The choral work is especially important, and especially new. A hint of "The Imperial March" here, a touch of the main "Force" theme there, but by in large we’re talking about completely new music. The old traditional Star Wars themes can be found on this new recording, but only sparingly. Once again, this kind of Indy/ Star Wars mix works well in that environment. Other sections where it appears are in "chase" scenes. Since a fairly large chunk of the action takes place on familiar ground in Tatooine, that kind of desert oriented music really does not seem out of place. I think that we can attribute this to a slight change of style in Williams’ music since the first film was released back in 1977. Much of this music sounds more like an "Indiana Jones" score than a Star Wars score. It is powerful, deep, dark, unrelenting, and unforgiving, and I loved every minute of it!
This is the section of the score that slaps you across your face and drills you to upright attention. The second reason I rank it as significant is because it is so very powerful. Williams has never delved this deeply into " Omen-esque" music in his Star Wars films. With the exception of a one-minute piece of dark choral music in Return of the Jedi, Mr. First is that it is an obvious departure from Williams’ scoring for the last three Star Wars films. Even though it occurs early on the soundtrack album, chronologically, it backs up some of the last minutes of the film. This is the section of music that was actually receiving some radio play before the film was released. Perhaps the most significant piece of the score is track 2, "The Duel of the Fates". Beyond that, similarities to other Star Wars scores are more subtle. Even the segue from the main theme to the next strands of music remains fairly constant. Sleep peacefully: the main theme which has become familiar to millions of Star Wars fans worldwide stays intact as the movie the world has been waiting for since 1983, Star Wars: Episode 1 - The Phantom Menace, opens.
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