‘Andor’, ‘Obi-Wan’ and ‘Mandalorian’ Could Win Emmy Awards

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Music has always been an integral part of the “Star Wars” universe. john williams scores of the original film trilogy. But will Emmy voters recognize one, two, or all three of the recently aired “Star Wars” TV series in the scoring categories?

Competing for review: 12-episode “Andor“” with music by Emmy winner, Oscar nominee Nicholas Britell (“Succession”); six episodes”Obi-Wan KenobiWilliams’ new theme and “” composed by British composer Natalie Holt (“Loki”); and its eight-episode third season.mandalorianWith music by Joseph Shirley. All aired on Disney+.

Britell spent more than two years on “Andor”, the backdrop for “Rogue One” protagonist Cassian Andor (Diego Luna); this included several months to create the music played on set during filming, from Time Grappler’s hammering signals on the Ferrix. To the alien electronics at the clubs in Morlana and the amateur funeral orchestra that laments Cassian’s mother in the finale.

“The role of music really evolved throughout the series as Cassian learned about himself,” says Britell. “During the 12 episodes its scope really grows.” The score combined traditional orchestra (up to 80 players), synthesizers, sampled sounds and advanced production techniques.

Unlike most series, the main title music changed every week depending on where the story took place and what was going on in Cassian’s life. “It was a constant sense of discovery, because each new chapter was usually a new planet, a new chapter opening up,” Britell says.

For example, Cassian’s homeland, Yanı, needed “a forest texture, percussion instruments, the sound of rustling leaves.” Ultimately, Britell wrote seven and a half hours of music recorded over a year in London – “more work than I’ve ever done in my life,” she says. He is now working on season 2, which is scheduled to debut next year.

For “Obi-Wan Kenobi,” Lucasfilm president Kathleen Kennedy convinced Williams to return one last time to the “Star Wars” universe she helped create. “It turns out that Obi-Wan was the only major ‘Star Wars’ character for whom I didn’t compose a theme,” says the five-time Oscar winner (although Williams’ Force theme doubles as music for the original Obi-). Wan Wan, played by Alec Guinness in the 1977 film).

Williams adds that the challenge is to create “a musical signature that captures the essence of one of George Lucas’ most brilliant and enduring characters, this great Jedi warrior, mentor, friend, and spirit guide.”

He wrote a four-minute piece that hints at Obi-Wan’s loneliness and restlessness, and an Emmy nomination in the main title theme category may be the only sure thing among these entries.

This complicated Holt’s task, as he had already started the score weeks before Williams signed. “His involvement has unlocked the use of these heritage themes,” he explains, citing key pieces by Williams from the original trilogy, including the music for a young Darth Vader that becomes particularly relevant later in the series.

But he adds that new characters like The Inquisitors offer a chance to write something new, “with synths and a repulsive rhythmic element underneath it makes them really edgy.” Similarly, the young Princess Leia as portrayed was not the graceful diplomat we remember from the movies, but a brave little girl, so she earned her own new musical motif.

Holt commissioned two of the world’s greatest classical soloists, violinist James Ehnes and cellist Caroline Dale, to contribute solos, and while he began practice in London, he flew to America to write and record most of them with a 75-piece LA orchestra. Swedish folk musician Ale Möller also played “a giant ancient hunting horn” in some parts of the score.

“The Mandalorian” season 3 composer Shirley has assisted Ludwig Göransson in the previous two seasons (each won a musical Emmy) and composed the music for “The Book of Boba Fett” using Göransson’s themes. So she was ready to take on the role of the final adventures of Din Djarin (Pedro Pascal) and Bo-Katan (Katee Sackhoff), who are preparing to reclaim their home world.

“Bo-Katan has a theme that follows him throughout the season and plays a very important role. john [Favreau, showrunner] He wanted a stronger voice to accompany his journey.” Little Grogu, once known as “Baby Yoda”, has two themes: one “a day in the life” and the other, “Grogu saves the day”, Shirley points out.

“This season has a slightly more solid orchestral foundation than previous seasons,” says the composer. “The deeper you get in the 7th and 8th chapters, the bigger the orchestral sound.” Mandalore has its own music: “Musically, it’s a sad, ruined, desolate aesthetic,” he says. “It’s a very dark place.”

Shirley has even written songs for bars, including classic “Star Wars” Corellian “a weird little blues song, I’m singing in this robot voice”, “maybe music to listen to over a beer”. ”

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