The Soundtrack Space: The Empire Strikes Back

John Williams’s scores for the Star Wars films have been enshrined as the blueprint for what a soundtrack should be. The Empire Strikes Back, particularly, is an example of the power of composition as a storytelling technique, with the score reflecting the darker tone of this second instalment in the Star Wars soundtrack.

The film opens with the iconic Star Wars theme that features in every film. This loud, dramatic opening provides the opening crawl, which sets up the difficult position of the Rebellion three years on from the events of A New Hope. It opens with blaring brass in a grand fanfare that heightens the excitement of the beginning of any Star Wars film. The drums imbue it with a militaristic tone. The piece crescendos and then shifts into a new melody that is both mysterious and threatening, with a cacophony of strings and motif of ‘The Imperial March’ that becomes a key thread throughout the film. Williams effectively sets the tone for this instalment, as it has the magic of the first film, but there is a darker strain.

This theme is undoubtedly one of the greatest soundtrack compositions for one of the greatest villains

The dark tone of this film is largely thanks to the threatening presence that Darth Vader has over the events. His character is made even more terrifying in The Empire Strikes Back due to the first use of Williams’ brilliant theme, ‘The Imperial March’. Williams has stated that Chopin’s ‘Funeral March’ was an inspiration, and you can hear echoes of it in the repetitive beat of the theme. It is significant that Williams used this melancholic inspiration, as Darth Vader becomes synonymous with death. The loud opening drums give it a militaristic feel. The repetitive staccato brass rhythm is a memorable motif, one which instantly evokes dread. This theme is undoubtedly one of the greatest soundtrack compositions for one of the greatest villains of all time.

Darth Vader and the Imperial forces put constant pressure on the rebels throughout The Empire Strikes Back. ‘The Battle in the Snow’ tracks the battle on Hoth, a desperate and ultimately unsuccessful defence of the rebel base set up there after A New Hope. This piece is suspenseful, with a quiet melody that develops into a dramatic climax. The opening drums and cymbals evoke a tone of conflict, whilst the fast pace connotes the chaos of battle.

Yoda, a cornerstone of Star Wars, is only introduced in the second film. ‘Yoda’s Theme’ is a hopeful, whimsical piece that captures the joy that the character of Yoda brings to the franchise. Playful flutes and a tumbling string melody reflect the intrigue of this character. The introduction of Yoda is vital to Luke’s development as a Jedi. ‘The Training of a Jedi Knight’ soundtracks an important sequence where Luke learns the ways of the force. It is a playful and soft piece.

Williams’s score for The Empire Strikes Back is a hugely important work

Luke’s training sees him tackling his inner demons. In the dark side cave of Dagobah, Luke comes face-to-face with a vision of Darth Vader who Luke beheads, only to reveal himself beneath the mask. This tense sequence is reflected in ‘The Magic Tree’. This piece is unsettling, with a crescendo of clashing strings and screeching brass. The piece culminates in ‘The Imperial March’ motif, demonstrating the threat Darth Vader presents and further Luke’s possibility of turning to the dark side.

‘The Duel’ marks the final battle of the film, an isolated duel between Luke and Darth Vader. ‘The Imperial March’ motif features, this time backed by an uncomfortable discordance of strings. Sudden brass notes symbolise danger. A rapid drum beat imbues the scene with suspense and action. The closing notes are explosive, reflecting the dramatic end to the duel where Luke’s hand is cut off.

Williams’s score for The Empire Strikes Back is a hugely important work, not just for film music, but within cinematic history as a whole. He crafts themes that hold significance not merely within the confines of these films, but also as standalone pieces that have become part of popular culture.