Klingons have appeared in all but two of the Star Trek movies released to date. The only exceptions are Star Trek II: The Wrath of Khan (1982) and J.J. Abrams’ Star Trek (2009) — though even there, in both films, we do see simulated Klingon warships during the Kobayashi Maru training program. (And there actually was going to be a scene with Klingons in the Abrams film — parts of it were even shown in the movie’s trailers — but the scene itself was deleted in the end.)
So, not surprisingly, all five of the movies scored by Jerry Goldsmith — whose work I profiled in part one of this series — gave him an opportunity to write some music for the Klingons. However, as iconic as Goldsmith’s Klingon theme is, none of the films he scored featured Klingons in a particularly prominent role: in the first one, they get a single scene and are then pretty much forgotten; in his second film, they are secondary antagonists, and less important to the story than the religious cult led by Spock’s half-brother Sybok; and in the remaining three films, the only Klingon on view is Worf, who is more or less just one of the heroes.
There are two films, however, that revolve rather significantly around Klingon characters, and the composers who worked on those films brought some interesting elements to the table. This post concerns the first of those composers, James Horner, and his score for Star Trek III: The Search for Spock (1984).