"The Published Choral Works of John Williams" by Micah Bland

When you think about composers of the film music genre, the first name that often comes to mind is John Williams (b. 1 1932). With a staggering fifty-two Oscar nominations and countless iconic film scores, John Williams has rightfully earned a reputation as one of the greatest film composers of all time. Despite these memorable themes, over the past several decades his published choral works have gradually fallen into disuse in favor of the most recent film pop tune or Disney medley. As a recent example, musical selections from Encanto (2021) were published almost concurrently with the film’s release to capitalize on its anticipated popularity. In addition, music distributors such as J.W. Pepper prominently feature these works in their promotional materials, and at the time of this article, include a shortcut tab on their website for both Encanto and Disney under the music category “School Choral Music. ”2 While an interest in performing choral works from recent films is understandable, the music of John Williams should not be overlooked. As a result, this article seeks to reintroduce choral directors to the published works of John Williams, providing readers with insights into the compositional and historical features of these works.

Williams’ Choral Works

As a musical score, Williams’ work on Star Wars, as well as Jaws, has been identified by researchers as the point of revival for the classical symphonic film score. According to Jon Burlingame,

The success of Star Wars (and its sequels,

The Empire Strikes Back in 1980 and Return of the Jedi in 1983) altered the course of contemporary film music. After several years of scores dominated by pop and rock songs, filmmakers were suddenly demanding orchestral music in their films.

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Stretching throughout almost the entirety of his career, many of the Star Wars films have featured choral music. However, choral singing is heard most prominently in Episodes I, II, and III. Star Wars’ most iconic choral moment appears in Episode I – The Phantom Menace (1999, directed by George Lucas) with the song “Duel of the Fates. ” Emerging in the final climactic battle, “Duel of the Fates” was described by Williams as portraying a musical character of ritualism, paganism, and antiquity. This musical sentiment is achieved through the use of the Sanskrit language and driving rhythmic feature in the orchestration that is coupled with elongated rhythms in the voices. For the text Williams selected a brief ritualism, paganism, and antiquity. This musical sentiment is achieved through the use of the Sanskrit language and driving rhythmic feature in the orchestration that is coupled with elongated rhythms in the voices. For the text Williams selected a brief excerpt from Robert Graves poem, 6

“The Battle of the Trees, ” which he had translated by friends at Harvard University into Celtic, Greek, and Sanskrit, ultimately selecting Sanskrit for its optimal vocal quality.

As one of the more popular and recognizable themes in the Star Wars franchise, it is surprising to note that the inclusion of the chorus for “Duel of the Fates” was momentarily questioned by Williams. In discussion with George Lucas during a recording session, Williams stated, “The only concern that one might have is you may want a version without the chorus. ” To which Lucas quickly replied, “I love the chorus. ”

Versions of “Duel of the Fates” have been published by both Alfred Music and Hal Leonard. The Hal Leonard edition is the more authoritative of the two as it is part of the John Williams Signature Edition series, and requires full orchestral accompaniment. However, this edition is a movement within the larger “Star Wars: The Phantom Menace” orchestral suite. In contrast to the orchestral version, Keith Christopher has arranged the work for piano accompaniment. This edition calls for soprano and tenor divisi, however, in each occurrence one of the notes is always notated as optional.

An additional choral octavo from Star Wars: The Phantom Menace includes the triumphant “Augie’s Great Municipal Band. ” As Naboo celebrates their victory over the droid army, the joyful soundscape of a wordless two-part treble chorus, brass and various percussion instruments can be heard in the final scene of the film. The published octavo features several of the same musical elements but replaces the brass section with piano accompaniment, and requires only three percussion instruments (whistle, tambourine, and drum), making it accessible to most children and treble voiced ensembles.

Published as part of the John Williams Signature Series, “Battle of the Heroes” from Star Wars: Episode III – Revenge of the Sith (2005, directed by George Lucas) is available for orchestra with optional chorus. The published edition has been significantly abbreviated from its original film version, which can be heard throughout the final climactic battle between the Jedi a

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throughout the final climactic battle between the Jedi and Sith. In Revenge of the Sith, “Duel of the Fates” is significantly reprised during the battle between Yoda and Chancellor Palpatine, but is reduced to a momentary three measure quote in the abridged “Battle of the Heroes” score. Interestingly, this musical quote is the only text featured in the work as the rest of the song is performed exclusively on an “ah” vowel. “Battle of the Heroes” also incorporates a brief quote of the force theme, which is first heard in Episode IV (1977) and incorporated throughout the Star Wars saga. Throughout the work, strings often double the voices, which is likely why the chorus has been identified as optional in the published score.

Released on Christmas Day in 1987, Empire of the Sun (directed by Steven Spielberg) features a significant amount of choral singing which is intricately woven into the fabric of the film’s score. This choral music is often produced by a boychoir (with soloist) performing one of two themes: “Suo Gan” or “Exsultate justi. ”

As a primary theme in the film, “Suo Gan” is an anonymous Welsh lullaby that beautifully captures childhood innocence amidst the conflict of war. “Suo Gan” unfortunately is not available as a published octavo by Williams. However, the theme “Exsultate Justi” is available as an octavo from Alfred Music. “Exsultate Justi” appears towards the end of the film (as well as the credits) when young Jim (Christian Bale) is rescued by the American military after spending four years in a Japanese internment camp.

“Exsultate Justi” is a joyous theme that incorporates portions of the Latin text “Exsultate Justi in Domino” (Rejoice in the Lord, O ye just). Williams’ incorporation of this text is unusual considering the method in which he freely inserts other Latin phrases throughout the work including portions of the “Gloria” and an “Alleluia. ” In the film, the work is predominately accompanied by orchestra doubling the voices, which is imitated in the published octavo arranged by Dave and Jean Perry. The Perry’s version calls for keyboard accompaniment and is available in multiple voicings from two-part to SATB mixed chorus, making it accessible to a wide range of ensembles.

In another World War II military epic, Saving Private Ryan (1998, directed by Steven Spielberg), John Williams concludes the film with an emotionally reflective song, appropriately titled “Hymn to the Fallen. ” Interestingly, “Hymn to the Fallen” is the only choral music in the entire film, which is also limited in its use of score in general. According to Williams, its use of score in general. 7 According to Williams,

The “Hymn to the Fallen” was kind of a set piece that seemed to be required. One felt like we needed a kind of requiem for the people lost in the film. How to do that tastefully, discreetly, quietly, and hopefully elegantly was the opportunity it presented.

Of course, chorus and orchestra is still the best medium for that kind of thing.

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Through a sentiment of peace and patriotism the chorus in “Hymn to the Fallen” offers a reflective conclusion to an emotionally charged film about World War II. The work features a homophonic mixed chorus, without text, that is interspersed between instrumental interludes. Lacking a text, 9

“Hymn to the Fallen” exclusively incorporates the vowels “oo” and “ah. ” Throughout the work, the “oo” vowel gradually opens to “ah” as the music steadily increases in volume, ultimately reaching a climax before fading away during the instrumental conclusion. “Hymn to the Fallen” has been published by Hal Leonard, but unfortunately is only available as an arrangement for full orchestra or concert band with optional chorus.

The film Amistad (1997, directed by Steven Spielberg) is an emotionally challenging film depicting a group of slaves and their struggle for freedom through the early nineteenth century American judicial system. Despite its dramatic courtroom setting, Williams delivers an inspired score that makes significant use of the chorus. The song, “Dry Your Tears Afrika” is utilized as one of the significant themes in the film, and first appears when imprisoned slave Cinque (Djimon Hounsou) stands in the courtroom proclaiming, “Give us free!” s This theme is later triumphantly utilized at the conclusion of the film as British ships destroy the Lomboko slave fortress in Sierra Leone, liberating the enslaved Africans. For this work Williams utilized a text set in the Mende language which proclaims “Dry your tears, your children are coming home. We’re coming home, Afrika. ”

Harmonically, the work is highly repetitive incorporating the same harmonic progression throughout, which is paired with a four part homorhythmic texture. Williams carefully paces the repetitiveness of the work through the gradual addition

repetitiveness of the work through the gradual addition of voices, minor rhythmic variations, and key change during the final repetition of the theme.

Two versions of the work have been released, both of which by Hal Leonard. The more authoritative of the two comes from the John Williams Signature Edition Series, which does not identify an arranger implying it is the original work of Williams. This edition calls for SSATB mixed voices, children’s chorus, and piano accompaniment. Although the signature edition may be more authoritative, Hal Leonard’s alternate edition (adapted by Audrey Snyder) provides the director with more performance options. Snyder’s edition includes voicings for SATB, SAB, and two-part chorus, as well as instrumental parts for percussion, band, string, or full orchestra. John Williams’ work with director Chris Columbus on both Home Alone (1990) and Home Alone 2: Lost in New York (1992) have provided choral ensembles with four beautiful works for the holiday season.

Aurally, with the exception of “Merry Christmas, ” three of these works are very similar through their use of treble voices and a lyrical melody that depicts an aura of mysticism. The theme “Somewhere in My Memory” is likely the most recognizable tune from the franchise, and is incorporated in both productions, however, the theme appears as an instrumental work in the sequel. Featuring the celeste with orchestra, the song’s text, written by Leslie Bricusse, expresses a tender sentiment of embracing the special moments during the holiday season. Two arrangements of the song are available, each with options for voicing and orchestration.

“Star of Bethlehem” can be heard in Home Alone after Kevin (Macaulay Culkin) confronts his fears and talks to Old Man Marley (Roberts Blossom), whom he discovers isn’t so scary after all. The scene takes place in a church where a choir can be seen and heard in the background performing popular holiday songs such as “O Holy Night” and “Carol of the Bells, ” as well as Williams’ original “Star of Bethlehem. ” In the film, the song features a two-part treble chorus with organ accompaniment. Although the work was significantly obscured behind dialogue within the film, it has since been published for various voicings from two-part to SATB mixed chorus with optional orchestral accompaniment.

The song “Christmas Star” can be heard in Home Alone 2: Lost in New York as an expression of longing to see family again during the holiday season. This emotional sentiment is musically depicted through the descending parallel triadic motion performed by the harp, and lyrical melodic contour of the children’s voices. harp, and lyrical melodic contour of the children’s voices. “Christmas Star” has been arranged by Tom Fettke and Thomas Grassi for SATB, SAB, and SSA voicing with piano accompaniment.

To conclude the film Home Alone 2, Williams composed the joyous choral work “Merry Christmas” for mixed chorus and orchestra. Similar to “Hymn to the Fallen, ” “Merry Christmas” can only be heard during the credits, concluding the film with a rousing holiday song of joy and cheer. This joyful character is achieved musically through a recurring cut-time rhythmic pattern consisting of two eighth notes that lead into the down beat. At the same time, this rhythmic feature is further emphasized through the declarative minor third harmonic motive that continuously reappears throughout the work (Figure 1). “Merry Christmas” has been arranged by Tom Fettke and Thomas Grassi, and can be performed with piano or small orchestra. piano or small orchestra.

In addition to these previously mentioned octavos, the John Williams Signature Series also features a three song set from Home Alone which includes the tunes “Somewhere in My Memory, ” “Star of Bethlehem, ” and “Merry Christmas. ” The work is available for two-part or SATB mixed chorus with full orchestral accompaniment.

Performance Considerations

In programming choral film works by Williams, conductors should carefully consider the inclusion or exclusion of instrumental parts and recorded accompaniment. While these works have been published in various formats, and can be performed with piano or limited instrumentation, it is highly advised that conductors attempt to incorporate all available instrumental parts when possible. Published works with accompanying instrumental parts are aurally closer to the original soundscape intended by the composer. More importantly, some film tunes are highly recognizable to patrons who have a strong auditory-visual connection with the work. Upon removing these instrumental parts, patrons may be left disappointed and unfulfilled by the performance as their auditory expectations do not align with the performance.

Figure 1. “Merry Christmas” rhythmic and harmonic motive

One potential challenge limiting the performance of Williams’ choral works is the cost. An orchestral edition of a Williams film score can range between $100–$550, plus the added cost of hiring additional musicians. When funds are limited, several publishers (as seen in Table 1) offer recorded performance tracks of Williams’ works. The use of performance tracks is viewed by some as unfavorable when used with advanced ensembles. However, these tracks are entirely appropriate for any ensemble level, and are necessitated by financial need and instrumental availability.

The works included in this article are appropriate for a wide range of ensemble abilities. Selections such as “Augie’s Great Municipal Band, ” “Christmas Star, ” “Exsultate Justi, ” “Somewhere in my Memory, ” and “Star of Bethlehem” were initially composed for younger ensembles, and are entirely appropriate for these voice types. At the same time caution is advised with some works as they can be deceptively challenging. For example, “Somewhere in my Memory” is a beautiful work for younger singers, but features a disjunct melodic line that requires an octave range, and frequently includes ascending intervals of a perfect fifth and minor sixth.

Conclusion

For conductors interested in programming film music the works of John Williams are exceptional selections artfully crafted by a highly skilled composer. They are accessible to a wide range of experience levels, with many published for reduced instrumentation. As a whole, the choral works by Williams express a wide range of musical styles, cultures, and emotions, and are sure to provide the singers in your ensemble with a fulfilling film music experience. Dr. Micah Bland is Director of Choral Activities and Visiting Assistant Professor at The University of Toledo, where he directs the Chamber Singers and University Chorus, and teaches courses in choral music education, conducting, and voice. He is the founder and host of the ChoralEd video podcast, which is also a monthly blog feature on ACDA’s ChoralNet.org.