Later pieces, from the love theme in the prequels (“Across the Stars”) to the thrilling choral piece “Duel of the Fates,” demonstrate Williams’ seemingly endless ability to conjure the right emotion for every scene. Many of those themes have become iconic, notably “The Imperial March,” better known as Darth Vader’s theme. At the suggestion of 20th Century Fox music director Lionel Newman, they recorded the initial score (and five subsequent “Star Wars” scores) with the London Symphony Orchestra. That style - “tonal and melodic and thematic, where characters could be identified musically with fun, luxurious orchestration,” in the composer’s words - became the backdrop of the entire “Star Wars” universe. It’s not my style, but I’ll do the best I can. Lucas asked for a “classical” score, Williams adds, “with a big sweeping orchestra, something very theatrical and operatic.” The composer’s response: “That’s wonderful. “I felt like I was looking at a world none of us had ever seen.”
“I went up to George’s ranch and looked at it,” the composer recalls. Williams credits longtime filmmaking partner Steven Spielberg for introducing him to “Star Wars” creator George Lucas in 1976. It’s the most miraculous part of the process.” All of a sudden, with a stroke of his baton, these masterful musicians are playing something that sounds like they’ve been rehearsing it forever. “He watches the cuts, goes to his piano, writes his music, then goes to the recording sessions, and only John has really heard it in his head. “That’s the reason he is who he is, not because anyone’s told him what to do. “In certain instances, I would suggest a feeling, but I would never deign to suggest what he should write,” says the director. Williams also makes a cameo appearance in the film.Ībrams was respectful of the five-time Oscar winner. The famous “Star Wars” themes - including the opening fanfare, music for the Force and themes for Rey and the Emperor - return, along with four new motifs: the darkly hued “Anthem of Evil,” an optimistic “Rise of Skywalker” theme, a scherzo for action sequences and new music for Kylo Ren (Adam Driver). Williams, Abrams and music editor Ramiro Belgardt watched playbacks on small video screens out of sight of the players.
In the interests of secrecy, no film was projected while Williams was conducting the orchestra (which is routine on most film dates). How does he have the energy to do all that?” John orchestrates everything, he conducts his own music and he’s so aware and in control. We were all honored and grateful to be there. “It was exciting,” says one musician who played on the sessions. He praises the orchestra as “the equal of almost any, surpassed by very few.” Augmenting his 102-piece ensemble was the 100-voice Los Angeles Master Chorale, which got to sing a few syllables in the ominous Sith language, Williams confirms. “The Rise of Skywalker” was, like the previous two “Star Wars” films, recorded in Los Angeles. Yes, it was long, but I always had a sense of being grateful - having the energy and interest to do it and to work with the orchestra, which was especially lovely.”
Each day I got up to work hard on difficult music. Despite the workload, which occupied much of his year, the 87-year-old composer insists, “It was a wonderful way to spend six or eight months.
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