Narnia: Prince Caspian [Original Motion Picture Soundtrack]
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Music Reviews of Narnia: Prince Caspian [Original Motion Picture Soundtrack]
Music Review: "...I Know. You Had it Sorted..."
Rating: 5 Stars
I went into buying this CD Blind. When I first watched The Lion, The Witch, and the Wardrobe (2005), I paid little attention to the soundtrack in the background, so I had no expectations on that level. I Recognized the name Harry Gregson-Williams and remembering how much I loved his Kingdom of Heaven and Man on Fire scores, I decided to give this a listening to. I've yet to see THE CHRONICLES OF NARNIA: PRINCE CASPIAN, so my review on the music will have no connection to the film whatsoever beyond speculation. (Maybe once I get my hands on the movie, I'll be able to tweak this baby.) That aside, when the very first film came out, the experience of watching it was underwhelming to say the least.
So when I started hearing rave reviews about "Prince Caspian" combined with how impressed I was by the trailers, I decided that giving a listen to the soundtrack wouldn't hurt. Sufficed to say, I am not disappointed with what I've purchased. Harry Gregson Williams has really crafted something magnificent here, only second to his KINGDOM OF HEAVEN score.
Every track is quite enjoyable with the exception of tracks 13, 14, and 16, all of which leave much to be desired and take some getting used to once you give them a propper listening to. The soundtrack gets across an overall seriousness and vast description of the dire situation surrounding the state of Narina (albeit, 1300 years later). Gregson-Williams manages to create a militaristic sound while maintaining the wondrous awe of Narnia with the blend of heavy and light orchestration. Even throws in a little electronic manipulation for fun.
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1. "Prince Caspian Flees" (4:37) - One of my favorite tracks on the score, it really sets the tone and strength of the soundtrack following. The vocals are strong and the orchestration is as frantic as the scene it supposedly describes (Prince Caspian running for his life, perhaps?). One thing I noticed about the Theme for "CASPIAN" was that it sounded like a terribly familiar theme used in another film. At first, I couldn't put my finger on it, but then as fate would have I remembered it around the same time it came back on TV. Gregson-Williams probably uses the first half of Klaus Badelt's very catchy and powerful theme for the 2006 Poseidon Remake. I happen to own said score for the adventure film and the resembles to both themes is so frightening its not even funny. - 5/5
2. "Kings and Queens of Old" (3:35) - This track more than likely is describing the three Pevensie children before their return to Narina. The theme is lighthearted, grand, nostalgic even with the music box instrument playing in the background. Overall, its a very nice piece. - 4/5
3. "Journey to the How" (4:47) - The very beginning of this track is a slow and steady build up. As it reaches its two minute mark, the music becomes more urgent, pretty much like a person making haste toward something (or being chased by something/one). The vocals are great and blend in well with the drums before fading into the background. - 4/5
4. "Arrival at Aslan's How" (2:59) - The first of the shortest tracks on the score (the second is "Armies Assemble"). Its not exactly the most memorable track on the soundtrack. The music rises and falls with vocals, and at the very end of it, sooths its listeners with a melodic flute. - 3/5
5. "Raid on the Castle" (7:08) - A sweeping epic piece in every meaning of the word, 'Raid on the Castle' is a dramatic action theme at its best. Its sound changes every minute the further you go into it and is more akin to KINGDOM OF HEAVEN than most of the tracks on the score. The 4:57 mark is by far the most powerful sequences in the track. - 5/5
6.-7. "Miraz Crowned; Sorcery and Sudden Vengeance" (4:49; 6:19) - Track six's title is self-explanatory and pretty much describes something I'm betting no one on the side of "Narina" wanted to see happen. That aside, the orchestration is a very foreboding mixture doom and ascension to sought after power. One of the horns at 1:38-1:45 reminded me of Michael Kamen's ""Lethal Weapon (1987)" Score" Score, and as far of a stretch of music genres that is, I suppose you wouldn't know what I meant unless you've actually heard the score without the movie. Overall, its an excellent track. - 4/5
Track Seven on the other hand, is actually quite creepy in the way its designed. No idea what it pertains to, beyond speculation, but its beautifully crafted. The chant like vocals and added electronic thumps overlayed upon what sounds like the same violin used in "Mystique's Theme" from Kamen's X-Men Soundtrack. Its pace really picks up around the 4:05 mark; The music becomes stronger the chants are more prominent, ethic instruments are utilized. Everything about this track is amazing. - 5/5
8-9. - "The Duel; The Armies Assemble" (5:58; 2:25) - This two are your basic action/drama fanfares. Track Eight's beginning is really a lot of build up spiraling down into chaos before finally coming together around the four minute-ten second mark. Thus it becomes frenetic like a frenzied battle. - 4/5; Track Nine's, orchestration resembles that of "Miraz Crowned" in some ways. Foretelling doom before a great battle as armies assemble to go to war. - 4/5
10-11. "Battle at Aslan's How; Return of the Lion" (5:20; 4:18) - Track Ten jumps straight into the action using the theme featured prominently in the 1st and 7th tracks, while managing to switch up the orchestration a bit and steadily become different as it does so. A great action theme. - 5/5
Tack Eleven's track pretty much hints what it could mean. The return of Aslan The Great Lion, with awespiring music to back him up. This is a really beautiful piece of music, quite fitting for the iconic character. It does of course jump right back into the action fanfare once the pleasantries are done and over with. - 5/5
12-15. "The Door in the Air; This Is Home" (7:55; 4:03) - Track twelve brings us to the finale of the score. Again, like track two its lighthearted, but instead of nostalgic, I guess its more of a sweeping farewell. The farther along it goes, it starts to sound a little like one of the three Harry Potter Scores composed by John Williams. Its the longest track on the CD and it really calms you down. - 4/5
Track Fifteen features Switchfoot's single "This Is Home" --- which is probably the best vocal on the entire soundtrack. I've been a fan of Switchfoot since "The Beautiful Letdown", and I was glad to hear something new from them. At first, it didn't think much of this song, but the more I listened to this the more I loved it. The lyrics are beautiful and instrumental is awesome. - 5/5
13-14-17. The Call; Dance 'Round the Memory Tree; Lucy (3:07; 3:38; 4:31) At first, Regina Spektor's vocals on The Call, more or less in the strain of Imogen Heap-Esque singers on a lesser scale, were harsh on my ears and the lyrics sounded too Juvenile (or simplistic) to me. However, when I listened to the song again and it wasn't as terrible as I remembered it to be. Its a somber, yet hopeful melody, reflecting the Pevensie's farwell and return to Narnia. It will never be my favorite song, but its by no means a terrible one either. It just doesn't do anything for me. -3/5
Oren Lavie's "Dance around the Memory Tree" was one song I hated the most the first time I listened to it; His dronning voice made me skip the song 50 seconds into it. Perhaps like Rob Dougan, his vocals are an acquired taste. Looking at it from that point, Dance, full of Forlorn and Nostalgia of what could never be again, has actually become my favorite vocal track on the soundtrack. -5/5
The melody in Hanne Hukkelberg's "Lucy" is the best part of the song; Hanne's vocals, again, do nothing for me. The lyrics do a sublte job of reflecting Lucy's character and her relationship with Narnia, most of all, Aslan. - 3/5
Overall, if your looking for a great soundtrack, this is the one to buy. I highly recommend it. ---- [a 5 out of 5] - (June 18th, 2008 - EDITED: 3/18/09)
Music Review: A worthy score to an excellent film
Rating: 3 Stars
I bought this soundtrack the day after it was released figuring there was no way they could go wrong after how great the first film and accompanying score were. The score to the first film was perfect from start to finish and effectively captured all the wonder and magic of Narnia from the royalty of Aslan to the menace of the white witch. The score was enchanting as they explored Narnia, soft and warm as Lucy made friends with Tumnus, and intense and ominous as Aslan's army goes to war with the white witch. All four of the original recorded songs were excellent and captured the wonder and magic of Narnia.
The score to Prince Caspian was a bit lacking to me although overall pretty good. Another reviewer put it perfectly; the best moments of this score were the old themes redone and several of the new pieces are not much more than filler music with few being moving or incredibly inspiring. The pieces that set up the battle at Aslan's How were satifactory to me but still not quite as good as the battle score of the first film...probably the same way Miraz is a lesser than villain than was the white witch. The overall tone of the soundtrack is effective in setting up this film as a darker and more intense sequel to Lion, Witch, and the Wardrobe. Of the new pieces I thought 'Prince Caspian Flees' and
'Raid on the Castle' were the most epic, sweeping, and memorable. I also liked the way the revisting of the old Narnia themes were done in the context of the film, refreshing the kids memories of what a grand thing they were once a part of. I also liked the original songs on this soundtrack (especially Switchfoot and Regina Spektor) but they still do not quite capture your heart and your imagination as effectively as the incredibly moving pieces from the first score by Imogene Heap and Alanis Morrisette.
One thing I was rather disappointed about upon listening to the soundtrack is that the best two parts from the music in the movie trailer are not on the score...why? The first part is when the kids find themselves by the ocean back in Narnia, they have some choir vocals going and there is this instant feeling that the children are overjoyed to be back in Narnia. It was perfect setup. The second piece on the trailer not in the film is right before they introduce Miraz and it says' you may find Narnia a more savage place than you remember' and it continues until right before they show Aslan. I thought it was perfect for this new Narnia villain and the threat he represents to the Narnians and the Pevensies. My question is why use music from who knows where as a set up for a movie and then not include it on the score. I thought they would have fit nicely on the soundtrack even if Harry did not compose them.
I enjoyed the first film immensely and a great deal of that was how effective and perfect the score matched the film, and I think they do follow suit here. Although for me the Caspian soundtrack was not as epic or moving I think the film and the score went together nicely. I definitely recommend listening before you buy this score; especially if you absolutely loved the first score as much as I did and set your standards high. I have already decided I will make it a point to do that with the Dawn Treader soundtrack before assuming Harry Gregson Williams and his people could do no wrong...because I found out in fact that they can some. I certainly enjoyed the soundtrack overall but I thought the new pieces should stand well on their own and without the old themes there is little on the soundtrack that is truly memorable.
Music Review: Harry Gregson-Williams' greatest film score: Prince Caspian
Rating: 5 Stars
I remember the first time I heard the score to Narnia: Lion, Whitch, and Wardrobe. I was camping with my family, and my mom and dad gave me the CD as a surprise. I remember lying there in the camper and I turned the volume up really loud and...I was just captivated. Yeah, Harry Gregson William's score to Sinbad was cool, but I had never heard anything quite like Narnia...
And then I listened to "The Battle". Anybody who's anybody has heard this fantastic piece of music. I listened to that song several times in the camper, then I snatched the car keys because I had to listen to it on louder speakers. It was so epic, not like Lord of the Rings, not like Pirates of the Caribbean, but just...perfect. And the movie rocked too.
So news of a second Narnia reaches me, and to be honest, all I can think about is the music. Sure, I've seen the movie twice in theaters because it is WAY better than the first, but I just couldn't wait to get my hands on a copy of the film score,(much like the upcoming The Dark Knight). I bought it at a local FYE and quickly opened it.
The music far exceeded my biggest expectations. BUT, (yes a big but), It only began to grow on me on the third or fourth listen, which I found to be very annoying. But anyways, the one thing I love about it is that it is darker, much more mature, its almost like its had time to grow and develop into something bigger and much harder to appreciate! Its like "The Battle" from the first Narnia was only a glimpse of what was to come...
Plus, I LOVE the last four tracks at the end, the ones with singing or vocals or whatever, and I normally don't like music with singing. I don't own one cd from a band or group or whatnot, its all film scores. And usually I don't even put on the singing songs on my iPod because I don't like them. Even the songs on the first Narnia weren't really that good, only "Can't Take It In" was ok.
But holy cow, this new Narnia music is intense! Yes, all the old themes are back, except for Mr. Tumnus' theme, well maybe its in there somewhere but not straightforward. But the new themes kick some serious butt! The choir is frantically epic, similar to Starwars but better. And I adore every song on the score, unlike the first Narnia where there were only a couple of songs that I listen to.
The best, though, are: Prince Caspian Flees, Raid on the Castle, Miraz Crowned, Battle at Aslan's How, and The Call.
So if I'm so freaked out about this music, shouldn't it be my first pick of 2008(so far)? Well, Michael Giacchino's score to Speed Racer for some reason wins first place. But Narnia 2 is so close in 2nd that you can barely tell them apart.
If you're an idiot and you've waited this long to buy this music, then get out there and buy it already! Its a good thing that the music has grown and is now ready to be more intense and epic!
This is Harry Gregson-Williams' greatest film score.
Music Review: Glorified rehash!
Rating: 2 Stars
In case you have read my review for The Lion, The Witch and The Wardrobe, you know that I enjoyed the first score by Harry Gregson Williams very much, and there was no good reason to not expect a similarily enjoyable score for the sequel.
Well, consider me greatly dissapointed. "Prince Caspian" showcases neither thematic innovations, nor a fresh sound, and doesn't even offer a good listening experience.
By now, I'm used to the Media Ventures method of taking a theme and repeating it verbatim ad nauseam, and I was surprised, not to say shocked, that Gregson Williams took exactly this road with Prince Caspian. Where did the composer go that successfully detached himself from aforementioned Media Ventures and ventured (bad pun, sorry) into the waters of highly acclaimed epic scores a la Kingdom Of Heaven?
In every climatic moment on this album, the music is a clone of the first score.
Now, thematic continuity is fine and much desired for a series of classic fantasy epics, and a composer should incorporate established themes, here it comes, if the story allows it!
But Gregson Williams not only took character themes from part one out of context, he also re- and abused its normal underscore.
And he didn't even write a prominent new theme as far as I can see. There's a glorious choral piece at the beginning of "Return Of The Lion", before it segues back into more rehashed material, but I would hardly call that thematic.
Prince Caspian is a new Superman II, the only difference is that Narnia 1 and 2 are by the same composer, which makes it even more astounding.
Between reheated music and nonexistent new themes is atmospheric filler music, peppered with senseless orchestral atonalities, unmotivated choral outbursts and electronic ambient music that is completely and utterly unlistenable. It's even more annoying than similar work in Batman Begins - at least in Batman Begins you can ignore it if you want to.
I don't know which devilish planetary constellation drove Harry Gregson Williams to sleepwalk through this production, but I sincerely hope it passes quickly!
Because there's absolutely no reason to buy this score if you own the first one.
Music Review: A New (and Old) Narnia
Rating: 4 Stars
This soundtrack of "Prince Caspian" makes for a near-seamless combination of the familiar themes of the first movie and the new, darker themes of the second. Unlike the first score, this one is more homogenous: the first featured the dramatic opening of "The Blitz, 1940" as well as the joyful, calming pieces of "Evacuating London," "Lucy Meets Mr. Tumnus," and "The Wardrobe." However, the more dramatic themes of "A Narnia Lullaby," "From Western Woods to Beaversdam" and "The Stone Table" found a place alongside the stirring last two pieces of the score, "The Battle" and "Only the Beginning of the Adventure." In short, "The Lion, the Witch and the Wardrobe" had a greater variety of style than "Caspian." However, this does not affect my opinion of this CD, because the movie itself ("Caspian") is different from the first, and having its own, unique score certainly cannot be held against it.
As mentioned, themes featured in the first score are harmoniously combined in the second: we hear familiar echoes of the heroic themes featured in the first battle in the second; the themes featured during the battles with the White Witch are subtly reprised in "Sudden Sorcery and Vengance." However, there is no shortage of new themes: "Prince Caspian Flees," "Miraz Crowned," and "Journey to the How" all feature the unique features of "Caspian."
The only reason I didn't give this soundtrack 5 stars was the ending of the last score: like the movie, the score fades into nothingness (without the audience realizing it), and Regina Spektor's "The Call" enters in a somewhat blunt and heavy-handed [and nearly comical] fashion. (This is unlike the score from the first, in which the score was neatly concluded before the lyrical tracks began.)
This soundtrack is an excellent buy for anyone who enjoyed the score when watching "Caspian;" as with most scores, when listened to on their own, a greater appreciation for the movie may come about.