2. Devoe's Revenge (5:14) by Gavin Greenway
For this track, Greenway introduces several of Zimmer's main action motifs to be heard later. I usually skip it, simply because the themes are heard more fully in other tracks (i.e. Enough is enough!)
3. Sarajevo (8:40)
Zimmer departs from his usual style and gives us a break from the action with this intensely moving suite. After a statement of the introduction of track 4, the choir introduces the complete version of their theme from track 1. For the next few minutes, the composer gives some ambient rumblings, with the theme stated occasionally. Eventually an alternate of the choir's theme plays, this time by the orchestra. At the 5 minute mark, he introduces the Sarajevo theme, the high point of the score. Even more enjoyable is when he introduces a desolate solo soprano backed by the entire choir. For the last minute, a mandolin backed by choir plays the Sarajevo theme again.
4. Chase (17:04)
Although it sometimes becomes wearing, "Chase" is the best action cue on the album. Zimmer begins with a suspense-building string motif ending on a strong brass cadence. After a short section reminiscent of the previous track, he extends the action theme from track 1 into a exciting, testosterone-charged monstrosity. The opening string motif restates, and the action theme plays again in all its glory. After some dissonant suspense music and a huge cadence, the choir gives a short break, and the climax of the action theme returns. This time, however, it continues to build, and the choral motif plays on top of it. Finally, when it seems it can't go anywhere else, Zimmer has the choir sing its entire theme over the frenetic action motif. Nondescript variations on the various musical ideas comprise the next few minutes. There are several good variations on the choral motif. The track ends with a final statement of the climax of the action motif.
5. Peacemaker (9:47)
For the final suite on the album, Zimmer successfully blends the mysterious, moving style from track 3 with the bombastic action bits from tracks 1 & 4. It begins with a full statement of the choral theme followed by several minutes of permutations on that pesky action theme from "Trains." A powerful statement of the choral theme ends the sometimes-mindless action, however, and the rest of the disc is based upon it. The mandolin comes in with a restatement of the Sarajevo theme, and that beautiful soprano voice from track 3 returns backed by full choir. Obviously one of the high points of the album, and even more moving than the end of track 3 IMHO. The score ends with a final statement of the Sarajevo theme on the mandolin.
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