Robin Hood

 

Robin Hood

(Original Motion Picture Soundtrack)

Music Composed by

Marc Streitenfeld

Our new release features the score for the 2010 action period film Robin Hood, composed by Marc Streitenfeld. In this reimagining of the classic tale, acclaimed director Ridley Scott brings a distinctive vision to a familiar narrative. Led by Russell Crowe in the iconic role of Robin Hood, the film takes a fresh approach by delving into Robin Longstride's involvement in the Crusades and the resulting power vacuum in England after King Richard the Lionheart's demise. Robin, a skilled archer in King Richard's army, becomes entangled in the political machinations of the time as Prince John, portrayed by Oscar Isaac, seizes the throne and exploits the kingdom's vulnerability for personal gain. Teaming up with Lady Marion of Nottingham, played by Cate Blanchett, Robin embarks on a journey to combat corruption, defend the common people, and confront oppressive forces threatening the realm's stability.

While the film's historical liberties and altered events sparked debates among critics and audiences, the plot remains a captivating blend of action, political intrigue, and the enduring spirit of the legendary outlaw. Furthermore, the supporting cast boasts a lineup of seasoned actors, including Eileen Atkins, Mark Strong, William Hurt, Mark Addy, Léa Seydoux, Danny Huston, and Max von Sydow. Additionally, true to the tradition of Ridley Scott's films, the technical aspects are nothing short of exceptional. Cinematographer John Mathieson creates a visual feast, particularly in the battle scenes, which showcase a seamless integration of practical effects and CGI to deliver thrilling and realistic action sequences. Last but not least, Marc Streitenfeld's musical score emerges as a standout element that enhances the film's emotional impact.

Despite some divisive opinions among critics, Streitenfeld's orchestral composition complements the visuals and narrative, providing an evocative backdrop to Robin Hood's heroic journey. Known for his previous collaborations with Scott, Streitenfeld crafts a score that, while not introducing a groundbreaking compositional approach, weaves a rich orchestral tapestry. One of the strengths of the score lies in its orchestration, bringing together a sizable ensemble, a varied choir, and regional instruments. The absence of synthetic tones creates an organic sound that resonates with the film's historical setting. Traditional instruments like lutes, fiddles, uilleann pipes, hurdy-gurdy, and whistles further enhance the score's authenticity.

The thematic choices in Robin Hood have ignited controversy, with comparisons to existing ideas from other scores produced by Hans Zimmer’s Remote Control group. However, Streitenfeld's unique interpretation deserves appreciation. The main theme, introduced in full form during "Fate Has Smiled Upon Us," consists of a joyful melody backed by percussive rhythms and minor key ostinatos, perfectly encapsulating Robin's nobility and playful nature. Streitenfeld's versatility stands out in cues like "Planting the Fields" and "Merry Men," where the main theme takes on different renditions with traditional instruments and female solo vocals, capturing the medieval setting. Additionally, the opening cue, "Destiny," introduces an ominous-sounding motif that serves as a foreboding theme that almost seems to work as destiny itself, appearing whenever a significant plot point contributes in making of Robin the legendary noble outlaw he has now become.

The score introduces distinct themes for others characters, such as the menacing progression of staccatos for the main antagonist, Godfrey, a cunning mercenary that plots to allow the French invasion of England. This theme often starts subtlety with a delicate flute and later grows in size, absorbing the entire orchestra as it progresses, effectively symbolizing Godfrey’s expanding threat. The theme appears in cues like "Godfrey," "John is King," and "Godfrey Advances," and is one of the most recognizable motifs of the score. A secondary theme for Lady Marion and her home in Sherwood Forest, Peper Harow, subtly appears in cues like "Marion" and is later performed by the full ensemble in the astonishing cue "Peper Harow." Marion’s theme later evolves into a love theme as she gets romantically involved with Robin, making several playful appearances during the middle portion of the score. And last but not least, the cue “Robin Remembers” introduces a motif that accompanies Robin’s actions to inspire the people of England to join forces and agree on forging the Magna Carta. This theme makes standout appearances during “Robin’s Speech”, “Walter’s Funeral” and during the final battle sequence. All in all, the score, while criticized by some, contributes to the film’s narrative flow, offering a subtle and immersive approach that aligns perfectly with Scott’s somber portrayal of the Robin Hood legend. 

Originally released in 2010 by Varèse Sarabande, the album had its shortcomings, missing crucial cues, such as the impressive “Peper Harow” cue, and lacking a cohesive narrative musical arc. This new release by Renovatio Records addresses these issues, offering plenty of unreleased material in a cohesive program that enriches the score's musical narrative. This new album underlines that Marc Streitenfeld’s score for Robin Hood is far from mere generic music; it is an integral part of the film that captivates the listener from start to finish and deserves more recognition than it has received.

Track List:

1. Destiny (4:01)

2. Chalus Castle Siege (4:39)

3. Godfrey (2:55)

4. A Pact Sworn in Blood (6:40)

5. Fate Has Smiled Upon Us (1:58)

6. John Is King (4:19)

7. Marion (1:53)

8. Sherwood Forest (2:18)

9. Peper Harow (1:30)

10. Rich Country (1:39)

11. Share My Chamber (1:40)

12. Planting the Fields (1:35)

13. Women of Ireland (Mná na h-Éireann) (2:24)

14. Robin Remembers (1:18)

15. Godfrey Advances (3:48)

16. Robin's Speech (2:40)

17. Killing Walter (2:02)

18. Nottingham Burns (3:37)

19. Walter's Funeral (2:25)

20. Landing of the French (3:42)

21. The Last Arrow (7:04)

22. The Legend Begins (1:24)

23. Merry Men (1:47)

Total Running Time: 67:18

Download Link

Size: 375.3 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed by Marc Streitenfeld

Produced by Marc Streitenfeld

Executive Album Producers: Ridley Scott and Brian Grazer

Executive in Charge of Music for Universal Pictures: Mike Knobloch

Music Supervised for Universal Pictures by Harry Garfield

Music Business Affairs for Universal Pictures: Phil Cohen

Director of Scoring for Universal Pictures: Tiffany Jones

Score Recorded and Mixed by Peter Cobbin

Music Editors: Del Spiva and Joe Bonn

Conductor: Ben Foster

Orchestrations: Benjamin Wallfisch

Music Preparation: Dave Foster, Phil Knight

Music Programmer: Sunna Wehrmeijer

Orchestra Contractor: Isobel Griffiths

Assistant Orchestra Contractor: Lucy Whalley

Digital Recordist: Kirsty Whalley

Additional Recordings: Andrew Dudman

Score Recordist: Sam Okell

Assistant Engineers: Stanley Gabriel, Gordon Davidson

Pre-Record Laybacks: Alex Lu

Playback Operator: Peter Clarke

Music Production Assistant: Sven Faulconer

Score Recorded at Abbey Road Studios

Score Mixed at Todd Ao, West Lantana

Mix Technicians: Gregg Hayes, Craig Mann

Album Mixed and Mastered at Abbey Road Studios

Album Mastered by Christian Wright

Solo Vocals: Kathleen MacInnes

Solo Violin: Thomas Bowes

Solo Cello: Caroline Dale

Flutes & Whistles: William Lyons

Solo Flute: Eliza Marshall

Fiddle & Rebec: Giles Lewin

Lutes: Jacob Heringman and James Akers

Uillean Pipes: Robert White and Troy Donockley

Hurdy Gurdy: Nigel Eaton

Ethnic Percussion: Paul Clarvis

Percussion: Frank Ricotti, Gary Kettel and Glynn Matthews

Timpani: Tristan Fry

Choir: Metro Voices and Bach Choir

Choir Masters: Jenny O'Grady and David Hill

Score Published by Universal Pictures Music (ASCAP)

Cue Assembly:

Track Title	Slate & Cue Title
1. Destiny	1m1 Destiny (Edited) 1m2 Creatures
2. Chalus Castle Siege	1m4 Here Comes The King (Edited) 1m5 French Castle Siege (Edited) 2m11 King Is Dead (Edited)
3. Godfrey	1m6 King Philip
4. A Pact Sworn in Blood	1m10 Godless 2m15 The Crown 2m16 Kill the Horse (Edited) 2m17 Pact Sworn In Blood (Edited)
5. Fate Has Smiled Upon Us	2m18 Fate Has Smiled Upon Us
6. John Is King	3m24 John Is King (Edited) 3m31 Pass The Ring (Edited)
7. Marion	2m19 Sheriff Hits On Marion
8. Sherwood Forest	3m27 Greenwood
9. Peper Harow	3m32 Peper Harrow
10. Rich Country	4m40 Rich Country
11. Share My Chamber	4m37 Share My Chamber
12. Plating the Fields	5m46 Moonlight
13. Women of Ireland (Mná na h-Éireann)	6m54s Woman Of Ireland
14. Robin Remembers	6m55 Walter Helps Robin Remember
15. Godfrey Advances	4m39 Stab The Pigeon 5m47 Open The Gates (Edited)
16. Robin’s Speech	6m59 Robin's Speech
17. Killing Walter	6m62 I'm The One Who Killed Him (Edited)
18. Nottingham Burns	7m65 Burn The Villagers 7m66 Robin Brings An Army
19. Walter’s Funeral	7m69 Walter's Funeral
20. Landing of the French	7m70 Landing Of The Frogs (Edited) 7m71 This Is My First Time (Edited) 8m73 Charge
21. The Last Arrow	7m72 That's A Lot Of French 8m74 Clash (Edited) 8m76 Tickle In My Throat
22. The Legend Begins	8m78 A Nail
23. Merry Men	8m81 Merry Men

Motion picture artwork and photos ©2010 Universal Studios. This compilation and cover artwork ©2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19064]

Hidalgo

Hidalgo

(Original Motion Picture Score)

Music Composed by

James Newton Howard

Renovatio Records proudly presents James Newton Howard's captivating score for the 2004 epic western film Hidalgo, directed by Joe Johnston. Viggo Mortensen stars as Frank T. Hopkins, a seasoned long-distance rider embroiled in a thrilling survival horse race across the 19th-century Arabian desert. The supporting cast includes the legendary Omar Sharif as Sheikh Riyadh and Zuleikha Robinson as Jazira, the sheikh's daughter. Allegedly based on true events, Hopkins was the first American asked to participate in the 5000-kilometer race, and the film narrates his struggles to complete the race. Thus, the movie unfolds as a tale of resilience, camaraderie, and self-discovery as Hopkins, a 'half-breed' with native American Lakota heritage, and his loyal mustang, Hidalgo, not only endure the natural obstacles presented by the desert, but also face the difficulties of being treated as outsiders by the Arabian competitors. Despite some mixed reception, with concerns about the unintentional reinforcement of stereotypes, the simplification of Arabian cultural elements, and historical inaccuracies, the film garnered praise for its impressive cinematography and adventurous spirit—much of it owed to Howard's masterful composition.

Howard's score seamlessly blends traditional Western orchestral elements with authentic Middle Eastern sounds, creating a rich musical tapestry. Instruments like the ney, the koala, the mijwiz, the buzuq, the oud, and the double violin make stellar appearances throughout the score, while paying homage to an old-fashioned, swashbuckling style of film music writing, much akin to an Indiana Jones adventure.

The score opens with the compelling "Main Title," which introduces the main musical theme that encapsulates the profound relationship between Hopkins, and his loyal horse. This central motif, an ascending progression of four to five note passages, is initially tender and emotive, but as the narrative progresses, the theme grows in strength and instrumentation, mirroring the growth and nobility of Hidalgo as a character. The main theme receives an astonoshing full ensemble rendition at the end in "Let 'Er Buck", ultimately becoming a symbolic representation of the noble spirit of the horse as an animal.

In addition to the main theme, Howard skillfully introduces secondary motifs that enrich the score. A distinct musical theme emerges during the cue "Arriving in the Desert" for the vast and enigmatic Arabian desert itself. Through the use of traditional Middle Eastern instruments and percussion, Howard captures the essence of the desert landscape, creating a musical backdrop that quickly immerses the audience in the film's cultural setting. Other minor secondary motifs revolve around the intricate relationships between Hopkins, the sheikh, and the sheikh's daughter, explored during the middle portion of the score, namely in the cues "The Sheikh" and "The Second Half". "The Race Begins" sees Howard in his comfort zone, as he unleashes his already well-known rousing action adventure music, capturing the excitement and intensity of the titular race. Notable cues like "The Trap," "The Exchange," "Sandstorm," and "The Last Three" showcase Howard's ability to craft intense, exciting, and memorable action sequences without losing harmony.

Howard also makes room for creating intriguing atmospheres; in "Katib", for instance, the music plays as a slithering backdrop to underscore a pivotal conversation between the Sheikh and his cunning nefarious nephew. Notwithstanding, the crowning achievement of the score is the "Montage" cue, a masterpiece that blends ethnic percussion, Hovig Krikorian's enchanting vocal solo, atmospheric choirs, and the power of a string ensemble to perfectly convey the vast solitude of wandering in the desert for days. Moments of brilliance such as this highlight Howard's ability to always elevate his scores, with meticulous attention to detail in instrumentation. All in all, Hidalgo is a fascinating score that weaves together cultural authenticity, ethnic beauty, swashbuckling adventure, and strong thematic statements.

Originally released by Hollywood Records in 2004, the score album faced criticism for its brevity and the omission of significant action sequences. Renovatio Records steps forward, addressing these concerns with a new release that features 20 minutes of unreleased material, presented in chronological order to accompany the film’s narrative structure. This renewed presentation ensures that Howard's immersing composition for Hidalgo makes for an indispensable addition to any James Newton Howard collection.

Track List:

1. Main Title (3:13)

2. Wounded Knee Massacre (4:06)

3. Far Rider (1:48)

4. Don't Waste Our Money (2:03)

5. Arriving in the Desert (2:59)

6. The Sheikh (1:53)

7. Morning of the Race (2:57)

8. The Race Begins (1:58)

9. The Empty Quarter (2:52)

10. Sandstorm (1:53)

11. Katib (2:48)

12. The Exchange (3:59)

13. The Second Half (2:42)

14. Frank Pushes On (3:00)

15. Montage (6:54)

16. The Trap (3:17)

17. The Last Push (3:08)

18. Ghost Dance (3:39)

19. The Finish Line (5:16)

20. Let 'Er Buck (4:56)

Total Running Time: 65:21

Download Link

Size: 354.9 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed by James Newton Howard

Executive in Charge of Music for the Buena Vista Motion Pictures and Music Group: Mitchell Leib

Soundtrack Manager for the Buena Vista Music Group: Desirée Craig-Ramos

Produced by James Newton Howard and Jim Weidman

Score Recorded and Mixed by Shawn Murphy

Electronic Score Produced by James T. Hill

Ethnic Sessions Supervised by Steve Porcaro

Assistant Engineering by Annica Ackerman

Orchestrations by Pete Anthony, Jeff Atmajian, Brad Dechter, John Kull, and James Newton Howard

Conducted by Pete Anthony and Mike Nowak

Music Contractor: Sandy De Crescent

Supervising Music Editor: Jim Weidman

Music Editor: David Olson

Auricle Control Systems: Richard Grant

Music Preparation: JoAnn Kane Music Service

Score Recorded at Sony Scoring Stage, Signet Studios

Mixed at Todd-AO Scoring Stage

Mastered by Pat Sullivan at Bernie Grundman Mastering

Soloists:

Vocals: Hovig Krikorian

Ney, Kawala, Mijwiz, Buzuq: Ali Jihad Racy

Duduk/Ney: Pedro Eustache, Fred Seldon

Ethnic Percussion: Mike Fisher, Brad Dutz

Double Violin: Shankar

Fiddle: Charlie Besharat

Oud: John Bilezikjian

Bouzouki: Jimmy Mahlis

Fretless Guitar, Saz: Loganathan Shivam

Score and Mixing Crew: Larry Mah, Adam Michalak, Mark Eshelman, Pat Weber, Bryan Clements, Dave Marquette, Jay Sylvester, Mark Gebauer and Kirsten Smith

Published by Touchstone Pictures Music & Songs, Inc. (ASCAP)

Cue Assembly:

Track Title	Slate Number & Cue Title
1. Main Title	1m1v18 Main Title (Edited)
2. Wounded Knee Massacre	1m2v6 Frank To Wounded Knee (Edited) 1m3v13 Massacre (Edited)
3. Far Rider	2m3v2 Chief Talks To Frank
4. Don't Waste Our Money	2m4v7 Annie-Train-Boat
5. Arriving in the Desert	3m1v13 Arriving At Port-Desert Walk
6. The Sheikh	3m2v5 The Sheikh
7. Morning of the Race	4m2v1 Morning of the Race (Edited)
8. The Race Begins	4m3v5 The Race Begins
9. The Empty Quarter	3m3v6 Yusuf (Edited)
10. Sandstorm	4m7v1 Sandstorm
11. Katib	3m6v1 Katib Comes To Sheikh
12. The Exchange	6m3v10 Exchanging Al Hattal 6m4v1 Jazira Run (Edited) 5m7v6 Raiders (Edited)
13. The Second Half	9m2v2 Gives Sheikh Gun (Edited) 7m1v2 Second Leg of Race Begins (Edited)
14. Frank Pushes On	4m4v8 Arab Dies-Race Continues (Edited) 7m3v3 Frank Pushes On
15. Montage	7m4v2-7m5v3 Locusts-Montage 4m8 First Montage (Edited)
16. The Trap	8m4v7 The Trap
17. The Last Push	8m5v3 The Last Push
18. Ghost Dance	8m6v4 Ghost Dance (Edited)
19. The Finish Line	9m1v20 Racing to the Finish Line
20. Let ‘Er Buck	9m4v12 Frank Buys Mustangs

Motion picture artwork and photos © 2004 Touchstone Pictures. Compilation and cover artwork © 2024 Renovatio Records.

All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19084]

Angels & Demons

 

Angels & Demons

(Original Motion Picture Soundtrack)

Music by

Hans Zimmer

Our first release of 2024 is the score for the 2009 action thriller Angels & Demons, by composer Hans Zimmer. The film is directed by Ron Howard and is based on the novel of the same name by best-selling author Dan Brown. A sequel to the 2006 film The Da Vinci Code, Angel & Demons has Tom Hanks reprising his role as Professor Robert Langdon, as he joins Dr. Vittoria Vetra, a CERN scientist played by Ayelet Zurer, in the search to recover a missing vial of antimatter, which has been planted somewhere in the heart of the Vatican City by a mysterious Illuminati terrorist, in the midst of a new Pope election. Supported by an impressive cast that includes, among others, the talents of Ewan McGregor, Stellan Skarsgård and Armin Mueller-Stahl, the film was an instant hit, quickly becoming one of the highest-grossing films of 2009. Critics regarded it as an improvement over its predecessor, thanks to its action-oriented pace, in spite of its silly plot and a number of implausibilities and bad character choices. At the end of the day, it cannot be denied that if you manage to shut down your brain and ignore much of its Catholic church propaganda, the film entertains seamlessly from beginning to end.

As expected, the music for Angels & Demons recycles much of the formula that Zimmer used in The Da Vinci Code, a Grammy and Golden Globe nominated score. The German composer puts much emphasis on string writing and choral opulence, though this time he reduced the size of the orchestra to chamber levels, with a heavier use of synthesizer performances. The score also counts with several solos by virtuoso violinist Joshua Bell, whose performances on most of the cues are superb, to say the least. Zimmer resorts to the famous “Chevaliers de Sangreal” main theme from The Da Vinci Code, turning it into the main theme of the Robert Langdon saga. This theme opens the Angels & Demons score ("Opening Title"), and makes several appearances throughout, sometimes played by Bell’s violin, while others featuring as a piano-led version (finale of “Air”), before rounding everything up in the final “Angels and Demons” cue. Many of the motifs from The Da Vinci Code also return, but perhaps the most significant of these is a cyclical five-note progression for the antagonists, this time being the Illuminati. This motif is quite omnipresent, making standout appearances backed by a powerful chorus in the cues “Opening Titles”, “Air”, and “Castel Sant’Angelo”. Additionally, Zimmer provides a new motif for the enigmatic Camerlengo (McGregor). This new theme is mostly played by Bell, making its appearance during “The Pope’s Tomb”, before being further explored in the impressive “Ascension” cue, arguably the highlight of the entire score. The action music conjured up by Zimmer is also one of the main attractions of the score, with cues such as “Earth”, “Air”, “Fire”, “Water”, and “Castel Sant’Angelo” offering propulsive rhythms and heart-pounding passages of an effective blend of orchestra, chorus and synthesized industrial music.

Zimmer’s score for Angels & Demons was released by Sony Classical in 2009 in the form of a rather short album that omitted several highlights of the score, while featuring some weird cue combinations, making the musical story structure difficult to grasp. Renovatio Records’ new album of the score addresses these issues, while incorporating almost 15 minutes of unreleased music and retaining as much of the chronological order as possible.

Track List:

1. Opening Title (4:03)
2. God Particle (5:37)
3. Do You Believe in God? (2:29)
4. Follow the Path of the Illuminati (2:46)
5. Earth (6:37)
6. Air (7:44)
7. The Pope's Tomb (4:58)
8. Fire (4:07)
9. Water (5:45)
10. Castel Sant'Angelo (7:18)
11. Ascension (8:47)
12. Immolation (3:38)
13. Lux Aeterna (3:00)
14. Angels and Demons (2:18)

Total Running Time: 69:07

Download Link

Size: 360.1 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed, Arranged and Produced by Hans Zimmer

Executive in Charge of Music for Columbia Pictures: Lia Vollack

Executive Album Producers: Ron Howard, Brian Grazer and John Calley

Violin Solos by Joshua Bell

Additional Music by Lorne Balfe and Atli Örvarsson

Ambient Music Design: Mel Wesson

Orchestration: Bruce Fowler

Music Supervision: Bob Badami

Music Editor: Daniel Pinder

Assistant Music Editor: Letitia Rogers

Soloists:

Guitar: Heitor Pereira

Cello: Martin Tillman

Percussion: Ryeland Allison and Satnam Ramgotra

Synthesizers: Hans Zimmer

Orchestra Principals:

Orchestra Leader: Endre Granat

Principal Violin: Julie Gigante

Principal Cello: Steve Erdody

Principal Viola: Brian Dembow

Principal Double Bass: Nico Abondolo

Principal Bassoon: Michael O'Donovan

Music Arranged by Julian Kershaw

Synth Programming: Matthe Margesson, Howard Scarr, Jacob Shea and Noah Sorota

Music Conducted by Nick Glennie-Smith

Music Recorded and Mixed by Alan Meyerson

Sequence Programming: Thomas Broderick and Peter Oso Snell

Digital Instrument Design: Mark Wherry

Additional Recording by Geof Foster, Todd Whitelock, Slamm Andrews, Jeffrey Biggers and Greg Vines

Music Production Services: Steven Kofsky

Score Coordinator: Andrew Zack

Sample Development: Claudies Bruese, Sam Estes and Michael Hobe

Technical Assistant: Andrew Kawczynski

Assistant Engineers: Katie Lewin and Adam Schmidt

Music Preparation: Booker White

Orchestra Contractor: Peter Rotter

Music Recorded at Sony Pictures Studios, Culver City, CA and Clinton Recorded Studio, New York, NY

Music Mixed at Remote Control Productions, Santa Monica, CA

Studio Manager for Remote Control Productions: Czarina Russell

Score Published by New Columbia Pictures Music, Inc., admin. by Sony/ATV Tunes LLC (ASCAP)

Cue Assembly:

Track Title	Slate Number & Cue Title
1. Opening Title	1m0 Logos 1m1 Smashing the Ring
2. God Particle	1m3-4 CERN (Edited)
3. Do You Believe in God?	1m7 Sistine Chapel 2m11 Access Granted (Edited)
4. Follow the Path of the Illuminati	2m12 Follow the Path
5. Earth	3m15 No Time (Edited) 3m16 Cock Block 3m16B Pantheon (Edited) 3m17B Earth (Edited)
6. Air	3m19 Air (Edited)
7. The Pope’s Tomb	Camerlengo Suite (Edited) 4m25A Black Tongue A (Edited)
8. Fire	5m28A Strauss Eligible (Edited) 2m13 Seal the Doors (Edited) 5m27 Fire (Edited)
9. Water	5m29 Cross Rome 6m30 Water (Edited)
10. Castel Sant’Angelo	3m18 Black Smoke A 5m31B Castle SantAngelo (Edited) 6m33 Save Camerlengo (Edited)
11. Ascension	6m38 God Save Us
12. Immolation	7m43 Immolation
13. Lux Aeterna	7m44 Science and Religion 7m45 Lux Aeterna
14. Angels and Demons	7m46 Main Title

Motion picture artwork and photos ©2009 Columbia Pictures Industries, Inc. Cover artwork ©2024 Renovatio Records.

All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19073]