Orchestrated by Robert Elhai, Dana Niu, and Brian Tyler

Conducted by Adam Klemens

Performed by The Czech Philharmonic

Produced by Brian Tyler

Release Date: March 18, 2003

            Varèse Sarabande
 

     With the success of the Sci-Fi Channel's mini-series adaptation of Frank Herbert's novel, Dune, a sequel mini-series was quickly commissioned to adapt the two sequel novels, Dune Messiah and Children of Dune, into another mini-series event. Having only seen the first mini-series, I can report that I've heard Children of Dune is better, and if so, it should be quite enjoyable (I plan on watching it soon now that it has released on DVD). At least one of the improvements I'm already aware of is the switch from Graeme Revell to Brian Tyler. As much as I've enjoyed Revell's work over the years, his score to Frank Herbert's Dune was an opportunity for him to indulge his love of ethnic music. It was an interesting concept, but by itself the score failed to muster anything enjoyable to these ears. Brian Tyler, who has redeemed himself from the disappointing score to The 4th Floor, immediately hits the listener with a score that has all the ethnic goodness from Revell, along with the epic quality that was severely lacking beforehand.

     Children of Dune is a massive score, with as much cliché for this type of music as could possibly be imagined (including the lone wailing soprano as Hans Zimmer and Lisa Gerrard typified for Gladiator). While that may be seen as flaws to some, Tyler blends it all together in a way that makes it work beautifully, and as much as it works by itself on CD, I'm more than anxious to see its usage in the mini-series itself. The Czech Philharmonic, though not a high-profile orchestra as, say, The London Symphony or The Royal Scottish National Orchestra, still performs admirably, imbuing the music a sound that is full and nicely balanced among the instruments.

     In the end however, thematic usage is where this score excels. Aside from a few brief handlings of previous Dune score material, Tyler primarily deals with his own themes. The themes tackle the different stylistic efforts of the score (as in there is the military theme, and ethnic theme, a romantic theme, ect.) and their appearance is melded well within the music and used appropriately. Though not always memorable, the themes and motifs are strong for the score and are hardly shoddy in construction.