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Post #339346

Author
Deathsaurer
Parent topic
Original Trilogy Soundtrack 4 CD set
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https://originaltrilogy.com/post/id/339346/action/topic#339346
Date created
12-Dec-2008, 4:30 PM
    PHASE TWO
    Episode V: The Empire Strikes Back
    Finalized 12/12/98
    Version 2.0 created 6/16/99

The soundtrack to this 1980 sequel was originally released as a double album set on RSO Records, once again with its tracks placed out of sequence. Around this time, a promotional album was released with half the original album's content (this would later become the CD release). Much of its content was restored for the FOXB, while fully restored for the RCA. We won't count the Var?se Sarabande release (with Charles Gephardt and the National Philharmonic Orchestra), but we will count the actual film cues in order of presentation (some of these are actually hidden within the RCA's tracks themselves).

Abbreviations: Once again, as in phase one, OLP stands for the original double album; FOXB stands for the Fox Scores/Arista box set; RCA stands for the RCA Victor "Special Edition' release. We are not counting the cassette and 8-track versions of the original album as it is essentially the original album content. We are also not counting the abbreviated promotional album/CD release.

1. 20TH CENTURY FOX FANFARE (Disc 2, Track 1, FOXB; Disc 1, Track 1, RCA)--The famous Fox Cinemascope Fanfare, written in 1954 by Alfred Newman, was originally re-recorded in 1980 by John Williams and the London Symphony Orchestra for The Empire Strikes Back. This particular recording has been re-used in subsequent Fox films and score releases until 1994, when Bruce Broughton recorded yet another arrangement of the logo music. In any event, this version is presented here as it was in The Empire Strikes Back. Something to note: this 1980 re-recording was also used as the first track of the FOXB disc to Star Wars instead of the original 1954 one. It would be resurrected for the beginning of 1999's "Star Wars: Episode One--The Phantom Menace".

2. MAIN TITLE (Side 1, first part of Track 1, OLP; Disc 1, first part of Track 2, FOXB; Disc 1, first part of Track 2, RCA)--This re-introduces "Luke's Theme", and touching on the same arrangement as the main title in the earlier film, and again seen over the prologue scroll. This time around, however, there is no question there is only one version that has been represented in all Empire releases (except for the Var?se/NPO re-recording). On the OLP, this was part of the cue "Main Title (Star Wars)".

3. THE IMPERIAL PROBE (Disc 1, first part of Track 4, RCA)--The cue, as actually heard in the film and presented here on the RCA, was not what John Williams originally intended to use, for this is actually an alternate version of the cue where we see Imperial Probes launch into space (we'll talk about the original version of the Probe music later). For some strange reason, this is placed as the beginning of the RCA's Track 4 and out of the original context of both the album and its score. It is also one of two "hidden alternate cues" found on its Empire CD. The track , which like its original counterpart, introduces a new theme for Darth Vader (played on solo piccolo), ends at the 1:14 mark of the RCA and segues into...

4. THE ICE PLANET HOTH (Side 1, third portion of Track 1, OLP; Disc 2, third portion of Track 2, FOXB; Disc 1, third part of Track 2, RCA)--A lengthy cue intended to underscore the opening of the film from the point where Luke is on a re-con mission in the icy snow of Hoth to where Han sets out to find Luke. While reprising familiar themes it also introduces new ones, such as a new theme for Han and Leia first heard while Luke is contacting his Correlian friend. Bombastic percussion and strings accompany Luke being attacked by a Wampa Ice Creature, and from that point on this portion of the cue ends on the OLP, but on the FOXB and RCA we hear music unused in the film right to the point where Han says goodbye to Leia. Military music underscores Han arriving at the Rebel Base, and "Princess Leia's Theme" (from the first film) signals Leia's first Empire appearance and Han requesting leave of absence so he can settle his debts with Jabba the Hut. Music used in the film returns when Han says goodbye to Leia, and as Han and Leia argue we hear the first full presentation of the "Han and Leia" theme. We then cut to the droids, R2-D2 and C-3PO, accompanied by an introduction of a musical bridge that would serve as a mini-theme for the Droids, and later heard in the cue "Hyperspace". The remainder of this track (underscoring Han silencing 3PO and his intention to seek Luke using Tauntauns) went unused in the film. In fact, much of the Empire score went unused (we'll explain as we go along). However, the final chord of this cue can be heard in the original release version.

Now here's where documenting the remainder of the music in the "Star Wars Trilogy" becomes tricky...

5. LUKE'S RESCUE (Side 1, first portion of Track 4, OLP; Disc 2, Track 3, FOXB; Disc 1, first part of Track 3, RCA)--Luke, held hostage by the Wampa Ice Creature, uses the Force and his lightsaber to make good his escape. This dramatic cue re-introduces "Ben's Theme" as Luke draws his inner power, followed by a brief majestic reading of "Luke's Theme", and powerful strings as Luke kills the ice creature. From the point where Luke makes his way out of the cave, the remainder of this track is unused. The Rebel Fanfare (in transposed minor key form) accompanies Han seeking his friend. The "Hyperspace" bridge returns as R2-D2 uses his radar to locate Luke. As Luke collapses in the snow, majestic march music returns and rounds out the track. This cue is presented in edited form on the OLP as the first part of the track "The Heroics Of Luke And Han", while in its full version on both the FOXB and the RCA (the latter CD edition titled "The Wampa's Lair").

6. VISION OF OBI-WAN (Disc 1, second part of track 3, RCA)--Another track on the RCA which has some music unused in the film (in the case of this track, the first minute), but this cue begins at the 3:28 mark of the RCA's track 3, with a return to the Rebel base as Luke's friends look on in sadness. A French horn statement of "Ben's Theme" is heard as a delirious Luke sees a vision of his old mentor telling the young Jedi to seek further training from Yoda on the Dagobah system. A dramatic passage follows as Han finds Luke and forced to build up shelter for the night. This cue ends with a slow two-note horn phrase that develops into a fuller version of...

7. LUKE'S RESCUE (Side 3, first part of Track 3, OLP; Disc 2, Track 4, FOXB; Disc 1, third part of Track 3, RCA)--A rhythmic piece underscoring Luke and Han's rescue by snowspeeder group Rogue Flight. Almost the entire track is not heard in the film, save for an 18-second segment where Rogue Flight finds the frosted Rebels. The first part was tracked from "Hyperspace", while the last was tracked from "Luke's Escape". On the OLP, this was the first part of the cue "Rebels At Bay", while the RCA was titled "Snowspeeders Take Flight".

8. ABOARD THE EXECUTOR (Disc 1, second part of Track 4, RCA)--This was meant to underscore Han and Chewie battling an Imperial Probe, and the re-introduction of Darth Vader as he makes his plans for the Battle Of Hoth. The first half (totaling 2 minutes, 5 seconds) was not used in the film, although the first 50 seconds of "The Imperial March (Darth Vader's Theme)" replaced this when we cut to the Executor.

9. DRAWING THE BATTLE LINES/LEIA'S INSTRUCTIONS (Disc 4, Track 6, FOXB; Disc 1, first part of Track 5, RCA)--A long suite (entitled "The Battle Of Hoth" on the RCA) begins with this series of two cues (heard on the FOXB together as one piece), which the first underscores Luke's farewell to Chewbacca and Han, and Darth Vader's "finishing" of Admiral Ozzel (set to a strong opening passage of "The Imperial March"). The next cue is where Princess Leia outlines the plans for the coming battle, then an Ion Cannon fires several shots clearing the way for the first transport to get away. , this leads to a triumphant passage as Luke and the Rebels board the snowspeeders for the snow battle. On the RCA, this entire cue is called "Ion Cannon". This piece will lead directly to the next one...

10. THE BATTLE IN THE SNOW (Side 2, Track 5, OLP; Disc 2, Track 6, FOXB; Disc 1, second part of Track 5, RCA)--Intense cue underscoring the first part of the Snow Battle against Imperial Walkers, set to unusual orchestration involving, among others, grand pianos, piccolos, oboes, and a battery of eight percussion. No recurring thematic material is used, originality throughout. The grand piano introduction was not used in the actual film. The RCA was re-titled "Imperial Walkers", the second part of the "Battle Of Hoth" suite.

11. LUKE'S FIRST CRASH (Side 3, Track 3, OLP; Disc 2, Track 7, FOXB; Disc 1, third part of Track 5, RCA)--Picks up immediately where the previous cue left off, with Han and Leia beginning their escape from Hoth base, while the title scene during the snow battle occurs, followed by Luke attempting to destroy an Imperial Walker using blast charges. A brief passage of the "Hyperspace" bridge (where R2 is being lifted up into Luke's fighter) can be heard before the majestic music continues. A section of battle music that follows was left out of the OST, but restored for later releases. The cue ends with a passage of "The Imperial March" as the Walkers kill the Rebels and blast away Hoth's main generators. On the OLP, this was the second section of the cue "Rebels At Bay", while the RCA was re-titled "Beneath The AT-AT". This segues directly into the next piece...

12. THE REBELS ESCAPE AGAIN (Side 1, second part of Track 2, OLP; Disc 2, Track 8, FOXB; Disc 1, fourth part of Track 5, RCA)--Accompanies the Falcon's escape from Hoth. A brief reprise of Leia's theme can be heard before dramatic brass passages of "The Imperial March" signal the presence of the Dark Lord. "Han And Leia"'s theme is juxtaposed with that of Vader's march as the Falcon makes good its escape from Vader and his minions. On the OLP, this was the second portion of the cue "The Heroics Of Luke And Han", while the RCA was the final portion of "The Battle Of Hoth" suite called "Escape In The Millenium Falcon".

13. THE ASTEROID FIELD (Side 3, Track 1, OLP; Disc 2, Track 9, FOXB; Disc 1, Track 6, RCA)--Virtuoso is the word for this fast-paced cue whose scene it underscores speaks for itself. A brass melody soars as the four TIE fighters pursue the Falcon through the asteroids. The "Han and Leia" theme ends all of this, as our heroes make their way through a cave.

14. ARRIVAL ON DAGOBAH (Disc 4, Track 9, FOXB; Disc 1, Track 7, RCA)--This music picks up right where Luke's X-Wing crashing into planet Dagobah's swamp left off. Dark-toned music represents Luke and R2's exploration of the planet on which they have just landed. Dramatic undertones accompanies R2's encounter with a swamp. When R2 is rescued, the "Hyperspace" bridge returns briefly. We then cut to Vader's ship as we take a rare look at an unmasked Vader, underscored by Vader's march. The five-note slam ends the FOXB version, which was entitled "Crash Landing". This slam also was tracked in the scene earlier in the actual film where Han arrives at Hoth base. The RCA goes a bit further though, as we hear more Dagobah music (after an unscored scene in the cave), leading to a surprise ending where we first see Yoda, the Jedi Master Ben mentioned earlier in the movie.

15. LUKE'S NOCTURNAL VISITOR (Side 1, second part of Track 3, OLP; Disc 2, second part of Track 12, FOXB; Disc 1, Track 8, RCA)--This playful interpretation of "Yoda's Theme" was meant to underscore the scene where Luke encounters the Jedi Master. You can tell how this music fit right into that scene...if only the bulk of it had actually been used in the movie. Only the tail end of this (the second playful passage of "Yoda's Theme) made it into the final film. There is an alternate version of this cue, which we'll get into later in the "Alternate Cues" section. The OLP and the FOXB was the second part of a cue entitled "The Training Of A Jedi Knight".

16. HAN SOLO AND THE PRINCESS (Side 2, Track 4, OLP; Disc 2, Track 11, FOXB; Disc 1. Track 9, RCA)--This cue starts out as a straightforward presentation of "Han and Leia"'s theme as their ill-fated romance begins to develop while making repairs on the Millenium Falcon. The mood is broken however, by C-3PO's presence. We then segue into Darth Vader's ship Executor, where he is in communication with the Galactic Emperor. A quiet passage underscores this talk. A better title for this cue would have been, perhaps, "Han And Leia/Emperor's Discussion", but this cue is presented in its entirety both on the soundtracks and in the movie. It is not an album arrangement (as the track title would have you to believe). However, in 1995, conductor Paul Bateman introduced a new concert arrangment which was warmly welcomed.

17. JEDI MASTER REVEALED (Side 3, first part of Track 2, OLP; Disc 2, first part of Track 15, FOXB; Disc 1, first part of Track 10, RCA)--This music starts from the point where Luke says, "..we're wasting our time!" This is the cue where Yoda reveals to Luke his true identity as the legendary Jedi Master, and Luke reluctantly agrees to train under him. The melding of Ben's theme, Yoda's theme, and Luke's theme all come together as his adventures on Dagobah will begin to take shape. On the OLP and FOXB, this was the first portion of the cue "City In The Clouds".

18. MYNOCK CAVE (Side 1, fourth portion of Track 1, OLP; Disc 1, second part of Track 10, RCA)--Rhythmic cue underscores the Millenium Falcon's escape from what turns out to be the mouth of a space slug. The first minute and three seconds of this cue was not used in the film nor the OLP, but can be heard in its entirety on the RCA. Most of the unused opening was also used in the radio adaptation of Empire. On the OLP, this was the final portion of the "Main Title (Star Wars)" track.

19. THE TRAINING OF A JEDI KNIGHT (Side 1, first part of Track 3, OLP; Disc 2, first part of Track 12, FOXB; Disc 1, first part of Track 11, RCA)--Luke's training as a Jedi begins with this short piece of music, which as it turned out, was unheard in the film. The OLP and FOXB (which was the first part of the title cue) ends at the :44 mark, but the RCA continues with the conclusion of the cue in its entirety. One can hear how the flourishes underscored Luke swinging from vine to vine during his exercises. "Ben's Theme" is again put to use in this track too.

20. THE MAGIC TREE (Side 4, Track 3, OLP; Disc 2, Track 13, FOXB; Disc 1, second part of Track 11, RCA)--For this track, Luke undergoes a crucial test as a Jedi in a cave underneath a huge tree (hence the cue's title) as he confronts the power of the Dark Side of the Force. Dark and eerie orchestrations underscore Luke's confrontation with a duplicate of Darth Vader. Synthesizers are used for the first time in the trilogy during this somber piece. The end of this track (the one with Vader's march) as heard in the original edition of the film was tracked with a hybrid of music from the beginning of "The Imperial March" and the end of "Aboard The Executor". The OLP, FOXB, and RCA (as well as the "special edition" film re-release) present the end section as originally recorded and intended to be used.

21. ATTACK POSITION (Disc 4, Track 8, FOXB; Disc 2, Track 3, RCA)--The Millenium Falcon comes out of the asteroid field and does a strategic maneuver to outsmart an Imperial destroyer in this dramatic cue, presented in its entirety as originally recorded and used in the film. The conclusion of this track (with "Yoda's Theme") underscores Luke's continuing training as a Jedi as he sees his X-Wing sinking in the water. This will lead directly into the next piece. The RCA was re-titled "Attacking A Star Destroyer".

22. YODA AND THE FORCE (Side 3, Track 4, OLP; Disc 2, Track 14, FOXB; Disc 2, Track 4, RCA)--"Yoda's Theme" is the main basis for this track as Luke attempts to raise his X-Wing from the watery swamp of Dagobah. When he fails, Yoda informs Luke of the wisdom of the Force before the old Jedi Master successfully raises the ship from the water. As with "The Magic Tree", the track in the original edition of the film ends with the "Imperial March/Aboard The Executor" hybrid, while the OLP, FOXB, and RCA (as well as the "special edition" film re-release) present the Vader's march reprise ending as originally recorded and intended to be used.

23. IMPERIAL STARFLEET DEPLOYED (Disc 2, first part of Track 5, RCA)--After Lord Vader has killed Captain Needa for his cowardice, Admiral Piett orders the fleet deployed in their search for the Millenium Falcon. The cue ends as the fleet is breaking up. The first 26 seconds of this track was unused in the film, but later used in the radio adaptation.

24. CITY IN THE CLOUDS (Side 3, second part of Track 2, OLP; Disc 2, second part of Track 15, FOXB; Disc 2, second part of Track 5, RCA)--Three-part cue (presented as one whole both on the soundtracks and in the film) mostly underscoring the introduction of Cloud City of Bespin. The first part (of which the first ten seconds went unheard in the original edition of the film and later restored to the "special edition" film re-release) accompanies the Falcon making their journey to Bespin unaware that Boba Fett is following them (the bounty hunter represented by a bassoon motif that would later be heard in "Betrayal At Bespin"). We then segue to Dagobah where Luke, under training from Yoda, suddenly has a vision of Bespin with his friends in danger (a 22-second portion of this section was left off the OLP). The third section is a beautiful orchestration of chorus and orchestra as we're introduced to the magnificence of Cloud City. The chorus dies down as the Falcon lands on Platform 327. The final 49 seconds of this track went unused in the film.

25. LANDO'S PALACE (Side 4, Track 3, OLP; Disc 2, Track 16, FOXB; Disc 2, Track 6, RCA)--The centerpiece of this cue is a new theme for Lando Calrissian, administrator of Cloud City and old friend of Han Solo. This theme also represents the marvelous interiors of Bespin. The music turns sinister as C-3PO confronts an unseen enemy. We then segue to the planet Dagobah, where Luke has decided to end his training to go to the rescue of his friends. Here, "Luke's Theme", "Ben's Theme", and "Yoda's Theme" are once again junxaposed as Ben and Yoda warn him not to leave Dagobah prematurely for a fight for which Luke is not ready. The piece ends with a quiet passage of "Ben's Theme" as Yoda reminds his student Ben of "another".

26. BETRAYAL AT BESPIN (Disc 2, Track 7, RCA)--This is actually three separate cues from the next act of the film. The first picks up from where "Lando's Palace" left off (with "Luke's Theme" as its basis) as Luke departs Dagobah for Bespin, little knowing what awaits him there, then we cut back to Cloud City for a passage of the "Han and Leia" theme as the Princess suspects something about Lando. The next cue covers the title scene as Lando leads his guests to the dining room where Darth Vader awaits (it begins with "Lando's Theme" followed by a strong but brief passage of Vader's march as Han fires at Vader to no avail). As the Stormtroopers surround the Rebels and Boba Fett appears, we return to the bassoon motif heard earlier in "City In The Clouds". The second cue ends with "Luke's Theme" underscoring Luke "almost there" at Bespin. The third and final cue finds Chewie trying to put 3PO back together again (set to the bridge from "Hyperspace"), followed by another brief passage of Vader's march as the Dark Lord begins torturing Han Solo. The final chord, by the way, was tracked into a cue on the OLP, which we'll discuss in a moment.

27. DEAL WITH THE DARK LORD (Disc 2, Track 8, RCA)--This music comes after Vader has made an altered deal with Lando concerning the fate of his friends which he betrayed, represented by Vader's march. The "Hyperspace" bridge returns as 3PO now finds his head screwed backwards. After Han and Leia is thurst into the room, the "Han and Leia" theme surfaces, then when Lando enters, a short action cue is heard as Han and Lando end up in a fight. We then abruptly cut into a rising horn and another statement of the "Han and Leia" theme, as we lead to the carbon freezing chambers for...

28. CARBON FREEZE (Disc 4, first part of Track 17, FOXB; Disc 2, most of the first part of Track 9, RCA)--One of many crucial cues that was left out of the OLP as Han meets his frozen fate. Here, dramatic passages of the "Han and Leia" theme and Vader's march clash. Pounding brass represents Han being lowered into the freezing chamber. A sad passage of "Han and Leia"'s theme underscores Leia looking on the frozen effigy of her beloved captain. After an Imperial officer has informed Vader of Luke's arrival, we are introduced to Boba Fett's theme (here junxaposed with Vader's march) as he prepares to take his frozen prize to Jabba the Hut. The FOXB presents this cue exactly as heard in the film, while the RCA has been extended with an alternate passage that wasn't used, the second of the "hidden alternate cues" buried within that particular CD (we'll discuss this in "Alternate Cues").

29. LUKE PURSUES THE CAPTIVES (Disc 4, second part of Track 17, FOXB; Disc 2, second part of Track 9, RCA)--Most of this cue is based on Boba Fett's theme as we see Luke (having arrived on Bespin) trying to find his friends whom he believes is in danger. A shootout then develops, set to "Yoda's Theme", first with Boba, and then with Imperial guards who are escorting Leia and company to the Star Destroyer. Leia warns Luke of the danger that awaits, but the young warrior ignores her warnings. The music quiets, and Luke enters a dark chamber. The first grand piano slam signals the start of a very pivitol one minute-and-20-second section not used in the film (although the first piano slam can clearly be heard in the original release version of the film). This unused section begins the duel between Luke and Darth Vader. This is where the Dark meets the Light for the first time in the trilogy. Again, Boba Fett's theme is more prominent than Vader's march during this sequence. The final 15 seconds of this cue returns us to music heard in the film as Lando's men outpower the Imperial troops. This will directly lead to the next cue. The RCA was re-titled "Darth Vader's Trap".

30. DEPARTURE OF BOBA FETT (Side 2, Track 2, OLP; Disc 4, third part of Track 17, FOXB; Disc 2, third part of Track 9, RCA)--Picks up immediately where the previous cue left off (in the film, it starts right after Lando's line "Keep it quiet"). Lando and friends try to save Han Solo before Boba takes him away. Boba Fett's theme again is reprised as Chewie strangles Lando for betraying Han, but Leia asks Chewie to let him go and continue their pursuit of Boba. The brass passage heard earlier in "Luke Pursues The Captives" underscores Han being lifted into the cargo hold of the Slave I, Boba's ship. The next section is set to a nervous version of "Han and Leia"'s theme finds R2-D2 reunited with his counterpart, C-3PO, as the group rushes to Platform 327 too late to save their frozen friend. A shootout then develops. This second section was heavily edited in the original release version of the film and the music there ended with the Slave I taking off, while the "special edition" film release lets the music run on without edits, up until the time we go back to the carbon freezing chamber. The remainder of the track was meant to underscore the continuation of the lightsaber duel between Luke and Vader (this section was unused in the film but later utilized in the radio adaptation). The cue ends with a short reprise of "Luke's Theme". While the final chord of the OLP version of the cue was tracked from the final chord of "Betrayal At Bespin", the FOXB and RCA versions are presented as originally recorded and intended to be used.

31. THE DUEL (Side 4, Track 1, OLP; Disc 2, Track 17, FOXB; Disc 2, Track 10, RCA)--Actually, only the first part of the music presented here covers the title scene, where Luke and Vader continue their duel not only with lightsabers, but with thrown objects. Vader's march is more prominent here than the two previous duel cues. We then segue back to Lando and Leia and their continuing shootout, beginning with passages of "Yoda's Theme" and "Lando's Theme". The "Han and Leia" theme then is heard as R2, having overcome Imperial stormtroopers, allows Lando and company to escape with their lives in the Millenium Falcon. Trumpet phrases signal the cue's climax. The synthisized opening was not heard in the actual film. The RCA was re-titled "The Clash Of Lightsabers".

32. LOSING A HAND (Disc 4, Track 18, FOXB; Disc 2, first part of Track 11, RCA)--One of the most emotional cues in the entire Empire score (and one of the best in the entire trilogy), which begins with Vader severing Luke's sword hand. Vader's theme is present throughout during the Dark Lord's plea to Luke, revealing his true identity and encouraging the wounded Jedi to join his cause. Swirling strings underscore Luke falling down the chasm, into a waste chute and sending him onto a weather vane beneath Bespin. This introduces a "call for help" passage conveying his pain and desperation. The music quiets down as Luke calls for Leia. "Ben's Theme" returns as Leia realizes Luke is in danger, and decides to go back to Bespin to rescue her friend. As the Falcon turns back, Lando spots the weather vane. The "call for help" passage returns, and slowly "rises" in sound as Lando catches Luke before the fallen Jedi can slip into endless space. Just as Imperial TIE fighters close in, the Falcon finally departs Bespin. On the RCA, this cue was called "Rescue From Cloud City". In the "special edition" film re-release, this was divided in two with music at the midpoint tracked from the scene where Vader reveals his identity to Luke (in place of the Vader's march passage which underscores the Dark Lord calling for a shuttle). On the RCA, the music crossfades right into the next piece with perfection (as it was in the film), while you can hear the final note segue clearly on the FOXB, thus ruining the dramatic effect.

33. HYPERSPACE (Side 2, Track 4, OLP; Disc 2, Track 18, FOXB; Disc 2, second part of Track 11, RCA)--Climactic cue underscoring the Falcon's eventual escape into hyperspace. This mostly original piece relies heavily on a chopping four-note measure used throughout. It is interuppted at several points by "Princess Leia's Theme" (as Leia is reunited with Luke) and Vader's march (as Vader orders his men to prepare their weapons for stun). The bridge of this piece is what has served as the theme for the 'droids throughout the entire score. The music slows down as Vader telepathically contacts Luke, once again lurning him to the Dark Side of the Force. The music returns to fast pace as R2-D2 finally allows the Falcon to enter lightspeed, accompanied by a major chord. The cue turns dark, however, with the presence of Vader's march as the Dark Lord ponders his failure to bring Luke to the Dark Side. In the "special edition" film re-release, this track was divided with tracked music from "Losing A Hand" (seen over, believe it or not, outtakes from Return Of The Jedi, used to represent Vader's arrival in the Star Destroyer).

34. THE REBEL FLEET (aka "Finale") (Disc 2, first part of Track 19, FOXB)--We're now heading into the film's epilogue (when Luke and company have safely reached a Rebel transport headed for the rendezvous on Tatooine) where Luke, now fitted with a prosthetic hand to replace his real one lost in Cloud City, bids farewell to Lando and Chewie as they begin their long quest to rescue Han Solo. As Luke joins Leia and the droids looking on after the departed Millenium Falcon, "Han and Leia"'s theme is reprised signifying hope that Leia's true love, Han Solo, will be found. The story itself, though unresolved, is brought to a satisfying conclusion. The FOXB is presented exactly as heard in the original release version. See "Alternate Cues" for the rest of the story. By the way, in the actual film, this is preceded by 20 seconds tracked from "Yoda And The Force".

35. END CREDITS (Disc 4, second part of Track 21, FOXB)--Reprises all of the major themes heard in Empire, starting with a brief passage of "Luke's Theme", followed by an arrangement of the concert version of "Yoda's Theme", then onto "The Imperial March", and finally a reprise of "Han and Leia"'s theme. We wind it up with the Rebel Fanfare, with the first four notes of Vader's march hidden, and the brass and timpani roll into a crescendo-ish conclusion. The FOXB is presented exactly as it is in the original release version, though you can clearly hear the edit point during "Yoda's Theme". See "Alternate Cues" for the rest of this story.


ALTERNATE CUES

1. THE IMPERIAL PROBE (Side 1, second part of Track 1, OLP; Disc 2, second part of Track 2, FOXB; Disc 1, second part of Track 2, RCA)--This is the original recorded version of the music following the opening prologue scroll where remote probes are launched into space and one of them lands on Hoth. The opening is about the same as the final film version (with the hidden introduction of Vader's march), but here this particular cue is more dramatic than its film counterpart. A 12-second segment (from 2:30 to 2:42 on the RCA) was left out of the OLP and FOXB. From the end of this segment, we go to "The Ice Planet Hoth" (see #4 above) and join Luke on his Tauntaun. The OLP edition was the second section of the track "Main Title (Star Wars)", while the FOXB was the second section of "The Imperial Probe (extended version)", and the RCA was the first section of "The Ice Planet Hoth".

2. LUKE'S NOCTURNAL VISITOR (remains unreleased)--This is a slight variation on the final film version of this track, especially the end section of this. This alternate version was never used in the film, obviously, but when you listen to the one in the actual film you'll get an idea on the slow tempo the end section might have been had it been used.

3. CARBON FREEZE (Disc 2, portion of first part of Track 9, RCA)--Original version of a 40-second segment covering a section from where Han's carbon frozen effigy is being lifted from the chamber up through an Imperial officer signaling Luke's arrival. This passage is a more dark-sounding piece than the one heard in the final film. While the RCA presents both 40-second segments, this particular piece can be found on the section from 2:40 to 3:21 on Track 9.

4. THE REBEL FLEET (Side 4, Track 4, OLP; Disc 2, first part of Track 12, RCA)--This is the original recorded version of the epilogue music that leads to the end credits. The very opening is different (with some strings not clearly present in the final film version), and it has been extended a bit both in length and composition. While the FOXB presents the version as heard in the original release print, this alternate cue as heard on the OLP and RCA can be heard in the "special edition" film re-release (albeit in edited form).

5. END CREDITS (Side 4, second part of Track 4, OLP; Disc 2, second part of Track 19, FOXB; Disc 2, second part of Track 12, RCA)--As far as tempo goes, this version of the end credits is a wee bit slower than the one in the film (you'll notice the difference when you listen to the film version), but it still harkens on the same themes ("Luke's Theme", "Yoda's Theme", "The Imperial March", "Han and Leia", "Rebel Fanfare"). On the OLP (which was part of the "Finale" cue), "The Imperial March" section has been tracked with a portion of the concert arrangement version (which we'll talk about in a moment), while Disc 2 of the FOXB and RCA presents this as originally recorded.

CONCERT ARRANGEMENTS

1. YODA'S THEME (Side 1, Track 2, OLP; Disc 2, Track 10, FOXB; Disc 2, Track 2, RCA)--Straightforward presentation of the theme for the old Jedi Master of Dagobah, evoking gentleness and folly.

2. THE IMPERIAL MARCH (Darth Vader's Theme) (Side 2, Track 1, OLP; Disc 2, Track 5, FOXB; Disc 2, Track 1, RCA)--For Empire, John Williams wrote an entirely new theme for Darth Vader, and at the same time to represent the evil might of the Galactic Empire. This march serves basically as the theme music for the entire film. It is, in essence, the "flip side" of "Yoda's Theme" and obviously is a majestic minor-chord piece that represents the villainy of the Imperial forces. The first 50 seconds of this piece was used in the final film to replace a portion of "Aboard The Executor" (Second portion of Track 4 on the RCA). The final portion was also tracked in the OLP "Finale" to replace the original recorded reprise of the march.