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|1. Star Wars Main Title and The Arrival at Naboo|
|2. Duel Of The Fates from Star Wars Episode 1: The Phantom Menace|
|3. Anakin's Theme|
|4. Jar Jar's Introduction and The Swim To Otoh Gunga|
|5. The Sith Spacecraft and The Droid Battle|
|6. The Trip To The Naboo Temple and The Audience With Boss Nass|
|7. The Arrival At Tatooine and The Flag Parade|
|8. He Is The Chosen One|
|9. Anakin Defeats Sebulba|
|10. Passage Through The Planet Core|
|11. Watto's Deal and Kids At Play|
|12. Panaka And The Queen's Protectors|
|13. Queen Amidala and The Naboo Palace|
|14. The Droid Invasion and The Appearance of Darth Maul|
|15. Qui-Gon's Noble End|
|16. The High Council Meeting and Qui-Gon's Funeral|
|17. Augie's Great Municipal Band and End Credits|
The Star Wars cycle, George Lucas's stellar pop parable cum merchandising blitzkrieg, has long since made history as an unparalleled cinematic-cultural-marketing phenomena; somewhere Billy Jack should be in one envious, ass-kickin' mood. Phantom Menace, easily the most eagerly anticipated film of the '90s, returns to the saga's roots and allows Lucas to flesh out the history of some of the fable's core characters and conjure up a dazzling new cast of cohorts, antagonists, and alien realms for them to interact with and in. Thus, all composer John Williams had to do was essentially reinvent the world's most popular wheel. The film-scoring legend has admirably risen to that daunting challenge, delivering an inventive score whose dynamics should surprise and delight even the most ardent SW fanatic. The Main Title and a few oh-so-sparing bars of a familiar Jedi theme are all that remains from the original trilogy's lexicon, Williams having evolved the saga's musical language, stylistic reach, and orchestral palette with masterful subtlety. The composer's most ambitious surprise is the welcome addition of strong choral elements, which he uses in ways both majestic ("Duel of the Fates") and menacing ("Passage Through the Planet's Core"). And though the film revolves around a young boy (Anakin Skywalker, who will grow to be both corrupted and redeemed as Darth Vader), the only flirtation with cloying sentimentality comes with the innocently loping "Jar Jar's Introduction." In the tradition of the Cantina and Max Rebo's Band of the previous trilogy, Williams and Lucas close out this musical installment with "Augie's Municipal Band," a Carnivale-esque romp that segues grandly into the composer's swelling title music. Williams may be the master of a grand scoring tradition, but Phantom Menace is gratifying evidence that he seldom plays it safe--even when the Force is with him. --Jerry McCulley --This text refers to an out of print or unavailable edition of this title.
Très bon produit à un très bon prix. Je recommande ce produit à tous les bons collectionneurs de musiques de films.Published 10 months ago by Gilles Qc.
The music is the best thing about the "Star Wars" prequels because John Williams succeeds where George Lucas has failed abysmally. Read morePublished on Nov. 12 2002 by Steven Reynolds
Well, I was advised after buying this one, that there was already a complete album with all the music from the film, but come on! Read morePublished on Oct. 15 2002 by scottie
This is an interesting mix of music from John Williams.
He has brought back some of that old Star Wars magic but sadly left most of it behind. Read more
Very reccomendable, although not as good as the original Star Wars Soundtracks but a must have if you like John Williams compositions.Published on Sept. 20 2002 by The Emperor
John Williams did it again! Duel of Fates is truly a one of a kind masterpiece.The duel of fates,the droid battle,the flag parade,panaka and the queen's protectors,the droid... Read morePublished on Sept. 8 2002
I don't have much to say because everyone else has said what I would have said.
Duel of the Fates reminds me of the atmosphere that the Dies Irae
(Day of Wrath) from... Read more