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The Chronicles of Narnia: Prince Caspian Soundtrack, Enhanced
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Frequently Bought Together
Customers Who Bought This Item Also Bought
|1. Prince Caspian Flees - Score|
|2. The Kings and Queens of Old - Score|
|3. Journey to the How - Score|
|4. Arrival at Aslan's How - Score|
|5. Raid on the Castle - Score|
|6. Miraz Crowned - Score|
|7. Sorcery and Sudden Vengeance - Score|
|8. The Duel - Score|
|9. The Armies Assemble - Score|
|10. Battle at Aslan's How - Score|
|11. Return of the Lion - Score|
|12. The Door in the Air - Score|
|13. The Call - Performed by Regina Spektor|
|14. A Dance 'Round the Memory Tree - Performed by Oren Lavie|
|15. This Is Home - Performed by Switchfoot|
|16. Lucy* - Performed by Hanne Hukkelberg* Not Featured in Film|
CD contains the original score from the film. The opening track is 'The Call' performed by Regina Spektor. The Prince Caspian film is directed by Andrew Adamson (Shrek) from a screenplay by Adamson & Christopher Markus & Stephen McFeely. The Characters of C.S. Lewis' timeless fantasy come to life once again in the newest installment of the The Chronicles of Narnia series. One year after the incredible events of The Lion, the Witch and the Wardrobe, the characters find that 1,300 years have passed in Narnia time. The Children embark on a remarkable journey with Prince Caspian, rightful heir to the throne to find Aslan, rescue Narnia from Miraz's tyrannical hold, and restore magic and glory to the land. 16 tracks.
Top Customer Reviews
Later in the disc they find a guide which was looking for them and was told to bring them back to the headquarters, Aslan's How to help Prince Caspian deal with his Uncle Miraz, and take back the throne of Narnia to it's rightful heir.
When they arrive the Kings help Caspian with his army.To give them more time Peter sends a challenge to Miraz for single combat.
This is a great story for anyone who likes the battles between good and evil.
I also reccomend,which you can buy together in a boxed set:The Magician's Nephew, The Lion, The Witch, And the Wardrobe, The Horse And His Boy, The Voyage of the Dawn Treader, The Silver Chair, And the Last Battle.
Also if you like battles between good and evil and can only afford one cd The Last Battle is my pick.
[All these cd's can be purchased on this site]
Most Helpful Customer Reviews on Amazon.com (beta)
Here is the breakdown of the tracks included:
(spoiler note: I like to clarifying which parts of the movie were covered in the soundtrack so if you read the track summaries and haven't seen the movie you may have things spoiled for you)
1 - Prince Caspian Flees : This is one of my favorite tracks and it contains two of the new themes. It begins with tense strings as Professor Cornelius sneaks Prince Caspian out of the castle, but is quickly joined by percussion and vocals as Caspain flees into the night on horseback. At about a minute and a half, it changes into the new epic theme featuring dramatic strings and vocals. About three minutes in the vocals really intensify and then break into Caspian`s theme. This one is a series of fast-paced strings that form a driving melody. It is probably one of the most memorable themes on the soundtrack and, like with the Pevensies' theme in the first one, it becomes stronger and more articulate as the score progresses. It is cut off as Caspian is knocked from his horse and the dwarves appear. The track ends at about the point where Capsian blows Susan's horn.
2 - The Kings and Queens of Old : Jumping ahead by quite a bit, this track picks up with the Pevensies investigating the ruined castle. Quiet trumpets and strings vaguely echo old themes eventually giving way to a fast trilling of flute as the children run excitedly down into their old treasure room. The music settles comfortably into our first reprise of the Pevensies' theme, but it`s sadder than usual, as is a familiar refrain from one of Lucy and Tumnus' themes when Lucy realizes that their friends are gone. The track ends on that rather serious note.
3 - Journey to the How : This track begins with tantalizing chimes, harps, flutes and whispery vocals. About thirty seconds in the Pevensies' theme returns, very subdued and sad. I believe this scene is where they are in the boat, but it could easily be any time while they travel with Trumpkin. It mostly stays bittersweet after that, but nearly two minutes in things get ominous and change dramatically to frantic strings and percussions; the Telmarines` theme. I am not entirely certain where this bit falls in the film, but it is very intense and riveting piece of music. The final minute is a much more subdued version of the same theme but right at the end is an eerie vocal cue that I am pretty certain is when the children stop for the night and Lucy is lying on the grass staring at the sky.
4 - Arrival at Aslan's How : An enjoyable revisiting of some old themes, this one starts off moving hesitantly towards the Pevensies' royal theme, then breaks into the familiar vocals and piano. It continues to build into the triumphal theme as the children walk into Aslan's How beneath the guard of centaurs. It fades down again as the children see the inside of the How and Caspian shows them to the room where the stone table is. It becomes very quiet then as a flute gently plays in the background.
5 - Raid on the Castle : This track covers the entire raid on Miraz's castle. Starting just after the confrontation with Miraz. Both tense and driving, this track is one of my favorites as it pulls you into the action. A couple of times its almost as though the Pevensies' theme is trying to break through but its always drowned out by the more tense epic theme. Three minutes in the tone changes again to a more pounding version of Caspian's theme still mixed with the epic theme. This grows in an impressive horn crescendo before turning over into vocals and brass as the battle breaks out in earnest. At four minutes in the tone changes again as Miraz's men begin to overwhelm the Narnians and the fight becomes desperate. Finally the ominous version of the Pevensies' theme comes through as the fight dissolves into a slaughter. Sad as it is, one of my favorite parts is the emotional variation of the Pevensies' theme as Peter watches the trapped Narnias be killed in front of him. This part hits its mark perfectly and I can't hear it without seeing the scene. After that is a simple melody of sweeping strings which fades out as Edmund looks down at the destruction below.
6 - Miraz Crowned : I am not completely clear where everything in this track falls, but it is a good showcase of Miraz's various themes. Beginning with quavering strings, it rises into pounding percussion and vocals as Miraz is crowned and the Telmarines march to war. The strings are the really notable thing here: frantic and rhythmic, they do a very good job of expressing the dark tone. About two minutes in the pounding theme dissolves into a more subtle and sinister one. This could play in any number of scenes during the film. It's possible it plays during the scene where the Narnians return from the castle raid and Peter and Caspian have their falling out.
7 - Sorcery and Sudden Vengeance : Another one of my favorite tracks! The music starts very ominous as Nikabrik lures Caspian into the stone table room. With sinister strings, deep piano and percussion, it eventually breaks into these impressive baritone vocals. They add a lot to this track, as do the thunder-like electronic percussion as the hag and werewolf enter. This bit continues to build until the White Witch appears and we hear soft, eerie vocals. At four minutes the theme becomes a much more powerful version of the battle theme from the previous film as the Pevensies show up and fight Nikabrik, the hag and werewolf. Eventually the music hits a crescendo when Edmund breaks the ice wall and then it calms down and fades out.
8 - The Duel : This track begins quietly as Edmund goes to present Miraz with Peter's challenge. The percussive music is filled out with sweeping strings and a light chime sound in the background. It builds into the duel itself between Peter and Miraz and becomes much more tense. It then switches to Susan staying behind to hold off the Telmarines while Lucy escapes. A mournful flute version of the Pevensie theme plays and then builds dramatically as Susan fights. At three minutes fifty the tone completely changes as Caspian arrives and saves her to a snatch of his theme. Then we return to the duel where Miraz's theme has taken over in all its pounding and sinister glory. Five minutes in it fades down and becomes anxious again as Peter sees Caspian return with one of his sisters and Miraz calls a break. The track finishes with a quiet cue for Peter's weariness and concern.
9 - The Armies Assemble : Beginning abruptly as Miraz is stabbed by one of his own men, this track serves to give a nice preview of the coming battle themes and builds that tension very well. Again strings are the prevailing instrument, fast-paced and driving as the two sides prepare for battle and Peter and Edmund stand their ground against the approaching army. The track builds deliberately and then breaks at the charge.
10 - Battle at Aslan's How : Starting off at once this track is an incredible showcase of the new epic themes. Almost immediately Caspian's theme builds in the background, probably as he and the Narnians break the ground from beneath the Telmarines' feet. It's difficult to know where everything falls in this track as well, but it canvases most of the battle while reprising the Pevensies' theme, the old battle themes from the first film, and a lot of the new Caspian theme. This last takes center stage with rising strings and epic sweeps which dive into sinister vocals as the battle starts to turn out of the Narnian's favor. Caspian's theme does return, however now it is more anxious as things continue to go downhill. Eventually this culminates in a theme very similar to the one at the siege on the castle, bringing back bad memories of their previous defeat. It turns over suddenly into the triumphant theme from the first film (where Aslan appears at the battle with Susan and Lucy). We then return to driving strings as Lucy races through the woods alone. It fades down suddenly at the end as Aslan appears in front of her.
11 - Return of the Lion : A really standout track! It begins with the tense cue where a Telmarine hesitates before killing Caspian. Almost immediately it turns into a new epic theme as the trees arrive and attack the Telmarines. Poetically, this theme is not a fully percussive piece like the others. Instead, its moving strings and sweeping vocals constructing a powerful melody as the Narnians rush back into the battle with new fervor. After the Telmarines retreat to the river, it becomes very quiet as a lone woodwind instrument plays and Lucy appears on the other side of the bridge. The Telmarines' theme returns suddenly as they start to cross the bridge. This turns over into a broader variation of the Pevensies' royal theme as the river god appears and sweeps down on the Telmarines. It becomes more driving as the river god lifts the bridge out of the water, and finally fades into quiet strings as the water settles.
12 - The Door in the Air : This track picks up almost exactly where the last one left off, and covers the entire rest of the film's score. Aslan's theme returns with very quiet piano and strings as he addresses Caspian. A minute in, the music switches to a truly sweet theme with plinking piano and a high melodic horn that sounds almost like a voice -- this is where Lucy heals Reepicheep. The strings and piano build after that and change to a cue identical to the one in the first film where we first see Cair Paravel, although now it plays during the scene where Trumpkin finally sees Aslan. At the crescendo it changes to a new triumphant theme with full and soaring strings while the children and Caspian ride through the streets. As night turns to day and Caspian sees Aslan talking to Peter and Susan, a mournful trumpet solo signifies the change in tone and for a while it seems it has calmed down for good. Quiet strings accompany the flute and Aslan offers a new start to the Telmarines. The piano and vocals return at about five minutes ten when the tree parts and the Telmarines disappear through it. Emotional strings and harp play while Peter and Susan explain they will not be coming back to Narnia. The flute joins in and the last minute or so of the track accompanies Peter and Lucy saying goodbye to their friends. The theme ends on a more cheerful note, but there is still a bittersweet string line in the background that suits the mood.
13 - The Call (Regina Spektor) : I love this song very much! It reminds me of the end of the film and I really enjoyed how it was played through the ending scene. Regina Spektor's voice was another excellent choice for the unique female vocals that fit so well with Narnia score. It is a tradition I hope will continue through all the films. I liked the lyrics as well, they suited the tenor of the last scene without being completely sad. One thing that should be mentioned, however, is that this is not the exact version from the film; mostly because the music in the middle is different. It doesn't hurt the song itself though.
14 - A Dance `Round the Memory Tree (Oren Lavie) : I'm afraid I can't be as enthusiastic about this song. After Regina's precise and flowing voice, this just seemed like too much of a downer. The music was pretty enough, but I'm afraid Mr. Lavie's voice is just too gloomy. It might have made a better third song than second.
15 - This Is Home (Switchfoot) : I do like this song quite a bit, but unfortunately I had already heard the original version and this seemed a little too slow by comparison. That being said, the lyrics are excellent and the lead singer's voice did a very nice job of representing the characters. It is a very good song, but I probably would have put this one after Regina's and before Oren`s; I think it would have flowed better.
16 - Lucy (Hanne Hukkelberg) : I'm not quite sure why this song is here because it wasn't in the film. In any case, I liked the music quite a lot, the piano and chimes were very nice and Hanne's voice is very unique, but the actual tone of the song is a little odd. Still, it's not a bad song all things considered.
Harry Gregson-Williams : Returning to a deliver another incredible score, Harry Gregson-Williams had a lot to do on this project. With a sequel score there is a lot that must be done to keep people's interest: one thing is not abandoning old themes in favor of new, but the equally important thing is to create enough new material to keep it from being redundant. I think he has done both of these things exceptionally well. The very different tone of Prince Caspian, as a darker film with more difficulty and death, was represented beautifully through the score. The Pevensies' main theme made you keep the first film in mind, but there were also many new themes; most notably Caspian's, Miraz's and the epic themes. These added new and different elements. Most of all I was impressed by how full the music sounded and how many nuances could be found in each track. It's a shame that he will not be doing the soundtrack for the next film, but hopefully many of these themes can be retained by the next composer. In the meanwhile I will be interested to see what other projects Harry Gregson-Williams will do in the future.
Notable Absences : As last time, there are a few moments of score that were missing from the soundtrack. I don't think any of them especially detracted from the overall feel of the soundtrack, but its good to keep them in mind.
Train Song Reprise - This played when the children first arrived in Narnia. It was an exact reprise of the Lisbeth Scott song while the children are in the train.
A Narnian Lullaby Reprise - This played just barely before the children first see the stone table again. It was probably cut because it was isolated in between scenes.
Flying to the Castle - This plays during the scene where the Narnians, led by Caspian, Peter and the others, arrive at Miraz's castle. It includes mostly themes used before or later, so the only sad loss is the horn cue of Reepicheep's theme.
Altogether : This soundtrack presents a darker and more epic tone, but it is most definitely still Narnia. The moment the opening credits began over Caspian fleeing his home on horseback, I knew I was in Narnia because the score told me so. This score was definitely a success and I would recommend it to soundtrack lovers, and fans of the first soundtrack alike -- you won`t be disappointed.
Harry wastes no time setting the dark mood for the second journey through the World of Narnia. PRINCE CASPIAN feels more of a sequel to KINGDOM OF HEAVEN with Narnia themes since it contains healthy doses of choir throughout much of the tracks giving the score a richer, grandeur, more epic feel that the 1st Narnia somewhat lacked.
The best part of this release from Disney is that we get a near full hour of score before the pop/rock songs! And if that isn't enough, the enhanced CD contains a photo gallery and the official movie trailer. Besides the bonus features and lengthy score, there's a small booklet (10 pages long) containing plenty of movie stills and liner notes by director Andrew Adamson.
AS HEARD ON FILM:
As I suspected, the score album serves as highlights of the cues heard on film (typical). Much of the new themes for the film were left out of the score album as if only the action cues counted. The quirky mouse theme was left out. Other great underscore was left out as well such as the opening scene build up to "Prince Caspian Flees," and the prelude to "Raid on the Castle".
The score was nearly wall-to-wall in a 2 hour and 20 minute film. Sadly, the album release gives the impression that this Narnia score is just a "rehash" - which in part it is since it's a SEQUEL! - as many other reviewers have expressed. (I sure doubt both Narnia scores will be given the "complete recordings release" treatment.)
Truly, the score it much better heard on the film, but the album still merits my 5 stars. The score is dark, tense, suspenseful, epic and grand! It's my favorite score of the year thus far - that is until the new INDIANA JONES score is released a week after this writing =D
This soundtrack is beautiful. Its dark and intense, but with subtle hints of the light-hearted, inspiring melodies from the first soundtrack. Harry Gregson Williams outdoes himself once again. I loved hearing the familiar theme from The Lion, The Witch, and the Wardrobe throughout some of the tracks. Arrival at Aslans How nearly brought me to tears.
This soundtrack is gorgeous and a great buy. I'd recommend it to any Narnia fan.
This second soundtrack continues the magic and wonder. Like the first soundtrack, it sends chills down my spine at some amazing moments in the score. Some parts could make me cry out of joy or sadness. It's unbelievable how Harry Gregson-Williams could once again take me to this amazing land. This music is so different and this composer continually opens my eyes to new instruments, emotions, and memories with every score he composes. This is a masterpiece!
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.
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)