pilots back on Hoth. Quiet tense chords accompany the preparations of the Rebels' ground troops. As the first' Alliance transport runs the blockade, the imperial theme, Rebel Fanfare, and main theme are played in succession as the ion cannon disables a Star Destroyer in its path. A triumphant passage underscores the boarding of snowspeeders and the launch of Rogue Flight. Imperial Walkers is a hostile cue that accompanies the initial onslaught of the menacing All Terrain Armored Transports. Williams reveals that the piece "has unusual orchestration calling for five piccolos, five oboes, a battery of eight percussion, two grand pianos, two or three harps, in addition to the normal orchestral complement. This was necessary in order to achieve a bizarre mechanical, brutal sound for the sequence." Recurring thematic material is deferred with the exception of one unexpected statement of the Princess' theme. Beneath the AT-AT takes the action back to the Rebel base, beginning with a rhythmic string phrase as Leia and the Rebel strategists revise their evacuation schedule and Han prepares his ship for lift-off. The droid motif is played over C-3PO's quick farewell to R2, who is loaded into Luke's X-wing fighter. Action music returns as the battle becomes more frenzied, leading to the Imperial theme followed by a brass and wind rendition of the rhythmic phrase which begins the cue. An alarming passage for brass and piano is heard as Luke's snowspeeder crashes. Luke's theme appears briefly, followed by abrasive pulses as a walker approaches, crushing the downed craft. Williams uses Luke's theme in a French horn/flute counterpoint as Han returns to the command center to escort Leia to her ship. As the ground troops retreat, the Force theme is played passionateiy by trombones and trum- pets with rising strings adding to the tension. The Rebel Fanfare appears triumphantly as Luke destroys one of the walkers. The Imperial theme then returns as the lead walker obliterates the power generator, deactivating Hoth's protective shield and allowing Vader to Sand. Debris from the explosion blocks the corridor to Leia's transport as Escape in the Millennium Falcon begins. Leia's theme appears briefly and then the brass boldly states the Imperial theme as Vader and a squad of troopers burst into the command center. As Han, Chewbacca, the Princess, and C-3PO reach the Falcon, Solo's theme is intercut with Vader's as the Corellian starship again comes to the rescue in the nick of time. The Han Solo theme continues, rounding out as Luke takes off in his X-wing for outer space, bringing the Hoth sequence to a close. The Asteroid Field is one of the most popular cues in the score, beginning with an arrangement of Darth Vader's theme as the Millennium Falcon engages the forces of the Empire. The tempo quickens as Han, failing to repair the hyperdrive, dives into an asteroid field. Here the music requires virtuoso playing from the wind section. As four TIE fighters give chase, Williams delivers a soaring brass melody. The love theme appears at the end of the cue as Han ducks the ship into a huge asteroid cave. Arrival On Dagobah begins with appropriately "sludgy" music for the dark, lush, misty planet onto which Luke has crashed. Strains of Luke's and Leia's themes are heard as the young Rebel opens the cockpit. A moment later R2-D2 accidentally topples into the swamp. The droid motif is used when R2's periscope appears, but its mood turns threatening with the arrival of a large creature that attacks and then spits out the robot. The motif continues until the action moves to the Executor with Darth Vader's theme, a scene that reveals a tantalizing glimpse of the unmasked Vader. After a short unscored scene with Han and Leia, the action returns to Dagobah, where Luke is setting up camp. Here Williams continues to augment the atmosphere with lush strings, muted brass, and English horn. The Force theme is heard just before Luke is surprised by the appearance of a tiny, gnome-like creature. Luke's Nocturnal Visitor starts rummaging through the survival gear, a scene for which Williams composed a playful wind rendition of Yoda's theme featuring pizzicato strings. Aboard the Falcon, the relationship between Han Solo and the Princess progresses in a quiet scene that ends with a passionate kiss. This straightforward presentation of the love theme then leads to Vader's theme as the Dark Lord is commanded to contact the Galactic Emperor. For this ominous sequence, Williams applies very quiet atonal strings and celeste. Jedi Master Revealed is the first of several cues in the film in which Williams seamlessly weds Luke's theme, the Force theme, and Yoda's theme for much of the action on Dagobah. The intrusion of Darth Vader's theme marks the beginning of Mynock Cave, as a Star Destroyer and TIE bombers move through the asteroids. In the momentary safety of the cave, the Falcon is suddenly attacked by bat-like creatures, prompting Han and the others to investigate. Emerging into the foggy environment, Williams uses strings, celeste, harp, and synthesizer to generate the appropriate mystery. In an energetic rhythmic section, Han discovers that the asteroid cave is actually a huge space slug, forcing him to make a quick escape, once again facing asteroids and pursuing Imperials. The Training of a Jedi Knight presents a light version of Yoda's theme written for the sequence in which Luke carries the Jedi Master on his back. Williams interweaves Vader's theme and the Force theme as Luke learns about the dangers of the dark side. Spooky orchestration takes over in The Magic Tree as Luke detects a malevolent presence from a nearby cave. Luke's theme is played briefly by French horn, followed by ominous strings as Luke enters the cave. A synthesizer is employed for the appearance of the image of Darth Vader and the dream-like saber combat. With this central conflict now fully established, the trilogy reaches its mid-point, with successive statements of Luke's theme, Yoda's theme, and Darth Vader's theme musically summarizing the various matters to be resolved.

CD 2

Formal concert suites begin the second disc, with both good CD 2 and evil musically stating their cases. The Imperial March (Darth Vader's Theme) is the now-famous signature theme for Darth Vader. Its antithesis is the benevolent Yoda's Theme, a piece which embodies the Jedi Master's wisdom and gentility. Underscore returns with the introduction of the element which will make the final chapter of the trilogy possible. For the bounty hunter Boba Fett, in lieu of a fully developed theme, Williams unassumingly presents a low, descending two-note bassoon phrase at the start of Attacking a Star Destroyer as the character is first seen aboard the Executor. Action music returns as the Millennium Falcon is pursued by the Avenger, finally emerging from the asteroid field. The hyperdrive still unresponsive, Han turns the ship on his attacker, inexplicably disappearing from Imperial scanners seconds later. Returning to Dagobah with a subtle statement of Yoda's theme, Luke is training with Yoda, but loses concentration when R2-D2 informs him that the X-wing has sunk to the bottom of the swamp. Yoda and the Force underscores Luke's failed attempt to raise it. A brief synthesizer is heard, followed by the main theme and then the Force theme as Yoda counsels Luke. Yoda's theme then begins quietly, and swells to a glorious climax as the Jedi Master demonstrates the full power of the Force. Vader's theme is heard as the action returns to the Executor. Imperial Starfleet Deployed begins with Vader's theme again as the Dark Lord issues commands after executing the captain of the Avenger. The Millennium Falcon is then revealed attached to the side of the Star Destroyer as another bold statement of Vader's theme is heard. After checking the data banks for a safe nearby port, City in the Clouds begins as Han skillfully detaches the ship and floats away with the warship's garbage flow. The love theme is used here, followed by the Boba Fett bassoon motif as the bounty hunter witnesses the careful maneuver. Back on Dagobah, the Force theme is heard as Luke is overcome by a vision of his friends in jeopardy. Yoda's theme is played with high strings, accompanied by various chimes and celeste, as Luke tells his vision to Yoda, who advises his pupil to not act in haste. A soaring, exotic sound is introduced as the Falcon arrives at the planet Bespin. Angelic women's voices are heard over the first images of Cloud City, the orchestra quieting as the ship is escorted to a landing platform and Han's old friend Lando Calrissian appears. Lando's Palace introduces a cosmopolitan march as Han, Leia, and Chewie are greeted, which turns suddenly sinister when inquisitive Threepio makes a wrong turn and is blown apart by an unseen assailant. On Dagobah, Luke has decided to abandon his training and go to his friends. Luke's, Ben's, and Yoda's themes are interwoven as the Jedi Master and the spectre of Kenobi implore Luke to reconsider, Vader's theme also appears, indicating the threat of the dark side that awaits Luke at Bespin. As Luke lifts off, promising to return, the Force theme reaches a crescendo, ending quietly with cello. Betrayal at Bespin follows immediately with a lofty version of Luke's theme as the X-wing fighter returns to outer space. The love theme is played during a scene at Cloud City in which Leia is worried about the missing C-3PO, whose pieces are found by Chewbacca a moment later. Lando's march returns as the administrator escorts Han, Leia, and Chewie to dinner. This time the melody is punctuated by the Rebel Fanfare. As the door to the dining hall opens, Lando's trap is sprung. Darth Vader stands in greeting, stormtroopers surround the group, and Boba Fett enters, scored again with the bassoon motif. Luke's theme is heard as the young Rebel is seen in his X-wing, zooming towards Bespin. The droid motif occurs during a short scene in a Cloud City prison cell in which Chewbacca reactivates C-3PO, ending with a threatening statement of the Imperial theme as Vader begins torturing Solo. Deal with the Dark Lord begins with Vader's theme, followed by a rising brass motif which occurs throughout the cue. The droid motif returns as it becomes apparent that Chewbacca, attempting to put the droid together, has placed C-3PO's head on backwards. The rising horn reappears, leading to the love theme as Leia comforts Han after they are returned to the cell. The tension builds when Lando enters, trying to explain his actions, but Han strikes him. The cue ends with the rising horn and an ominous statement of the love theme. Carbon Freeze begins an extended musical sequence which leads to the film's climax. The main theme is passed from trumpet to flute to horn as Luke approaches Cloud City. The Imperial theme takes over as the Rebels are brought into the chamber where Darth Vader plans to freeze Luke for transport to the Emperor after testing the process on Han Solo. The love theme is featured throughout the piece, swelling to operatic proportions as Han and Leia kiss goodbye and Han is lowered into the carbon chamber. Brass and pounding percussion play over the freezing of Solo, ending with a powerful rendition of Vader's theme. This is followed by atonal strings, piccolo, and horn in a short passage written for the raising of the carbonite block, which was later rescored with the dramatic rendition of the love theme that follows it. Descending horn phrases underscore Lando's announcement that Han has survived the process. The effigy is then turned over to Boba Fett for delivery to Jabba the Hutt. Rhythmic phrases, punctuated by the Imperial theme, round out the scene as Vader alters his bargain with Lando, deciding to take Leia and Chewbacca as his own prisoners. Quiet strings continue the rhythm as Luke arrives and Darth Vader's Trap begins. An ascending horn and wind motif is heard as Luke spots Boba Fett and the carbonite block. The shootout as he gives chase is scored with Yoda's theme. Piano, percussion, and cello are used to create tension before Yoda's theme builds to a climax, then quiets as Luke enters a dark alcove. Atonal strings and percussion are heard as Luke is brought into the carbon freezing chamber and Vader appears. The ascending horn phrase is heard again as Luke confronts the Dark Lord and draws his lightsaber, the duel beginning. Meanwhile, the earlier rhythmic phrase returns in Departure of Boba Fett, which begins when Lando's men overtake the stormtroopers, freeing Leia and Chewie. The ascending horn motif is played once again as Boba Fett loads the carbonite block into his ship, the Slave I. An urgent version of the love theme is heard as Leia, Lando, Chewie, and the droids race to the landing platform to save Han, only to glimpse the bounty hunter's ship lifting off. The latter part of the cue is unused music for the continuation of the lightsaber duel. Vader's theme is used as Luke is pushed backward into the freezing pit, with the Force theme and Yoda's theme returning triumphantly as Luke escapes, retrieves his fallen lightsaber, finally overpowering Vader, who falls off the platform. The cue ends with Luke's theme as the young Jedi pursues the Dark Lord. Clash of Lightsabers accompanies the next phase of the duel, in which Vader uses the Force to hurl objects at his opponent. A grand statement of the Imperial theme is heard as Luke is overwhelmed, plummeting through a window into the reactor shaft. Miraculously grabbing hold of a suspended gantry, Luke pulls himself to safety. The action cuts to Leia and Lando, exchanging fire with stormtroopers and making their way to the Millennium Falcon. Yoda's theme is used, followed by a brief reprise of the Cloud City march. A brass rendition of the love theme then enters, the tension building as R2-D2 attempts to open the blast door leading to landing platform 327. After a brass section interlude, the theme reaches a climax, now punctuated by ascending trumpet phrases, as the door is opened and the Rebels board the ship, which lifts off moments later. Rescue from Cloud City marks the end of the lightsaber duel, with Vader severing Luke's right hand. Dissonant strings underscore Vader's plea to Luke, with his startling revelation highlighted by a dramatic rendition of the Imperial theme. The music reaches operatic proportions as Luke refuses to join Vader, allowing himself to fall down the reactor shaft and into an exhaust tube. The young Rebel's long descent leaves him hanging on a weather vane beneath the city, the full orchestra conveying his desperation and pain. With help from Ben not possible, he calls out to Leia, and the Force theme is heard as the Princess senses Luke's danger. Chewie turns the Falcon back towards the city. A moment later, Luke is spotted, and the music reaches new dramatic heights as Chewie carefully guides the Falcon and Lando pulls the injured Luke in through a topside hatch just as three Imperial fighters close on them. Hyperspace is a fast-pulsed, constantly modulating action cue that follows the Falcon away from Bespin and into the clutches of Vader's Star Destroyer. Princess Leia's theme is interwoven as she is reunited with Luke The rhythm is broken by the Imperial theme as a tractor beam is prepared aboard the Executor, then picks up again with the droid motif as R2-D2 reveals that the Falcon's hyperdrive has been deactivated by the Empire. Innovative orchestration is applied to the Imperial theme as Vader contacts Luke telepathicallv, again pleading with him to turn to the dark side of the Force. The rhythmic pulse returns and finally builds to a triumphant resolution as R2-D2 reactivates the hyperdrive, allowing the Falcon to escape to lightspeed. The piece ends with Vader's theme, as the temporarily defeated Dark Lord exits the bridge. The final scene of the film takes place at The Rebel Fleet. Dramatically and musically, the resolution is the opposite of the first film's "Throne Room" Finale, which used a triumphant version of the Force theme. Here, as Lando and Chewie say farewell to Leia and Luke as they leave to track down Boba Fett, a melancholy rendition is heard. With Luke's hand replaced by a prosthetic, he joins Leia at the viewport to watch the Falcon's departure. With Han's fate still a mystery, the scene ends with the love theme as Luke and Leia think of their friend and ponder their futures. The crash of the End Title leads to Luke's theme, the Rebel Fanfare, and into a presentation of the three new themes for the film - Yoda's theme, the Imperial March, and the love theme. The score ends with a final statement of the Rebel Fanfare, followed by four punctuated crashes - the first notes of Darth Vader's theme - before the brass and timpani point the way to a fulfilling conclusion.

- MICHAEL MATESSINO -

MICHAEL MATESSINO IS A GRADUATE OF NEW YORK UNIVERSITY'S SCHOOL OF FILM AND TELEVISION AND CURRENTLY A FREE-LANCE PRODUCER SPECIALIZING IN FILM HISTORY, PRESERVATION, AND BEHIND-THE-SCENES DOCUMENTARY.