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The film actually licensed out cues from other scores (and some non scores); it was a topic of discussion back during the time:
VIDE COR MEUM
(from Hannibal (2001))
Written by Patrick Cassidy
Performed by Danielle de Niese and Bruno Lazzaretti
Courtesy of Metro Goldwyn Mayer Music Inc.
THE CROW DESCENDS
Written and Performed by Graeme Revell
Courtesy of Cherry Lane Music
CITY OF ANGELS
Written and Performed by Graeme Revell
Courtesy of Cherry Lane Music
SAZ VA AVAZ NAHOFT
Written by Hossein Alizadeh
Arranged by Homayoun Shajarian, Kayhan Kalhor
Performed by Mohammad Reza Shajarian, Hossein Alizadeh, Kayhan Kalhor and Homayoun Shajarian
Courtesy of World Village Music
FAMILY FEUD
(from Blade II (2002))
Written by Marco Beltrami
Courtesy of New Line Productions, Inc.
CHANSONETA FARAI, VENCUT
Written by Raimon de Miraval
Performed by Ensemble Convivencia
Courtesy of Bella Musica/Antes Edition
VALHALLA
Written and Performed by Jerry Goldsmith
Courtesy of Touchstone Pictures
EPITAFIO
Written and Performed by Luis Delgado
Courtesy of Nubenegra
BALANSIYA
Written and Performed by Luis Delgado
Courtesy of Nubenegra
CHANTERAI POR MON CORAGE
Composed by Guiot de Dijon
Performed by Estampie (from the album 'Crusaders: In Nomine Domini')
(director's cut only)
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Yes, except for the last one -- as Justin says -- which was only in the (far superior) director's cut.
The source pieces don't really count as temp-track lifts in the Scott tradition.
'Chanterai pour Mon Corage' is a piece you just couldn't imagine Gregson-Williams not using. I've a coupla' recordings, and the lyrics are pertinent to that film. The main verses are sung by a lady whose lover is off on a pilgrimage, and she's scared. In English the chorus goes:
'God, when they shout 'Outree',
Help the pilgrim, Lord, for whom I tremble,
For the Saracens are treacherous.'
I imagine that's a composer's choice.
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The first piece of music from the film's opening was strangely absent from the CD... it's really a nice intro to the movie and beautiful to listen to.
As far as I can tell, although it doesn't sound like it at first glance, this opening piece is a variation on the Dies Irae.
NOT the usual opening eight or twenty notes that everyone knows, they aren't there, but if you listen to the EXTENSION of the melody at the graveside scene, and the EXTENSION to the mediaeval Dies Irae, they are the same progression of about 14 or so notes. It's subtly done, and in the context it's right too I suppose.
As for the main plucked tune to immediately start and finish, it seems to be a variation that uses the basic rhythm of the D I, but changes the melody and intervals to create a sort of folk-tune that fits with the traditional extension. This then later becomes a motif for Balin in scenes like the irrigation sequence etc..
He seems to steal the second half of the Dies Irae, rather than the more familiar trademark opening. I dunno if this is one of the 'borrowed' tracks mentioned.
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