What may have complicated any album situation around this is the role of multiple composers. The opening title music is a re-arranged piece of Ludovico Einaudi's (and there maybe others). There's also additional music by Lisa Gerard. As a result there's a few credit cards for music in this film. The rights situation may be complex. The overall blend of styles works quite well in the film.
If there is so much other music used, the question is how much music Hirschfelder actually recorded for the movie... or perhaps half of his score wasn't used in the final cut?
The music credits were quite detailed in the end credits. I suspect there's a lot of music from everyone in there. Einaudi and Gerard handled more of the exoticism of the journey (westerners in Turkey), while Hirschfelder's stuff articulates the myth beats mostly. (That's my impression anyway, from one viewing.)
On the film, I liked it. It's a little conservative and neatly ties its bows at the end, but there's a case for this kind of film. I like that it used the story as a way to talk more about what was going on in the Turkish national consciousness at the time than the Australian. You feel like you're in historical territory that film hasn't cover so far. Definitely not a retread of GALLIPOLI, which is what I thought I was headed for.
It's a gorgeous looking film. It's definitely a conservative drama-epic, but for the most part it took me to a place I didn't expect to go. (And possibly Crowe's best cast role since STATE OF PLAY.)
So on the digital release, no one could be bothered to credit which composer wrote what on any of the tracks credited to the "Sydney Scoring Orchestra."
How incredibly lazy and another problem with "digital only" releases.
James
P.S. That song at the end is completely inappropriate for the film's end credits. After everything that came before in the film, it was a terrible misconception. But what can you expect when the director/star co-wrote it.
