Twilight The Twilight Saga: Eclipse 01 Edward At Her Bed / Bella’s Lullaby 3.32 14 Compromise / Bella’s Theme 2.26 02 The Lion Fell In Love With the Lamb 3.13 15 Bella’s Truck / Florida 1.37 03 Phascination Phase 2.05 16 First Kiss 1.54 04 How I Would Die 1.51 17 Jacob Black 1.55 05 I Dreamt of Edward 1.08 18 Jasper 3.55 06 I Know What You Are 2.44 19 As Easy As Breathing 3.03 07 Stuck Here Like Mom 1.47 20 Wedding Plans 2.58

The Twilight Saga: New Moon The Twilight Saga: Breaking Dawn 08 New Moon 3.17 - Part 1 09 Memoires of Edward 1.42 21 Love Death Birth 6.10 10 You’re Alive 1.55 22 A Nova Vida 2.57 11 Marry Me, Bella 3.55 23 A Wolf Stands Up 3.19 12 Full Moon 3.17 24 Let’s Start With Forever 0.53 13 The Meadow 4.09 25 You Kill Her You Kill Me 2.08

Music composed by CARTER BURWELL | ALEXANDRE DESPLAT | HOWARD SHORE THE CITY OF PRAGUE PHILHARMONIC ORCHESTRA conducted by EVAN JOLLY

LOVE AND DEATH When Hollywood sank its teeth Three composers are responsible into Stephanie Meyer’s bestselling for the notes, joining the series’ THE MUSIC OF THE TWILIGHT SAGA novel ‘Twilight’ it became quickly four directors in recreating Meyer’s apparent that it was onto a winner. evocative prose for the screen and The book alone was a hit, selling in turn supplying atmospheric, some 100 million copies and romantic and broodingly dark making it to the top spot on the materials for this solemnly sexy New York Times bestseller list and saga... going on to propagate a further three volumes. Indeed films of New Moon, Eclipse and Breaking Dawn quickly followed, with the latter split into two parts. October 2012 sees the release of ‘Part 2’ of that fourth and final tale, thus rounding off five years of obsessive film fandom and adding to a Box Office stash that has already topped the 2.4 billion dollar mark.

As we near the end of the saga - one drenched in melodrama, melancholy and as much teen angst and sexual tension as a PG- 13 certificate allows - it’s hard to imagine life before Bella, Edward, Jacob and the good (and bad) people of Forks, Washington. I expect the ‘Robsessives’ among us will find a way to move on, with the books, the films and of course the music a comfort; the latter underscoring their memories of that most dangerous of romances. TWILIGHT (2008) It fell to director Catherine Edward Cullen, not to mention the Hardwicke to fashion a movie burgeoning jealousy roiling within MUSIC BY CARTER BURWELL out of Meyer’s first novel and, Jacob. It’s a contemporary musical arriving some three years after the voice for a modern fairy tale, cast book’s publication, anticipation with a distinct ‘Rock’ hue and a was understandably high. While dreamlike countenance that subtly composer Mark Mothersbaugh runs through the veins of each of had till then been her composer the scores that followed. of choice, it was to the Coen Brothers’ favoured maestro Carter Thematically it is Burwell’s love Burwell to whom she turned for theme for Bella and Edward which the music; Hardwicke had served is the stand out composition in this as Production Designer on the first score, oozing sexual tension Burwell scored War drama Three and capturing the beauty and pain Kings. Certainly well versed in of forbidden love. The piece (heard scoring tales with equal measures on this disc in ‘I Dreamt of Edward’ of light and dark, though perhaps and ‘The Lion Fell in Love With the mainly dark, Burwell was a good Lamb’) in fact pre-dates Twilight, choice to underline this particular born of a piece Burwell composed tale and ended up becoming the for himself years earlier. Written to overriding ‘voice’ of the saga, express the pain of a broken heart, providing bookend scores for the theme served the film’s central the series. liaison brilliantly. At the insistence of director Hardwicke, a newly Twilight sees Burwell creating added scene in which Edward plays an atmospheric, sometimes to Bella on the piano was re-shot introspective romantic undertone using a variation on the piece, so with guitar and drums sitting enamoured was she with its power. comfortably besides electronics and Robert Pattinson, an accomplished solo piano. The score manages to musician, performed the piece perfectly capture the subtle torments himself on camera from notation of young love and the particular sketched on a piece of paper by conflicts within Bella, who becomes Burwell. transfixed on the mysterious NEW MOON (2009) Time constraints and commitments The composer clings to his own to other projects meant that central love theme for New Moon, MUSIC BY ALEXANDRE DESPLAT Catherine Hardwicke was not able this time less introspective and to direct Twilight’s sequel, New more wide-eyed with an urgency Moon. Instead director Chris Weitz that foreshadows the power of Bella was brought aboard, following an and Edward’s inevitable union, not impressive turn in bringing Philip to mention their deeply emotional Pullman’s The Golden Compass to connection. the screen. He brought with him that film’s composer, Alexandre Desplat, who would add New Moon to his considerable 2009 line-up; indeed it was the sixth of six films he would score that year.

While the romance between Bella and Edward is stalled somewhat in the second story, the yearning and emotional connection remains and if any composer can nail romance on this scale it’s Alexandre Desplat. The film’s story also spreads its wings from the small town of Forks, to take in Florida and Italy. With these broader visual strokes in mind it seems fitting for the composer to bring in the big guns of the London Symphony Orchestra, replete with swathes of luscious strings and all of its symphonic refinery. It’s a world away from what Carter Burwell designed for film one perhaps, but it certainly takes the story to new heights of emotional intensity. ECLIPSE (2010) With pre-production on the third With love themes so central to instalment, Eclipse, beginning the preceding scores, Shore’s own MUSIC BY HOWARD SHORE while post-production on New contribution is stripped down to a Moon continued, a new director simple theme for what is initially was brought in to put the new a private engagement. The tone chapter onto the screen. With pitch is more wistful, the pair relaxing black vampire horror flick 30 Days into their dynamic and embracing of Night under his belt, David Slade something of an uncertain future was perhaps as ideal choice to helm together. The theme itself is the Eclipse. Bringing with him proven basis of an original song by Shore, genre sensibilities and a suitably written with the group Metric. dark vision, this third film pushed Called ‘Eclipse (All Yours)’ the track its PG-13 rating to the limit. Also opened the original soundtrack joining the Twilight family to album and was nominated for create score was Oscar-winning a 2010 Satellite Award. composer Howard Shore, an artist with a dark side, musically, and It is Shore’s theme for ‘Jacob Black’ more than enough experience in though that is his crowning glory delivering blockbusting epics. in this score; eclipsing, if you will, the rest of the music with its While the ring in this particular plaintive and soulful rendering of story is merely one of the a character at odds with his heart, engagement variety, its existence longing for the love of a girl he still holds a lot of emotional weight. simply cannot have. Shore captures the tension, doubt and inner and outer struggles of Bella, Edward and - in particular - Jacob with a simple but finessed approach. Lone piano themes for Bella and Jacob resonate emotionally, while the increased bloodshed is succinctly underlined with brooding and sometimes violent intensity. BREAKING DAWN: PART 1 (2011) MUSIC BY CARTER BURWELL

With the first three Twilight stories learned of Condon’s hiring he quickly some dread. That said, he was able to developed into films, it was inevitable put himself in line for the job of finishing embrace a little of what he set out in that the fourth would follow suit. Or was what he’d started in 2008. film one, in particular the love theme for it? Stephanie Meyer herself had doubts Bella and Edward, which is noted here as to how certain elements of her story With the wedding of the year on in ‘Let’s Start With Forever’. would be achieved on film and insisted the cards, the most anticipated love that if any film were produced, it would scene in modern movie history and Breaking Dawn, Part 2 was filmed have to be split in two. So, mirroring a pack of wolves baying for the blood alongside Part 1, though the score is yet somewhat Harry Potter’s final bow, the of an unborn ‘demon’ child, Burwell to be completed. One thing’s for sure, denouement of the Twilight saga would had a lot to inspire him when it with Carter Burwell on board, the indeed be spread across two films. came to providing a new score. The franchise’s final moments are in safe composer himself did admit that hands and with source music for another To direct the final curtain of what had Breaking Dawn was his longest score to on-screen piano performance by Robert become a very important franchise date (some 80 minutes of music) and not Pattinson completed early on, that love for the studio, Summit Entertainment without its challenges. theme is sure to play a central role. actually auditioned directors. Winning his place in the director’s chair was Bill While Condon allows a return to some Music for an un-beating heart, you Condon, the Oscar-nominated director of the awkward teenage yearning of might say... of Dreamgirls, Kinsey and Gods and Monsters. the first Twilight film, Breaking Dawn is But what of the music for this double- nothing short of pure melodrama and bill? Well the latter two of that trio of with that in mind Carter Burwell stepped Michael Beek films was scored by none other than up to the podium to deliver a dramatic Writer, Film Music Journalist, Producer Carter Burwell, so when the composer score full of intensity, exhilaration and Album notes © Michael Beek, 2012. All Tracks Published by Warner/Chappell Music

All Tracks Performed by The City of Prague Philharmonic Orchestra conducted by Evan Jolly. Apart from: Tracks 1, 16, 20, 21 Conducted by James Fitzpatrick

Solo Piano & Programming - Evan Jolly Guitars - Tommy Emmerton Additional Guitars & Programming - Rick Clark Vocals - Tara Clark

Produced by Rick Clark & Evan Jolly Associate Producer: James Fitzpatrick Executive Producer: Reynold D’Silva Release Co-Ordination: David Stoner & Peter Compton Artwork and Design: Stuart Ford

Digital Recording Engineer: Jan Holzner Recorded at Barrandov Studios - Smecky Soundstage, Prague

Album Mixed, Edited & Mastered by Rick Clark SILCD 1380

© 2012 Silva Screen Records Ltd. 2012 Silva Screen Records Ltd. All rights reserved