Star Wars Episode III: Revenge of the Sith (Original Motion Picture Soundtrack) John Williams

• John Williams (1932)
• 1 Episode III - Star Wars and the Revenge of the Sith 07:31
• 2 Episode III - Anakin's Dream 04:46
• 3 Episode III - Battle of the Heroes 03:42
• 4 Episode III - Anakin's Betrayal 04:04
• 5 Episode III - General Grievous 04:07
• 6 Episode III - Palpatine's Teachings 05:25
• 7 Episode III - Grievous and the Droids 03:28
• 8 Episode III - Padme's Ruminations 03:16
• 9 Episode III - Anakin vs. Obi-Wan 03:57
• 10 Episode III - Anakin's Dark Deeds 04:05
• 11 Episode III - Enter Lord Vader 04:14
• 12 Episode III - The Immolation Scene 02:42
• 13 Episode III - Grievous Speaks to Lord Sidious 02:49
• 14 Episode III - The Birth of the Twins and Padme's Destiny 03:37
• 15 Episode III - A New Hope and End Credits 13:06
• Total Runtime 01:10:49

Info for Star Wars Episode III: Revenge of the Sith (Original Motion Picture Soundtrack)

„With the mixed reactions to the first two prequels in the trilogy, fans and critics alike have been waiting nearly a decade for the third and final installment to the Star Wars saga, the sixth overall in the series. For fans, it's a redemption for having to endure characters such as Jar Jar Binks and the acting of Jake Lloyd in order to watch Anakin Skywalker make the transition to one of the most important villains in all of storytelling: Darth Vader. For critics, it's the ultimate litmus test to see if George Lucas can truly develop and tell a story without leaning too heavily on special effects and the magic of digital wizardry. Throughout the nearly three decades the Star Wars universe has been in existence, the music has played an integral storytelling role equal to the special effects. Composer John Williams has created his own language along with Lucas' character development during the series, and as a result could have easily coasted through the final score. Instead, Williams has more than stepped up to the task, delivering a harrowing score that complements the transition of Anakin Skywalker to the dark side. Familiar motifs in the Star Wars universe -- motifs that are embedded in the consciousness of even the most casual of pop culture fans -- make their appearances here. Some, like "The Imperial March (Darth Vader's Theme)," make their full unabashed return in sweeping, dramatic glory; through subtle placement, half developed passages, and quiet motifs, they were only previously hinted at in the scores of The Phantom Menace and Attack of the Clones. Making less prominent appearances are the anthems of the first two movies, "Duel of the Fates" and "Across the Stars," complementing the eventual transition to the classic trilogy just as much as the visual storytelling itself. Gone are the experimental passages and sequences that relied on heavy tribal and unconventional symphonic instruments, and in their place are long sweeping string passages and quiet, almost drone-like atmospheric moments similar to moments in Claude Debussy's symphonic works. Some passages are so effective in telegraphing their messages that it's possible to envision the events on the screen occurring by just closing one's eyes. But buyer beware: in keeping with tradition of the first two scores of the prequel trilogy, the track titles give away shades and sequences of the plot without deference to ambiguous language. Granted, it's not as bad as the track titles of the first two movies, but it's still easy to decipher the plot twists just by looking at the back cover. Revenge of the Sith holds a place on the mantle with some of the classic scores that made Williams a legendary film composer. It's also a fine closing masterpiece to a series of movies filled with some of the most important musical moments in modern cinematic history.“ (Rob Theakston, AMG)

Recorded February 2005 at Abbey Road Studios, London
Produced by John Williams

Digitally remastered

John Williams
was born in 1932 in Long Island, New York, and later moved with his family to Los Angeles in 1948. He studied composition at UCLA. After serving in the Air Force, Williams returned to New York to study piano at the Juilliard School of Music. He worked as a jazz pianist for a time before moving back to Los Angeles to begin his career in the film studios.

Mr. Williams has composed the music for close to eighty films and has composed some of the most famous themes ever written for cinema. Some of these include Harry Potter, Jaws, Close Encounters of the Third Kind, ET - the Extraterrestrial, Jurassic Park, the Star Wars Pre-episode and Trilogy, the Indiana Jones Trilogy, Home Alone, and Empire of the Sun. Receiving 45 Academy Award nominations, Williams has been awarded with five Oscars, seven British Academy Awards, twenty-one Grammies and four Golden Globes. He also has several gold and platinum recordings. His film score for Schindler's List earned him an Oscar and a Grammy. With 45 Academy Award nominations, John Williams has the most nominations of any person alive, and is tied for second ever after Walt Disney!

Mr. Williams was named the 19th conductor of the Boston Pops Orchestra in 1980, retiring in 1993. He has appeared as guest conductor with many major orchestras, including the Dallas Symphony Orchestra, and has also written many concert pieces. His concert compositions include: Five Sacred Trees, a bassoon concerto premiered by the New York Philharmonic in 1995, a cello concerto premiered in 1994 by Yo-Yo Ma and the Boston Symphony Orchestra, and several concertos for flute, violin, clarinet, and tuba. His trumpet concerto premiered in 1996 with the Cleveland Orchestra. In addition, Mr. Williams composed the themes for the NBC News, the 1987 International Special Olympics, and the 1984, 1988, and 1996 Summer Olympic Games.

This album contains no booklet.