London Symphony Orchestra update-EP3

[Ray Barnsbury 8]

It definitely looks to be a power-house spring/summer for Williams. I'm really glad to hear about the more restrained and stirring music for RotS as well; it all sounds amazing from the little bits of info we've been given. On a chorus-related note, I wonder if Williams will use chorus for WotW. I'll post about it in the WotW thread so as to keep this thread on track.

Ray Barnsbury

[Bowie 45]

HS Post Notes: Con Anima (http://www.swsaga.com/e3news.html)

(Edited version. Anyone got the hyperspace full report?)

Many times, it has been described how Episode III bridges the saga, and most of those descriptions tend to focus on connections to the original trilogy. But the starting point of that bridge shouldn't be forgotten. When it comes to the Revenge of the Sith score, melodies and phrases from the last two films make memorable return appearances. Today -- Monday, February 7 -- is the first of two days that the London Voices will record for Episode III. Today, they accompany the orchestra. In a later session, they will record their choral contributions separately, to add to musical tracks already gathered. The day began darkly, with a cue fittingly named "Lament." It's a morose choral accompaniment that tracks a darkness that spreads across worlds, across the galaxy. Unlike the more explosive choir pieces from the prequels -- like the warrior chants of "Duel of the Fates" -- "Lament" consists of wordless vocals. It's more of a sweep than an attack delineated with accented downbeats. John Williams listens carefully at the balance between the women's voices and the violins that play the same melody. On the screen is a montage of worlds, a veritable galactic travelogue with tragic overtones -- the bridge-slung cities of Cato Niemoidia, the ash-covered ruins of Mygeeto, the sun-drenched fungal valleys of Felucia, the chaotic shoreline battlefields of Kashyyyk. "I wasn't hearing that nice a blend. I was hearing a lot of individual voices, but not like we heard it in rehearsal," points out Scoring Engineer Shawn Murphy. I am continually amazed by his ear's ability to scrutinize the music for any blemish. I'm always partial to the busy strings that add the urgency to the music. In this case, they're portraying Obi-Wan's urgency, his decidedly unJedi-like panic as the maliciously manic buzz droids crawling over his vessel

[King Mark 3,631]

- The music during (possible minor spoiler) the slaughter of Jedi in the temple left Rick most touched. (I'd bet money this is the "Lament" cue mentioned in today's report.)

.

I think it scores the montage showing the destruction of the Jedi all over the galaxy.

K.M.

[Jim Ware 526]

Con Anima

February 08, 2005

Many times, it has been described how Episode III bridges the saga, and most of those descriptions tend to focus on connections to the original trilogy. But the starting point of that bridge shouldn't be forgotten. When it comes to the Revenge of the Sith score, melodies and phrases from the last two films make memorable return appearances.

One unexpected quotation was the fortissimo finale of Episode I's Coruscant scenes, the swell of trumpets that announced Queen Amidala's departure from the capital to return to Naboo. In this case, the music reveals a massive clone staging area, where Jedi Master Yoda will be joining troops on a mission to Kashyyyk. Immense turbo-tanks and walker units file into the waiting cruiser, while other troops and Wookiee allies help control the flow of traffic.

But this wasn't the standout Phantom Menace reprise from today's scoring. With the London Voices choir joining the London Symphony Orchestra for recording today, the haunting and sorrowful incantations of Qui-Gon Jinn's Funeral reappeared. It is but one of the sad moments that dominate the later moments of the movie. Chorus Director Terry Edwards confers with Composer John Williams, discussing the sound and emphasis desired from the choir. It's not a direct copy of the Episode I cue -- there are variations both subtle and noticeable, including the soft emergence of the Imperial March within the gaps of the dirge and perhaps, to my ear, slightly more prominent tublar bells.

Today -- Monday, February 7 -- is the first of two days that the London Voices will record for Episode III. Today, they accompany the orchestra. In a later session, they will record their choral contributions separately, to add to musical tracks already gathered.

The day began darkly, with a cue fittingly named "Lament." It's a morose choral accompaniment that tracks a darkness that spreads across worlds, across the galaxy. Unlike the more explosive choir pieces from the prequels -- like the warrior chants of "Duel of the Fates" -- "Lament" consists of wordless vocals. It's more of a sweep than an attack delineated with accented downbeats. It's more evocative of the Episode VI choral accompaniments, such as the Emperor's theme or the chilling music heard when Luke finally attacks his father without restraint.

John Williams listens carefully at the balance between the women's voices and the violins that play the same melody. On the screen is a montage of worlds, a veritable galactic travelogue with tragic overtones -- the bridge-slung cities of Cato Niemoidia, the ash-covered ruins of Mygeeto, the sun-drenched fungal valleys of Felucia, the chaotic shoreline battlefields of Kashyyyk.

"I wasn't hearing that nice a blend. I was hearing a lot of individual voices, but not like we heard it in rehearsal," points out Scoring Engineer Shawn Murphy. I am continually amazed by his ear's ability to scrutinize the music for any blemish. He and Williams have an extremely trusting relationship. In the isolation of the control room, Murphy can hear the music as it is recorded by the strategically placed microphones, and advises Williams where there is room for improvements in subsequent takes.

"I'm going to work on the clarity... I think the emotion is there," says Williams. And it begins again.

But it's not all doom and gloom. Without a doubt, Episode III is dark, but there is room for the classic adventure romps -- and accompanying music -- that have become Star Wars staples. These moments happen early in the film, as the explosive space battle rockets the audience straight into the action.

I'm a sucker for combat music. The complexity, adrenaline, and flurry of movements are the hallmark of my favorite John Williams compositions. I'm always partial to the busy strings that add the urgency to the music. In this case, they're portraying Obi-Wan's urgency, his decidedly unJedi-like panic at the maliciously manic buzz droids crawling over his vessel. When Anakin improvises a solution -- and Artoo-Detoo has a moment to shine -- the iconic "Rebel starship fanfare" plays on the brass.

"Don't worry about playing too loudly, people, let's just worry about getting everything properly placed." says Williams. "It sounds very tight and brilliant."

The end result is pure fun. As the two Jedi emerge from their starfighters to continue the battle on enemy turf, there are smiles from the musicians watching the action on the screen for the first time. It's a rousing start to a film with a sobering finale.

In John Williams' leitmotif structure, where key characters are assigned themes and musical phrases, it's often easy to forget that the main title cue of Star Wars is actually Luke Skywalker's theme. It's usually best exemplified when performed playfully, lightly, like the various landspeeder jaunts in Episode IV.

For Episode III, the music appears for the baby Skywalker, played tenderly, fittingly for an early moment in Luke's life. And not far behind is the warm and inspirational sound of the Force theme, the music most associated with the guiding influence of Obi-Wan Kenobi.

This was heard in a cue that will no doubt evoke tears from those prone to such displays ... as it did today in the recording studio.

Special Guest Today: Anthony Daniels stopped by at the scoring session today. He pointed out to me a worthy point of trivia: the character with the last line of dialogue in Episode III is the very same that has the first line of dialogue in Episode IV. Yes, it's C-3PO... in the same set, nonetheless. How's that for bridging?

[Bowie 45]

Woah.

This is shaping up to be, unsurprisingly, perfect. But perhaps, his best score in a loong time... and if it is, let's hope it can negotiate through the Academy's various ominous laws for sequels.

[Falstaft 2,132]

and Artoo-Detoo has a moment to shine -- the iconic "Rebel starship fanfare" plays on the brass.

JOY

I swear, with each one of these reports, waiting and waiting for this score to come out becomes more agonizing ...must...hear...now

[ChrisAfonso 186]

It's more evocative of the Episode VI choral accompaniments, such as the Emperor's theme or the chilling music heard when Luke finally attacks his father without restraint.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[Mr. Breathmask 555]

they will not try for PG through editing. If it's PG-13, it's PG-13.

I really do like the sound of this.

[John Crichton 4]

- The music during (possible minor spoiler) the slaughter of Jedi in the temple left Rick most touched. (I'd bet money this is the "Lament" cue mentioned in today's report.)

.

I think it scores the montage showing the destruction of the Jedi all over the galaxy.

K.M.

Yup. Glad I didn't actually bet any money on that one. LOL

[King Mark 3,631]

Williams seems really into it! Could it be our dream score we've always wanted?A cue that's like Dark Side Beckons !!!I was afraid Williams was going to do a rush job because of what happened on AotC...doesn't look like it though.

Williams is not scoring GoF...eh who cares now.....

K.M.

[JoeinAR 1,949]

we always wanted to know what music to play at our funeral' date=' and now we know.He get his head lopped off, and I get strangled by my husband,

I would figure its a given that any character from Ep. III that isn't in Ep. IV died.

[diskobolus 3]

-- and Artoo-Detoo has a moment to shine --

This sends chills of horror down my spine.

[Trumpeteer 302]

Hey guys, do you notice that when you quote someone who wrote in inverted print, that their spoiler shows up in your post??

Just wanted to let you know.

[King Mark 3,631]

oh yeah,it does,doesn't it.

sorry

K.M.

[QMM 4]

Excitement has increased even more

[SturgisPodmore 0]

-- and Artoo-Detoo has a moment to shine --

This sends chills of horror down my spine.

Same here. I hope the film really exemplifies the feelings of pride and joy towards the robot.

~Sturgis

[TownerFan 4,983]

I was afraid Williams was going to do a rush job because of what happened on AotC...doesn't look like it though.

Well, I just think that Williams was urged by a certain kind of proudness this time... just like saying "Doesn't matter how the movie will turn out... this is MY saga as well! And I want to bow out on a real high note!"

BTW, even though these SW.com reports tends maybe to glamourize a bit the process and mounting up the hype, while reading those I thought that probaby something genuine in the movie inspired JW more this time. I don't know, it's just my feeling. Let's wait and see (and hear)...

[John Crichton 4]

Yeah, whoever is writing these reports for Hyperspace sounds genuinely excited, not just doing his bit to hype up the movie.

[MrScratch 294]

BTW, even though these SW.com reports tends maybe to glamourize a bit the process and mounting up the hype, while reading those I thought that probaby something genuine in the movie inspired JW more this time. I don't know, it's just my feeling. Let's wait and see (and hear)...

Whether the movie is good or not, a film with so much death and tragedy has to be a composers dream. Hopefully, Williams goes into full operatic mode. I'm particularly curious about those early action cues that were described as a cross between the space battle of Episode 4 and the Hoth Battle music.

Jeff

[John Crichton 4]

For those who care, I've updated the Monday recording summary (on page 3 of the thread) with info from the Hyperspace report. Major spoilers are still hidden.

[JoeinAR 1,949]

again thats not much of a spoiler afterall in Star Wars the only characters that we see from III to IV are the two droids, Vader, Tarkin, the twins, Chewie, and Obi-Wan. And maybe the Falcon, lets hope.

[Luke Skywalker 1,795]

And maybe the Falcon, lets hope.

You dont care for important things yet you want a thing that really does not need to be connected.

What if obi wan asked if he had to have heard about it?

He was just sarcastic, teasing Han Solo (giving him his own medicine)

[King Mark 3,631]

 I'm particularly curious about those early action cues that were described as a cross between the space battle of Episode 4 and the Hoth Battle music.

Jeff

Yeah.At least it's not decribed as a cross between Chase through Corusant,Jango's Escape or Anderton's Great Escape.

Say what you may about Hyperspace,but without it we wouldn't have the first detailed report os a Williams scoring session.

K.M.

[HPFAN_2 0]

I'm excited about this score, no doubt about that. I'm just staying out of this thread to avoid any spoilers.

HPFAN__2 - Who stopped reading the first report because it mentioned chorus. To me that's a spoiler.

[Henry B 50]

In John Williams' leitmotif structure, where key characters are assigned themes and musical phrases, it's often easy to forget that the main title cue of Star Wars is actually Luke Skywalker's theme. It's usually best exemplified when performed playfully, lightly, like the various landspeeder jaunts in Episode IV.

For Episode III, the music appears for the baby Skywalker, played tenderly, fittingly for an early moment in Luke's life. And not far behind is the warm and inspirational sound of the Force theme, the music most associated with the guiding influence of Obi-Wan Kenobi.

Luke's Theme...yes!!! Luke's Theme! That's why AotC failed. It didn't have Luke's Theme!

[nightscape94 965]

I just like the sound of these reports in the sense that Williams sounds so confident in what he's written, seems very relaxed and enjoying the whole process. If I were in his shoes my head would be spinning.

Tim - who knows everyone is glad he's not in JW's shoes.

[ST-321 4]

It's more evocative of the Episode VI choral accompaniments, such as the Emperor's theme or the chilling music heard when Luke finally attacks his father without restraint.

For Episode III, the music appears for the baby Skywalker, played tenderly, fittingly for an early moment in Luke's life. And not far behind is the warm and inspirational sound of the Force theme, the music most associated with the guiding influence of Obi-Wan Kenobi.

This was heard in a cue that will no doubt evoke tears from those prone to such displays ... as it did today in the recording studio.

Wow! I am overjoyed!

How many days until the cd release??

[King Mark 3,631]

Another unbearable 3 months.

K.M.

[TownerFan 4,983]

There's a new update at starwars.com... it's called "An Energetic Start" and it deals with the scoring of the big duel...

I hope someone can post it there!

Maurizio -- waiting for his daily dose of scoring session reports

[Bowie 45]

Actually there are rumours the soundtrack will be released on the same day as all the other merchandise...

April 12... which was the same situation, apparently, as the other two prequels. The May 3rd date was supposedly not an official announcement from Lucas/starwars.com.

Which is an exciting prospect...

[Luke Skywalker 1,795]

In John Williams' leitmotif structure, where key characters are assigned themes and musical phrases, it's often easy to forget that the main title cue of Star Wars is actually Luke Skywalker's theme. It's usually best exemplified when performed playfully, lightly, like the various landspeeder jaunts in Episode IV.

For Episode III, the music appears for the baby Skywalker, played tenderly, fittingly for an early moment in Luke's life. And not far behind is the warm and inspirational sound of the Force theme, the music most associated with the guiding influence of Obi-Wan Kenobi.

Luke's Theme...yes!!! Luke's Theme! That's why AotC failed. It didn't have Luke's Theme!

Well aotc starts with a full blown orchestra version of it...

[Jim Ware 526]

I've e-mailed the Hyperspace report to Ricard, so hopefully it will be on the main page soon. I can't post it here for some reason.

A few notes:

The orchestra played 'Happy Birthday' for John Williams at the start of the session.

Cues recorded include 5M5 - News of the Attack, 6M7 and 4M4a - Fighting With Grievous.

[Luke Skywalker 1,795]

I have a struggle about hearing the score before the movie or after.

I think the latter will prevail, but i will faint waiting...

[Mr. Breathmask 555]

I have that with every new Williams score. But I expect I'll get the OST as soon as it's out, so I'll have heard the music before I see the film.

[Bowie 45]

I shall NEVER spoil my score-list'nin' experience by hearing it for the first time during the film, mostly because it's a George Lucas film (unjust edits galore... but I will still see the movie after in case the edits are impressively minimal).

And I find it incredibly enjoyable to "impose" wonderful film music on others, and if I already know what the music is like before seeing the film, during the film I can pay more attention to how the rest of the audience is reacting to the music I presumably will know and love already by then.

[Docteur Qui 1,544]

I'll buy it before hand so I can pay more attention to the movie. I don't want to bee seeing a movie for the first tiem and only concentrating on the score - even if it's better than the film itself (that was a general comment, not a prequel bash btw).

[Docteur Qui 1,544]

EDIT - Excuse the double post, my internet chose a most inconvenient time to disconnect.

[ChrisAfonso 186]

I'm troubled by those lastparagraphs in the report... I hope that doesn't mean that score reporting is over? I give a sh** about ILM and sound editing right now.

BTW, I'll also get the score the instant I can lay my hands on it, and listen to it numerous times before seeing the movie, as I did with the previous episodes.

[JoeinAR 1,949]

as will I.

[John Crichton 4]

Like with the first two prequels I expect to have the OST pretty much memorized when I see the film for the first time.

And yes, the report mentions that tomorrow's will be the last one!

Well, what we have is superb, easily the best documented Williams score pre-release ever.

[Trumpeteer 302]

I'm not going to comment again on my preferences on listening to a score before the movie.

But reading all these reports (except the last three -- even the "Energetic Start" one started with a mild spoiler) I have not been ruined on experiencing the score. Just intrigued by the process.

[Falstaft 2,132]

Before AOTC came out, I had to give my unopened soundtrack to my little brother with the explicit instructions that even if I am to plead with him to let me listen to it, he was not to give it to me until I had seen the movie.

It came down to that a couple times too.

I expect it will be even harder to resist ROTS.

[King Mark 3,631]

Maybe Williams shouldn't have bothered scoring the Grevious duel.Oh well maybe that cue will end up unbutchered on the c.d.

K.M.

[JoeinAR 1,949]

And maybe the Falcon, lets hope.

You dont care for important things yet you want a thing that really does not need to be connected.

What if obi wan asked if he had to have heard about it?

He was just sarcastic, teasing Han Solo (giving him his own medicine)

sorry Luke, how did I miss this,

the Millenium Falcon was a character in its own right in the original trilogy, just as the Enterprise is a character in Star Wars.

When OB1 says "should I have", I've always taken that to me that yes he had seen it before and as you put it was being sarcastic to Han. I'd like to see it in this movie, perhaps as the vessel that he uses to escape with the children.

[Lurker 5]

Before AOTC came out, I had to give my unopened soundtrack to my little brother with the explicit instructions that even if I am to plead with him to let me listen to it, he was not to give it to me until I had seen the movie.

It came down to that a couple times too.

I expect it will be even harder to resist ROTS.

No score is worth that level of anxiety. Just listen to the censored thing.

Neil

[Falstaft 2,132]

No score is worth that level of anxiety.  Just listen to the censored thing.

Neil

I beg to differ. A John Williams score is worth it, if you value a pristine movie-music experience.

But you're probably right, I'll cave, maybe listen to a track or two.

[SturgisPodmore 0]

I couldn't possibly listen to just a track or two. If I get a new CD, I will listen to it all at once!

And on the most recent score report, Williams apparently said he loved celebrating his 42nd birthday with the LSO...he's certainly not 42 (though that would be great).

~Sturgis

[Mr. Breathmask 555]

Wouldn't that be something, though? Imagine writing a score like Star Wars by the age of 14.

[QMM 4]

Doesn't sound like there will be a Grievious theme from the reports but oh well.

[Henry B 50]

And yes, the report mentions that tomorrow's will be the last one!

Maybe that guy in the chorus, Andrew Hewitt, will write some more.