Score Produced by Henry Jackman Music Supervisor: Dave Jordan Additional Music by Halli Cauthery & Alex Belcher Score Supervisor: Steve Durkee Music Editors: Jack Dolman, Daniel Pinder & Nashia Wachsman Assistant Music Editor: Catherine Wilson Score Engineer: Nick Wollage Score Mixed by Alan Meyerson Score Conducted by Gavin Greenaway Orchestrations by Stephen Coleman, Andrew Kinney, Carl Rydlund & John Ashton Thomas Score Recordist: Chris Barrett Score Technical Engineers: Victor Olegovich Chaga & Maverick Dugger Score Mix Assistants: Forest Christenson & John Chapman
Librarian: Jill Streater for Global Music Service Orchestra Contracted by Isobel Griffiths Assistant Orchestra Contractor: Lucy Whalley Score Recorded at AIR Lyndhurst Studios, London
Studio Manager for AIR Lyndhurst: Alison Burton Score Mixed at Remote Control Productions, Santa Monica, CA
Music Production Services: Matthew K. Justmann Assistant to Henry Jackman: Selena Razack Mastering: Lurssen Mastering, Burbank, CA
Soundtrack Producer: Henry Jackman Executive Soundtrack Producers: Anthony & Joe Russo, Kevin Feige, Nate Moore & Dave Jordan Executive in Charge of Music & Soundtracks for the Walt Disney Studios Motion Pictures Group & the Disney Music Group: Mitchell Leib
Principal Members of the Orchestra:
Orchestra Leader: Everton Nelson First Viola: Bruce White First Cello: Caroline Dale First Bass: Mary Scully First Flute: Karen Jones First Oboe: Chris Cowie First Clarinet: Jon Carnac First Bassoon: Daniel Jemison First French Horn: Richard Watkins First Trumpet: Philip Cobb First Trombone: Richard Edwards Tuba/Cimbasso: Owen Slade Cimbalom: Ed Cervenka Harp: Skaila Kanga Piano/Celeste: Dave Hartley First Percussion: Frank Ricotti Boys Choir: Trinity Boys Choir Boys Choirmaster: David Swinson Adult Choir: London Voices Choir Master: Ben Parry
Henry would like to thank: Kevin Feige, Joe Russo, Anthony Russo, Louis D'Esposito, Victoria Alonso, Alan Fine, Stan Lee, Nate Moore, Dave Jordan, Jeff Ford, Matthew Schmidt, Laura Engel, Steve Durkee, Steve Kofsky, Danielle Daly, Kaylin Frank, Nancy Dolan, Scott Glasgow, Alex Lam, Victoria De La Vega, Ralph, Ellie & Mum
Special thanks: Adam Cole, Christine Bergren, Jesse Torres, Jojo Villanueva, Jordan Hale, Lyndsie Chlowitz, Maestro Fletcher Wolfe, Margaret Gardner, Rev. Neil Cardwell, Shannon Murphy, David Galluzzi, Megan McNichol, Simona Paparelli, The Atlanta Boy Choir, Trinh Tran, Trygge Toven & the entire staff at Marvel Studios, Walt Disney Studios Music Department & the Disney Music Group
Release date : 05/06/2016
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With the exception of the 2-note "Aliens" theme for Zemo,
the entire score's themes can be heard in the actual "Cap's Promise" track. That little ditty pieces together all the different themes used throughout out the movie. Just have a listen yourself and you can hear them.
is it brilliant? Meh...I dont care for the simple themes - they dont gel with me - but hey its effective AND compartmentalized.
I heard the 2 note. Kept humming it through the movie trying to figure it out. The scene with the other assassin's in tubes reminded me of Aliens and it all clicked!
So, it's been reported by "alansilvestri.com" that he'll return for the Avengers: Infinity War movies. Does anyone know if this is this true, or simply a hoax? Because, I may be in the absolute minority here, but I'd love to see Jackman get the gig.
I think Jackman did ok but Silvestri's return is exciting.
trent easton navarro
Considering it's Silvesti's official website, it's obviously not a hoax. I'm a big Silvestri fan, but besides the main theme, I wasn't that impressed with his score for The Avengers. But the same goes for Brian Tyler, love his work, but didn't like his score for AoU.
It's gonna be a whopper!! Can't wait, the Avengers theme and the action music is one of my all-time faves.
It is Silvestri's site, but the source they quote is nothing more or less than good ol' trusty IMDB, so I don't consider this "confirmed" yet or anything. Wait and see what happens I'd suggest.
Still, I wouldn't mind Silvestri returning. His Avengers score isn't the best, but he's been kind of MIA for a while, at least on large-scale projects, and I miss his voice.
Thematic consistency within the Avengers movies? I'll take it! I wasn't the biggest fan of the first Avengers score either, but hey, if Marvel is finally taking steps to at least cement the Avengers films together musically, that's good by me.
Everyone who is reviewing this thing factually, who pretends to know what they're talking about makes me and many others cringe.
I mean for Christs sake, just say whether you like it or not. Maybe mention a few tracks and what you sections of it you like. Don't try to analytically deconstruct the compositions down using big musical terms you looked up on google. Cringe level is beyond 10 right now.
I actually agree with this
its the internet man, what do you expect? lol it is kinda cringe though
LOL, you're not wrong, but some people feel the need to just make huge reviews on a comments page where you don't need to log on also when they say thing is objectively bad and they dont realize that its all opinions lol
"I mean for Christs sake, just say whether you like it or not."
Why do you get to set the terms for the discussion?
It'd be a pretty boring comments section if we all just said "I like it" or "I don't like it" - which is ultimately, sure, all it comes down to.
Okay, you can't "reason" someone into liking or disliking a piece of music. That doesn't mean it's impossible to de-construct a score. Believe it or not, not all opinions are equal, even when discussing subjective topics.
No one cares about our opinions on a stupid comments section and that's the way it should be. So what's the point in taking these stupid moral high ground positions - "it's all just opinions!!" - and?????? Why not actually offer something to the discussion.
I found the score, and the film, fairly forgettable for the record. I might be getting Marvel'd-out because I did enjoy the last one.
@mi I feel like your entire paragraph was a straw man argument
The person who wrote the top wrote you can write about the sections you like. I think he was more talking about people who try to sound like they've majored in music theory.
anyways, i personally found the soundtrack, pretty bad imo, only track i enjoyed was clash because of its connection to the scene. the movie was pretty bad too tbh fam.
Sorry, Johnny. As a musician/composer I personally find simple "like it/dislike it" to be summaries that don't quite do justice to the heart of the music. Music is more than emotional expression, there is technical prowess and thought that goes into it, especially in film scoring where the music is specifically designed to influences the audiences emotions in parallel to the visual story. It's fun to analysis why a composer did this or that, what he thinking was. Besides just, "I liked this part because I felt things."
I would argue that to simply say, "I like it/I dislike it" while fine as an opinion, doesn't totally get into the nitty gritty about what about the music makes you enjoy it. Thus eliminating any kind of friendly conversation of debate. For example, I did like this score, but I personally found Zemo's theme didn't quite fit the character, to me. Someone will no doubt disagree, thus allowing a conversation to begin about whether or not they thought the theme fit Zemo. This will then build each of our knowledge and understanding about themes for a villian or antihero and the musicality to apply to each. I also would have loved to hear more themes from previous MCU films, but having had conversations about that with people, I've actually learned more about the business/legal end of the Marvel/Disney music spectrum that I didn't know and have applied into my own work and musical knowledge.
Friendly conversation and debate is healthy. It makes you think about your own opinions and lets you empathize with someone else's opinions. Something a simple "I like it/dislike it" can't quite achieve, because it doesn't dig deep enough. Am I saying, one should feel shame for saying "I like it/diskile it?" Not at all. But you shouldn't make those who do want to have these debates, feel bad about having those debates. Some people like simple analysis, some like deeper. Unfortunately, on the internet, debate turns into mud slinging arguments very easily, but if the debaters verbalizes their opinions properly, then you might find less aggression and more learning through shared experience. Which I personally quite enjoy and grow from.
I heard the entire soundtrack and I have a lot of things to say. The Positives: 1. Jackman cutting down on the electronic elements and focusing more on a good old-fashioned orchestral style. It resembles his work in X-Men: First Class than The Winter Soldier.
2. The new themes are pretty damn good. The themes for Spider-Man, Black Panther, and Zemo are fantastic. I have complaints, but I’ll save that for later.
3. The Civil War Theme is borderline perfection.
4. The action cues don’t drag on, nor do they go by very quickly.
5. Even if they don’t appear often, I love the little nods to the Winter Soldier and Cap themes.
The Negatives: 1. Tracks such as “Consequences” “Revealed” and “Fracture” don’t add much for me.
2. Despite not seeing the film, the track “The Tunnel” sounds 100% different then the clip I saw. And it isn’t as good.
3. A severe lack of musical coherency. But then again, I should have expected this. Ignoring the fact that Brian Tyler’s Iron Man 3 theme, Christophe Beck’s Ant Man theme, and Alan Silvestri’s Captain America theme are not used, Jackman sparingly uses his own themes (Winter Soldier and Cap) and doesn’t even bring back his own themes for Black Widow and Falcon. Seriously, that Falcon theme was awesome.
4. A massive lack of development of new themes. With the exception of the Civil War and Zemo themes, the new themes, as much as I love them, are not developed. They’re pretty much motifs. I was hoping to get tracks completely dedicated to Spider-Man and Black Panther, but sadly, I didn’t. Once again, I like them, but they aren’t developed enough.
5. The Spider-Man theme is good, but it sounds a lot like Han Zimmer’s. Still good though.
Overall, I really like this soundtrack. It has its ups and it has its downs, but it is still very well made. Despite the underdeveloped themes, and the lack of returning ones, Jackman has delivered an intense, heroic, and surprisingly emotional musical score. I can’t whether or not where it ranks with all of the scores in the Marvel Cinematic Universe. I enjoy better than the scores for Iron Man, The Incredible Hulk, Iron Man 2, Thor, Iron Man 3, Thor: The Dark World, Guardians of the Galaxy, Avengers: Age of Ultron, and Ant Man. So far, it’s under The Avengers, Captain America, and The Winter Soldier. Hopefully after I see the film, I will find a larger appreciation for it. Overall, A-
Favorite Tracks: 1. Standoff 2. Civil War 3. Cap’s Promise 4. Lagos 5. Larger Than Life 6. New Recruit 7. Clash 8. Zemo 9. The Tunnel 10. Ancestral Call
*Note: Can someone tell me what the hell the Iron Man theme is?
Wich track of the album have the Spider Theme?
The tracks that the Spider-Man theme appears on are:
1. New Recruit 2. Standoff 3. Civil War 4. Larger Than Life 5.Catastrophe
It's six notes. Bum bum bum! Bum bum bum! You'll know it when you hear it.
The new Iron Man theme is in Making Amends I believe. Wonderful track btw, only should've been longer. That's my gripe with this one. The new themes are pretty solid but too short. It was the same problem I had with TWS.
Iron Man's theme is in Making Amends. And the Spidey theme appears at 1:02 in Larger Than Life.
Zeke, I like your opinion on the soundtrack.
However, not to be rude, I'm not sure "musical coherency" was a good choice of words. Other than that, good stuff.
Why are you so annoying people? Silvestri score for the first movie is shit.
On the contrary, it's the best MCU score still to date. Harkens back to classic superhero and patriotic war scores, combining them with modern cinematic flairs. The orchestration is beyond anything the other MCU scores have come close to achieving (followed closely by Elfman's Avengers stuff and Criag Armstrongs Hulk). The theme is the most iconic of all the Marvel themes (behind maybe the Avengers) and works in patriotic form, action form, emotional form, and all and in between. While all things evolve with time - and film music is no stranger to that - there's a reason why certain scores span the test of time and why certain themes outlive others. Silvestri's scores do exactly that. By the sample music above, you can tell Jackman feels the same. This music is a wonderful blend of Silvestri and Jackman's Cap scores from the previous two films, interwoven with the harmonic and melodic phrasings of Silvestri and Elfman's Avengers themes and orchestration that nearly captures the magic of Silvestri and Horner, infused with the modern "rockestration" popularized with the Remote Control team. By the way, Silvestri's Predator score is the reason Jackman decided to become a film composer, making the sound heard in this score all the more poetic. No, sir, Silvestri's score does not, as you so basically put it, "suck." It is one of the greatest superhero scores of the 21st century, you might need to take a few more listens or views to fully appreciate it
No, Silvestri's score is really bad and his Cap theme is annoying to listen to. Best MCU score by far is Patrick Doyle's Thor.
I wish that Doyle return in Thor: Ragnarok and create most dark soundtrack of all Marvel soundtrack's. Because, come on it is Ragnarok - the darkest event in Norse mythology. Destruction of Asgard, death of the gods and all like this. The most dark movie in Marvel histroy. But then Marvel said that there will be more humor, because of the story, that's too dark, and I lost all my hopes(
Silvestri's Cap score is decent, but everything pales compared to ANT-MAN!
I love this exchange. Spence puts up a spirited, well-reasoned defense of Silvestri's Cap score, Macejko responds with "nope, it's bad and annoying to listen to." Gold. :P
And Miralsice, seriously, who needs more "dark" these days?
Even if I hated Silvestri's theme (which I don't, I really like it), I would want to hear it incorporated to demonstrate music consistency. If another composer were to have taken over for Civil War, I'd have wanted Jackman's less-than-inspired themes used, too. These themes *should* represent the musical DNA of the characters to me, and while characters may mature and evolve, they certainly don't completely become someone else (which a totally new musical identity seems to suggest).
Apparently Marvel don't like dark, but nevertheless they have created the Winter Soldier, which was darker than all their previous films. Hope the Civil War will be the same.
I love how you idiots argue over taste, which is by the way, subjective! Can you believe that? People can like different things? I also love how @Macejko tries to come off as factual, as if his opinion suddenly makes him the all mighty god of music. I'm sure your internet credentials make you veerry credible. Point is, make your opinions sound like opinions so you don't come across sounding ignorant!
Oh and just for the record,personally,I don't really enjoy either.
Actually, I am God. Alpha and Omega and all that jazz. Now calm down, my son.
I've heard this score three times... and I am completely unable to identify any of the themes you guys are mentioning here. Spidey's theme? Black Panther theme? New Iron Man theme? Where? There is nothing in the entire score distinctive enough to warrant a "theme-status", except for the stuff (as bland as it may be) we already know from Winter Soldier.
This score is a mess. An unfocused mess, a mishmash of brief melodies that go nowhere. It's Jackman just throwing stuff at the wall and hoping that something'll stick. But it doesnt't. There is nothing. Not even the Winter Soldier theme is there, which was arguably the most recognizable part of the previous score.
I don't care if he uses a rich orchestration - there are no strong melodies/themes to attach the orchestra to. It's like having a bunch of strong muscles... but without a proper skeleton to support it.
Caps Promise and Zemo's theme are the only two prominent memorable themes on the score.
Pity Cap's Promise only lasts 2 minutes long (end credits theme), is the best cue on the entire album, and is never used throughout the movie.
I think of all the motifs here, the Civil War theme is the most distinctive. The one that gets a big dramatic statement about a minute into the track of that name (or 5:50 of the suite provided here). That moment is great in the film, too.
Other than that, I agree that most of the other motifs struggle very much to distinguish themselves from each other, though. You hear the phrase "style over substance" used a lot, but I'd say this score is the opposite - substance over style. I can't hear anything for Black Panther other than some vague ethnic wtoodwind textures. Spidey's theme I think is the one that sounds like Kingsman. I can't hear anything for Iron Man whatsoever.
The new Civil War theme (5:50 of the suite provided here) sounds exactly like Basil Poledouris's Under Siege 2 Dark Territory main theme. For example track Casey On War I (01:47 - 01:57).
Agree. Such an opportunity wasted. HJ didn't use any of heroes theme outside of CA and WS. Ant-Man, Iron Man, Avengers - their themes are already there, all he needed is just to reach and embed them in the score. Shame.
+Macejko Spider-Man's Theme was pretty spectacular. His theme is 6 notes. It stands out to me. You can hear it in tracks New Recruit, Standoff, Civil War, Larger Than Life, and, Catastrophe. Bum bum bum, bum bum bum! You can't miss it. But I agree with you on Black Panther's Theme, it's barley there. Iron Man's is in Civil War, Making Amends, Clash, and Cap's Promise.
I really love that Jackman took the opportunity to distinguish this score from TWS (which I do enjoy). Instead of completely rehashing the style/themes, or fully abandoning the concepts, he managed to find a perfect middle ground which feels like a natural progression of the music. Both The Winter Soldier and Cap's themes actually get development, something I was initially worried about.
In regards to the orchestrations and themes, the bombastic approach works really well! While there is nothing as powerful as The Causeway or Taking a Stand, the action cues shine. Kudos for the interplay between themes! The end result is a score that is far more varied in style than TWS was. Even the new themes introduced are pretty strong.
Now the bullshit; Why the FUCK can Marvel not understand thematic consistency? One of the better things about Age of Ultron was the integration and development of the existing themes in the universe. Here, neither Iron Man's nor The Avengers themes get any mention at all (outside of a few small hints here and there). This is what kills the score for me. Hopefully the film tracks in some music to fill in the gaps.
So yeah, this is a mixed bag. On one hand it's a pretty heroic and developed score. On the other, it's a HUGELY missed opportunity. Oh well, here's hoping Infinity Wars fixes this issue.
*Side Note: Is it just me or does the orchestrated version of Winter Soldiers theme (Overture, Adagio) sound like Morricone's The Thing?
So that's two people so far describing "The Causeway" as "powerful"...man, for me that was one of the worst cues from TWS!
@Edmund The album version sure. The film version however... :D
I will say Into the Fray is the best cue from that score. Falcon's theme is just badass, I don't think Jackman brought it back here.
@Edmund Meinerts, because you are a closed minded and you only accept music in orchestral style.
If you don't like The Causeway stop listening music please, you know NOTHING about composition secuences.
Ah, and by the way, I assume you are a person who thinks that metalcore, industrial, deathmetal and similar genres are just noise. Like I said, you know nothing, and this is why the "amateur critic" is so irrelevant.
Thanks for making a bunch of bullshit assumptions about me based on exactly nothing at all.
Some of my absolute favorite film music is heavily electronic. I adore Daft Punk's Tron Legacy score. I love what John Powell has done with the Bourne series, and in general, anything he does with electronics works. I think the techno-influenced stuff in the Matrix scores (Reloaded in particular) is phenomenal. So is the electronica in David Arnold's Bond scores. So is the opening action cue ("Touge") from Brian Tyler's third Fast and Furious score. Those scores work for me, not because they are either electronic or orchestral, but because they combine the two brilliantly to create something totally new, unique and memorable.
When I listen to The Causeway I don't hear anything like that. I hear a wailing screech effect, off-the-shelf drum loops, bland ostinatos and tired Inception-style foghorn blasts. It's as unpleasant and generic a modern action cue as you could possibly hope never to hear. With the possible exception of the screech, you could transpose it into pretty much any other modern action movie without anybody noticing the difference. Electronic, orchestral, it doesn't matter - I don't like The Causeway because it's simply not good music to me.
The Causeway is a waste of sonic space and I'm sorry for your ears. Although Falcon's theme is solid. It actually does appear in little snips in Civil War.
again, are you talking about the album version? because that (annoyingly) gutted the full track Maybe its just that recurring motif in The Causeway that I like so much(which is IMO pretty unique and I wish it came back to Civil War somehow), or that it works so well for the scene But I too think its one of the more powerful pieces on the full soundtrack
However I will admit that its not easily accessible and that I understand why some cant stand to listen to it But that doesnt make it objectively bad
After watching the movie and listening to the soundtrack, I was initially disappointed that only the electronic Winter Soldier theme returned.
However, after a few repeated listens, I suspect that the Captain America 3 theme (as heard in Cap's Promise) is the major key version of the minor key Captain America 2 theme (as heard in Taking A Stand).
What about the theme of Spider Man? Is it good or bad? Is it on soundtrack or it appears only in the movie?
There is a Spiderman theme, but it's a short snippet, sounds distantly like the Danny Elfman string arrangement combined with the Hans Zimmer horn motif.
You mean the last part New Recruit?
I don't really hear Zimmer's trumpet theme but I agree about the elfman strings. However I kind of hear an avengers 2 motif
It's literally a combination of the Zimmer trumpet fanfare, the closing measure of Brian Tyler's Iron Man Theme, and the Elfman swirly strings. It kind of works. It's ALL OVER the middle section of the soundtrack, introduced in "New Recruit."
Thanks for the answer Jetinha. Although I expect that the Spider Man theme will stand out of soundtrack, just like "The Smithsonian" on The Winter Soldier soundtrack. Anyway, I hope that in the film it would sound interesting.
Now that I listen again, the Spiderman theme does get a lot of highlight in the airport fight cue "Standoff".
By the way, i listen suite and i like it. There are some realy great moments. Particularly at 5:50 in the suite; very old fashioned - a four note descending motif that goes through some modulations I don't think we've heard from a mainstream Hollywood score in twenty years. Hope it will be great not only in the context of the film but also separately.
Ok, it is true. This OST sounds better than The Winter Soldier score, more coherent with the tone of the rest of MCU's film. The problem again, in spite of the fact that the music sounds nice is that it is generic music, without soul, without emotion. Presencial music, simply of landfill and not to give personality to the film. In this particular, DC/Warner demonstrates more respect for the way of doing cinema, respecting the function of the OST in the movie. In only 2 movies already we have musical themes for Superman, Zod, Batman, Wonder Woman and Lex Luthor. And not only they sound well but it has personality, represent excellently his respective character and in the movie they use as narrator and give power to the images. It is a shame that after a notable OST like Age of Ultron again Marvel returns to this musical emptiness that he accustoms. And I do not hate Marvel's OST. I love Tyler Bates's Guardians, Silvestri's First Avenger and Avengers or the nices duo Elfman/Tyler in Ultron. All fenomenal scores whit great and memorable main themes and good musical script. Something that Civil War completely forgotten.
So I guess our choices these days are between decent themes poorly used (Marvel) or lame themes that slap you over the head until you're sick of them (DC). What a world...
And I don't think that Henry Jackman is the main problem, after X:Men First Class and Kingsman he demostrated that he know how to aproach a comic book film.... Maybe the problem is the directors or the production process. Maybe they dont gave Henry time or ideas to make something great.
Edmund, you're being a bit harsch here... Do you really find Cark Kent's theme to be "lame" or "slapping you over the head until you're sick of it"? And what about most of the segments of the new Batman theme (I mean everything exept the duuuum-dum-dum-dum-dum, which sounds admittedly a bit cheap)? And the cello riff for Wonder Woman? I could go on, but just those 3 simple examples had a bigger emotional impact on me than anything I heard in any Avengers movies (including this one).
I was thinking of both the old two-note Nolan Batman motif and the new pounding one when I said that, and also of the low two-note rising pairs you hear all over Man of Steel. I'd have a bit more tolerance for the Clark Kent theme if you didn't hear it in the exact same sparse piano rendition every single time it's played, as well. Sadly I feel like the elements of those themes that are referenced ad nauseam in the DC scores are the least interesting ones, while the more melodic longer-lined stuff that I personally find more interesting and more moving ("Like a Dog Chasing Cars", "If You Love These People", "What Are You...", "Beautiful Lie") usually only gets one or two renditions per score and is not developed nearly as much.
But yeah, I was probably being too harsh. :p
I cannot really disagree on this, the very best cues are indeed sparsely used (but when they are used, man, they sound absolutely phenomenal).
My gripe with the MCU is that they don't even have such phenomenal moments, it's just by-the-meter entertainement with a random score, sometimes pretty fun (Ant-Man, Iron Man 3), sometimes really forgettable (the rest). The only time they almost reached greatness was with Doyle's Thor... and we never heard about that one again :-p