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Twilight01020304050607Edward At Her Bed / Bella’s LullabyThe Lion Fell In Love With the LambPhascination PhaseHow I Would DieI Dreamt of EdwardI Know What You AreStuck Here Like MomThe Twilight Saga: Eclipse1.47141516171819203.17The Twilight Saga: Breaking Dawn- Part 13.323.132.051.511.082.44The Twilight Saga: New Moon080910111213New MoonMemoires of EdwardYou’re AliveMarry Me, BellaFull MoonThe Meadow1.421.553.553.174.092122232425Compromise / Bella’s ThemeBella’s Truck / FloridaFirst KissJacob BlackJasperAs Easy As BreathingWedding PlansLove Death BirthA Nova VidaA Wolf Stands UpLet’s Start With ForeverYou Kill Her You Kill MeMusic composed by CARTER BURWELL ALEXANDRE DESPLAT HOWARD SHORETHE CITY OF PRAGUE PHILHARMONIC ORCHESTRA conducted by EVAN .08

LOVE AND DEATHTHE MUSIC OF THE TWILIGHT SAGAWhen Hollywood sank its teethinto Stephanie Meyer’s bestsellingnovel ‘Twilight’ it became quicklyapparent that it was onto a winner.The book alone was a hit, sellingsome 100 million copies andmaking it to the top spot on theNew York Times bestseller list andgoing on to propagate a furtherthree volumes. Indeed films ofNew Moon, Eclipse and BreakingDawn quickly followed, with thelatter split into two parts. October2012 sees the release of ‘Part 2’of that fourth and final tale, thusrounding off five years of obsessivefilm fandom and adding to aBox Office stash that has alreadytopped the 2.4 billion dollar mark.As we near the end of the saga- one drenched in melodrama,melancholy and as much teenangst and sexual tension as a PG13 certificate allows - it’s hard toimagine life before Bella, Edward,Jacob and the good (and bad)people of Forks, Washington. Iexpect the ‘Robsessives’ among uswill find a way to move on, withthe books, the films and of coursethe music a comfort; the latterunderscoring their memories ofthat most dangerous of romances.Three composers are responsiblefor the notes, joining the series’four directors in recreating Meyer’sevocative prose for the screen andin turn supplying atmospheric,romantic and broodingly darkmaterials for this solemnly sexysaga.

TWILIGHT (2008)MUSIC BY CARTER BURWELLIt fell to director CatherineHardwicke to fashion a movieout of Meyer’s first novel and,arriving some three years after thebook’s publication, anticipationwas understandably high. Whilecomposer Mark Mothersbaughhad till then been her composerof choice, it was to the CoenBrothers’ favoured maestro CarterBurwell to whom she turned forthe music; Hardwicke had servedas Production Designer on theBurwell scored War drama ThreeKings. Certainly well versed inscoring tales with equal measuresof light and dark, though perhapsmainly dark, Burwell was a goodchoice to underline this particulartale and ended up becoming theoverriding ‘voice’ of the saga,providing bookend scores forthe series.Twilight sees Burwell creatinganatmospheric,sometimesintrospective romantic undertonewith guitar and drums sittingcomfortably besides electronics andsolo piano. The score manages toperfectly capture the subtle tormentsof young love and the particularconflicts within Bella, who becomestransfixed on the mysteriousEdward Cullen, not to mention theburgeoning jealousy roiling withinJacob. It’s a contemporary musicalvoice for a modern fairy tale, castwith a distinct ‘Rock’ hue and adreamlike countenance that subtlyruns through the veins of each ofthe scores that followed.Thematically it is Burwell’s lovetheme for Bella and Edward whichis the stand out composition in thisfirst score, oozing sexual tensionand capturing the beauty and painof forbidden love. The piece (heardon this disc in ‘I Dreamt of Edward’and ‘The Lion Fell in Love With theLamb’) in fact pre-dates Twilight,born of a piece Burwell composedfor himself years earlier. Written toexpress the pain of a broken heart,the theme served the film’s centralliaison brilliantly. At the insistenceof director Hardwicke, a newlyadded scene in which Edward playsto Bella on the piano was re-shotusing a variation on the piece, soenamoured was she with its power.Robert Pattinson, an accomplishedmusician, performed the piecehimself on camera from notationsketched on a piece of paper byBurwell.

NEW MOON (2009)MUSIC BY ALEXANDRE DESPLATTime constraints and commitmentsto other projects meant thatCatherine Hardwicke was not ableto direct Twilight’s sequel, NewMoon. Instead director Chris Weitzwas brought aboard, following animpressive turn in bringing PhilipPullman’s The Golden Compass tothe screen. He brought with himthat film’s composer, AlexandreDesplat, who would add New Moonto his considerable 2009 line-up;indeed it was the sixth of six filmshe would score that year.While the romance between Bellaand Edward is stalled somewhat inthe second story, the yearning andemotional connection remains andif any composer can nail romanceon this scale it’s Alexandre Desplat.The film’s story also spreads itswings from the small town of Forks,to take in Florida and Italy. Withthese broader visual strokes in mindit seems fitting for the composer tobring in the big guns of the LondonSymphony Orchestra, replete withswathes of luscious strings and all ofits symphonic refinery. It’s a worldaway from what Carter Burwelldesigned for film one perhaps, butit certainly takes the story to newheights of emotional intensity.The composer clings to his owncentral love theme for New Moon,this time less introspective andmore wide-eyed with an urgencythat foreshadows the power of Bellaand Edward’s inevitable union, notto mention their deeply emotionalconnection.

ECLIPSE (2010)MUSIC BY HOWARD SHOREWith pre-production on the thirdinstalment, Eclipse, beginningwhile post-production on NewMoon continued, a new directorwas brought in to put the newchapter onto the screen. With pitchblack vampire horror flick 30 Daysof Night under his belt, David Sladewas perhaps as ideal choice to helmEclipse. Bringing with him provengenre sensibilities and a suitablydark vision, this third film pushedits PG-13 rating to the limit. Alsojoining the Twilight family tocreate score was Oscar-winningcomposer Howard Shore, an artistwith a dark side, musically, andmore than enough experience indelivering blockbusting epics.While the ring in this particularstory is merely one of theengagement variety, its existencestill holds a lot of emotional weight.Shore captures the tension, doubtand inner and outer struggles ofBella, Edward and - in particular- Jacob with a simple but finessedapproach. Lone piano themesfor Bella and Jacob resonateemotionally, while the increasedbloodshed is succinctly underlinedwith brooding and sometimesviolent intensity.With love themes so central tothe preceding scores, Shore’s owncontribution is stripped down to asimple theme for what is initiallya private engagement. The toneis more wistful, the pair relaxinginto their dynamic and embracingsomething of an uncertain futuretogether. The theme itself is thebasis of an original song by Shore,written with the group Metric.Called ‘Eclipse (All Yours)’ the trackopened the original soundtrackalbum and was nominated fora 2010 Satellite Award.It is Shore’s theme for ‘Jacob Black’though that is his crowning gloryin this score; eclipsing, if youwill, the rest of the music with itsplaintive and soulful rendering ofa character at odds with his heart,longing for the love of a girl hesimply cannot have.

BREAKING DAWN: PART 1 (2011)MUSIC BY CARTER BURWELLWith the first three Twilight storiesdeveloped into films, it was inevitablethat the fourth would follow suit. Or wasit? Stephanie Meyer herself had doubtsas to how certain elements of her storywould be achieved on film and insistedthat if any film were produced, it wouldhave to be split in two. So, mirroringsomewhat Harry Potter’s final bow, thedenouement of the Twilight saga wouldindeed be spread across two films.To direct the final curtain of what hadbecome a very important franchisefor the studio, Summit Entertainmentactually auditioned directors. Winninghis place in the director’s chair was BillCondon, the Oscar-nominated directorof Dreamgirls, Kinsey and Gods and Monsters.But what of the music for this doublebill? Well the latter two of that trio offilms was scored by none other thanCarter Burwell, so when the composerlearned of Condon’s hiring he quicklyput himself in line for the job of finishingwhat he’d started in 2008.With the wedding of the year onthe cards, the most anticipated lovescene in modern movie history anda pack of wolves baying for the bloodof an unborn ‘demon’ child, Burwellhad a lot to inspire him when itcame to providing a new score. Thecomposer himself did admit thatBreaking Dawn was his longest score todate (some 80 minutes of music) and notwithout its challenges.While Condon allows a return to someof the awkward teenage yearning ofthe first Twilight film, Breaking Dawn isnothing short of pure melodrama andwith that in mind Carter Burwell steppedup to the podium to deliver a dramaticscore full of intensity, exhilaration andsome dread. That said, he was able toembrace a little of what he set out infilm one, in particular the love theme forBella and Edward, which is noted herein ‘Let’s Start With Forever’.Breaking Dawn, Part 2 was filmedalongside Part 1, though the score is yetto be completed. One thing’s for sure,with Carter Burwell on board, thefranchise’s final moments are in safehands and with source music for anotheron-screen piano performance by RobertPattinson completed early on, that lovetheme is sure to play a central role.Music for an un-beating heart, youmight say.Michael BeekWriter, Film Music Journalist, ProducerAlbum notes Michael Beek, 2012.

All Tracks Published by Warner/Chappell MusicAll Tracks Performed by The City of Prague Philharmonic Orchestra conductedby Evan Jolly. Apart from: Tracks 1, 16, 20, 21 Conducted by James FitzpatrickSolo Piano & Programming - Evan JollyGuitars - Tommy EmmertonAdditional Guitars & Programming - Rick ClarkVocals - Tara ClarkProduced by Rick Clark & Evan JollyAssociate Producer: James FitzpatrickExecutive Producer: Reynold D’SilvaRelease Co-Ordination: David Stoner & Peter ComptonArtwork and Design: Stuart FordDigital Recording Engineer: Jan HolznerRecorded at Barrandov Studios - Smecky Soundstage, PragueAlbum Mixed, Edited & Mastered by Rick Clark

SILCD 1380 2012 Silva Screen Records Ltd.2012 Silva Screen Records Ltd.All rights reserved

The Twilight Saga: New Moon 08 New Moon 3.17 09 Memoires of Edward 1.42 10 You’re Alive 1.55 11 Marry Me, Bella 3.55 12 Full Moon 3.17 13 The Meadow 4.09 The Twilight Saga: Eclipse 14 Compromise / Bella’s Theme 2.26 15 Bella’s Truck / Florida 1.37 16 First Kiss 1.54 17 Jacob Blac