The Music of Star Trek – Part Three

In the second part we ventured into the Next Generation of this growing franchise and branches explored. 

A new voyage

Alongside Deep Space Nine, which Next Generation helped introduce, Voyager became the fourth television instalment. It had a helping hand from Deep Space Nine as far as the story went and of course several composers who knew the franchise.

In January of 1995, the starship Voyager began its first mission searching for a group of renegades. They became lost far from help and friends. Again, the opening music set the tone and Jerry Goldsmith created a sweeping spacey theme that gave the impression of lost explorers searching for home. It was noted by the magazine Newsweek, it was the best of all Star Trek television series’ themes. While Next Generation had pace to show a more action orientated show, Voyager mixed between action and more drama-based show. 

Alongside Goldsmith, the musical team of Jay Chattaway, Dennis McCarthy and David Bellproduced award winning scores. Episodes such as ‘Equinox’, ‘The Hunting of Deck Twelve’ by Chattaway, ‘The Q and the Gray’, ‘Tinker Tenor Doctor Spy’ by McCarthy and ‘Dark Frontier’ by Bell, showcased the level at which they pushed themselves. The whole package had to become much more as competition for the fans was intense. 

A new Contact

As the original cast signed off from films, the Next Generation reached out to make their solo mission. Star Trek First Contact was Jerry Goldsmith’s third feature in the film series. Again, Goldsmith used Alexander Courage’s Star Trek fanfare, then swept into its main title music. A clever four-note motif used in The Final Frontier appeared in First Contact as a friendship theme and general link. Goldsmith also hired his own son Joel to help compose elements of the films score. The two produced one of my favourite Next Generation film scores. For me, First Contact has a wonderful orchestral feel, one that can be enjoyed without the movie. 

Goldsmith continued his association with the Next Generation series on the next two films, Star Trek: Insurrection and Star Trek: Nemesis. Both themes featured the familiar fanfare of the original theme but took different paths. Nemesis was darker by far as the Romulans took centre stage as the villains for the first time. 

Time Travel

As Voyager returned home, the next chapter was on thee drawing board. This time the franchise investigated Star Trek’s past before the beginning of the Federation. Enterprisefollowed the exploits of Captain Jonathan Archer and his crew as the fore mentioned Enterprise took its first steps into space. 

Enterprise made several changes from the prior formats not least in the opening theme and at first dropping the Star Trek prefix. It was the first one to use a song rather than an orchestral piece. Dennis McCarthy was given the task of composing the opening episode but not the main theme. Enterprise used the pop-influenced song “Faith of the Heart” (performed by Russell Watson) as its theme. It received very mixed reviews from fans, many who partitioned to have it removed. 

The song was slightly changed, and its pace increased to give it more of an upbeat feel. Very much like the change to Deep Space Nine’s theme. The song did not feature in a two-part special around the mirror universe, first seen in the original series and again explored in Deep Space Nine. That theme was considered very dark.

Back again?

As Enterprise ended the franchise seemed to suffer a little. Many of the crews had either sadly passed away or passed the supposed marketable point. So, it seemed. That would change later.

Star Trek decided to revisit itself in a reboot movie called Star Trek. This movie went into a new path by telling the original crews creation story but with twists. It was still Kirk, Spock and McCoy but affected by an original Spock. Science fiction can be mind-blowing.

JJ Abrams took the helm for this and the next movie. He had a new vision and as such needed new music direction. Michael Giacchino, Abrams’ most frequent collaborator, was asked to compose the music for Star Trek. He developed his theme for the opening of the new film but brought the original theme by Alexander Courage for the end credits. Abrams said that symbolized the momentum of the crew coming together. Giacchino admitted personal pressure in scoring the film, considering he grew up listening to such scores. Giacchino used a 107-piece orchestra and 40-person choir. An erhu, performed by Karen Han, was used for the Vulcan themes. A distorted recording was used for the Romulans, given the relationship between the two races. The score was bold, different, and yet true to Star Trek.

It was seen again through the next two alternative Star Trek movies. Still keeping the original theme and the new theme together. 

Where Next?

Star Trek never seems to stop. More television series have appeared, as did returning characters most notably Picard in his own series. In the final part of this mini-series we will see just how Star Trek went back and forth in time, again.