Merlin
Rob Lane
" television music that has something to say "Written by Thomas Glorieux - Review of the regular release
Merlin has only recently aired on the screen and yet it has bewitched numerous fans all over Britain for its entertaining and loveable screen magic. Composer Rob Lane is in Britain a veteran when it comes down to movies and series, and therefore he was a logical choice after having composed music for television series as The Lost World, Blackpool and Jane Eyre. His music on this release is something the fans looked forward to, ever since the moment they tasted that catchy opening theme of the series.
We open the score with THAT moment. The wonderful moment where a choral supported grace guides us towards the theme of the score. It perhaps moves all a bit too quick but the moment is nonetheless important. The mood becomes somewhat darker after that, with a militaristic presence of drums and unnerving material.
In "The Tournament Begins" the grace is still present. The drums guide us to an unusual but highly effective mix of fanfares (Goldsmith at times in tone) and the choral singing of the danger theme. The sad fact is; this entire build up leads to nothing, it ends without giving us the blow. It is like listening to “The Bridge Of Khazad Dum” without that Fellowship theme at the end. This is frustrating because Lane sure knows how he can build towards something. Still a wonderful highlight.
Sadly, I feel this counts for the entire score as well. "The Witch's Threat" is a creepy atonal and mysterious little piece, the playful heroic dance in "Fight in the Market" is lovely but too brief, the scary variation on the theme through piano in "To Morgana" neatly hidden, the dramatic "The Burdens of Duty" effective and "Plague in the Water" hypnotizing and atonal.
Unfortunately some temp music still wanders through. For instance in the third track, but also the lovely opening of "Hunith's Letter to Gaius" is reminding me of something. This is followed by soft underscore for choir. The playful opening of "Meeting Arthur / Lady Helen Possessed" aside, it doesn't change the fact Ewoks (Star Wars VI) wander through in the noticeable fanfare in the begin. The other part is cold eerie material. Dn't stray away from the Buckbeak's (Harry Potter and the Prisoner of Azkaban) piano theme in "Merlin Lost", followed by a charming main theme performance on flute.
A track like "Arthur and Knight Valiant" promises to deliver something. A heroic variation on the theme, the danger theme and an urgent suspense building jump-start, but after the middle it once again ends. I know there are boundaries and you only can write what the scene offers you, but it also leaves a desire which you can't seem to thirst. The ending of that track by the way does sound strangely familiar to me as well.
"Arthur's Final Battle" luckily is a bit different. The build up with Crash-like temp track vocals, the heroic titled underscore and the danger theme luckily receive an uplifting conclusion. It is what music is sometimes all about. "Defeating the Afanc" is sadly nothing but an atonal creepy continuation of bleak scary music.
The piano in "Guinevere" and the LOTR song and underscore in "The Witch Aria" is truly wonderful. But the temp track of LOTR is still all over the place. The returning moment of the main theme wonder with the danger theme in "The Call of Destiny / Titles" thereby signs off the score gracefully as it began.
Merlin as a score for a television series is a giant treasure. The theme alone is worth the money, the orchestral presence gives the series an extra level of epicness and the colour from vocals as underscore will heighten the series to a successful position. But you can't ignore the many temp track influences, you can't look beside the fact half of the time the music doesn't reach a crescendo (bold or emotional). Sometimes you just can't ignore that in movies that stretching limit is beyond most television shows. However, Merlin is a nice step towards closing that gap. It is television music that has something to say.
Tracklisting
1. Merlin's Arrival at Camelot (3.08) Excellent track
2. The Tournament Begins (2.24) Excellent track
3. The Witch's Threat (2.00)
4. Hunith's Letter to Gaius (1.40)
5. Meeting Arthur / Lady Helen Possessed (4.13)
6. Fighting in the Market (1.45)
7. The Magic Shield (1.02)
8. Arthur and Knight Valiant (3.25)
9. Merlin Lost (1.40)
10. To Morgana (2.30)
11. The Burdens of Duty (2.11)
12. Breaking the Spell (2.14)
13. Plague in the Water (1.33)
14. Arthur's Final Battle (7.33)
15. Guinevere (1.31)
16. Defeating the Afanc (3.04)
17. The Witch Aria (3.08) Excellent track
18. The Call of Destiny / Titles (1.56) Excellent track
Total Length: 47.06
We open the score with THAT moment. The wonderful moment where a choral supported grace guides us towards the theme of the score. It perhaps moves all a bit too quick but the moment is nonetheless important. The mood becomes somewhat darker after that, with a militaristic presence of drums and unnerving material.
In "The Tournament Begins" the grace is still present. The drums guide us to an unusual but highly effective mix of fanfares (Goldsmith at times in tone) and the choral singing of the danger theme. The sad fact is; this entire build up leads to nothing, it ends without giving us the blow. It is like listening to “The Bridge Of Khazad Dum” without that Fellowship theme at the end. This is frustrating because Lane sure knows how he can build towards something. Still a wonderful highlight.
Sadly, I feel this counts for the entire score as well. "The Witch's Threat" is a creepy atonal and mysterious little piece, the playful heroic dance in "Fight in the Market" is lovely but too brief, the scary variation on the theme through piano in "To Morgana" neatly hidden, the dramatic "The Burdens of Duty" effective and "Plague in the Water" hypnotizing and atonal.
Unfortunately some temp music still wanders through. For instance in the third track, but also the lovely opening of "Hunith's Letter to Gaius" is reminding me of something. This is followed by soft underscore for choir. The playful opening of "Meeting Arthur / Lady Helen Possessed" aside, it doesn't change the fact Ewoks (Star Wars VI) wander through in the noticeable fanfare in the begin. The other part is cold eerie material. Dn't stray away from the Buckbeak's (Harry Potter and the Prisoner of Azkaban) piano theme in "Merlin Lost", followed by a charming main theme performance on flute.
A track like "Arthur and Knight Valiant" promises to deliver something. A heroic variation on the theme, the danger theme and an urgent suspense building jump-start, but after the middle it once again ends. I know there are boundaries and you only can write what the scene offers you, but it also leaves a desire which you can't seem to thirst. The ending of that track by the way does sound strangely familiar to me as well.
"Arthur's Final Battle" luckily is a bit different. The build up with Crash-like temp track vocals, the heroic titled underscore and the danger theme luckily receive an uplifting conclusion. It is what music is sometimes all about. "Defeating the Afanc" is sadly nothing but an atonal creepy continuation of bleak scary music.
The piano in "Guinevere" and the LOTR song and underscore in "The Witch Aria" is truly wonderful. But the temp track of LOTR is still all over the place. The returning moment of the main theme wonder with the danger theme in "The Call of Destiny / Titles" thereby signs off the score gracefully as it began.
Merlin as a score for a television series is a giant treasure. The theme alone is worth the money, the orchestral presence gives the series an extra level of epicness and the colour from vocals as underscore will heighten the series to a successful position. But you can't ignore the many temp track influences, you can't look beside the fact half of the time the music doesn't reach a crescendo (bold or emotional). Sometimes you just can't ignore that in movies that stretching limit is beyond most television shows. However, Merlin is a nice step towards closing that gap. It is television music that has something to say.
Tracklisting
1. Merlin's Arrival at Camelot (3.08) Excellent track
2. The Tournament Begins (2.24) Excellent track
3. The Witch's Threat (2.00)
4. Hunith's Letter to Gaius (1.40)
5. Meeting Arthur / Lady Helen Possessed (4.13)
6. Fighting in the Market (1.45)
7. The Magic Shield (1.02)
8. Arthur and Knight Valiant (3.25)
9. Merlin Lost (1.40)
10. To Morgana (2.30)
11. The Burdens of Duty (2.11)
12. Breaking the Spell (2.14)
13. Plague in the Water (1.33)
14. Arthur's Final Battle (7.33)
15. Guinevere (1.31)
16. Defeating the Afanc (3.04)
17. The Witch Aria (3.08) Excellent track
18. The Call of Destiny / Titles (1.56) Excellent track
Total Length: 47.06