Now that I’ve counted down my top 50 film scores over ten weeks, here’s the full list for easy reference, counting down from #50 to #1. Each one has a link to the video used in the earlier posts. As prolific as film composers are, there will no doubt be additions to this list somewhere in the future; plus, the more films I see, the more exposure I’ll have to great movie music. If anyone has a recommendation, feel free to comment!

Being the list maniac I am, this is only the first (or technically, second) of many. As much as I love music and movies, a good countdown is inevitable, but that is another list and shall be told another time.

  Batman – Danny Elfman/ The Dark Knight Trilogy – Hans Zimmer/James Newton Howard
  Sunshine – John Murphy
  Hoosiers – Jerry Goldsmith                                                         Part 1
  Gladiator – Hans Zimmer/Lisa Gerrard
  Star Trek: The Motion Picture – Jerry Goldsmith/ Star Trek – Michael Giacchino

  Glory – James Horner
  Requiem for a Dream – Clint Mansell
  Elizabeth: The Golden Age — Craig Armstrong/A.R. Rahman         Part 2
  Homeward Bound: The Incredible Journey – Bruce Broughton
  Ruby Sparks – Nick Urata

  Backdraft – Hans Zimmer
  Schindler’s List – John Williams
  The Terminator – Brad Fiedel                                                      Part 3
  Rudy – Jerry Goldsmith
  The Last of the Mohicans – Trevor Jones/Randy Edelman

  Superman – John Williams
  Wuthering Heights – Michel Legrand                                            Part 4
  The Crimson Wing: Mystery of the Flamingos – The Cinematic Orchestra
  The Hobbit Trilogy – Howard Shore
  Inception – Hans Zimmer

  Driving Miss Daisy – Hans Zimmer
  The Incredibles – Michael Giacchino
  The Mummy Returns – Jerry Goldsmith                                         Part 5
  The Avengers – Alan Silvestri
  Treasure Planet – James Newton Howard

  National Treasure 1 & 2 – Trevor Rabin
  Elizabethtown – Nancy Wilson
  Chariots of Fire – Vangelis                                                            Part 6
  Dinosaur – James Newton Howard
  Jane Eyre (1970) – John Williams

  E.T. the Extra-Terrestrial – John Williams
  Sinbad: Legend of the Seven Seas – Harry Gregson-Williams
  Cast Away – Alan Silvestri                                                            Part 7
  Home Alone – John Williams
  Back to the Future –Alan Silvestri

  Out of Africa – John Barry
  Sherlock Holmes – Hans Zimmer
  Robin Hood: Prince of Thieves – Michael Kamen                             Part 8
  The Piano – Michael Nyman
  Nausicaä of the Valley of the Wind – Joe Hisaishi

  Titanic – James Horner
   Forrest Gump – Alan Silvestri
   Jurassic Park – John Williams                                                         Part 9
   How to Train Your Dragon – John Powell/Harry Gregson-Williams
   The Chronicles of Narnia – Harry Gregson-Williams

   Laputa: Castle in the Sky – Joe Hisaishi
   Indiana Jones films – John Williams
   Pirates of the Caribbean Trilogy – Klaus Badelt/Hans Zimmer            Part 10
   Star Wars Saga – John Williams
   The Lord of the Rings Trilogy – Howard Shore

Honorable Mentions (in alphabetical order):

A Beautiful Mind (James Horner)
The Assassination of Jesse James by the Coward Robert Ford (Nick Cave/Warren Ellis)
Avatar (James Horner)
Braveheart (James Horner)
Chicken Run (John Powell/Harry Gregson-Williams)
The Cider House Rules (Rachel Portman)
Dances with Wolves (John Barry)
Doctor Zhivago (Maurice Jarre)
Gone with the Wind (Max Steiner)
The Great Escape (Elmer Bernstein)
Hook (John Williams)
The Horse Whisperer (Thomas Newman)
The Hours (Philip Glass)
The Hunger Games (James Newton Howard)
Like Crazy (Dustin O’Halloran)
The Neverending Story (Klaus Doldinger/Giorgio Moroder)
The Shawshank Redemption (Thomas Newman)
The Thin Red Line (Hans Zimmer)
Thor: The Dark World (Brian Tyler)
The Truman Show (Philip Glass)
The Village (James Newton Howard) (The more I listen to this one, the more I think it probably should have been #50.)
Up (Michael Giacchino)

At last, we have reached the end of this long list of marvelous movie scores. Except for #5, all of these are venerable franchises that needed memorable music to enchant listeners throughout the series, and each of their composers delivered in spades. All of these films hold a special place in my heart, and the music played a huge role in making them true favorites. Enjoy!

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#5: Laputa: Castle in the Sky (1986), no nomination – Joe Hisaishi

Words cannot describe the sense of peaceful grandeur this score gives me. Not only is this my favorite Miyazaki film, but it boasts the best music of all the Studio Ghibli movies. With this theme (and Nausicaä), Joe Hisaishi entered the club of my favorite composers. Ideally befitting a story of flying high amid ancient civilizations, this is one tune I hum on a regular basis.

#4: Indiana Jones franchise (1981-2008), Oscar nominee – John Williams

Action themes don’t get much better than that of famed archaeologist Indiana Jones. As much as I love the music in Chariots of Fire, I have no doubt that the score for Raiders of the Lost Ark should have won that year. The other three films borrow and build on Williams’ original masterpiece, which is a standard by which all other action movie composers are judged.

#3: Pirates of the Caribbean trilogy (2003, 2006, 2007), no nominations – Klaus Badelt/Hans Zimmer

Step aside, Sinbad. This will forever be the greatest pirate music, the kind of rip-roaring soundtracks that make listeners want to swashbuckle with the likes of Jack Sparrow and Will Turner. While Klaus Badelt isn’t as well-known as Zimmer, who collaborated for the first film and took over for the second and third films, Badelt will forever be remembered as the man credited for the first’s fantastic music. One of the most recent scores to be instantly iconic.

#2: Star Wars saga (1977-1983, 1999-2005), Oscar winner (only the first film) – John Williams

Do I really have to say anything? Can anything really trump the iconic strains of John Williams’ most famous work? Well, one thing can in my book, but for countless fans, including the AFI, this score reigns supreme. As unlikely as it seemed, Williams actually managed to match his own achievement with the operatic theme for The Phantom Menace, which I probably enjoy listening to even more than the original. With Williams returning to score The Force Awakens, I’m looking forward to hearing his continued brilliance this December.

#1: The Lord of the Rings trilogy (2001, 2002, 2003), Oscar winner (first and third films) – Howard Shore

I suppose it’s not surprising that my favorite films would also feature my favorite scores. Unlike Pirates or The Piano, there isn’t just one track in this trilogy that I love to death; I adore the entire soundtrack, all three, from start to finish. The charming folksiness of the Shire, the medieval bombast of Khazad-dûm, the equestrian stateliness of Rohan, those ethereal vocals that heighten the splendor of each film’s climax—it’s all so perfect, whether for the film or for pleasure listening afterwards. Middle-earth would not be the same without Howard Shore.

Full list to come!

Nearing the end of the Top 50 countdown, we have now entered my top ten film scores, which has actually been a long time coming since I’ve only done five a week. This week, I’ve included some widely regarded classics and some personal favorites, several with a decidedly Celtic sound, themes I regard so highly that they’re basically interchangeable on the list. Only one week to go for the top 5. Enjoy!

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#10: Titanic (1997), Oscar winner – James Horner

My original cryfest, Titanic is a marvelous film on nearly every level, but nowhere does it excel so masterfully as in the music department, thanks to the late great James Horner. His soothing Celtic strains play much more to the romance rather than the disaster, but there’s a deep sadness to it that fits the tragedy to a capital T.

#9: Forrest Gump (1994), Oscar nominee – Alan Silvestri

Yet another emotional journey with a memorable rock soundtrack as well, Forrest Gump had to have a fittingly poignant theme, and frequent Robert Zemeckis collaborator Alan Silvestri was just the man for the job. The first few notes alone bring back all the feels from one of my favorite films, starting with that drifting feather, while the ending makes me feel like I could run across the country. I don’t know if I should smile or cry. I think it’s both.

#8: Jurassic Park (1993), no nomination – John Williams

Putting the awe in awesome, Jurassic Park would be incomplete without John Williams’ exquisite themes. Again, the music conjures the immense glory of reborn dinosaurs, as well as the fascinating terror when they run amok. While I haven’t seen Jurassic World yet, I’m glad to hear that apparently Michael Giacchino has both honored and complemented Williams’ achievement.

#7: How to Train Your Dragon (2010), Oscar nominee – John Powell

The more I listen to this score, the more I absolutely LOVE it! I enjoy almost any kind of Celtic music, but this film amps it up beautifully to nail the tension, the fun, the wonder—pretty much everything one would expect from riding on a dragon. I could listen to this music forever. DreamWorks knew they had something great; they recently used the action theme for their 20^th anniversary ads.

#6: The Chronicles of Narnia (2005, 2008), no nominations – Harry Gregson-Williams

From my list, it’s clear that I’m fond of epic and majestic film scores, and the music for the current trilogy of Narnia adaptations certainly fits that description. I’m only including the first two films here, though, since the third, Voyage of the Dawn Treader, had a different composer and was generally not quite as good. I probably admire Prince Caspian’s score most of all, since it builds on the first film’s themes and gets even more epic. Someone hurry up and make The Silver Chair already!

Onward and upward with my Top 50 Film Scores! This week, there’s a mix of Oscar recognition (or lack thereof), but all of these have distinctive and memorable sounds that capture the heart and the imagination. Enjoy!

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#15: Out of Africa (1985), Oscar winner – John Barry

How could I not include this outstanding score from such an epically tragic film? Full of profound and painful feelings, the music evokes the sweeping African savannas and the swooning romance of Meryl Streep and Robert Redford. It inevitably breaks my VC into tears, though she’s noted that it reminds her of Barry’s later score for Dances with Wolves (which didn’t quite make the list). Along with E.T. and Star Wars, this is a rare choice that I actually agree with AFI’s top 25 film scores.

#14: Sherlock Holmes (2009), Oscar nominee – Hans Zimmer

As my favorite incarnation of Holmes (though Cumberbatch comes darn close), Robert Downey, Jr.’s take on the famous detective deserved some marvelous mystery music. In this case, the mixture of the tinny piano with whiny violins, plus an unconventional tempo, lend the story a unique and manic energy that echoes both its humor and its action. The sequel’s music is a bit more conventional/less unique, but it’s still excellent as a continuation of the original. Don’t you just feel like you’re in Victorian England; well, maybe just Guy Ritchie’s version of it?

#13: Robin Hood: Prince of Thieves (1991), no nomination – Michael Kamen

Epic, uplifting, heroic, magnificent—these are just some of the words I could use to describe Michael Kamen’s energizing score for Kevin Costner’s version of the Hood. Critics can say what they will about the film’s faults, but there’s no denying that this is great music. For a while, Disney even used the main theme for the intro montage of all of their DVDs, so even some who ignore the movie have surely heard its overture many times.

#12: The Piano (1993), no nomination – Michael Nyman

I haven’t actually seen The Piano, but my VC has (and does not recommend it). Yet beyond the Oscar-winning acting, one key part of the film refused to let go: the music. While most of the score is just good, one track in particular singlehandedly brought it to #12 on this list. “The Heart Asks Pleasure First” is one of the most beautiful things I’ve ever heard and ranks among my favorite pieces of music. I always feel this peaceful, floating sensation that lingers even after the melody stops. Goosebumps.

#11: Nausicaä of the Valley of the Wind (1984), no nomination – Joe Hisaishi

It’s not the most well-known of scores, but it should be. As John Williams is to Steven Spielberg, Joe Hisaishi is to Hayao Miyazaki. This pre-Studio-Ghibli dystopia features a score that instantly became a favorite upon my first viewing. A few parts have a weird techno vibe, but the bulk of the score is glorious and thrilling, laden with strings and choirs. The “la la la” section alone is sure to stick in your mind. In a good way.

We’ve now reached the top 20 entries in my movie music countdown, and I’ve finally started including some of the more beloved film scores. Silvestri and Williams dominate the next five, but there’s still room for one greatly underrated favorite of mine. Enjoy!

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#20: E.T. the Extra-Terrestrial (1982), Oscar winner – John Williams

That’s right; after last week’s Jane Eyre, that’s two John Williams scores in a row. No wonder he’s the most represented composer here. His magical score for E.T. added to the endearing delight of Steven Spielberg’s classic about a boy and his alien. Can’t you still see Elliott flying E.T. on his bike across the moon? Whimsical yet powerful, it gets the goosebumps going every time.

#19: Sinbad: Legend of the Seven Seas (2003), no nomination – Harry Gregson-Williams

Sinbad may be DreamWorks Animation’s most action-packed and overlooked work, but both the film and the score deserve to be remembered. The music ranges from the sultry song of the sirens to the impish mischief of Eris to the thrilling theme of Sinbad’s roguish misadventures. If not for Pirates of the Caribbean, this might have been the perfect pirate music. Oops, did I give something away?

#18: Cast Away (2000), no Oscar nomination – Alan Silvestri

Silvestri returns with a most impressive achievement. The majority of Cast Away has no music, in order to enhance the isolation of poor Chuck Noland, yet once he leaves his island home behind, the Grammy-winning music leaves an indelible impression. Utterly emotional, those plaintive strings make me want to cry every time. Wilson!

#17: Home Alone (1995), Oscar nominee – John Williams

A classic Christmas film deserves a classic Christmas soundtrack. The mischievous ditties recall Grieg’s ”Hall of the Mountain King,” while the twinkling theme “Somewhere in My Memory” always conjures the holiday season, no matter what time of year it is. John Williams strikes again!

#16: Back to the Future (1985), no nomination – Alan Silvestri

Time travel is never so much fun as with Marty McFly and Doc Brown, and Alan Silvestri’s accompanying score runs on excitement rather than plutonium. Again, the music immediately puts me in the movie during the best parts. Just listening to it, I feel like driving to 88 MPH.

Once more, it seems that my list of top 50 film scores tends to opt for the less acclaimed favorites, though there’s still an Oscar winner in the mix too. Again, these are original soundtracks that excel as background music for their films and for writing, exercising, working, driving, and any other mundane activity in need of inspiration. There’s nothing quite like movie music, and it just gets better from here. Enjoy!

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#25:  National Treasure/National Treasure: Book of Secrets (2004/2007), no nominations – Trevor Rabin

It’s no secret that I love these movies, but the scores for both really are phenomenal, thanks to the lead singer of British band Yes, Trevor Rabin (also known for Armageddon and Remember the Titans). At times, the music is straight adventure movie fare, often conveying a sense of urgency and/or mystery, but often it builds to this historically-themed magnificence that perfectly captures the appeal of the films themselves. Of the two, I probably prefer the score for Book of Secrets a tad more, but I couldn’t separate them. Here’s hoping Disney will make this a trilogy one of these days!

#24:  Elizabethtown (2005), no nomination – Nancy Wilson

It’s also no secret that I adore this film, a hilarious, heart-tugging, romantic, endlessly quotable reflection on love and death. It also possesses one of the few scores I actually own. Nancy Wilson of Heart (who was married to director Cameron Crowe at the time) provided the perfect bluegrass-inflected guitar music to accompany Orlando Bloom’s visit to his dead father’s hometown in Kentucky. Not many films have both a memorable score and an outstanding rock music soundtrack, and whenever I hear either one, I’m instantly in the mood to watch the movie again.  The links below show a song of each.

#23: Chariots of Fire (1981), Oscar winner – Vangelis

The sight of a flock of Olympic runners jogging along a beach was made truly iconic by this classic synthesizer-laden score. Capturing the simple majesty of running (in slow-motion), this music is even better than the movie itself, which is saying a lot. Beautiful on every level.

#22: Dinosaur (2000), no nomination – James Newton Howard

Leave it to James Newton Howard to write a magnificent score for a poorly reviewed Disney film. I personally like the film, and probably everyone else would if it consistently carried the same prehistoric glory as its soundtrack. Filled with power and awe, the music from the breathtaking opening scene (reminiscent of Moses) is enough alone to earn this a spot on my list.

#21:  Jane Eyre (1970), no nomination – John Williams

While not his most well-known work, there’s a haunting beauty to Williams’ music for the 1970 version of Jane Eyre, starring Susannah York and George C. Scott. Evoking Gothic mystery and sweeping romance, the delicate score cemented this film as my favorite rendering of Emily Brontë’s story. And like Wuthering Heights the same year, it does a weepy number on my VC. Those Brontë sisters surely knew how to write bittersweet yarns from the moor, which seem to bring out the best in composers.

Whereas last week’s installment of my Top 50 film scores had some Academy-recognized entries, this week’s choices return to some less appreciated favorites. Once more, this doesn’t apply to soundtrack compilations but rather original film scores, that modern classical that can make poor films listenable and good films great. Enjoy!

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#30:  Driving Miss Daisy (1989), no Oscar nomination — Hans Zimmer

Hans Zimmer can certainly do more than dark, swelling music for Christopher Nolan. His fully-synthesized score for 1989’s Driving Miss Daisy has just the right amount of Southern perkiness, enhanced for the humorous scenes and slowed for the dramatic ones. The old-timey sound evokes the mid-20^th century setting and always brings to mind Morgan Freeman as he drives a sour-faced Jessica Tandy around. It never fails to put a smile on my face or get my foot tapping.

#29:  The Incredibles (2004), no nomination – Michael Giacchino

When a fantastic family film and a sweet superhero saga are one and the same, that achievement deserves a super score. Full of brassy bombast and intrigue, Michael Giacchino’s score for Pixar’s The Incredibles made it an even more awesome film. Certain parts also have a perfect James Bond quality to elevate the classy ‘60s super-spy vibe. This was also the start of an ongoing collaboration between Pixar and Giacchino, who provided the music for Ratatouille, Up, and Inside Out (not to mention Lost, the greatest TV show of all time. Oh yeah, in my opinion).

#28:  The Mummy Returns (2001), no nomination — Alan Silvestri

While not the most critically acclaimed of actioners, I’ve always enjoyed Brendan Fraser’s Mummy franchise, and Alan Silvestri’s score for the second film is an underrated gem. I never really notice how much I like it until I hear it during the end credits. With its decidedly Middle Eastern tone, the music complements the action during the film and recreates that same sense of adventure when heard alone.  Like many of these choices, I’ve found it’s excellent writing music.

#27:  The Avengers (2012), no nomination – Alan Silvestri

Without a doubt, my favorite superhero score has to go to arguably the best superhero achievement of them all, Marvel’s The Avengers. The music has such a grand, heroic tone that you can practically see Thor or Iron Man strutting in your mind’s eye. By itself, it’s downright awesome; when paired with the assembling team of superhero stars, it doesn’t get much more epic.

#26:  Treasure Planet (2002), no nomination – James Newton Howard

Treasure Planet may not be Disney’s most popular outing, but it boasts one of their best standalone scores. Inspiring and adventurous, sometimes wistful and folksy, the music is just one memorable element of this underrated sci-fi tale. The merging of traditional Celtic rhythms and a rock-Celtic style helps to propel the whole idea of combining the 18^th-century setting of Stevenson’s novel with the film’s space-faring environment.

Continuing with my Top 50 film score countdown, the next five jump from the 1970s to the 2010s. Again, these are scores (not collected soundtracks) that both complement their respective films and make for some superb listening music. I love to just put these on in the background and write away. Exciting, inspiring, heart-breaking, gorgeous—movie music has some of the greatest diversity of any genre (at least, I consider it a genre). Enjoy!

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#35:  Superman (1978), Oscar nominee – John Williams

One of those bombastic themes that is instantly connected with its source film, the score for Richard Donner’s Superman wears its heroism on its sleeve, as well as a giant S on the chest. S for sensational, symphonic, stately, stunning, soaring, strong as steel, and, oh yeah, hope (see Man of Steel). Those blaring trumpets always bring the “real” man of steel to mind, spiraling through the earth’s atmosphere. As iconic as it is, I do feel I should give a shout-out to the theme for the animated TV series, which is surprisingly heroic and awesome in its own right, though obviously much shorter than the film’s score.

#34:  Wuthering Heights (1970), no nomination – Michel Legrand

Listen to this score, and you will see the stark moors and wind-swept heather so prominent in Wuthering Heights. This 1970 version with Timothy Dalton and Anna Calder-Marshall may not be the most famous adaptation of Emily Brontë’s gothic novel, but it’s the one that always leaves my VC a blubbering mess, thanks in large part to its haunting melodic backdrop. Beautiful with or without the film, the eerily romantic score tends to linger in the mind, making this my favorite version of the story.

#33:  The Crimson Wing: Mystery of the Flamingos (2008), no nomination – The Cinematic Orchestra

I feel a little stupid since I was originally going to place The Theory of Everything here, because I was blown away by the hypnotically flowing melody of the ending music. What I didn’t know until recently was that this song, called “Arrival of the Birds,” was not originally from the Steven Hawking biopic, but rather this Disneynature flamingo documentary. I haven’t seen it, but with music like this, I now want to; from what I’ve listened to, the remaining score is equally lovely. (For the record, I do enjoy the rest of the Oscar-nominated music in Theory of Everything too, but this really spoke to me.) The Cinematic Orchestra’s work has apparently been borrowed by many different TV shows and films, and I’m now very interested in this group as well. Those violins are glorious, whether they’re for a handicapped genius or a flock of pink waterfowl.

#32:  The Hobbit trilogy (2012, 2013, 2014), no nominations – Howard Shore

I don’t think anyone can claim that Peter Jackson’s Hobbit trilogy is better than The Lord of the Rings, but if there’s any area that it comes close, it’s Howard Shore’s score. Like the rest of The Hobbit movies, the music doesn’t compare with its predecessor, but it still carries the splendor of epic fantasy. It builds on the first trilogy’s scores with several evocative themes worthy of Middle Earth, like “Misty Mountains” and the medieval march of Laketown. Perhaps it might have stood out more, were it not compared with LotR, but The Hobbit’s score is still a grand achievement for Shore.

#31:  Inception (2010), Oscar nominee – Hans Zimmer

As I said in my review, Christopher Nolan’s Inception remains the only film that completely and utterly blew me away, and its music played a large part in its impact. The building grandeur of the music bears suspicious similarity to Zimmer’s score for The Thin Red Line, but boy, does it pack an emotional punch! Electronic with some violins, trumpets, and electric guitar thrown in for good measure, the majestic yet tender climax alone is enough to make it on this list.

Mild spoiler warning:

The next five film scores on my Top 50 countdown were all in a three-year period, except one from the 1980s. Ranging from depressing to inspiring, these beautiful scores complement their respective movies and are equally enjoyable as easy listening. Again, these are background scores composed for each film, not collected soundtracks of individual songs. That’s another list and shall be told another time. Enjoy!

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#40:  Backdraft (1991), no nomination – Hans Zimmer

To accompany Ron Howard’s action film about heroic firemen, Hans Zimmer delivered a score that just screams heroism. With military-ish background drums and an occasional soothing choir, the music for Backdraft might have been equally at home in a war movie. Here it was another early step on Zimmer’s rise to film music stardom. Even the cooking competition Iron Chef recognized the score’s noble presence and appropriated its theme for the Japanese show.

#39:  Schindler’s List (1993), Oscar winner – John Williams

I’ll be honest here: I haven’t yet been able to bring myself to watch Schindler’s List. My VC saw the first part of it and couldn’t continue because she found it too disturbing, which is exactly what the Holocaust was. John Williams’ score, though, has a heartrending power whether you’ve seen it or not. Itzhak Perlman’s violin is as stark as a raw nerve, drawing praising adjectives like “haunting,” “sublime,” and above all profoundly “sad.” Even without the film’s images, that violin makes me want to cry.

Warning for some violence and disturbing images (not the worst of it, though):

#38:  The Terminator (1984), no nomination – Brad Fiedel

Foreboding yet subtly action-oriented, Brad Fiedel’s synthesized score really sets the tone for this classic sci-fi thriller. It’s a repetitive, slowly swelling score akin to John Carpenter’s music, and it’s hard to imagine the Terminator films without it. Evoking both the desolation of the future and the mechanical danger of the present, the first film’s soundtrack is simple but hard to top, so good luck to Lorne Balfe, who will be scoring next month’s Terminator Genisys.

Warning for one bloody slide:

#37:  Rudy (1993), no nomination – Jerry Goldsmith

After succeeding with the Oscar-nominated score for Hoosiers, Jerry Goldsmith re-teamed with the same director and writer for Rudy, one of the greatest and most satisfying underdog stories ever, whether you like football or not. While this one didn’t get a nomination, the music became another favorite for movie trailers. Ebullient as Rudy’s gridiron aspirations, this score is as uplifting as they come. Yes, hobbits can play football too.

#36:  The Last of the Mohicans (1992), no nomination – Trevor Jones/Randy Edelman

While I can’t say I enjoyed the overall film, the music for this adaptation of James Fenimore Cooper’s most famous work is surprisingly exceptional, considering the headaches that apparently plagued the score’s production. “Promontory” is my favorite track, even though it accompanies the most tragic scene. Properly grand and intrepid, this Celtic-infused musical beauty might have won an Oscar, but its dual composers supposedly made it ineligible. Those darn Academy rules!