1.Medal of Honor (4:10)
Giacchino introduces his score with this moving, lyrical concert suite
based entirely on his main theme. It has a very subdued introduction
with a trumpet solo backed by a pedal point, like a flag blowing in the
wind. He uses several variations of the theme, each getting more
patriotic than the last, until it explodes into a horn ensemble the likes
of which have never been heard before in a video game.
2. Locating Enemy Positions (4:08)
The tone abruptly changes to dissonance, with oppressive strings and
hints of a motif. Soon, though, a pounding timpani introduces the
main ostinato for the cue. Quiet, sneaky variations on it abound
in the next few minutes. A slow, menacing low string figure enters,
and it accelerates up to a huge brass fanfare. Later, the composer
interpolates a hint of the major-key main theme, which still doesn't lighten
the tension. The low string figure continues to menace its way to
a huge brass climax (these are abundant in the score), leading to a subtle
hint of the Nazi theme in cellos, which builds into a glorious full-orchestral
rendition of it, playing it in all its bombastic glory - it's truly a great
theme.
3. Taking Out the Railgun (3:49)
The menacing motif returns for a few seconds, before giving in to another
militaristic fugal figure, which the composer bases much of the rest of
the cue upon. This was the ostinato that was introduced by the timpani
in the last cue, but here it's expanded upon to form a humongously satisfying
action cue.
4. Attack on Fort Schmerzen (3:57)
A creeping woodwind ostinato forms the basis for this cue, which later
bases itself on the main theme in a particularly dissonant arrangement.
Soon, the ostinato turns into a true action motif, getting more and more
frenzied and loud as the cue progresses. This theme reminds me of
the desperate Rebel motif from the Battle of Hoth in The Empire Strikes
back. One of the high points is a fortissimo reading of the Nazi
motif in the final minute.
5. The Radar Train (3:32)
Another fugue forms the basis for this cue. In terms of instrumentation,
Giacchino varies it by using both chimes and anvil to amplify the tension.
Although every cue has mounds of enjoyment to offer, this is one of the
highlights. Once again, the composer uses the Nazi theme to great
effect and interpolates the main theme as a hopeful military march.
6. Rescuing the G3 Officer (4:07)
Here the tone abruptly changes to something completely unlike most
of the rest of the score - a supremely atonal horror track. The foundation
of this one is a slithering low string figure.
7. Panzer Attack (4:15)
The dissonant mood spills over into the first section of the track,
which later introduces another new motif. This one sounds like a
mischievous scherzo motif, used to personify the tank of the track's title.
Giacchino uses the motif to great advantage here - the musical tone shifts
into one of a lumbering, passionless monster. Also, the use of the
main theme actually adds to the menace.
8. Rjuken Sabotage (4:05)
This one REALLY sounds like John Williams in Indy mode - especially
The Last Crusade. It seems that Giacchino bases each track around
a new motif, and this one is another scherzo used to personify soldiers
running for their lives on ice. Even though it still sounds ruthlessly
miilitaristic, this takes on a decidedly lighter tone than some of the
others. Once again, the Nazi theme steals the show, blending in to
the scherzo motif perfectly.
9. The U-Boat (4:40)
Here, Giacchino introduces a slow, graceful, yet dissonant theme for
a German sub. He paints it almost as a shark swimming through the
water, graceful until it gets ready to eat.
10. Merker's Salt Mine (4:07)
On repeated listenings (and, yes, if you buy it, there will be a lot
of them) this will probably be one of the cues that you'll listen to most.
The composer churns out yet another memorable theme, again in the form
of a brassy scherzo, now in the style of Korngold and Wagner.
11. Approaching Colditz Castle (3:20)
A relatively subdued cue, which takes the themes and breaks them apart.
Like some of the earlier cues, the mood is one of creeping around and spying.
12. Securing the Codebook (3:34)
This continues the quiet atmosphere of the previous cue, incorporating
several great versions of the Nazi theme. In the last minute, the
orchestra really lets loose with the loudest and most exciting version
of the Nazi theme we've heard so far.
13. Nordhausen (3:15)
The first part of this cue is completely based on Giacchino's spectacular
Nazi theme, with later parts for dissonant strings and more subdued scoring.
A huge brass fanfare based on the Nazi theme forms the final minute, as
well as a hopeful rendition of the main theme amongst the chaos.
14. Stopping the V2 (4:11)
Giacchino provides one of his last pulse-pounding action cues, with
this one based around an expansive brass theme.
15. The Jet Aircraft Facility (3:27)
For the finale to the underscore, the composer creates a huge climactic
action cue based almost entirely around the main theme, making it yet another
highlight of the score.
16. The Road to Berlin (3:04)
Jazzy radio source music.
17. Medal of Honor (alternate version) (3:03)
Another spectacular version of the main theme.
18. The Road to Berlin (radio broadcast) (4:11)
Some German dude talking through a scratchy radio.
Bonus Tracks :
19. (1:23)
20. (2:07)
These aren't listed on the packaging, but 19 sounds like some sound
effects from the game complete with score, and 20 is the National Anthem
conducted by MRS. Giacchino, which is absolutely hilarious.
I really think that everyone should give this score a try - it should
appeal to every film score fan, especially John Williams fans. OK,
I've run out of superlatives, so just take my word for it and buy it! (It's
exclusively available from http://www.amazon.com/ for about $13).
| Music Rating | 10/10 |
| Packaging/Liner Notes | 9/10 |
| Orchestral Performance | 9/10 |
| Sound Quality | 9/10 |
| Length | 9/10 |
