STAR WARS THE FORCE AWAKENS SONG FULL

Louis Symphony, observed that professional musicians enjoy playing the scores because they are full of the kinds of intricacies and motivic connections that enliven the classic repertory. The conductor David Robertson, a disciple of Pierre Boulez and an unabashed Williams fan, told me that some current London Symphony players first became interested in their instruments after encountering “Star Wars.” Robertson, who regularly stages all-Williams concerts with the St. The brilliant young composer Andrew Norman took up writing music after watching “Star Wars” on video, as William Robin notes in a Times profile. Williams’s wider influence on musical culture can’t be quantified, but it’s surely vast. “Star Wars,” exuberantly blasted out by the London Symphony, made the orchestra seem essential again. Perhaps his most crucial contribution is the role he has played in preserving the art of orchestral film music, which, in the early seventies, was losing ground to pop-song soundtracks. He has received forty-nine Oscar nominations, with a fiftieth almost certain for 2016. calculates that since 1975 Williams’s films have grossed around twenty billion dollars worldwide-and that leaves out the first seventeen years of his career. He has scored all of the “Star Wars” movies, all of the Indiana Jones movies, several Harry Potters, “Jaws,” “E.T.,” “Superman,” “Jurassic Park,” and almost a hundred others. “Star Wars: The Force Awakens,” his latest effort, is doing fairly good business, and he is at work on Spielberg’s next picture. Now eighty-three years old, Williams remains a vital presence. The “Star Wars” music had a familiar ring, but this kind of free, frenzied painting with sound was new to me, and has fascinated me ever since. “Close Encounters” offered, at the start, a seething mass of dissonant clusters, which abruptly coalesce into a bright, clipped C-major chord, somehow just as spooky as what came before.

I’d dabbled in Wagner, Bruckner, and Mahler, but knew nothing of twentieth-century music. I was a full-on classical-music nerd, playing the piano and trying to write my own compositions. Looking back, though, I’m sure that what really held me spellbound was the score, which, like that of “Star Wars,” was written by John Williams. The Disneyesque fireworks of the finale can’t hide the fact that the hero of the tale is abandoning his family in the grip of a monomaniacal obsession. It has a wildness, a madness that is missing from Spielberg’s subsequent movies. “Close Encounters” still strikes me as an amazing creation-a one-off fusion of blockbuster spectacle with the disheveled realism of nineteen-seventies filmmaking. I irritated friends by insisting that it was better than “Star Wars,” and followed the box-office grosses in the forlorn hope that my favorite would surpass its rival. “Close Encounters,” on the other hand, drew me back to the theatre-the late, great K-B Cinema, in Washington, D.C.-five or six times. Also, the trash-compactor scene scared me. Notwithstanding the fact that I was nine years old, I considered “Star Wars” a little childish. The scenes that follow are scored with 'a slower, more regal version' of the 'Force Theme.My favorite film of 1977 was not “Star Wars” but “Close Encounters of the Third Kind,” Steven Spielberg’s U.F.O fantasia. Could this seamless musical transition in the trailer hint at something more? Now, John Williams reverse-engineered a number of the themes from the original trilogy for the prequels (see the final celebration music in The Phantom Menace as well as the final few notes of the 'Trade Federation March'). Does this hint at a connection between Kylo and Rey, a familial one? If so, who are their parents? Just as we ask this question, this new theme blends into a brand new arrangement of Han and Leia's love theme from The Empire Strikes Back. It's a full-on orchestral version this time, heavy on the bass and percussion, still sad but this time threatening.

Then come the timpani, and we are taken to the bridge of a star destroyer: At the center of the shot is Kylo Ren (Adam Driver), our mysterious villain, surrounded by a red glow emanating from what seems to be an explosion in space.

Star wars the force awakens song